In Zale Dalen’s 1977 feature Skip Tracer, John Collins works the underside of Vancouver’s boom years as a debt collector, repo man, and enforcer for a predatory lender, moving through a city where bureaucratic violence and masculine performance are inseparable. Haunted by doubles, shaken by assault, and confronted with the human wreckage of his profession, Collins drifts toward a thin, anti-heroic form of redemption. In this video essay, Stephen Broomer offers that Skip Tracer is a study of moral exhaustion and compromised grace, a film that turns the debt collector into a post-modern detective whose final refusal measures the limits of conscience under capital.