Scream Bloody Murder (1972) - full transcript
A disturbed boy kills his father with his farm tractor and his arm is mangled in the process. He's taken to a mental hospital where he's outfitted with a hook to replace his lost hand and, years later, he's eventually released from the asylum. He returns home to find his mother has remarried, which sets him off on a murderous rampage.
(engine rumbles)
(man screams)
(engine rumbles)
(kid screams)
(engine rumbles)
(dramatic music)
(dramatic music)
- [Woman] The farm is
coming along just fine son.
Course I still haven't made enough
money to get up there to visit you.
But Mr. Parsons says
that maybe by Christmas,
we can save up enough.
I don't know what I would have done
without Mr. Parsons help all these years,
since your daddy died and you got hurt.
He's been a real savior to me.
I know he's looking forward to the day
when you come home, just as much as I am.
You and Mr. Parsons are going
to be such good friends.
I just know it.
- Mr. Parsons.
(paper crinkling)
(dramatic music)
Mom, I'm home!
Mom?
Mom, it's me, Matthew.
Mom?
It's me Matthew, I've come home,
Mom?
(engine rumbles)
(people laughing)
- Well.
- You going to carry her
over the threshold Mac?
- Darn right, though I don't
know if my back can take it.
- Oh now you know I ain't that heavy.
- [Woman] Well you two
do make the handsomest
of the couples, I do say.
- Oh, go on.
- Come on, Blanche let's leave
these two lovebirds to be on
that first day as man and wife.
(people chuckles)
- Oh do you have to go?
- Call me tomorrow Daisy,
tell me everything.
- Come on Blanche.
- Don't do anything I wouldn't do honey.
- In that case there ain't
nothing she can't do.
- Whatever is he talking about?
- I'll tell you all about it, later.
(both chuckles)
(engine rumbles)
Bye now.
(dramatic chord)
Happy?
- More than anything.
(dramatic music)
- Come on.
(Daisy gasps)
- Matthew?
- When'd you get home son?
- Don't you call me son.
- You didn't tell me you were
coming home, we would have--.
- I'm home now ma.
- Oh, and I'm glad to son.
Only you frighten us standing there
like you were, we thought--
- You went and got married ma.
- Matthew he's, well you
can call him daddy now
'cause here in--
- He's not my daddy.
- Come on now, boy, we
can be good friends.
- You just stay away from me.
Stay away from me and my mama to you hear?
- Matthew, he's my husband
now, your new daddy,
you shouldn't talk to him that way.
- You married him.
I went to the hospital
and they give me a claw
like some freak and you marry that, man?
- Because I love him Matthew.
- No, you don't!
No you don't, no you don't!
- Look here boy.
- She doesn't love you, I won't let her.
- Matthew!
- Let him go Daisy, just let him go.
He'll be all right.
- But he's my boy.
- Well, I guess that's it
for now, right Matthew?
- Yes Mr. Parsons.
- Now come on, boy.
You don't have to keep
calling me Mr. Parsons.
You don't have to call
me pa or daddy, either.
Just Mac.
You can call me Mac like everybody does.
- Yes, sir.
- Knock off the sir
stuff, we're family now.
You, your mom and me,
we're all a family now.
- Sir.
- Come on.
Let's go see what your
mom's got fixed for lunch.
We'll attack this damn tractor later.
(suspenseful music)
(dramatic chord)
- Mac.
(suspenseful music)
Shouldn't we be doing this kind
of thing in our own bedroom?
- Nothing wrong with
doing it in our own farm.
- What if Matthew?
- What would he be doing out here
in the woods this time of night, huh?
- Mac, I worry about him.
- Oh, he'll be fine.
Like I said before, he just gotta a lot
of getting used to, that's all.
- I hope so, God, I hope so.
- I know so.
Come here.
- [Daisy] Oh mac.
- [Mac] I'm here now Daisy, I'm here.
(suspenseful music)
- Whoa, we better get
on back to the house.
This is no way for a newly
married couple to act.
- Well then.
You gotta wait for me there hon.
I gotta check on that damn cow,
see if she didn't chew
through her rope again.
- I'll wait for you.
- I'll just be a minute or two.
(suspenseful music)
(suspenseful music)
(ground rustling)
Hello, anybody there?
Daisy?
(suspenseful music)
Hey, who's there?
Anybody there?
(suspenseful music)
(ground rustling)
- Matthew.
I brought you some pie and milk.
- Look, who ever you are stop
this fooling around you hear?
Who's in there damn it!
(suspenseful music)
(ground rustling)
- Matthew?
You here?
(suspenseful music)
(ground rustling)
- Who's out there?
Daisy.
(dramatic chord)
(Mac crying out)
(dramatic chord)
Help me.
Help me, please.
Help me!
- Matthew?
Matthew, is that you?
- Hi, I'll be right there mama.
One second, I'll be right there.
(dramatic music)
- Matthew?
(Daisy gasps)
Good Jesus Christ.
- Mama.
Don't look mama.
- Matthew.
- I didn't want you to see this mama.
- Matthew.
- It's all right.
I took care of everything, we're free.
- Oh my God Matthew.
- It's all right, it's all right.
- Oh my God Matthew.
- No, no mama.
- Mama, please listen to
me, listen to me, please.
- Please, somebody help
me, help me please!
- No, mama, no!
- Please don't hurt me.
- I'd never hurt your mama.
You shouldn't have
married him, that's all.
I didn't need another
father, we didn't need him.
- I needed him, I loved him.
- No, no you didn't.
You already loved me, you and me,
we didn't need nobody else mama, nobody.
- Please.
- Now he doesn't have
to touch you no more.
- I wanted him to touch me.
- No you didn't, you didn't want him
to touch you, you hated it.
- Please, no, no.
- You hated it.
- No.
- You hated it, you
hated it, you hated it!
And I'll kill you for it!
(Daisy thuds)
Mama?
(dramatic music)
Mama!
- Well howdy Matthew.
- Hello Mr. Simpson.
- Where are you going
so early in the morning?
- I figured long as
momma got a new husband,
she doesn't need me
around to look after her.
- Nonsense.
Your mama loves you just as much as ever.
She know you leaving home?
- Yes, sir.
I just said goodbye to
her, Mr. Parsons too.
- And they don't mind
you going off like this?
- That's the only way sir.
- We're supposed to have
supper with them this evening.
I'll tell you one thing.
I'm going to give them a piece of my mind,
letting a kid of your
age go off on his own.
- Mama sent me by here
about that Mr. Simpson.
She said that maybe you oughta come over
in a couple of days for
supper instead of tonight.
I mean what with me leaving and all,
she just didn't feel up to it.
- Sure, I understand only--
(bell dings)
- You got a customer.
- Yeah, yeah.
Well, don't go nowhere for a sec you hear?
I want to talk to you about your leaving.
Fill it up?
- Two dollars worth and forget the front.
- Right.
- Hi.
- Hi.
- Like it?
- It's real nice.
- Hey, maybe he needs a ride.
- Sure.
How far ya going?
- As far as I can get I guess.
- Well get in, we'll take
ya as far as ya can get.
- Thanks.
- That'll be two bucks even.
- Two bucks, even.
- I see I can't talk you into staying?
- No, you can't talk me into saying.
- Ready to go?
- I'm ready when you are.
(engine rumbles)
(dramatic music)
- [Woman] What's your name?
- [Matthew] Matthew, what's yours?
- [Woman] Brenda, he's Lex.
- [Matthew] Hi.
- [Lex] We're on our way down to LA.
- [Brenda] Our honeymoon trip.
We eloped last night.
- [Matthew] You two just got married?
- [Lex] Anything to get
her mother off my back.
- You know how mothers can be.
- I'm not sure what you mean.
- Hey, he's the first person who knows
about you and me getting married.
- Congratulations Matthew.
- No, congratulations to you.
(dramatic music)
- [Brenda] Oh look Lex,
what a great stream.
- [Lex] Hey yeah.
Man, that looks inviting.
- [Brenda] Let's go in.
- [Lex] Sure.
- [Brenda] How about you
Matthew, wanna dunk your feet?
- [Matthew] I think I'll watch.
- [Brenda] Oh come on.
- Sure you won't go in Matthew?
- I love streams, come on.
- Here's a good spot honey.
- Oh I wish we had bathing suits.
Come on Matthew, you don't wanna melt.
See.
- Hey.
- Come on, get your circulation going.
No you're dry (laughing).
Come on in Matthew, it's
too good to be true.
- Matthew, come into the water Matthew.
- Come on man it can't hurt you.
- Come on in boy, we'll all
be one big happy family.
- Well what are you waiting for?
- You don't want us to come
out there and get you do ya?
- Please.
- Matthew.
Want us to come out there and get you?
- I'm going to get you Matthew.
- Come on Matthew don't
be such a fraidy cat.
(suspenseful music)
- Don't touch her.
- What?
- Don't touch her!
- [Lex] What's the matter Matthew?
- Don't touch her.
- Hey man that's not funny.
- That's not funny, that's not funny.
- He's crazy!
- I'm not crazy, I'm not!
- What's the matter with you?
- Get away from her!
- Cut it out.
(suspenseful music)
(whacking)
- No!
Please, my God.
No more.
(dramatic music)
No more, he can't take anymore.
- I only did it for you, that's all.
So we could be free,
now he doesn't have to touch you no more.
- Oh my God.
- You see that don't you, don't you?
- No.
Please, don't hurt me.
- You don't have to run away from me.
I only did it for you, that's all.
- No, please, don't hurt me please.
- You see why I had to do
this for you, don't you?
- Please, please don't!
- Don't you see why I had
to kill him mama, don't you?
- [Brenda] I'm not your mother.
- Yes you are.
You're my mama and you love me,
and now we're free of him, we're free.
- I am not your mother!
- I'm not, you're choking me!
- You are!
- I'm not your mother!
- Why would you say things like that?
You're my mama and my
love me, you're my mama!
My mama!
Now you, you'll stay dead.
Dead do you hear me?
Stay dead!
- Matthew, Matthew.
- No, no, no, no, no!
(dramatic music)
(dramatic music)
- Matthew, you can't run from me.
Matthew, you can't run.
- Oh my God.
(dramatic music)
- [Daisy] Matthew, you can't run from me.
Matthew, you can't run.
- [Mac] Come on boy, we'll
all be one big happy family.
- [Daisy] You can't run from me Matthew.
I'm your mama.
- [Mac] You can call me pa Matthew.
- [Daisy] Matthew you can call him daddy.
He's your new daddy.
- [Mac] Come on boy.
- [Daisy] You shall I commence you.
- [Mac] Can't run boy, you can't run.
- [Daisy] Shall I come
and get you Matthew?
- [Mac] I'm going to get you Matthew.
- [Daisy] Going to get you Matthew.
- [Mac] Get you Matthew.
- [Daisy] Get you Matthew.
- [Mac] Matthew.
- [Daisy] Matthew.
- [Mac] Matthew.
- [Mac] Matthew.
- [Both] Matthew, Matthew,
Matthew, Matthew, Matthew.
(dramatic music)
- Hi.
- You a friend or a customer?
- I don't understand.
- A friend wants me to
stand here and paint,
a customer wants me to go inside with him.
Which one are you?
- I'm a friend.
- Well hello then friend?
What do you think of it?
- Your painting?
- Mmhm.
- Well it's uh.
- Oh, you don't like it.
- Oh yes, yes I do.
I like it very much.
- Tell me what it looks like to you.
Oh go on, it won't hurt my feelings.
Paintings like these can be
anything you want them to be.
So whatever you say, can't be wrong.
- I'd rather not.
- Oh go on.
(suspenseful music)
- Well it's, it's hot
like the sun, all the reds and yellows.
There's someone in there, burning.
His skin is on fire, near the
bottom, where the blue is.
- Go on.
- He's trying to get out of the painting,
he's in terrible pain he's
being punished by the sun.
- What's he being punished for?
- He's being punished for.
- Please, go on.
I wanna hear.
- He's being punished
for chopping up the man
who took his mother away from him.
- Whoa, I didn't know I
was such a good artist.
- You are, you're very good.
I like you very much.
- Well thanks, I like
to be liked very much.
- Can I stay and talk to you?
- As a friend or as a customer?
- As a friend, I'd like that.
- Hello there, is this where Vera lives.
- Right.
- Are you Vera?
- In person.
- Hey, that's not bad, hey
man, that's not bad at all,
you know what I mean?
I'm a friend of Tony Dankos.
- Tony Danko?
- Yeah you know, Tony the guy
that works down the ship yard.
You know it's a funny thing to,
I was supposed to sail this morning
but my ship won't be ready and--
- So?
- So I get an extra days leave
and Tony gives me your address
and it's a lucky thing to, cause like,
if I were to sail this
morning like I was supposed
to I never would have got
a chance to meet you and.
- Is that wine for me?
- Oh yeah, Tony said you like wine.
- Tony was correct.
You wanna go inside?
- Yeah, yeah sure.
Look, what about the kid here.
- He's cool, he's my friend.
- Oh yeah?
Let's get it on then.
I'll go find us some glasses.
- Help yourself.
- Don't go in there,
don't go in there eplease.
- Hey, don't ever tell me what I can do.
I don't owe anybody any explanations.
- Please, I, I'm sorry.
- [Man] Hey don't you have
more then one glass in here?
- I gotta go in now, I have to.
- I, I'm still your friend.
- Then maybe I'll see
you later, okay friend?
- Okay.
- [Man] Are you coming?
(door clicks)
Why don't you come lie
down over here by me
and we can drink our wine
out of one glass huh?
- Beautiful.
- You know you got a nice
body, you know that Vera?
- [Vera] Thanks admiral.
- [Man] Come over here,
we'll make ourselves
comfortable, you know what I mean?
- [Vera] Anything you say.
(suspenseful music)
(dramatic chord)
- No, no mama.
(dramatic chord)
Don't let him touch you no more,
he wants to take us apart mama.
(suspenseful music)
(dramatic music)
- [Man] Say, I gotta
remember to thank Tony
for your address, you know what I mean?
- [Vera] Hey, hey, you forgot my money!
- [Man] Money, oh yeah,
yeah I almost forgot.
- [Vera] Sure you did.
- [Man] Ten dollars right?
- [Vera] Come on, come on.
- [Man] Okay, ten dollars more
and I get another squeeze.
- Back off you, go home.
- Okay, okay, I'm going.
Hey wait, hey wait, give me my hat.
- Bon voyage.
(suspenseful music)
- Hey!
- Huh?
- Wait up.
- Yeah, yeah, what do you want?
- I'm a friend of Vera's.
- Oh yeah?
Oh yeah, yeah the kid.
Hey kid your friend Vera, she's pretty
hot stuff, you know what I mean?
(man chuckles)
- She only does that
because she needs the money.
She doesn't like you, she hates you.
- Oh yeah, well that's a
pretty funny thing you know,
because when we were
naked and in bed together,
I got the idea she liked
me a lot, you know that?
- Look, she thinks you forgot something.
I was to give it to you.
- I did?
What I forget?
- This.
- Huh?
(man cries out)
You little mother--
(man cries out)
(man choking)
(man thuds)
(man splashes)
(suspenseful music)
(Matthew knocks)
- Yes?
Ah, it's the friend right?
- Right.
- Change your mind, decided
to come for business?
- I don't do that kind of
business, neither should you.
- And I told you.
- I know, you don't owe
me any explanations.
- How come you're standing like that?
- Like what?
- With your hand behind your back.
- You don't hate me for it do you?
That I only have one hand.
- Why would I hate you?
- I don't know, some
people think it's sickening
when they see someone who's not whole.
- Oh no they don't, you're being dramatic.
- They do, I see it in their faces.
They get sick inside when they see that
all I have for a hand is a hook.
- Well I don't get sick,
at all, inside or outside.
I'm not even gonna ask
you what happened to your hand either.
- You're not?
You don't care?
- Sure I care, only the way I see it,
I figure it's your hand, your story.
If you wanna tell me, you'll tell me.
- You're a very special person Daisy.
- Well thanks, but my
names not Daisy, it's Vera.
- I'd like to call you
Daisy, is that okay?
- Sure it's okay, if you tell me
why you have your hand behind your back.
- I brought you something, a present.
- You did, what is it.
- Well I--
- Well show me, show me.
(dramatic chord)
You frightened me, I thought you
were gonna stab me with that thing.
- I'd never hurt you Daisy.
- Where did you get this?
It's mine, isn't it?
- Yes, I waited for you to finish before
with the sailor, and after you went in,
he, the sailor, he cut up your painting
and took your painting knife.
I followed him asking for it, told him
it was very important to you
and he, well finally
he gave it back to me.
I only wanted you to have
it back Daisy, that's all.
- The sailor cut up my painting?
- Yes I saw him with my own
eyes, he was bad, very bad.
- Yeah I guess he was.
- You should never see people like that,
like the sailor anymore, they're
dangerous, very dangerous.
- Well they have money,
they keep me going, you know what I mean.
- I have money, lots of it.
I have enough money so you'd never
need to see those men anymore.
- Sure you do kid.
- Honest, well my fathers very rich.
He owns lots and lots of things.
Farms, and oil wells, and machinery.
We live in a big mansion with servants.
You'd never need to take money
from anybody else again except me.
- Look, I've heard every line in the world
a dozen times each, especially that one.
- But I--
- You wanna stay my friend?
- Yes, yes I do.
- Just don't hand me any bull.
You stay a nice little
boy and I'll stay Vera
who throws it down for
a couple of bucks okay?
- So you'll let me come
here and visit you?
- If you stay out of the way.
You know what I mean?
- Yeah, I know what you mean.
- I gotta go in now, you need
a place to stay the night?
- Of course not I told
you, my father's very rich.
- Okay, okay, spare me the details.
Goodnight friend.
- Goodnight Daisy.
I'll be back to visit you.
- I'll be here.
(suspenseful music)
(Matthew banging)
- Yes?
- Hi.
- Hi, what do you want?
- My car broke down, I
need to use your telephone.
- I don't see any broken down car.
- Oh it's around the corner, on Claridge.
- Then why didn't you go bang
on some door in Claridge,
what did you come all
the way over here for?
- Well I knocked on a few houses,
some were nobody home,
others wouldn't listen to me.
I guess cause the way I look,
or maybe it was my one hand.
Maybe they didn't want me
in their house, a cripple.
- Sounds like the folks
in this neighborhood,
you know, they wouldn't
give you the time of day
if they owned all the clocks in the world.
- I guess I'd better go.
- Hey, wait a second boy.
Are you sure your car's broke down?
- Oh yes ma'am, right around the corner.
I can't get it to move.
- Well all right, come
on in and wipe your feet.
- Yes ma'am
- The phones in the
kitchen, just follow me.
- Yes ma'am.
- [Woman] Bridey-Lee who was that?
Who was at the door?
- Nothing Ms. Anatole,
just a young man who
needs to use the phone.
- [Anatole] Young man, what young man?
Bridey-Lee?
- Come on.
- But the lady upstairs.
- Screw her, come on.
(suspenseful music)
Oh well the telephones up there,
I have to get back to
Ms. Anatole's supper.
Well are you gonna call
about your car or not?
- Oh yeah, yeah sure.
(knife banging)
(phone clicking)
- [Phone] At the tone, the time will be--
- Hello is this Zimmerman's auto repair?
Yeah, let me speak to
Mr. Zimmerman please.
- [Phone] At the tone--
- No, I'll wait, thank you.
- [Phone] 32.
- Zimmerman's with a customer,
it'll just take a second.
- Well take all day, it
doesn't bother me any.
- [Anatole] Bridey-Lee, Bridey-Lee?
- [Operator] And 30 seconds (beeps).
- What is it now Ms. Anatole?
- [Anatole] The television,
come up and turn it on.
- But I'm doing something right
now Ms. Anatole, can it wait?
- [Anatole] My favorite shows are on now,
come up and turn this television set on.
- But Ms. Anatole.
- [Anatole] Right now.
- Oh crap.
Hey I gotta go up and, hey where'd you--
- I'm sorry lady, I need the house.
- [Bridey-Lee] Oh God!
(Bridey-Lee screaming)
(glass shatters)
(Bridey-Lee screaming)
- [Anatole] Bridey?
What was that yelling and banging about?
(suspenseful music)
Are you there?
Bridey?
Bridey, I demand to know
what's going on in my house.
Oh God Bridey, please answer me.
(suspenseful music)
(Anatole screaming)
(dramatic music)
(dog growling)
- Okay dog, come with me.
You're next.
(suspenseful music)
Good dog, it's a fine dog.
Good dog, come on.
(suspenseful music)
Come on.
Up on the table, good dog.
Good dog.
Come on.
That's it.
(dog cries out)
(Matthew crying)
(dramatic music)
(Matthew knocks)
Hello Daisy.
- Hello.
- Are you busy?
- I'm waiting for someone to come over.
- Business?
- Could be.
You have your hand behind your back again.
What have you got now,
another palette knife?
- A flower, picked from the
front yard of my mansion.
- Picked from the front
yard of my mansion.
How easily you say that.
- Well, do you like it?
- Yes, yes very much.
Only you know, it's not a daisy.
- I know, but we can
pretend that it's a daisy.
Just like we pretend that it's your name.
- Okay, okay, it's a daisy.
- You want to see my car?
It's right over here.
- Sure, I'll see your car.
Wow, I didn't know there
were any of these jobs still around.
- Then you like it?
- Like it, it must be worth a fortune.
- I told you I was rich, I told you
and I have enough money
to take care of you
and you never need to
see those men anymore.
- Hold it, hold it, slow down.
Okay, so maybe you are rich,
but I never gave you the idea
that I was for sale, did I?
- No.
But I only wanna--
- It's a very nice car.
And you're a very nice boy,
but take it easy with the owning me stuff.
Okay, friend?
- Okay, if.
- If?
- If you let me take
you for a ride in my car
to show you my mansion and to show you
that I really am a rich person.
- I got it, I got it.
So this is what it's like
to ride in style, huh?
- [Matthew] Fantastic, isn't it?
It's a very expensive car you know,
there are only a few of them
left in the whole world.
- [Vera] No kidding.
- [Matthew] And my father owns
three more, just as valuable.
And wait till you see the mansion,
that's really expensive,
it costs millions.
- [Vera] Come on, millions?
[Matthew] And I've got a special surprise
waiting for you when we get there.
I did it all by myself, just for you.
- [Vera] What kind of surprise?
- [Matthew] Oh, you'll see.
It's the last thing I'm going
to show you in the mansion.
I'm saving the best for last.
- [Vera] But you didn't even know
I was coming with you today.
- [Matthew] Sure I did.
That's why there's a surprise
for you in the house.
- [Vera] Don't even get a hint?
- [Matthew] It has to do with the fact
that you're such a good painter.
- It has something to do with my painting
and it's the last thing
you'll show me in the house.
- Very nice.
- We could have big dinner parties here
and invite all kinds of interesting people
who don't get to come to houses like this.
- [Vera] We could?
- Yes, if you'll move in here with me
just as my friend, oh, we'd
have a lot of fun Daisy.
- [Vera] No.
- I'm rushing you.
I shouldn't do that.
Peace?
- Peace.
- There's sunlight in here all day long,
and I took out all the furniture.
And I'll buy you paints and
an easel, and everything.
You'll like that, won't you?
- There are a lot of thing
in life that I'd like
but I learned to do without them.
- You don't listen,
I've got lots of money,
I can buy you everything.
- People belong where they belong.
I'm an armature painter who turns tricks
to make the rent, that's where I belong.
- No.
No you don't.
You're better than that.
You don't need the dirty
money from the sailors
and the guys who touch you.
- It's a way of life.
You get so used to doing things one way,
it's not so bad anymore.
I couldn't stay here with
you, it wouldn't be my home.
- No, this is your home Daisy.
- Look I don't wanna get cruel with you,
I had a lot of fun seeing your
house, and your daddies money
but now it's time to go.
- Why?
Why?
Why, what's wrong with living here huh?
What's wrong with having
everything you want?
Money, and food, and clothes.
You could be a famous painter maybe.
- It's okay, you don't
want to drive me home,
I'll take a bus, it's okay.
- No, don't leave.
We're friends.
- Yeah, yes we're friends, you and I.
- Where are you going?
- To my home.
- This is your home.
- I have my own home.
- There are men there
though, they'll touch you.
- It's okay, I don't mind,
I like it, it's okay.
- No, you don't want them to touch you.
Come back here, come back here.
- I've lots of friends
in the neighborhood,
they'll miss me, they'll
come looking for me.
- They won't know where to look.
They'll look for a little while
and then they'll stop looking,
and you'll be here with me.
Forever and ever.
Daisy, Daisy.
- No!
- No, you'll get used
to it, I promise you,
you'll learn to like it.
- No, please.
(Vera cries out)
(Vera thudding)
- No!
What'd you do that for Daisy?
I wasn't gonna hurt you.
I'd never hurt you.
I want to give you things.
To make you happy.
I want you and me to be good friends.
We are gonna be good friends
now, aren't we Daisy?
Oh you'll like it Daisy.
I promise you.
See how peaceful you sleep here?
You're getting used to it already.
Now don't you worry, I'll be back soon.
I'm gonna go get you a few surprises.
You'll love it when you
see what I'm getting you.
Don't try to get away, okay?
(door clicks)
(dramatic music)
(man grunts)
(dramatic music)
- Stop, stop!
(dramatic music)
- Now what do you think of this?
A steak, well who else ever
bought you a steak before, huh?
Nobody that's who.
And paints, and an easel, an
easel, how do you like that?
There's more damn stuff here
than you've ever seen in your life.
Do you appreciate it?
No.
No you don't appreciate it.
Fine dresses and nice food.
The best art stuff they
had in their whole store.
I'd like to have seen the
sailor buy you things like this.
Well he wouldn't would he?
Huh?
Would he?
Would he?
Would he?
Damn right he wouldn't.
All he wanted to do was make you filth.
Touch you and look at you.
Well I'm not damn sorry
I cut his throat for him.
(Vera whimpers)
Oh, didn't I tell you I killed the sailor?
Well I did, I did it just for you.
So we can be together, you and me.
See what I do for you?
I get groceries and clothes,
and art stuff, kill people.
And do you appreciate it?
No.
N-O.
But you will.
You'll learn to count
on me for everything.
That's it, chew it up real good.
If you don't chew your
food you'll get sick.
- I don't want anymore.
- You've got to eat Daisy,
otherwise you'll waste away
and become nothing but skin and bones.
- Please, I don't want anymore.
- Eat.
- No.
- Eat or I'll cut your
tongue out of your mouth.
- You.
- Yes?
- I'll eat.
- That's nice Daisy.
I know you enjoy this food, don't you?
- I hate it.
- Well keep eating,
you'll learn to like it.
(Vera spits)
You'll get used to all of this.
And then you'll be very
happy, won't you Daisy?
- My name is Vera.
- No.
It's Daisy.
- Vera.
- It's Daisy.
(phone rings)
What's the matter?
Think it's for you?
It's not.
Would you like some more to eat my dear?
(Vera crying)
No?
That's too bad, it's very good.
(phone ringing)
(Vera crying)
(door clicks)
- [Man] And now Mrs. Gloria
Jennings of Beaut Montana.
- [Gloria] The one on the
right is definitely brighter.
The colors are cleaner and brighter to.
- [Man] Whiter, bright, cleaner clothes.
The laundry on the right.
Well Mrs. Jennings let's take a look
and see which best selling washing
detergent made that happen.
- [Gloria] My goodness.
- [Man] That's right, it's
Acme, Acme laundry detergent.
Did the job the other
detergent left behind
- [Man] Don't miss--
(Vera thuds)
Where Allen and guests take a hilarious
look at the world of fashion,
that's right after the 11 o'clock news.
The late night place to be.
- [Man] And now we return to
our program The Break of Day.
- [Woman] Judy, it's me Judy.
Can you hear me darling?
Judy please, you don't now how
we've all worried about you these months.
Judy, please listen to me,
don't turn away like that.
You've been just like a zombie to us.
Carrying the surprises back like that.
Please, Judy, please.
(Vera thuds)
(doorbell rings)
(boy knocks)
- Hey, anybody home in there?
Does anybody in there wanna buy any candy?
I've got mints and jellies, and chocolate.
Hey any body wanna buy a box of candy?
(boy knocks)
(vera crying out)
Aint anybody home in there?
(handle rattling)
Candy, get your candy, anybody
wanna buy a box of candy?
Candy for sale, who's wants
to buy a box of candy?
(Vera crying out)
(phone ringing)
(phone clatters)
- Oh my God.
Oh my God.
Help me.
Somebody, help me.
Operator?
(engine rumbles)
oh God, no.
(phone clicking)
- [Woman] Operator.
- Wait, wait.
- [Operator] Operator, may I help you?
- Oh yes, please help me please.
- [Operator] This is the
operator, may I help you please?
- Yes, yes, yes, please help me!
- [Operator] What is the trouble please?
(dramatic chord)
Hello?
Anyone there?
Hello.
- I'm sorry, wrong number.
Hi, I'm home.
Now you get a good nights sleep.
You've had a long day today.
Tomorrow you'll feel so much better.
Maybe you'll paint a picture
of something to, okay?
I'll come in here bright and early,
and I'll fix you a nice breakfast
and maybe I'll take you to your
painting room for a while to, okay?
We're gonna start having a lot of fun
around here, you and me, a lot of fun.
Goodnight.
(light clicks)
(door clicks)
Aren't you going to paint something?
You said you like to
paint more than anything.
- I don't feel like painting.
- Huh?
What's that, I didn't hear you Daisy.
- I don't feel like painting.
- Why?
Why not?
There's paints, there's
brushes, there's an easel.
You never had an easel
before did you, huh?
- No, I never had an easel.
- Well I bet you could
paint very nice pictures
with an easel, all you
gotta do is try Daisy, try.
- I can't.
- Yes you can.
- I feel like a dog on a leash.
- I know daisy, I know.
But soon I'll be able to trust you.
And I won't have to make sure
that you won't run away from me.
You'll be much happier then, you'll see.
- Matthew, I want to go home.
- You are home Daisy, you are home.
- No.
(doorbell rings)
- Don't you--
- Please, please!
Help me, help me, please!
Please help me!
No, help me, help me, help me!
Please, help me!
Please!
(Vera screaming)
(dramatic music)
(Vera screams)
(Vera cries)
- Who are you?
- I'm Matthew, who are you?
- Dr. Epstein, Helen Anatole's physician.
- She's not at home.
- What do you mean she's not at home?
Her car's right out front, where is she?
- She's, I'm her nephew.
- She never mentioned a nephew to me son.
Now.
(Vera crying out)
(dramatic music)
Back East?
What the hell are you talking about?
- My grandfather died, her brother.
She went back east to
the funeral in Maine.
- And you?
- She asked me to come
here and watch the house.
(dramatic music)
Yes sir.
- You're making that up.
- I never lie sir.
- When will she be back?
- I'm not too sure sir.
(door bangs)
- Bridey, is she here?
- No sir, that's why I'm here.
Bridey went with aunt Helen to Maine.
- I can't believe she'd
go without informing me.
She needs her arthritis
shot every other day.
Your aunt should know better.
- Well I'm sure you
understand the emergency,
what with grandpa dying and all.
She was very upset.
- Well I suppose I might as well.
You don't mind if I look around do you?
Just for my own peace of mind.
- But I already told you.
- Let's start with Mrs.
Anatole's room first, shall we?
I've been telephone here for
three days without getting
an answer and I want to know
what's happening in this house.
- You better leave right now,
my aunt would be very upset
if she knew I let you in here.
(Vera banging)
- What's that?
- It was the dog, it was
the dog in the kitchen.
- Sounds like it's coming from
down there for Christs sake.
- Look mister, you can't
just come in here and--
- I want to know what's going on here.
(dramatic music)
God.
(dramatic music)
- Told you you'd be sorry, didn't I Daisy?
This is all your fault.
This never would have happened
if you'd only cooperate.
He would have gone home and
everything would have been fine.
Now he's dead.
(door bangs)
And it's all because of you.
I hope this teaches you a lesson.
To try to cooperate and
live nicely as my friend.
I wouldn't want anything
like this to happen again.
Would you?
Good, me neither.
See here, see?
Not one word of your
disappearance, not one.
You're safe.
They can't find us and
they don't even want to.
Just you and me Daisy, we're free.
No one will ever bother us again.
Right?
Right Daisy, hmm?
- Right, right, right.
- Yes.
Very right.
- Matthew?
- [Matthew] Mmhm.
- Matthew, I haven't had a
bath since I've been here.
- Yes?
- Well maybe I'd, I mean I think I'd feel
a lot better if I had a nice hot bath.
I've been wearing these
clothes a long time.
Matthew?
- How do I know this isn't a trick to try
and get away from me?
- You could take all of my clothes
and leave me nothing
but a towel to dry with,
I couldn't run away without clothes.
- I don't know.
- Well then you could watch me while
I take the bath to make
sure I don't try anything.
- No, I don't want to.
I mean I don't think it will be necessary.
- All right.
All right Matthew, I
don't have to take a bath.
All right.
- Do you really want to take a bath?
- Yes, please.
- What would it hurt if
you took a bath, right?
- Yes.
- You better hand me your
clothes like you said you would.
- Don't you trust me?
- No I don't trust you,
hand me those clothes.
- Sure, Vera's clothes coming up.
- I'm sorry to have to
treat you like this Daisy
but until I can be sure that
you won't try to leave me I have to.
You understand, don't you?
- [Vera] Of course, I
understand perfectly.
- That's good because I.
- Here.
And here's the rest of them.
Well take it already Matthew, take it.
You said you wanted
the rest of my clothes,
this is all of them.
Take it Matthew, take it.
- God damn you.
- Poor Matthew.
- God damn you.
- Poor, poor, Matthew.
- God damn you!
(door bangs)
(water splashing)
- Matthew.
- What?
- I'm finished.
- Yes?
- I mean, I thought you might
like to know when I was done.
- Oh yeah, yeah sure.
- Well.
- Well what?
- What happens now?
- Now we go back to the
bedroom and you put on one
of those things I got for you
and then I tie you up again.
- It's your mansion.
- And don't try to run away or anything.
- Who's running?
Here I am, at your beck and call Matthew.
- Don't make fun of me.
- I'm not.
Isn't this what you wanted?
Do everything you tell me to.
I eat when you want,
I sleep when you want,
I'm your prisoner.
Aren't you happy?
- You better put some clothes on now.
- Why?
Don't you like me without
clothes on Matthew?
- It's just that, I think it's better
if you get dressed now, that's all.
- Other men like me without clothes on.
- I don't like those other men.
I want you to get dressed,
I have to tie you up now.
- They like to look at
me, they like to touch me,
they like to make love with me Matthew.
- I don't care about those other men.
They're filthy, disgusting.
- Wouldn't you like to
make love with me Matthew?
Haven't you ever made love Matthew, huh?
- You better stop this now.
- We're going to live together,
then we're have to make love together.
- No we don't, we don't have to.
- You said you'd provide
me with everything I need.
You have to provide love to.
- No, no.
- Come on Matthew.
- Don't do this.
- Come, we'll be friends
and more, much, much more.
I'll teach you.
I'll teach you Matthew.
- Please.
- You'll see, you'll love me
even more than you do now.
Come.
- I better stop, no more.
- Didn't you like it,
don't you like to kiss me?
- Yes, yes I like to.
I like to.
- That's it, kiss me, kiss me.
- See I can provide for you, I can.
I'll make you very
happy Daisy, very happy.
- Yes, yes, yes Matthew, yes.
(dramatic chord)
- What have you become?
- What's the matter Matthew?
- What's the matter Matthew?
- You're hurting me Matthew!
- Why don't you die!
Why don't you stay dead
and leave me alone,
leave me alone, leave me alone!
- Matthew, Matthew!
Somebody, somebody help me!
(dramatic music)
(Vera crying out)
Oh my God, help me, help me, somebody!
Help me, help me, help!
(both screaming)
(door bangs)
(Daisy laughing)
- [Daisy] Matthew, I'm waiting
for you Matthew, we all are.
Come.
- No!
- [Daisy] Come!
(Daisy laughing)
(dramatic music)
- No.
(Daisy laughing)
(dramatic music)
(dramatic music)
(Daisy laughing)
(dramatic music)
(tires screeching)
(dramatic music)
- God damn son of a bitch!
(dramatic music)
(Daisy laughing)
(dramatic music)
(dramatic music)
(Daisy laughing)
(dramatic music)
(sinister laughing)
(dramatic music)
(dramatic music)
(dramatic chord)
(dramatic music)
(man screams)
(engine rumbles)
(kid screams)
(engine rumbles)
(dramatic music)
(dramatic music)
- [Woman] The farm is
coming along just fine son.
Course I still haven't made enough
money to get up there to visit you.
But Mr. Parsons says
that maybe by Christmas,
we can save up enough.
I don't know what I would have done
without Mr. Parsons help all these years,
since your daddy died and you got hurt.
He's been a real savior to me.
I know he's looking forward to the day
when you come home, just as much as I am.
You and Mr. Parsons are going
to be such good friends.
I just know it.
- Mr. Parsons.
(paper crinkling)
(dramatic music)
Mom, I'm home!
Mom?
Mom, it's me, Matthew.
Mom?
It's me Matthew, I've come home,
Mom?
(engine rumbles)
(people laughing)
- Well.
- You going to carry her
over the threshold Mac?
- Darn right, though I don't
know if my back can take it.
- Oh now you know I ain't that heavy.
- [Woman] Well you two
do make the handsomest
of the couples, I do say.
- Oh, go on.
- Come on, Blanche let's leave
these two lovebirds to be on
that first day as man and wife.
(people chuckles)
- Oh do you have to go?
- Call me tomorrow Daisy,
tell me everything.
- Come on Blanche.
- Don't do anything I wouldn't do honey.
- In that case there ain't
nothing she can't do.
- Whatever is he talking about?
- I'll tell you all about it, later.
(both chuckles)
(engine rumbles)
Bye now.
(dramatic chord)
Happy?
- More than anything.
(dramatic music)
- Come on.
(Daisy gasps)
- Matthew?
- When'd you get home son?
- Don't you call me son.
- You didn't tell me you were
coming home, we would have--.
- I'm home now ma.
- Oh, and I'm glad to son.
Only you frighten us standing there
like you were, we thought--
- You went and got married ma.
- Matthew he's, well you
can call him daddy now
'cause here in--
- He's not my daddy.
- Come on now, boy, we
can be good friends.
- You just stay away from me.
Stay away from me and my mama to you hear?
- Matthew, he's my husband
now, your new daddy,
you shouldn't talk to him that way.
- You married him.
I went to the hospital
and they give me a claw
like some freak and you marry that, man?
- Because I love him Matthew.
- No, you don't!
No you don't, no you don't!
- Look here boy.
- She doesn't love you, I won't let her.
- Matthew!
- Let him go Daisy, just let him go.
He'll be all right.
- But he's my boy.
- Well, I guess that's it
for now, right Matthew?
- Yes Mr. Parsons.
- Now come on, boy.
You don't have to keep
calling me Mr. Parsons.
You don't have to call
me pa or daddy, either.
Just Mac.
You can call me Mac like everybody does.
- Yes, sir.
- Knock off the sir
stuff, we're family now.
You, your mom and me,
we're all a family now.
- Sir.
- Come on.
Let's go see what your
mom's got fixed for lunch.
We'll attack this damn tractor later.
(suspenseful music)
(dramatic chord)
- Mac.
(suspenseful music)
Shouldn't we be doing this kind
of thing in our own bedroom?
- Nothing wrong with
doing it in our own farm.
- What if Matthew?
- What would he be doing out here
in the woods this time of night, huh?
- Mac, I worry about him.
- Oh, he'll be fine.
Like I said before, he just gotta a lot
of getting used to, that's all.
- I hope so, God, I hope so.
- I know so.
Come here.
- [Daisy] Oh mac.
- [Mac] I'm here now Daisy, I'm here.
(suspenseful music)
- Whoa, we better get
on back to the house.
This is no way for a newly
married couple to act.
- Well then.
You gotta wait for me there hon.
I gotta check on that damn cow,
see if she didn't chew
through her rope again.
- I'll wait for you.
- I'll just be a minute or two.
(suspenseful music)
(suspenseful music)
(ground rustling)
Hello, anybody there?
Daisy?
(suspenseful music)
Hey, who's there?
Anybody there?
(suspenseful music)
(ground rustling)
- Matthew.
I brought you some pie and milk.
- Look, who ever you are stop
this fooling around you hear?
Who's in there damn it!
(suspenseful music)
(ground rustling)
- Matthew?
You here?
(suspenseful music)
(ground rustling)
- Who's out there?
Daisy.
(dramatic chord)
(Mac crying out)
(dramatic chord)
Help me.
Help me, please.
Help me!
- Matthew?
Matthew, is that you?
- Hi, I'll be right there mama.
One second, I'll be right there.
(dramatic music)
- Matthew?
(Daisy gasps)
Good Jesus Christ.
- Mama.
Don't look mama.
- Matthew.
- I didn't want you to see this mama.
- Matthew.
- It's all right.
I took care of everything, we're free.
- Oh my God Matthew.
- It's all right, it's all right.
- Oh my God Matthew.
- No, no mama.
- Mama, please listen to
me, listen to me, please.
- Please, somebody help
me, help me please!
- No, mama, no!
- Please don't hurt me.
- I'd never hurt your mama.
You shouldn't have
married him, that's all.
I didn't need another
father, we didn't need him.
- I needed him, I loved him.
- No, no you didn't.
You already loved me, you and me,
we didn't need nobody else mama, nobody.
- Please.
- Now he doesn't have
to touch you no more.
- I wanted him to touch me.
- No you didn't, you didn't want him
to touch you, you hated it.
- Please, no, no.
- You hated it.
- No.
- You hated it, you
hated it, you hated it!
And I'll kill you for it!
(Daisy thuds)
Mama?
(dramatic music)
Mama!
- Well howdy Matthew.
- Hello Mr. Simpson.
- Where are you going
so early in the morning?
- I figured long as
momma got a new husband,
she doesn't need me
around to look after her.
- Nonsense.
Your mama loves you just as much as ever.
She know you leaving home?
- Yes, sir.
I just said goodbye to
her, Mr. Parsons too.
- And they don't mind
you going off like this?
- That's the only way sir.
- We're supposed to have
supper with them this evening.
I'll tell you one thing.
I'm going to give them a piece of my mind,
letting a kid of your
age go off on his own.
- Mama sent me by here
about that Mr. Simpson.
She said that maybe you oughta come over
in a couple of days for
supper instead of tonight.
I mean what with me leaving and all,
she just didn't feel up to it.
- Sure, I understand only--
(bell dings)
- You got a customer.
- Yeah, yeah.
Well, don't go nowhere for a sec you hear?
I want to talk to you about your leaving.
Fill it up?
- Two dollars worth and forget the front.
- Right.
- Hi.
- Hi.
- Like it?
- It's real nice.
- Hey, maybe he needs a ride.
- Sure.
How far ya going?
- As far as I can get I guess.
- Well get in, we'll take
ya as far as ya can get.
- Thanks.
- That'll be two bucks even.
- Two bucks, even.
- I see I can't talk you into staying?
- No, you can't talk me into saying.
- Ready to go?
- I'm ready when you are.
(engine rumbles)
(dramatic music)
- [Woman] What's your name?
- [Matthew] Matthew, what's yours?
- [Woman] Brenda, he's Lex.
- [Matthew] Hi.
- [Lex] We're on our way down to LA.
- [Brenda] Our honeymoon trip.
We eloped last night.
- [Matthew] You two just got married?
- [Lex] Anything to get
her mother off my back.
- You know how mothers can be.
- I'm not sure what you mean.
- Hey, he's the first person who knows
about you and me getting married.
- Congratulations Matthew.
- No, congratulations to you.
(dramatic music)
- [Brenda] Oh look Lex,
what a great stream.
- [Lex] Hey yeah.
Man, that looks inviting.
- [Brenda] Let's go in.
- [Lex] Sure.
- [Brenda] How about you
Matthew, wanna dunk your feet?
- [Matthew] I think I'll watch.
- [Brenda] Oh come on.
- Sure you won't go in Matthew?
- I love streams, come on.
- Here's a good spot honey.
- Oh I wish we had bathing suits.
Come on Matthew, you don't wanna melt.
See.
- Hey.
- Come on, get your circulation going.
No you're dry (laughing).
Come on in Matthew, it's
too good to be true.
- Matthew, come into the water Matthew.
- Come on man it can't hurt you.
- Come on in boy, we'll all
be one big happy family.
- Well what are you waiting for?
- You don't want us to come
out there and get you do ya?
- Please.
- Matthew.
Want us to come out there and get you?
- I'm going to get you Matthew.
- Come on Matthew don't
be such a fraidy cat.
(suspenseful music)
- Don't touch her.
- What?
- Don't touch her!
- [Lex] What's the matter Matthew?
- Don't touch her.
- Hey man that's not funny.
- That's not funny, that's not funny.
- He's crazy!
- I'm not crazy, I'm not!
- What's the matter with you?
- Get away from her!
- Cut it out.
(suspenseful music)
(whacking)
- No!
Please, my God.
No more.
(dramatic music)
No more, he can't take anymore.
- I only did it for you, that's all.
So we could be free,
now he doesn't have to touch you no more.
- Oh my God.
- You see that don't you, don't you?
- No.
Please, don't hurt me.
- You don't have to run away from me.
I only did it for you, that's all.
- No, please, don't hurt me please.
- You see why I had to do
this for you, don't you?
- Please, please don't!
- Don't you see why I had
to kill him mama, don't you?
- [Brenda] I'm not your mother.
- Yes you are.
You're my mama and you love me,
and now we're free of him, we're free.
- I am not your mother!
- I'm not, you're choking me!
- You are!
- I'm not your mother!
- Why would you say things like that?
You're my mama and my
love me, you're my mama!
My mama!
Now you, you'll stay dead.
Dead do you hear me?
Stay dead!
- Matthew, Matthew.
- No, no, no, no, no!
(dramatic music)
(dramatic music)
- Matthew, you can't run from me.
Matthew, you can't run.
- Oh my God.
(dramatic music)
- [Daisy] Matthew, you can't run from me.
Matthew, you can't run.
- [Mac] Come on boy, we'll
all be one big happy family.
- [Daisy] You can't run from me Matthew.
I'm your mama.
- [Mac] You can call me pa Matthew.
- [Daisy] Matthew you can call him daddy.
He's your new daddy.
- [Mac] Come on boy.
- [Daisy] You shall I commence you.
- [Mac] Can't run boy, you can't run.
- [Daisy] Shall I come
and get you Matthew?
- [Mac] I'm going to get you Matthew.
- [Daisy] Going to get you Matthew.
- [Mac] Get you Matthew.
- [Daisy] Get you Matthew.
- [Mac] Matthew.
- [Daisy] Matthew.
- [Mac] Matthew.
- [Mac] Matthew.
- [Both] Matthew, Matthew,
Matthew, Matthew, Matthew.
(dramatic music)
- Hi.
- You a friend or a customer?
- I don't understand.
- A friend wants me to
stand here and paint,
a customer wants me to go inside with him.
Which one are you?
- I'm a friend.
- Well hello then friend?
What do you think of it?
- Your painting?
- Mmhm.
- Well it's uh.
- Oh, you don't like it.
- Oh yes, yes I do.
I like it very much.
- Tell me what it looks like to you.
Oh go on, it won't hurt my feelings.
Paintings like these can be
anything you want them to be.
So whatever you say, can't be wrong.
- I'd rather not.
- Oh go on.
(suspenseful music)
- Well it's, it's hot
like the sun, all the reds and yellows.
There's someone in there, burning.
His skin is on fire, near the
bottom, where the blue is.
- Go on.
- He's trying to get out of the painting,
he's in terrible pain he's
being punished by the sun.
- What's he being punished for?
- He's being punished for.
- Please, go on.
I wanna hear.
- He's being punished
for chopping up the man
who took his mother away from him.
- Whoa, I didn't know I
was such a good artist.
- You are, you're very good.
I like you very much.
- Well thanks, I like
to be liked very much.
- Can I stay and talk to you?
- As a friend or as a customer?
- As a friend, I'd like that.
- Hello there, is this where Vera lives.
- Right.
- Are you Vera?
- In person.
- Hey, that's not bad, hey
man, that's not bad at all,
you know what I mean?
I'm a friend of Tony Dankos.
- Tony Danko?
- Yeah you know, Tony the guy
that works down the ship yard.
You know it's a funny thing to,
I was supposed to sail this morning
but my ship won't be ready and--
- So?
- So I get an extra days leave
and Tony gives me your address
and it's a lucky thing to, cause like,
if I were to sail this
morning like I was supposed
to I never would have got
a chance to meet you and.
- Is that wine for me?
- Oh yeah, Tony said you like wine.
- Tony was correct.
You wanna go inside?
- Yeah, yeah sure.
Look, what about the kid here.
- He's cool, he's my friend.
- Oh yeah?
Let's get it on then.
I'll go find us some glasses.
- Help yourself.
- Don't go in there,
don't go in there eplease.
- Hey, don't ever tell me what I can do.
I don't owe anybody any explanations.
- Please, I, I'm sorry.
- [Man] Hey don't you have
more then one glass in here?
- I gotta go in now, I have to.
- I, I'm still your friend.
- Then maybe I'll see
you later, okay friend?
- Okay.
- [Man] Are you coming?
(door clicks)
Why don't you come lie
down over here by me
and we can drink our wine
out of one glass huh?
- Beautiful.
- You know you got a nice
body, you know that Vera?
- [Vera] Thanks admiral.
- [Man] Come over here,
we'll make ourselves
comfortable, you know what I mean?
- [Vera] Anything you say.
(suspenseful music)
(dramatic chord)
- No, no mama.
(dramatic chord)
Don't let him touch you no more,
he wants to take us apart mama.
(suspenseful music)
(dramatic music)
- [Man] Say, I gotta
remember to thank Tony
for your address, you know what I mean?
- [Vera] Hey, hey, you forgot my money!
- [Man] Money, oh yeah,
yeah I almost forgot.
- [Vera] Sure you did.
- [Man] Ten dollars right?
- [Vera] Come on, come on.
- [Man] Okay, ten dollars more
and I get another squeeze.
- Back off you, go home.
- Okay, okay, I'm going.
Hey wait, hey wait, give me my hat.
- Bon voyage.
(suspenseful music)
- Hey!
- Huh?
- Wait up.
- Yeah, yeah, what do you want?
- I'm a friend of Vera's.
- Oh yeah?
Oh yeah, yeah the kid.
Hey kid your friend Vera, she's pretty
hot stuff, you know what I mean?
(man chuckles)
- She only does that
because she needs the money.
She doesn't like you, she hates you.
- Oh yeah, well that's a
pretty funny thing you know,
because when we were
naked and in bed together,
I got the idea she liked
me a lot, you know that?
- Look, she thinks you forgot something.
I was to give it to you.
- I did?
What I forget?
- This.
- Huh?
(man cries out)
You little mother--
(man cries out)
(man choking)
(man thuds)
(man splashes)
(suspenseful music)
(Matthew knocks)
- Yes?
Ah, it's the friend right?
- Right.
- Change your mind, decided
to come for business?
- I don't do that kind of
business, neither should you.
- And I told you.
- I know, you don't owe
me any explanations.
- How come you're standing like that?
- Like what?
- With your hand behind your back.
- You don't hate me for it do you?
That I only have one hand.
- Why would I hate you?
- I don't know, some
people think it's sickening
when they see someone who's not whole.
- Oh no they don't, you're being dramatic.
- They do, I see it in their faces.
They get sick inside when they see that
all I have for a hand is a hook.
- Well I don't get sick,
at all, inside or outside.
I'm not even gonna ask
you what happened to your hand either.
- You're not?
You don't care?
- Sure I care, only the way I see it,
I figure it's your hand, your story.
If you wanna tell me, you'll tell me.
- You're a very special person Daisy.
- Well thanks, but my
names not Daisy, it's Vera.
- I'd like to call you
Daisy, is that okay?
- Sure it's okay, if you tell me
why you have your hand behind your back.
- I brought you something, a present.
- You did, what is it.
- Well I--
- Well show me, show me.
(dramatic chord)
You frightened me, I thought you
were gonna stab me with that thing.
- I'd never hurt you Daisy.
- Where did you get this?
It's mine, isn't it?
- Yes, I waited for you to finish before
with the sailor, and after you went in,
he, the sailor, he cut up your painting
and took your painting knife.
I followed him asking for it, told him
it was very important to you
and he, well finally
he gave it back to me.
I only wanted you to have
it back Daisy, that's all.
- The sailor cut up my painting?
- Yes I saw him with my own
eyes, he was bad, very bad.
- Yeah I guess he was.
- You should never see people like that,
like the sailor anymore, they're
dangerous, very dangerous.
- Well they have money,
they keep me going, you know what I mean.
- I have money, lots of it.
I have enough money so you'd never
need to see those men anymore.
- Sure you do kid.
- Honest, well my fathers very rich.
He owns lots and lots of things.
Farms, and oil wells, and machinery.
We live in a big mansion with servants.
You'd never need to take money
from anybody else again except me.
- Look, I've heard every line in the world
a dozen times each, especially that one.
- But I--
- You wanna stay my friend?
- Yes, yes I do.
- Just don't hand me any bull.
You stay a nice little
boy and I'll stay Vera
who throws it down for
a couple of bucks okay?
- So you'll let me come
here and visit you?
- If you stay out of the way.
You know what I mean?
- Yeah, I know what you mean.
- I gotta go in now, you need
a place to stay the night?
- Of course not I told
you, my father's very rich.
- Okay, okay, spare me the details.
Goodnight friend.
- Goodnight Daisy.
I'll be back to visit you.
- I'll be here.
(suspenseful music)
(Matthew banging)
- Yes?
- Hi.
- Hi, what do you want?
- My car broke down, I
need to use your telephone.
- I don't see any broken down car.
- Oh it's around the corner, on Claridge.
- Then why didn't you go bang
on some door in Claridge,
what did you come all
the way over here for?
- Well I knocked on a few houses,
some were nobody home,
others wouldn't listen to me.
I guess cause the way I look,
or maybe it was my one hand.
Maybe they didn't want me
in their house, a cripple.
- Sounds like the folks
in this neighborhood,
you know, they wouldn't
give you the time of day
if they owned all the clocks in the world.
- I guess I'd better go.
- Hey, wait a second boy.
Are you sure your car's broke down?
- Oh yes ma'am, right around the corner.
I can't get it to move.
- Well all right, come
on in and wipe your feet.
- Yes ma'am
- The phones in the
kitchen, just follow me.
- Yes ma'am.
- [Woman] Bridey-Lee who was that?
Who was at the door?
- Nothing Ms. Anatole,
just a young man who
needs to use the phone.
- [Anatole] Young man, what young man?
Bridey-Lee?
- Come on.
- But the lady upstairs.
- Screw her, come on.
(suspenseful music)
Oh well the telephones up there,
I have to get back to
Ms. Anatole's supper.
Well are you gonna call
about your car or not?
- Oh yeah, yeah sure.
(knife banging)
(phone clicking)
- [Phone] At the tone, the time will be--
- Hello is this Zimmerman's auto repair?
Yeah, let me speak to
Mr. Zimmerman please.
- [Phone] At the tone--
- No, I'll wait, thank you.
- [Phone] 32.
- Zimmerman's with a customer,
it'll just take a second.
- Well take all day, it
doesn't bother me any.
- [Anatole] Bridey-Lee, Bridey-Lee?
- [Operator] And 30 seconds (beeps).
- What is it now Ms. Anatole?
- [Anatole] The television,
come up and turn it on.
- But I'm doing something right
now Ms. Anatole, can it wait?
- [Anatole] My favorite shows are on now,
come up and turn this television set on.
- But Ms. Anatole.
- [Anatole] Right now.
- Oh crap.
Hey I gotta go up and, hey where'd you--
- I'm sorry lady, I need the house.
- [Bridey-Lee] Oh God!
(Bridey-Lee screaming)
(glass shatters)
(Bridey-Lee screaming)
- [Anatole] Bridey?
What was that yelling and banging about?
(suspenseful music)
Are you there?
Bridey?
Bridey, I demand to know
what's going on in my house.
Oh God Bridey, please answer me.
(suspenseful music)
(Anatole screaming)
(dramatic music)
(dog growling)
- Okay dog, come with me.
You're next.
(suspenseful music)
Good dog, it's a fine dog.
Good dog, come on.
(suspenseful music)
Come on.
Up on the table, good dog.
Good dog.
Come on.
That's it.
(dog cries out)
(Matthew crying)
(dramatic music)
(Matthew knocks)
Hello Daisy.
- Hello.
- Are you busy?
- I'm waiting for someone to come over.
- Business?
- Could be.
You have your hand behind your back again.
What have you got now,
another palette knife?
- A flower, picked from the
front yard of my mansion.
- Picked from the front
yard of my mansion.
How easily you say that.
- Well, do you like it?
- Yes, yes very much.
Only you know, it's not a daisy.
- I know, but we can
pretend that it's a daisy.
Just like we pretend that it's your name.
- Okay, okay, it's a daisy.
- You want to see my car?
It's right over here.
- Sure, I'll see your car.
Wow, I didn't know there
were any of these jobs still around.
- Then you like it?
- Like it, it must be worth a fortune.
- I told you I was rich, I told you
and I have enough money
to take care of you
and you never need to
see those men anymore.
- Hold it, hold it, slow down.
Okay, so maybe you are rich,
but I never gave you the idea
that I was for sale, did I?
- No.
But I only wanna--
- It's a very nice car.
And you're a very nice boy,
but take it easy with the owning me stuff.
Okay, friend?
- Okay, if.
- If?
- If you let me take
you for a ride in my car
to show you my mansion and to show you
that I really am a rich person.
- I got it, I got it.
So this is what it's like
to ride in style, huh?
- [Matthew] Fantastic, isn't it?
It's a very expensive car you know,
there are only a few of them
left in the whole world.
- [Vera] No kidding.
- [Matthew] And my father owns
three more, just as valuable.
And wait till you see the mansion,
that's really expensive,
it costs millions.
- [Vera] Come on, millions?
[Matthew] And I've got a special surprise
waiting for you when we get there.
I did it all by myself, just for you.
- [Vera] What kind of surprise?
- [Matthew] Oh, you'll see.
It's the last thing I'm going
to show you in the mansion.
I'm saving the best for last.
- [Vera] But you didn't even know
I was coming with you today.
- [Matthew] Sure I did.
That's why there's a surprise
for you in the house.
- [Vera] Don't even get a hint?
- [Matthew] It has to do with the fact
that you're such a good painter.
- It has something to do with my painting
and it's the last thing
you'll show me in the house.
- Very nice.
- We could have big dinner parties here
and invite all kinds of interesting people
who don't get to come to houses like this.
- [Vera] We could?
- Yes, if you'll move in here with me
just as my friend, oh, we'd
have a lot of fun Daisy.
- [Vera] No.
- I'm rushing you.
I shouldn't do that.
Peace?
- Peace.
- There's sunlight in here all day long,
and I took out all the furniture.
And I'll buy you paints and
an easel, and everything.
You'll like that, won't you?
- There are a lot of thing
in life that I'd like
but I learned to do without them.
- You don't listen,
I've got lots of money,
I can buy you everything.
- People belong where they belong.
I'm an armature painter who turns tricks
to make the rent, that's where I belong.
- No.
No you don't.
You're better than that.
You don't need the dirty
money from the sailors
and the guys who touch you.
- It's a way of life.
You get so used to doing things one way,
it's not so bad anymore.
I couldn't stay here with
you, it wouldn't be my home.
- No, this is your home Daisy.
- Look I don't wanna get cruel with you,
I had a lot of fun seeing your
house, and your daddies money
but now it's time to go.
- Why?
Why?
Why, what's wrong with living here huh?
What's wrong with having
everything you want?
Money, and food, and clothes.
You could be a famous painter maybe.
- It's okay, you don't
want to drive me home,
I'll take a bus, it's okay.
- No, don't leave.
We're friends.
- Yeah, yes we're friends, you and I.
- Where are you going?
- To my home.
- This is your home.
- I have my own home.
- There are men there
though, they'll touch you.
- It's okay, I don't mind,
I like it, it's okay.
- No, you don't want them to touch you.
Come back here, come back here.
- I've lots of friends
in the neighborhood,
they'll miss me, they'll
come looking for me.
- They won't know where to look.
They'll look for a little while
and then they'll stop looking,
and you'll be here with me.
Forever and ever.
Daisy, Daisy.
- No!
- No, you'll get used
to it, I promise you,
you'll learn to like it.
- No, please.
(Vera cries out)
(Vera thudding)
- No!
What'd you do that for Daisy?
I wasn't gonna hurt you.
I'd never hurt you.
I want to give you things.
To make you happy.
I want you and me to be good friends.
We are gonna be good friends
now, aren't we Daisy?
Oh you'll like it Daisy.
I promise you.
See how peaceful you sleep here?
You're getting used to it already.
Now don't you worry, I'll be back soon.
I'm gonna go get you a few surprises.
You'll love it when you
see what I'm getting you.
Don't try to get away, okay?
(door clicks)
(dramatic music)
(man grunts)
(dramatic music)
- Stop, stop!
(dramatic music)
- Now what do you think of this?
A steak, well who else ever
bought you a steak before, huh?
Nobody that's who.
And paints, and an easel, an
easel, how do you like that?
There's more damn stuff here
than you've ever seen in your life.
Do you appreciate it?
No.
No you don't appreciate it.
Fine dresses and nice food.
The best art stuff they
had in their whole store.
I'd like to have seen the
sailor buy you things like this.
Well he wouldn't would he?
Huh?
Would he?
Would he?
Would he?
Damn right he wouldn't.
All he wanted to do was make you filth.
Touch you and look at you.
Well I'm not damn sorry
I cut his throat for him.
(Vera whimpers)
Oh, didn't I tell you I killed the sailor?
Well I did, I did it just for you.
So we can be together, you and me.
See what I do for you?
I get groceries and clothes,
and art stuff, kill people.
And do you appreciate it?
No.
N-O.
But you will.
You'll learn to count
on me for everything.
That's it, chew it up real good.
If you don't chew your
food you'll get sick.
- I don't want anymore.
- You've got to eat Daisy,
otherwise you'll waste away
and become nothing but skin and bones.
- Please, I don't want anymore.
- Eat.
- No.
- Eat or I'll cut your
tongue out of your mouth.
- You.
- Yes?
- I'll eat.
- That's nice Daisy.
I know you enjoy this food, don't you?
- I hate it.
- Well keep eating,
you'll learn to like it.
(Vera spits)
You'll get used to all of this.
And then you'll be very
happy, won't you Daisy?
- My name is Vera.
- No.
It's Daisy.
- Vera.
- It's Daisy.
(phone rings)
What's the matter?
Think it's for you?
It's not.
Would you like some more to eat my dear?
(Vera crying)
No?
That's too bad, it's very good.
(phone ringing)
(Vera crying)
(door clicks)
- [Man] And now Mrs. Gloria
Jennings of Beaut Montana.
- [Gloria] The one on the
right is definitely brighter.
The colors are cleaner and brighter to.
- [Man] Whiter, bright, cleaner clothes.
The laundry on the right.
Well Mrs. Jennings let's take a look
and see which best selling washing
detergent made that happen.
- [Gloria] My goodness.
- [Man] That's right, it's
Acme, Acme laundry detergent.
Did the job the other
detergent left behind
- [Man] Don't miss--
(Vera thuds)
Where Allen and guests take a hilarious
look at the world of fashion,
that's right after the 11 o'clock news.
The late night place to be.
- [Man] And now we return to
our program The Break of Day.
- [Woman] Judy, it's me Judy.
Can you hear me darling?
Judy please, you don't now how
we've all worried about you these months.
Judy, please listen to me,
don't turn away like that.
You've been just like a zombie to us.
Carrying the surprises back like that.
Please, Judy, please.
(Vera thuds)
(doorbell rings)
(boy knocks)
- Hey, anybody home in there?
Does anybody in there wanna buy any candy?
I've got mints and jellies, and chocolate.
Hey any body wanna buy a box of candy?
(boy knocks)
(vera crying out)
Aint anybody home in there?
(handle rattling)
Candy, get your candy, anybody
wanna buy a box of candy?
Candy for sale, who's wants
to buy a box of candy?
(Vera crying out)
(phone ringing)
(phone clatters)
- Oh my God.
Oh my God.
Help me.
Somebody, help me.
Operator?
(engine rumbles)
oh God, no.
(phone clicking)
- [Woman] Operator.
- Wait, wait.
- [Operator] Operator, may I help you?
- Oh yes, please help me please.
- [Operator] This is the
operator, may I help you please?
- Yes, yes, yes, please help me!
- [Operator] What is the trouble please?
(dramatic chord)
Hello?
Anyone there?
Hello.
- I'm sorry, wrong number.
Hi, I'm home.
Now you get a good nights sleep.
You've had a long day today.
Tomorrow you'll feel so much better.
Maybe you'll paint a picture
of something to, okay?
I'll come in here bright and early,
and I'll fix you a nice breakfast
and maybe I'll take you to your
painting room for a while to, okay?
We're gonna start having a lot of fun
around here, you and me, a lot of fun.
Goodnight.
(light clicks)
(door clicks)
Aren't you going to paint something?
You said you like to
paint more than anything.
- I don't feel like painting.
- Huh?
What's that, I didn't hear you Daisy.
- I don't feel like painting.
- Why?
Why not?
There's paints, there's
brushes, there's an easel.
You never had an easel
before did you, huh?
- No, I never had an easel.
- Well I bet you could
paint very nice pictures
with an easel, all you
gotta do is try Daisy, try.
- I can't.
- Yes you can.
- I feel like a dog on a leash.
- I know daisy, I know.
But soon I'll be able to trust you.
And I won't have to make sure
that you won't run away from me.
You'll be much happier then, you'll see.
- Matthew, I want to go home.
- You are home Daisy, you are home.
- No.
(doorbell rings)
- Don't you--
- Please, please!
Help me, help me, please!
Please help me!
No, help me, help me, help me!
Please, help me!
Please!
(Vera screaming)
(dramatic music)
(Vera screams)
(Vera cries)
- Who are you?
- I'm Matthew, who are you?
- Dr. Epstein, Helen Anatole's physician.
- She's not at home.
- What do you mean she's not at home?
Her car's right out front, where is she?
- She's, I'm her nephew.
- She never mentioned a nephew to me son.
Now.
(Vera crying out)
(dramatic music)
Back East?
What the hell are you talking about?
- My grandfather died, her brother.
She went back east to
the funeral in Maine.
- And you?
- She asked me to come
here and watch the house.
(dramatic music)
Yes sir.
- You're making that up.
- I never lie sir.
- When will she be back?
- I'm not too sure sir.
(door bangs)
- Bridey, is she here?
- No sir, that's why I'm here.
Bridey went with aunt Helen to Maine.
- I can't believe she'd
go without informing me.
She needs her arthritis
shot every other day.
Your aunt should know better.
- Well I'm sure you
understand the emergency,
what with grandpa dying and all.
She was very upset.
- Well I suppose I might as well.
You don't mind if I look around do you?
Just for my own peace of mind.
- But I already told you.
- Let's start with Mrs.
Anatole's room first, shall we?
I've been telephone here for
three days without getting
an answer and I want to know
what's happening in this house.
- You better leave right now,
my aunt would be very upset
if she knew I let you in here.
(Vera banging)
- What's that?
- It was the dog, it was
the dog in the kitchen.
- Sounds like it's coming from
down there for Christs sake.
- Look mister, you can't
just come in here and--
- I want to know what's going on here.
(dramatic music)
God.
(dramatic music)
- Told you you'd be sorry, didn't I Daisy?
This is all your fault.
This never would have happened
if you'd only cooperate.
He would have gone home and
everything would have been fine.
Now he's dead.
(door bangs)
And it's all because of you.
I hope this teaches you a lesson.
To try to cooperate and
live nicely as my friend.
I wouldn't want anything
like this to happen again.
Would you?
Good, me neither.
See here, see?
Not one word of your
disappearance, not one.
You're safe.
They can't find us and
they don't even want to.
Just you and me Daisy, we're free.
No one will ever bother us again.
Right?
Right Daisy, hmm?
- Right, right, right.
- Yes.
Very right.
- Matthew?
- [Matthew] Mmhm.
- Matthew, I haven't had a
bath since I've been here.
- Yes?
- Well maybe I'd, I mean I think I'd feel
a lot better if I had a nice hot bath.
I've been wearing these
clothes a long time.
Matthew?
- How do I know this isn't a trick to try
and get away from me?
- You could take all of my clothes
and leave me nothing
but a towel to dry with,
I couldn't run away without clothes.
- I don't know.
- Well then you could watch me while
I take the bath to make
sure I don't try anything.
- No, I don't want to.
I mean I don't think it will be necessary.
- All right.
All right Matthew, I
don't have to take a bath.
All right.
- Do you really want to take a bath?
- Yes, please.
- What would it hurt if
you took a bath, right?
- Yes.
- You better hand me your
clothes like you said you would.
- Don't you trust me?
- No I don't trust you,
hand me those clothes.
- Sure, Vera's clothes coming up.
- I'm sorry to have to
treat you like this Daisy
but until I can be sure that
you won't try to leave me I have to.
You understand, don't you?
- [Vera] Of course, I
understand perfectly.
- That's good because I.
- Here.
And here's the rest of them.
Well take it already Matthew, take it.
You said you wanted
the rest of my clothes,
this is all of them.
Take it Matthew, take it.
- God damn you.
- Poor Matthew.
- God damn you.
- Poor, poor, Matthew.
- God damn you!
(door bangs)
(water splashing)
- Matthew.
- What?
- I'm finished.
- Yes?
- I mean, I thought you might
like to know when I was done.
- Oh yeah, yeah sure.
- Well.
- Well what?
- What happens now?
- Now we go back to the
bedroom and you put on one
of those things I got for you
and then I tie you up again.
- It's your mansion.
- And don't try to run away or anything.
- Who's running?
Here I am, at your beck and call Matthew.
- Don't make fun of me.
- I'm not.
Isn't this what you wanted?
Do everything you tell me to.
I eat when you want,
I sleep when you want,
I'm your prisoner.
Aren't you happy?
- You better put some clothes on now.
- Why?
Don't you like me without
clothes on Matthew?
- It's just that, I think it's better
if you get dressed now, that's all.
- Other men like me without clothes on.
- I don't like those other men.
I want you to get dressed,
I have to tie you up now.
- They like to look at
me, they like to touch me,
they like to make love with me Matthew.
- I don't care about those other men.
They're filthy, disgusting.
- Wouldn't you like to
make love with me Matthew?
Haven't you ever made love Matthew, huh?
- You better stop this now.
- We're going to live together,
then we're have to make love together.
- No we don't, we don't have to.
- You said you'd provide
me with everything I need.
You have to provide love to.
- No, no.
- Come on Matthew.
- Don't do this.
- Come, we'll be friends
and more, much, much more.
I'll teach you.
I'll teach you Matthew.
- Please.
- You'll see, you'll love me
even more than you do now.
Come.
- I better stop, no more.
- Didn't you like it,
don't you like to kiss me?
- Yes, yes I like to.
I like to.
- That's it, kiss me, kiss me.
- See I can provide for you, I can.
I'll make you very
happy Daisy, very happy.
- Yes, yes, yes Matthew, yes.
(dramatic chord)
- What have you become?
- What's the matter Matthew?
- What's the matter Matthew?
- You're hurting me Matthew!
- Why don't you die!
Why don't you stay dead
and leave me alone,
leave me alone, leave me alone!
- Matthew, Matthew!
Somebody, somebody help me!
(dramatic music)
(Vera crying out)
Oh my God, help me, help me, somebody!
Help me, help me, help!
(both screaming)
(door bangs)
(Daisy laughing)
- [Daisy] Matthew, I'm waiting
for you Matthew, we all are.
Come.
- No!
- [Daisy] Come!
(Daisy laughing)
(dramatic music)
- No.
(Daisy laughing)
(dramatic music)
(dramatic music)
(Daisy laughing)
(dramatic music)
(tires screeching)
(dramatic music)
- God damn son of a bitch!
(dramatic music)
(Daisy laughing)
(dramatic music)
(dramatic music)
(Daisy laughing)
(dramatic music)
(sinister laughing)
(dramatic music)
(dramatic music)
(dramatic chord)
(dramatic music)