Blood and Lace (1971) - full transcript
After her prostitute mother and her john are beaten to death while they are asleep in bed, teen-aged Ellie Masters is sent to an isolated orphanage run by Mrs. Deere and her handyman. Taking an avid interest in her welfare is detective Calvin Carruthers. Taking almost no interest at all, is social worker Harold Mullins who is completely under Mrs. Deere's thumb. Lots of unpleasant surprises are in store for Ellie, not the least of which is the fact that Mrs. Deere and her handyman are both brutal sadists, who run the orphanage like a concentration camp and the strong possibility that her mother's hammer-wielding killer is now stalking her.
[MUSIC PLAYING]
[CRICKETS CHIRPING]
[MUSIC PLAYING]
[RADIO PLAYING SOFTLY]
[BEADS RATTLING]
[RADIO PLAYING SOFTLY]
[SUSPENSEFUL MUSIC PLAYING]
[CRIES]
[RADIO PLAYING]
[CLATTER]
[FLAMES CRACKLING]
[SCREAMING]
-What's wrong?
-I had a bad dream.
-Ellie, for heaven's sake.
-Mr. Mullins, you've got to
get this girl out of here.
-I've arranged a
place for her, nurse.
-I didn't ask to come
to your crummy house.
-I'll stay with her nurse.
Please, thank you.
Thank you very much.
-Why are you keeping me here?
I'm not even sick.
-It's the only place we
could put you up temporarily.
-I should have taken off
right after the funeral.
But it's not too late.
-Ellie.
You're still a minor.
-I've got a father someplace
and I'm going to find him.
-Of course you have a father.
But you don't know who he is.
No one knows who he is.
Your mother knew,
but she's dead.
So as far as the court is
concerned, you're an orphan.
-But as far as
I'm concerned, I'm
free to do what I want to do.
-Ellie, you're
under court order.
You can't leave the county.
-Are you going to stop me?
-I'm a social worker,
not a policeman.
But if you try to
leave, I'll have
to report it to the Sheriff.
-OK, Mr. Mullins.
If that's the way
you're going to be.
-Look, you're an
orphan now and--
-I was an orphan
the day I was born.
Maybe you didn't know my mother.
-Yes.
I did.
-I bet you did.
Every drifter and traveling
salesman, schoolboy over 16
knew my mother.
[MUSIC PLAYING]
[CRICKETS CHIRPING]
[MUSIC PLAYING]
[CAR ENGINE]
[MUSIC PLAYING]
[BRAKES SQUEALING]
[MUSIC PLAYING]
[TRAIN HORN]
[TRAIN WHEELS]
-Hold it.
Hold it.
Hold it, don't be afraid.
I'm not going to hurt you.
Ellie, my name is
Calvin Carruthers.
You might know me.
I used to work at the theater.
I used to see an
awful lot of you.
Every Saturday for the matinee.
-How come you chased me?
-How come you ran away?
-I thought you
were somebody else.
-Well I drive this
road at night quite
a bit since I changed jobs.
-What's that got to do with me?
-Well, with the
theater closed, I
went to work for
the country sheriff.
Oh, wait a minute.
Hold it.
-Mullins told you, didn't he.
-Mullins told me you
were having nightmares
and that you were frightened.
Well considering what
you went through-- Ellie,
I think I'd better take
you back to the hospital.
Come on.
-You sure don't look like
any sheriff I ever saw.
Where's your uniform?
-I'm a detective.
-You've sure got a strange
way of doing things.
How did a man like you ever
get to become a detective?
-I was an ordinary
sheriff's deputy for awhile.
Then the detective we had died,
but none of the married men
wanted the job
because of the hours.
Well I don't have anybody.
The pay is $50 a month extra.
-Heaven help the county.
-Anyway, I was going
over your mother's case.
Like to ask you a
couple questions, Ellie.
-If you were any
kind of detective,
you'd have checked the report
at the coroner's inquest.
I told them everything.
[CAR ENGINE]
-All right.
Now you told the coroner that
you were asleep in your room.
And you ran into the hall.
-That's right.
-And you saw a man running
out of your mother's room.
This was all before you noticed
that the fire was in the house.
-That's right, Calvin.
-Did you see a hammer
in this man's hand?
-No I didn't see a hammer.
I only see it in my nightmares.
-Ellie.
Ellie, did you ever
see the man's face.
-Yes.
It was thick and ugly.
A lot like yours.
-All right.
This big, ugly face.
Had you ever seen it before?
-He was just another
one of mother's clients.
Some drifter she
picked up at the bar.
-Ellie.
[BELL RINGING]
-Ellie, this is important.
This man you saw.
Did he see your fave?
Did the killer see your face?
-I guess he must have.
Why?
-Only because you're
the only witness.
He just might come back
here looking for you.
And not because you
have a pretty face.
-Are you trying to scare me?
-No.
But we don't know who the killer
is or where he disappeared to.
-Well what if you
never find him?
-I don't know.
But until we're through
looking for him,
you'd better not go
any place by yourself.
[MUSIC PLAYING]
-Hi, Calvin.
Sorry I'm late.
-Yes, Hal Can I get you a beer?
-No thanks.
You wanted to talk.
What's on your mind?
-I uh-- what do
you and the county
Welfare Bureau have in
mind for Ellie Masters?
-Orphan's home.
I'm taking her there tomorrow.
-She sure is a pretty
little thing, isn't she?
-Yeah.
-Looks a lot like
her mother used to.
-Yeah.
-Poor Edna Masters.
Tell me, Hal.
Did you and Edna ever--
-What the hell difference
does that make?
-Well I doubt that any
man in the county didn't.
-Including you?
-Well not in a long time.
Not since she
turned professional.
And I acquired this.
Where is this home
you're taking Ellie to?
-You know.
The old Jameson Deere mansion.
-Come on, Hal.
What's the matter with you?
There's a killer loose.
Ellie could be--
-No.
Don't get dramatic, Calvin.
You're not in a theater now.
It's a perfectly safe place.
You know Jameson died last year.
The widow Deere turned it
into a nice home for kids.
We made an agreement
between her and the county
and it's worked out
real good for everybody.
-I bet it has.
-Look, I inspect that
house myself twice a year.
It's neat as a pin.
And the kids are healthy.
-Ellie Masters is healthy now.
I want to see to it that
she remains that way.
-Calvin.
You're interest in that girl
wouldn't go beyond police duty,
would it?
-Goodnight.
-What makes you think she'd
ever be interested in you?
-I didn't she
would or she could.
-Then I think you'd better keep
your interest where it belongs.
-You know, Hal.
When you get to be my age and
you start thinking seriously
about getting married,
you start sniffing around
for some good breeding stock.
-I suggest you do your sniffing
in some other pasture, Calvin.
-Now assuming that you have
a business deal with Mrs.
Deere about directing
county business her way--
-Now you hold on--
-Which makes no
difference to me, Harold.
The point is don't
give me a lecture.
When it comes to Ellie Masters,
maybe neither one of us
is strictly professional.
[DOOR SQUEAKING]
[SUSPENSEFUL MUSIC PLAYING]
[CLOCK BELLS RINGING]
[MUSIC PLAYING]
-What are you doing, boy?
Sneaking in the house at
night, carrying a suitcase?
Very suspicious
behavior, Ernest.
We don't like kids who try
to run away from our home.
Of course, if you aren't
here, the county won't pay us.
[SLAP]
You get my drift, huh?
[SLAP]
-Ow.
[SUSPENSEFUL MUSIC PLAYING]
[THUD]
[SUSPENSEFUL MUSIC PLAYING]
[SLOW MUSIC]
[CRICKETS CHIRPING]
-You let a 16-year-old
boy make a fool of you.
-I tell you.
He just disappeared.
Vanished.
He must have made
it to the road.
-You mean you were too
drunk to look for him.
-I showed you I came
pretty close to grab those.
Anyway, it's only the first
time one's gotten away.
-Harold Mullins is coming
here tomorrow with a new girl.
He's going to inspect a
place while he's here.
-Oh, come off it, lady.
You got old Mullins
in your back pocket.
Or should I say
under your skirt?
-My relationship
with Harold Mullins
can only be pushed so far.
When he counts the
children tomorrow,
there's going to be one missing.
-You talk as if
he really doesn't
know what's going on here.
-Whether he does or
not, your boozing
has cost me $150 a month.
-OK.
So you lose money on Ernest.
But Mullins is bringing
the girl, you see.
Tit for tat.
-You better set
up the infirmary.
And you get rid
of that suitcase.
[MUSIC PLAYING]
[METAL CLACKING]
[MUSIC PLAYING]
-It's freezing in here.
-Well that's the idea.
Get going.
We have two more.
-Frozen solid.
-He'll that out soon enough.
[MUSIC PLAYING]
-Come on.
Come on.
This thing is heavy.
I think you and me are going
to renegotiate our deal.
-Get the others.
-I mean it.
You get $150 a month for each
kid, and all I get is a hernia.
-We'll talk about it later.
The children will be up soon.
Get going.
-OK.
We'll talk about it later.
But just don't forget.
I'm the only one who knows
about your little secret.
[MUSIC PLAYING]
-What are you doing, Tom?
-I'm working.
Go back upstairs, kid.
-I want to get something to eat.
-I said go back upstairs.
-I didn't get enough supper.
-If you don't go back upstairs,
you'll never eat again.
-OK.
Don't get mad.
-What took you so long?
-Uh.
I bumped into an old friend.
-Go wash the liquor
out of your breath.
We've got a big day ahead of us.
-Quiet, Mrs. Deere.
Loud talk frightens
the children.
-Oh, you are a
foolish child, Alice.
Trying to run away.
Why, Tom could have killed
you with that knife.
Lucky I got you to
the freezer in time.
Or you might have bled to death.
-Mr. Mullins, you seem
awfully anxious to get me
to this orphanage.
-It's my job.
Until you're 21, you're
my responsibility.
-I got this funny
feeling like I used
to get sometimes with my mother.
Like you;re trying
to get rid of me.
[CAR ENGINE]
[MUSIC PLAYING]
[DOORBELL]
-So this is Ellie Masters.
-Ellie, this is Mrs. Deere.
-Hello.
-I heard about your
mother's tragic--
-Murder?
Why?
Did you know my mother?
-No.
But my late husband
spoke so highly of her.
Tom, here's the new girl.
Ellie, this is Tom
Kredge, our handyman.
-He looks handy, all right.
-Ellie, go up and
get acquainted.
Later we'll get you
settled in a room.
Something rebellious
about that girl.
She's going to be trouble.
-Oh, you can handle her.
You do have a way with children.
-Would you like to see the
rest of the house, Calvin?
-Why not?
[BIRDS CHIRPING]
-Hi.
-Hi.
Are you the new girl?
-I suppose so.
-My name's Bunch.
-I'm Ellie.
Does Mrs. Deere make
everybody work like this?
-She says we have to learn
to pave our own way in life.
-Um, I thought the welfare
bureau paid our way.
-Well Mrs. Deere says it's
not enough to take care of us
so she needs the extra income.
Oh that's Walter Barnes.
He's the oldest boy here.
Mrs. Deere's pet.
-He looks nice.
-He's also my boyfriend.
-I think I'll go
over there and get
acquainted with some
of the other kids.
-Jennifer tried
to run away again.
She's been locked in
the attic as punishment.
I don't suppose you'd
want to see her.
-Perhaps I'd better not.
What I don't know won't hurt me.
-Hey, must be pretty
tough for you.
Suddenly becoming
an orphan like that.
-Not really.
I've got a father some place.
-I was born an orphan.
I've been in and out
of homes all my life.
-That girl Bunch seems
to be pretty nice.
-Yeah.
She's a cute kid.
-I don't think she'd like
to hear you say that.
-Why?
-That's isn't exactly, you
know, the kind of thing
a girl likes to hear
from a boyfriend.
-A boyfriend?
You've got to be kidding me.
She's only 16.
I'm nearly 21.
-Poor Bunch.
-What do you mean by that?
-To be 16 and only a cute kid.
-Well the house looks
fine, Dorothy, just fine.
-I'm glad you're
pleased, Harold.
Uh, why don't we
step into my room
and have a nice cup of tea.
-Yeah.
But first I want to count
heads for my report.
-Oh, of course.
The count.
I had the children stay
outside so you could inspect.
Oh, I almost forgot.
We do have three
in the infirmary.
-Oh, I'm sorry.
Nothing serious, I hope.
-Just a little cold.
-I suppose you'd
like to see them.
-You know the regulation.
-You keep the infirmary locked?
-Keeps the other children
and the germs in.
Shh.
They're sleeping, poor dears.
Maybe we'll just peek in.
We don't want our welfare
officer catching anything,
do we?
-I'll tiptoe.
On second thought, I don't
want to catch anything.
Might be fatal for a man my age.
Let's see, there's
three in the infirmary.
One in the attic.
Let's see the others outside.
[MUSIC PLAYING]
-Now this is serious, Dorothy.
You sure you have no idea
where this boy Ernest could be?
-It's just terrible.
No child's ever run away
from my home before.
-Uh huh.
Well maybe I'd better notify
the sheriff's office, huh?
-If they find him, he won't be
sent to reform school, will he?
-Wow.
How I can do with some employ.
-It would be just terrible.
I'd lose that income.
-No.
No, no, no, no, no.
I'll do everything I can.
-I am so grateful
to you, Harold.
-You know it's always
a real pleasure
doing business with you, Dotty.
[MUSIC PLAYING]
-Is everybody sleeping?
Everything in--
My name is Ellie.
-What are you doing here.
I'm exploring.
-Nobody's allowed in the
house during inspection.
Get out of here.
[MUSIC PLAYING]
-Goodbye, Ellie.
Be good.
-Goodbye, Harold.
Keep in touch.
-I'll do that.
-Now we'll take care of you.
The girls' rooms
are on this side.
The boys are over there.
-How do you keep them apart?
-With strict rule.
When you unpack, we'll
store your suitcase.
Since you won't be needing it.
-Who's my roommate?
-She's a nice girl.
You wouldn't want to--
-Me.
-Bunch.
This is Ellie Masters.
-Sweet 16.
-We met.
-Well, I see two girls are
getting along just fine.
Get settled, Ellie.
Be down for dinner
at 6 o'clock sharp.
Latecomers aren't fed.
-She's a lovely old
bitch, isn't she?
Maybe it won't be so bad.
You know, Bunch.
You and I do have
something in common.
[PLATES CLATTERING]
-Well I say that the
police will catch Ernest
and probably have
him back by morning.
Will you pass the rolls, please?
-I bet he gets scared and
comes back by himself.
-Listen to Bunch.
Resident psychologist.
What do you know about
the way a man feels?
-Not much but I'm
willing to experiment.
-This boy Ernest was the
first to run away, wasn't he?
-Are you kidding?
Runaway kids run a regular path
between here and the woods.
-That's funny.
Mr. Mullins said that--
-Don't worry about it.
The cops will have Ernest
back in the morning.
MRS. DEERE: There just
aren't enough children
to keep the old place going.
I know how important it is.
The house.
The tradition.
I just have to cut down.
-Those other kids, they
must have gotten away?
-Yeah.
Lucky for them.
-Just because they
weren't brought back here
doesn't mean they
weren't caught and maybe
send to reform school.
-What happened to those
three kids in the infirmary?
-There hasn't been anybody in
the infirmary for over a week.
-I heard talking.
-It's only a roll.
-This is no restaurant.
Those rolls have
to last three days.
I warned you, Pete.
Now tomorrow you
won't eat at all.
As for you, Ellie.
Tomorrow will be the
beginning of your chores.
In this house,
you'll earn your way.
-You'll start here and
work your way down.
Polish all the woodwork
and the floors.
-That'll take a week.
-Next week they'll be
something else to do.
We work hard in
our house, Ellie.
Chores, classes.
-Well when do we get a day off?
-Sunday you may
do as you please.
I can see you're not used
to discipline, Ellie.
-Oh, I've had my share.
-I suppose things are always
simpler when you're beautiful.
I can remember.
Oh yes.
I was beautiful once.
My husband Jameson thought
I was very, very beautiful.
And then one morning I
looked in the mirror.
I was old.
And Jameson had found
other beautiful women.
Women like your mother.
-We had a lot of company.
-My husband was the only thing
in my life that mattered.
No children.
No friends.
Only Jameson.
Then-- but that's in the past.
Only you young people only
concern yourselves with today.
-And tomorrow?
-Yes, tomorrow.
Ellie, I'll do my
best to make sure
that all your todays
and tomorrows are full.
And then perhaps one day you
too will look in the mirror.
[MUSIC PLAYING]
[SUSPENSEFUL MUSIC PLAYING]
[GASP]
-Who are you?
-Jennifer.
I'm thirsty.
-How long have you been here?
-I don't know.
Days.
-Why?
-I tried to run away.
I'm thirsty.
[WATER RUNNING]
-Where are you going?
-I'm taking this to
the girl in the attic.
-Want to keep her company?
-That girl's going to die.
-There's only one thing worse
than trying to run away, kid.
That's seeing things
and saying things.
You get my drift?
-That's ridiculous.
-Maybe.
But it wouldn't hurt to give
this place a good going over.
-What do you mean, going over?
-A search from top to bottom.
-Excuse me.
Oh, Tom.
Tom, come here a minute.
Tom, this is
Detective Carruthers.
Tom Kredge, my handyman.
-Yeah, I've seen
you around town.
-Tom, Mr. Carruthers
thinks Ernest
might be hiding in the house.
-Is that so?
-He thinks the house
ought to be searched.
Uh, didn't you say
something about seeing
Ernest that night he ran away?
-Yeah, that's right.
I-- I saw him outside kind
of walking towards the road.
-Did he have anything with him,
like a bundle or a suitcase?
-Yeah.
A suitcase.
-Oh, his belongings are gone.
I can show you.
-All right.
I'd like to see Ellie
Masters, Mrs. Deere.
-She's in the kitchen.
I certainly hope you find
her mother's murderer.
-So do I.
-It's frightening having some
maniac walking around loose.
-Kredge, let me see your hammer.
Yeah.
This is a fine tool.
You know, I used to be
able to with one whack
drive a 16 putty nail through
a couple of two by fours.
-Any carpenter worth
his wage can do that.
-I guess you're right.
Get into town much now, Kredge?
-No, not much.
-You know Edna
Masters, don't you?
-Yeah, I know her.
So what?
-I mean as a carpenter
or a customer?
-I just saw her around town.
She wasn't my type.
Her daughter's something else.
Bet I could take
a crack at that.
What the hell's the
matter with you?
-I don't like that kind of talk.
Ellie happens to be a nice girl.
-Yeah.
Sure she is.
That's how you like
them, huh, officer?
Nice and young.
-Well.
Appears you've made
yourself a home.
-Home.
You mean work house.
-It's like they say in jail.
First week is the toughest.
-That's a good comparison.
What brings you here?
-I'm checking out that
runway boy Ernest.
-Well you're not
going to find him.
Any more than you'd
find any of the others.
-What others?
-The other kids that ran away.
Mr. Mullins tried to
tell me that weren't any.
I know different.
-Uh, Ellie.
About your mother.
I don't have any leads
but I do have some ideas.
-What am I supposed to do?
Wait around?
You going someplace?
-Well, anything's better
than this concentration camp.
-This is the safest
place for you.
We can keep an eye on you.
-Well you haven't exactly
been keeping me company.
-I've got an awful lot
of cases to handle.
But I'll be around.
-Please.
I'm thirsty.
-Oh yes Jennifer.
I have water.
-I'm sorry.
I'll never do it again.
I promise.
-I'm sure you'll never
do it again, Jennifer.
But you're going to
stay in detention.
So the other children will
learn by your example.
You're very fortunate, you know.
When Tom caught
you, he could've--
-He wanted to kill me.
-Tom was very angry at you.
It was lucky I was there.
I saved your life.
And did you say thanks?
Well?
-Thank you.
Thank you.
-That was nice.
You're important
to me, Jennifer.
All the children
are important to me.
Oh, oh yes.
The water.
It's so cold and clear.
And sweet.
[MUSIC PLAYING]
-I used to dream about
a girl strong of wit.
There was never anybody.
I'm very glad you came, Ellie.
-I'm not going to be
here for long, Walt.
-What do you mean?
-I mean I'm going to run
away the first chance I get.
Will you help me?
-I can't help you, Ellie.
-You could if you wanted.
-You can't run away, Ellie.
You wouldn't stand a chance.
-Other kids--
-They were boys, Ellie.
They could take care of
themselves in the woods.
Besides it's not really
that bad living in a home.
-Then you're blind.
Jennifer's dying in the
attic and that stupid witch
is starving to death.
-But we get enough to eat.
-Walter, I did see three kids
in the infirmary the first day
I got here.
-I told you, Ellie.
We were all outside for
Mr. Mullins' inspection.
Now you're just blowing
this all out of shape.
And Jennifer, she'll be OK too.
Mrs. Deere's a little
strict, that's all.
-Tom Kredge.
He gives me the creeps.
-He was a homeless lurch.
A starving hobo before
Mrs. Deere took him in.
Ellie.
-I can't stand being
cooped up in one place.
I never could.
Besides, I've got
to find my father.
-What for?
What good's it going
to do you, Ellie?
-Maybe you've got
folks somewhere.
Don't you want to know?
-Know what?
-You've got a mother
and you've got a father.
You're a little bit
of both of them.
You can look at them and
see what you're going to be.
-Maybe it's better not to know.
-I've got to.
There's got to be something
better than my mother.
Maybe my father was
strong and kind.
-Probably just some
horny salesman.
-You're horrible.
-Did you ever stop
to think that maybe
it's horrible to
find out, Ellie?
You know, I'm kind of glad
I never knew my folks.
Because I've got nothing
to live up to or down.
I'm just me, Ellie.
And that's all I care about.
-That is all you care about.
[SUSPENSEFUL MUSIC PLAYING]
[HAMMERING]
-Poor Ellie Masters.
All cooped up in this old
house in the in of nowhere.
-It isn't exactly my doing.
-Do I get the feeling
you want to get away?
-Hardly more than all the time.
-And now you can.
-Can what?
-Escape.
-Is this part of job,
seeing who wants to run?
-Of course, if you're
not interested--
-Maybe I am.
-Meet me in the cellar.
-Cellar?
-It's where I keep my tools.
No one will see us talk there.
Here hold this.
-No.
-Take it so I can get down.
-No.
-It won't bite.
It's just a hammer.
Take it.
[SUSPENSEFUL MUSIC PLAYING]
-Is that you?
-What are you doing here?
Have you finished your chores?
-No ma'am.
Not yet.
-Why are you dawdling, boy?
-Well.
You told me once that if I
ever saw anything that looked
suspicious, that I should
come and report it to you.
-Well?
-Well when I was outside
a few minutes ago,
I saw something I think
you ought to know about.
-Oh.
How'd you get in here?
-I hopped in through a window.
I don't want anybody
to know we're together.
-You'd better tell me
what you got in mind.
-I'll show you a way to escape.
What'll you do for me?
-Anything you want.
-You promise?
-You show me.
-A deal.
Here it is.
A great escape.
Whiskey.
[SUSPENSEFUL MUSIC PLAYING]
[CRYING]
[SHOUTING]
-You'll be punished
for this Ellie.
Tom, come here.
I know what you've been up to.
-He tricked me into
coming down here.
-I'll deal with
you later, Ellie.
Go to your room.
-You know--
-Go.
-Nothing really happened.
It was-- I caught her
around the freezer and--
-You're a liar and a
stupid one at that.
She doesn't suspect
anything about the freezer.
You've had your last warning.
-You're right, lady, I have.
From now on, you
keep your mouth shut.
-You're fired.
Get out of here.
-I'm not fired.
Matter of fact, you and
me just became partners.
From now on, I'm in
for 50% of the action.
-You're in for
nothing but trouble
if you don't leave my house.
-I'll leave here.
I'll take our little
secret with me.
But when I get through,
it won't be a secret.
-You're not that stupid.
You'd implicate yourself.
-You're lucky I'm a man
who has nothing to lose.
Of course, if it's worth
having, I've already lost it.
You and me.
50 50.
You alone, 0.
-All right, Tom.
If that's the way it has to be.
[MUSIC PLAYING]
-Please.
-Stop your whimpering.
-You're a witch.
[SLAP]
-A crazy witch.
[SLAP]
-You weren't entirely
at fault, Ellie.
Otherwise I'd really punish you.
-Like Jennifer in the attic?
-Jennifer tried to run away and
I was advised to punish her.
-By who?
God?
-My husband Jameson always
advised me and counseled me.
-I thought he was dead.
-He's not living but that
doesn't mean he's dead.
Science is making
marvelous progress
with drugs and transplants.
Someday, people who have
passed away before their time
will be restored.
Like my husband and others.
If we preserve their bodies.
So you see, Ellie.
What you call death may be only
the temporary absence of life.
-You don't really care if
Jennifer lives or dies.
-It's so simple when
you're young, isn't it?
Black and white.
Good and bad.
Life and death.
Youth and beauty.
You children are so fortunate.
-And you hate us
for it, don't you?
-On the contrary, Ellie.
I'd like to preserve you all.
Just as you are.
[MUSIC PLAYING]
-Walter.
-Ellie, I did an awful thing.
I was one that told
Mrs. Deere that you
were in the cellar
with Tom Kredge.
Why?
-I was jealous, I guess.
It's pretty dumb, isn't it.
Being jealous of Tom.
-Yes.
Now you can clean up the shed.
Hey, I can use this
when I run away.
The old witch took mine.
-Is there anything in it?
-Walter, how many girls
have you made love to?
-Hundreds.
-That's what I thought.
-What the hell
difference does it make?
-You get into town
once in a while,
you could have
patronized my mother.
-Ellie, for crying out loud.
-I knew a lot of her clients.
The mailman, the postman,
Mr. Samuels the banker.
-Ellie, how can you talk about
your own mother that way?
-Sometimes I'd hear
them come in late
at night, laughing and giggling.
Then later I'd hear
them thrashing around
and I, I used to lie there
in my bed and wonder--
-Wonder what?
-Wonder what it would've been
like to have had a real father.
Not a stepfather.
Not a foster father.
But a real blood relation.
-Maybe it's better not to know.
-Mother wouldn't
even talk about it.
You know she wouldn't-- wouldn't
even tell me who he was.
The only thing she ever said
was that the first man who
made love to her
got her pregnant.
And ruined her figure.
But the own feeling that she
ever had for me was blame.
You know what,
maybe you're right.
Maybe it is best not to know.
-Not to know what?
-That you're just
some poor accidental
bastard that nobody even wanted.
-Well.
If it isn't the answer
to a maiden's prayer.
I thought I'd get a little
bit of sun before class
this afternoon.
-I don't think Mrs. D ought
to catch you in that outfit.
-What makes you so
damn good, Walter?
-Maybe your age.
-Ellie's only a couple
years older than I am.
Come back in a couple years
and we'll talk about it.
-Boy, you're dumb.
Care to see what she is?
-No, Bunch.
What is Ellie?
-You know.
Strange.
She's a big tease.
Anybody can see that.
-All girls tease, Bunch.
It's just part of the equipment.
Look at you.
-I wish your would, Walter.
Well?
-Yeah.
It's all there.
MRS. DEERE: I know I
shouldn't worry about money.
But losing that
$150 on Ernest could
mean the difference
between profit and loss.
If we lose another child,
it could be the end.
And there's the mortgage
to pay and the food.
So many problems.
Money.
The children running away.
And now Tom Kredge.
I suppose I'll have
to get rid of him.
Just as you say.
I so want out of these
responsibilities.
Oh but, but I am grateful
for your help, Jameson.
[SUSPENSEFUL MUSIC PLAYING]
[SCREAMING]
-It came from that room.
-What happened?
-I don't know.
I think she had a bad dream.
-Ellie, did you
have a nightmare?
-What's wrong?
-I saw the hammer.
It was horrible.
Horrible.
-Horrible what?
-Face.
-It was a nightmare, of course.
-I don't know.
It is seemed so real.
-Ellie, have you had
nightmares since your mother--
-Yes.
-Well.
That's that.
All right girls.
Back to bed.
There's nothing to
do afraid of, Ellie.
It was a bad dream, wasn't it?
A bad dream.
[CRICKETS CHIRPING]
-That's all wrong for you.
-How do you know what's
wrong or right for me?
-Look, I do know that
that looks like something
out of a carnival sideshow.
Let me help you.
-Will you just leave me alone?
I really don't need any
of that big sister stuff.
-OK.
But a girl your age shouldn't
be wearing makeup anyway.
-Oh yes, a girl my age.
You're so mature and wise.
-Bunch, why do you hate me?
Walter was never interested
in you even before I got here.
-I'll make him interested.
-I'm sure you can make Walter.
But you'll never interest him.
[SMASH]
[SHRIEKS]
-All right, ladies.
Let's not break anything.
-You're a liar in addition
to everything else.
-Oh look who's talking.
Talk about your father Ellie.
Talk about your mother.
-You don't know anything
about yours except
that she had four
legs and barked.
-Cut it out.
Ellie, where's my hammer?
-How should I know?
-You had it in the cellar.
-Well then that's where is is.
-Only it isn't.
-It isn't?
I had a dream.
I saw a hammer.
No wonder it looked so real.
It was his.
-Now Pete, can you remember
what you're supposed to do?
-Yeah but what is this?
A senior prank?
-Just go find Walter and
tell him what I told you.
-OK.
-Then what do you do?
-Exactly 10 minutes after
Walter gets to the shed,
I tell Ellie that Walter want to
see her in the shed right away.
-Good.
Now get going.
-OK.
-Hey Walter.
-Yeah.
-Bunch is over at the shed.
Says she's got
something to show you.
-What is it?
-You've got to see
it to believe it.
-Walter, I've decided--
-Ellie.
Walter.
You and your little slut
can have each other.
I'm clearing out.
-Let her go Walter.
-But I think she's
going to run away.
-Good.
-But I don't want her to go.
-Mrs. Deere.
It's Ellie.
You've got to stop her.
-Walter, every time
I see you, you've
got some hot news about Ellie.
What is it this time?
-She's going to run away.
-Who told you?
-She did.
-Someone tried to kill me
last night and I know who.
-It was just a dream.
-That was no dream.
There was a man in my room.
-And where is this man now?
-I don't know.
Maybe he's still in the house.
-Stop it.
-I'm not staying here to
be killed by some maniac.
-And where would you go that
this maniac you've imagined
couldn't find you?
-I don't know.
Maybe the police.
-All right, Ellie.
-Mrs. Deere.
Mrs. Deere.
[KNOCKING]
Mrs. Deere.
Mrs. Deere please
let me out of here.
Mrs. Deere.
Please, you've got to
let me out of here.
-I knew that girl was trouble.
-Let her run away.
To hell with the money.
-Suppose she goes to the
police with a wild story
about a killer
hiding in the house.
What do you suppose
would happen?
-We'd have cops
all over the place.
-There's only one thing to do.
Walters knows Ellie wants to go.
And by now, all
the children know.
So nobody's surprised
when she shows up absent.
-Sure.
Just like our friends
in the freezer.
-I'll keep all the
children outside.
So you and Ellie
won't be disturbed.
-OK.
What about that
welfare guy, Mullins?
-Next time he
comes, we'll simply
show him Ellie Masters
in the infirmary.
Poor dear.
She caught a cold.
[SUSPENSEFUL MUSIC PLAYING]
[SCREAM]
[SUSPENSEFUL MUSIC PLAYING]
[SCREAM]
[SUSPENSEFUL MUSIC PLAYING]
[CAR ENGINE]
-Old lady, I want
to talk to you.
-Why Harold, what a surprise.
-You can save the crap.
You've made a fool out of me.
-I don't know what you mean.
-You said that Ernest
was the only kid
that ever ran away from here.
-That's right.
-But somebody told
the police there
have been a whole lot of others.
-Shh.
Harold, the children.
-To hell with the children.
To hell with you.
I've got a job at stake.
-Let's talk about
it in the house.
Uh, no.
Let's take a walk.
-I don't want to take a walk.
Let's go into the house.
But this time I want to
speak to every single kid.
-Why of course, Harold.
Whatever you say.
-And they'd better all be there.
-Certainly.
You'll see them all.
Every one.
-Pete, I think
you're full of crap.
-I saw it.
It happened.
-In your mind, you mean.
-In the cellar, I mean.
He put her in the
freezer and he locked it.
Bunch, Ellie's going
to die in there.
-I'm not falling
for your corny joke.
Go tell it to Mrs. Deere.
-Are you kidding?
Tom works for her.
They're probably in
on this together.
-What an imagination.
-Bunch, y you've got to
go to the cellar with me.
I'm too scared to go by myself.
-That's ridiculous.
-Maybe you're scared too.
-OK.
I'll play your game.
[SUSPENSEFUL MUSIC PLAYING]
[SCREAMING]
-There.
Do you hear that?
-No.
I don't hear a thing.
-That pounding.
You can't hear it?
-I don't have time for your
dumb jokes, little boy.
And you'd better mind
your own business.
Because you know Mrs.
Deere doesn't like us--
-I saw him.
-You're just trying
to get me in trouble.
-Tom.
Mr. Mullins doesn't seem to
feel we run a proper home here.
He wants to inspect again.
-From top to bottom.
-Be better from bottom to top.
-Yes Tom.
Good idea.
Start with the cellar, Harold.
Tom will guide you.
-I want to see every nook
and cranny in this house.
-Oh you will.
-And then I want to talk
to each child alone.
-You may find some of them
aren't very talkative.
-I'll take that chance.
-This way, Mr. Mullins.
-What are you doing, Pete?
-I was trying to get in there.
-You know you're not
allowed in the cellar.
Now get out of here.
Go outside with the other kids.
Go on.
-Why was he so anxious
to break this open?
-Beats me.
Crazy kid.
It's a cold room
for meat storage.
Let's get going on those
nooks and crannies.
-Where's Pete?
Where's Pete?
-Here he comes.
Right here.
-Where were you?
-I want to see the
inside of this.
-Oh sure.
Only I don't have a key.
-Then you'd better
get it, Kredge.
-Sure.
You wait right
here, Mr. Mullins.
-He wants in the freezer.
-Then that's where
we'll put him.
-Come on.
Come on.
I haven't got forever.
-But Harold.
That's exactly what you do have.
[SUSPENSEFUL MUSIC PLAYING]
-Who the hell are you?
Whoever you are,
you're a dead man.
[SUSPENSEFUL MUSIC PLAYING]
-Good luck leaving my house.
[SUSPENSEFUL MUSIC PLAYING]
-Ellie you got out.
-She tried to kill me.
-See, I wasn't making it up.
-She's got the bodies
of the kids who
tried to run away
in the freezer.
She murdered them.
Look, all of you.
Run.
Run away.
This is your only chance.
Run.
[SUSPENSEFUL MUSIC PLAYING]
-Come on.
Let's go.
Let's go.
-Go where, Pete?
[SUSPENSEFUL MUSIC PLAYING]
-You going to leave
me in here to die?
-Why Tom.
You won't die.
Not in here.
We're just going to chill your
blood and stop the bleeding.
-Please don't leave me in here.
-But Tom.
All your friends are here.
[SCREAMING]
[SUSPENSEFUL MUSIC PLAYING]
[SCREAMING]
[SUSPENSEFUL MUSIC PLAYING]
-No.
No, don't kill me.
No, please.
I don't mean to hurt you.
I didn't even know
that you were with her.
I didn't want to hurt you.
Not you.
And your face.
Calvin.
-That's right.
Calvin.
Last week I found the body of
a man near your mother's house.
He was burned and his face
was smashed to a pulp.
It wasn't hard to
figure out, Ellie.
He was in bed with
your mother that night.
But you didn't kill him and
he managed to crawl away.
Oh, you said you
never saw the hammer.
But I thought it was
kind of funny you'd
have nightmares about
it unless you did.
When you learned that a man
wasn't found with your mother,
you knew he got away.
So you decided to pin
everything on him.
-He was just another
one of mother's clients.
-I figured you knew you
smashed his face in pretty good
and you made a
fugitive out of him.
So you might be afraid
he'd be out for revenge.
-Back at the house
they tried to kill me.
-I thought there
was something fishy
about Mrs. Deere and her house.
So I thought I'd do
some snooping around.
I got the idea I
would use you as bait.
Scare you into running off
to see what they would do.
Well I found out.
-You're so clever, Calvin.
False face and all.
-This is nothing but
theatrical makeup, that's all.
Come on.
-What's going to
happen to me now?
-Well that's up to you, Ellie.
You don't think I would want
anything to happen to you,
do you?
-What do you mean?
-Well I figured we
could become friends.
Very good friends.
Now that we've gotten to
know each other so well.
-Don't you want to arrest me?
-Arrest you?
No, Ellie.
I-- I want to marry you.
-Marry me?
-Yeah.
No one would have
to know what I know.
-You mean you
wouldn't say anything?
-Not if you're my wife.
Wouldn't be loyal.
-And if I'm not.
-Be a shame to see
that pretty little
neck in a hangman's noose.
-Would they really hang me?
-I'd say at least
life imprisonment.
-No I couldn't stand that.
-Well you have a choice.
-Calvin, you are corrupt.
-Well evil breeds evil, honey.
How about it?
-Mother always said that older
men made the best husbands.
-I bet your mother
never told you
that I was the first
one to make love to her.
[GIGGLING]
[LION ROAR]
[CRICKETS CHIRPING]
[MUSIC PLAYING]
[RADIO PLAYING SOFTLY]
[BEADS RATTLING]
[RADIO PLAYING SOFTLY]
[SUSPENSEFUL MUSIC PLAYING]
[CRIES]
[RADIO PLAYING]
[CLATTER]
[FLAMES CRACKLING]
[SCREAMING]
-What's wrong?
-I had a bad dream.
-Ellie, for heaven's sake.
-Mr. Mullins, you've got to
get this girl out of here.
-I've arranged a
place for her, nurse.
-I didn't ask to come
to your crummy house.
-I'll stay with her nurse.
Please, thank you.
Thank you very much.
-Why are you keeping me here?
I'm not even sick.
-It's the only place we
could put you up temporarily.
-I should have taken off
right after the funeral.
But it's not too late.
-Ellie.
You're still a minor.
-I've got a father someplace
and I'm going to find him.
-Of course you have a father.
But you don't know who he is.
No one knows who he is.
Your mother knew,
but she's dead.
So as far as the court is
concerned, you're an orphan.
-But as far as
I'm concerned, I'm
free to do what I want to do.
-Ellie, you're
under court order.
You can't leave the county.
-Are you going to stop me?
-I'm a social worker,
not a policeman.
But if you try to
leave, I'll have
to report it to the Sheriff.
-OK, Mr. Mullins.
If that's the way
you're going to be.
-Look, you're an
orphan now and--
-I was an orphan
the day I was born.
Maybe you didn't know my mother.
-Yes.
I did.
-I bet you did.
Every drifter and traveling
salesman, schoolboy over 16
knew my mother.
[MUSIC PLAYING]
[CRICKETS CHIRPING]
[MUSIC PLAYING]
[CAR ENGINE]
[MUSIC PLAYING]
[BRAKES SQUEALING]
[MUSIC PLAYING]
[TRAIN HORN]
[TRAIN WHEELS]
-Hold it.
Hold it.
Hold it, don't be afraid.
I'm not going to hurt you.
Ellie, my name is
Calvin Carruthers.
You might know me.
I used to work at the theater.
I used to see an
awful lot of you.
Every Saturday for the matinee.
-How come you chased me?
-How come you ran away?
-I thought you
were somebody else.
-Well I drive this
road at night quite
a bit since I changed jobs.
-What's that got to do with me?
-Well, with the
theater closed, I
went to work for
the country sheriff.
Oh, wait a minute.
Hold it.
-Mullins told you, didn't he.
-Mullins told me you
were having nightmares
and that you were frightened.
Well considering what
you went through-- Ellie,
I think I'd better take
you back to the hospital.
Come on.
-You sure don't look like
any sheriff I ever saw.
Where's your uniform?
-I'm a detective.
-You've sure got a strange
way of doing things.
How did a man like you ever
get to become a detective?
-I was an ordinary
sheriff's deputy for awhile.
Then the detective we had died,
but none of the married men
wanted the job
because of the hours.
Well I don't have anybody.
The pay is $50 a month extra.
-Heaven help the county.
-Anyway, I was going
over your mother's case.
Like to ask you a
couple questions, Ellie.
-If you were any
kind of detective,
you'd have checked the report
at the coroner's inquest.
I told them everything.
[CAR ENGINE]
-All right.
Now you told the coroner that
you were asleep in your room.
And you ran into the hall.
-That's right.
-And you saw a man running
out of your mother's room.
This was all before you noticed
that the fire was in the house.
-That's right, Calvin.
-Did you see a hammer
in this man's hand?
-No I didn't see a hammer.
I only see it in my nightmares.
-Ellie.
Ellie, did you ever
see the man's face.
-Yes.
It was thick and ugly.
A lot like yours.
-All right.
This big, ugly face.
Had you ever seen it before?
-He was just another
one of mother's clients.
Some drifter she
picked up at the bar.
-Ellie.
[BELL RINGING]
-Ellie, this is important.
This man you saw.
Did he see your fave?
Did the killer see your face?
-I guess he must have.
Why?
-Only because you're
the only witness.
He just might come back
here looking for you.
And not because you
have a pretty face.
-Are you trying to scare me?
-No.
But we don't know who the killer
is or where he disappeared to.
-Well what if you
never find him?
-I don't know.
But until we're through
looking for him,
you'd better not go
any place by yourself.
[MUSIC PLAYING]
-Hi, Calvin.
Sorry I'm late.
-Yes, Hal Can I get you a beer?
-No thanks.
You wanted to talk.
What's on your mind?
-I uh-- what do
you and the county
Welfare Bureau have in
mind for Ellie Masters?
-Orphan's home.
I'm taking her there tomorrow.
-She sure is a pretty
little thing, isn't she?
-Yeah.
-Looks a lot like
her mother used to.
-Yeah.
-Poor Edna Masters.
Tell me, Hal.
Did you and Edna ever--
-What the hell difference
does that make?
-Well I doubt that any
man in the county didn't.
-Including you?
-Well not in a long time.
Not since she
turned professional.
And I acquired this.
Where is this home
you're taking Ellie to?
-You know.
The old Jameson Deere mansion.
-Come on, Hal.
What's the matter with you?
There's a killer loose.
Ellie could be--
-No.
Don't get dramatic, Calvin.
You're not in a theater now.
It's a perfectly safe place.
You know Jameson died last year.
The widow Deere turned it
into a nice home for kids.
We made an agreement
between her and the county
and it's worked out
real good for everybody.
-I bet it has.
-Look, I inspect that
house myself twice a year.
It's neat as a pin.
And the kids are healthy.
-Ellie Masters is healthy now.
I want to see to it that
she remains that way.
-Calvin.
You're interest in that girl
wouldn't go beyond police duty,
would it?
-Goodnight.
-What makes you think she'd
ever be interested in you?
-I didn't she
would or she could.
-Then I think you'd better keep
your interest where it belongs.
-You know, Hal.
When you get to be my age and
you start thinking seriously
about getting married,
you start sniffing around
for some good breeding stock.
-I suggest you do your sniffing
in some other pasture, Calvin.
-Now assuming that you have
a business deal with Mrs.
Deere about directing
county business her way--
-Now you hold on--
-Which makes no
difference to me, Harold.
The point is don't
give me a lecture.
When it comes to Ellie Masters,
maybe neither one of us
is strictly professional.
[DOOR SQUEAKING]
[SUSPENSEFUL MUSIC PLAYING]
[CLOCK BELLS RINGING]
[MUSIC PLAYING]
-What are you doing, boy?
Sneaking in the house at
night, carrying a suitcase?
Very suspicious
behavior, Ernest.
We don't like kids who try
to run away from our home.
Of course, if you aren't
here, the county won't pay us.
[SLAP]
You get my drift, huh?
[SLAP]
-Ow.
[SUSPENSEFUL MUSIC PLAYING]
[THUD]
[SUSPENSEFUL MUSIC PLAYING]
[SLOW MUSIC]
[CRICKETS CHIRPING]
-You let a 16-year-old
boy make a fool of you.
-I tell you.
He just disappeared.
Vanished.
He must have made
it to the road.
-You mean you were too
drunk to look for him.
-I showed you I came
pretty close to grab those.
Anyway, it's only the first
time one's gotten away.
-Harold Mullins is coming
here tomorrow with a new girl.
He's going to inspect a
place while he's here.
-Oh, come off it, lady.
You got old Mullins
in your back pocket.
Or should I say
under your skirt?
-My relationship
with Harold Mullins
can only be pushed so far.
When he counts the
children tomorrow,
there's going to be one missing.
-You talk as if
he really doesn't
know what's going on here.
-Whether he does or
not, your boozing
has cost me $150 a month.
-OK.
So you lose money on Ernest.
But Mullins is bringing
the girl, you see.
Tit for tat.
-You better set
up the infirmary.
And you get rid
of that suitcase.
[MUSIC PLAYING]
[METAL CLACKING]
[MUSIC PLAYING]
-It's freezing in here.
-Well that's the idea.
Get going.
We have two more.
-Frozen solid.
-He'll that out soon enough.
[MUSIC PLAYING]
-Come on.
Come on.
This thing is heavy.
I think you and me are going
to renegotiate our deal.
-Get the others.
-I mean it.
You get $150 a month for each
kid, and all I get is a hernia.
-We'll talk about it later.
The children will be up soon.
Get going.
-OK.
We'll talk about it later.
But just don't forget.
I'm the only one who knows
about your little secret.
[MUSIC PLAYING]
-What are you doing, Tom?
-I'm working.
Go back upstairs, kid.
-I want to get something to eat.
-I said go back upstairs.
-I didn't get enough supper.
-If you don't go back upstairs,
you'll never eat again.
-OK.
Don't get mad.
-What took you so long?
-Uh.
I bumped into an old friend.
-Go wash the liquor
out of your breath.
We've got a big day ahead of us.
-Quiet, Mrs. Deere.
Loud talk frightens
the children.
-Oh, you are a
foolish child, Alice.
Trying to run away.
Why, Tom could have killed
you with that knife.
Lucky I got you to
the freezer in time.
Or you might have bled to death.
-Mr. Mullins, you seem
awfully anxious to get me
to this orphanage.
-It's my job.
Until you're 21, you're
my responsibility.
-I got this funny
feeling like I used
to get sometimes with my mother.
Like you;re trying
to get rid of me.
[CAR ENGINE]
[MUSIC PLAYING]
[DOORBELL]
-So this is Ellie Masters.
-Ellie, this is Mrs. Deere.
-Hello.
-I heard about your
mother's tragic--
-Murder?
Why?
Did you know my mother?
-No.
But my late husband
spoke so highly of her.
Tom, here's the new girl.
Ellie, this is Tom
Kredge, our handyman.
-He looks handy, all right.
-Ellie, go up and
get acquainted.
Later we'll get you
settled in a room.
Something rebellious
about that girl.
She's going to be trouble.
-Oh, you can handle her.
You do have a way with children.
-Would you like to see the
rest of the house, Calvin?
-Why not?
[BIRDS CHIRPING]
-Hi.
-Hi.
Are you the new girl?
-I suppose so.
-My name's Bunch.
-I'm Ellie.
Does Mrs. Deere make
everybody work like this?
-She says we have to learn
to pave our own way in life.
-Um, I thought the welfare
bureau paid our way.
-Well Mrs. Deere says it's
not enough to take care of us
so she needs the extra income.
Oh that's Walter Barnes.
He's the oldest boy here.
Mrs. Deere's pet.
-He looks nice.
-He's also my boyfriend.
-I think I'll go
over there and get
acquainted with some
of the other kids.
-Jennifer tried
to run away again.
She's been locked in
the attic as punishment.
I don't suppose you'd
want to see her.
-Perhaps I'd better not.
What I don't know won't hurt me.
-Hey, must be pretty
tough for you.
Suddenly becoming
an orphan like that.
-Not really.
I've got a father some place.
-I was born an orphan.
I've been in and out
of homes all my life.
-That girl Bunch seems
to be pretty nice.
-Yeah.
She's a cute kid.
-I don't think she'd like
to hear you say that.
-Why?
-That's isn't exactly, you
know, the kind of thing
a girl likes to hear
from a boyfriend.
-A boyfriend?
You've got to be kidding me.
She's only 16.
I'm nearly 21.
-Poor Bunch.
-What do you mean by that?
-To be 16 and only a cute kid.
-Well the house looks
fine, Dorothy, just fine.
-I'm glad you're
pleased, Harold.
Uh, why don't we
step into my room
and have a nice cup of tea.
-Yeah.
But first I want to count
heads for my report.
-Oh, of course.
The count.
I had the children stay
outside so you could inspect.
Oh, I almost forgot.
We do have three
in the infirmary.
-Oh, I'm sorry.
Nothing serious, I hope.
-Just a little cold.
-I suppose you'd
like to see them.
-You know the regulation.
-You keep the infirmary locked?
-Keeps the other children
and the germs in.
Shh.
They're sleeping, poor dears.
Maybe we'll just peek in.
We don't want our welfare
officer catching anything,
do we?
-I'll tiptoe.
On second thought, I don't
want to catch anything.
Might be fatal for a man my age.
Let's see, there's
three in the infirmary.
One in the attic.
Let's see the others outside.
[MUSIC PLAYING]
-Now this is serious, Dorothy.
You sure you have no idea
where this boy Ernest could be?
-It's just terrible.
No child's ever run away
from my home before.
-Uh huh.
Well maybe I'd better notify
the sheriff's office, huh?
-If they find him, he won't be
sent to reform school, will he?
-Wow.
How I can do with some employ.
-It would be just terrible.
I'd lose that income.
-No.
No, no, no, no, no.
I'll do everything I can.
-I am so grateful
to you, Harold.
-You know it's always
a real pleasure
doing business with you, Dotty.
[MUSIC PLAYING]
-Is everybody sleeping?
Everything in--
My name is Ellie.
-What are you doing here.
I'm exploring.
-Nobody's allowed in the
house during inspection.
Get out of here.
[MUSIC PLAYING]
-Goodbye, Ellie.
Be good.
-Goodbye, Harold.
Keep in touch.
-I'll do that.
-Now we'll take care of you.
The girls' rooms
are on this side.
The boys are over there.
-How do you keep them apart?
-With strict rule.
When you unpack, we'll
store your suitcase.
Since you won't be needing it.
-Who's my roommate?
-She's a nice girl.
You wouldn't want to--
-Me.
-Bunch.
This is Ellie Masters.
-Sweet 16.
-We met.
-Well, I see two girls are
getting along just fine.
Get settled, Ellie.
Be down for dinner
at 6 o'clock sharp.
Latecomers aren't fed.
-She's a lovely old
bitch, isn't she?
Maybe it won't be so bad.
You know, Bunch.
You and I do have
something in common.
[PLATES CLATTERING]
-Well I say that the
police will catch Ernest
and probably have
him back by morning.
Will you pass the rolls, please?
-I bet he gets scared and
comes back by himself.
-Listen to Bunch.
Resident psychologist.
What do you know about
the way a man feels?
-Not much but I'm
willing to experiment.
-This boy Ernest was the
first to run away, wasn't he?
-Are you kidding?
Runaway kids run a regular path
between here and the woods.
-That's funny.
Mr. Mullins said that--
-Don't worry about it.
The cops will have Ernest
back in the morning.
MRS. DEERE: There just
aren't enough children
to keep the old place going.
I know how important it is.
The house.
The tradition.
I just have to cut down.
-Those other kids, they
must have gotten away?
-Yeah.
Lucky for them.
-Just because they
weren't brought back here
doesn't mean they
weren't caught and maybe
send to reform school.
-What happened to those
three kids in the infirmary?
-There hasn't been anybody in
the infirmary for over a week.
-I heard talking.
-It's only a roll.
-This is no restaurant.
Those rolls have
to last three days.
I warned you, Pete.
Now tomorrow you
won't eat at all.
As for you, Ellie.
Tomorrow will be the
beginning of your chores.
In this house,
you'll earn your way.
-You'll start here and
work your way down.
Polish all the woodwork
and the floors.
-That'll take a week.
-Next week they'll be
something else to do.
We work hard in
our house, Ellie.
Chores, classes.
-Well when do we get a day off?
-Sunday you may
do as you please.
I can see you're not used
to discipline, Ellie.
-Oh, I've had my share.
-I suppose things are always
simpler when you're beautiful.
I can remember.
Oh yes.
I was beautiful once.
My husband Jameson thought
I was very, very beautiful.
And then one morning I
looked in the mirror.
I was old.
And Jameson had found
other beautiful women.
Women like your mother.
-We had a lot of company.
-My husband was the only thing
in my life that mattered.
No children.
No friends.
Only Jameson.
Then-- but that's in the past.
Only you young people only
concern yourselves with today.
-And tomorrow?
-Yes, tomorrow.
Ellie, I'll do my
best to make sure
that all your todays
and tomorrows are full.
And then perhaps one day you
too will look in the mirror.
[MUSIC PLAYING]
[SUSPENSEFUL MUSIC PLAYING]
[GASP]
-Who are you?
-Jennifer.
I'm thirsty.
-How long have you been here?
-I don't know.
Days.
-Why?
-I tried to run away.
I'm thirsty.
[WATER RUNNING]
-Where are you going?
-I'm taking this to
the girl in the attic.
-Want to keep her company?
-That girl's going to die.
-There's only one thing worse
than trying to run away, kid.
That's seeing things
and saying things.
You get my drift?
-That's ridiculous.
-Maybe.
But it wouldn't hurt to give
this place a good going over.
-What do you mean, going over?
-A search from top to bottom.
-Excuse me.
Oh, Tom.
Tom, come here a minute.
Tom, this is
Detective Carruthers.
Tom Kredge, my handyman.
-Yeah, I've seen
you around town.
-Tom, Mr. Carruthers
thinks Ernest
might be hiding in the house.
-Is that so?
-He thinks the house
ought to be searched.
Uh, didn't you say
something about seeing
Ernest that night he ran away?
-Yeah, that's right.
I-- I saw him outside kind
of walking towards the road.
-Did he have anything with him,
like a bundle or a suitcase?
-Yeah.
A suitcase.
-Oh, his belongings are gone.
I can show you.
-All right.
I'd like to see Ellie
Masters, Mrs. Deere.
-She's in the kitchen.
I certainly hope you find
her mother's murderer.
-So do I.
-It's frightening having some
maniac walking around loose.
-Kredge, let me see your hammer.
Yeah.
This is a fine tool.
You know, I used to be
able to with one whack
drive a 16 putty nail through
a couple of two by fours.
-Any carpenter worth
his wage can do that.
-I guess you're right.
Get into town much now, Kredge?
-No, not much.
-You know Edna
Masters, don't you?
-Yeah, I know her.
So what?
-I mean as a carpenter
or a customer?
-I just saw her around town.
She wasn't my type.
Her daughter's something else.
Bet I could take
a crack at that.
What the hell's the
matter with you?
-I don't like that kind of talk.
Ellie happens to be a nice girl.
-Yeah.
Sure she is.
That's how you like
them, huh, officer?
Nice and young.
-Well.
Appears you've made
yourself a home.
-Home.
You mean work house.
-It's like they say in jail.
First week is the toughest.
-That's a good comparison.
What brings you here?
-I'm checking out that
runway boy Ernest.
-Well you're not
going to find him.
Any more than you'd
find any of the others.
-What others?
-The other kids that ran away.
Mr. Mullins tried to
tell me that weren't any.
I know different.
-Uh, Ellie.
About your mother.
I don't have any leads
but I do have some ideas.
-What am I supposed to do?
Wait around?
You going someplace?
-Well, anything's better
than this concentration camp.
-This is the safest
place for you.
We can keep an eye on you.
-Well you haven't exactly
been keeping me company.
-I've got an awful lot
of cases to handle.
But I'll be around.
-Please.
I'm thirsty.
-Oh yes Jennifer.
I have water.
-I'm sorry.
I'll never do it again.
I promise.
-I'm sure you'll never
do it again, Jennifer.
But you're going to
stay in detention.
So the other children will
learn by your example.
You're very fortunate, you know.
When Tom caught
you, he could've--
-He wanted to kill me.
-Tom was very angry at you.
It was lucky I was there.
I saved your life.
And did you say thanks?
Well?
-Thank you.
Thank you.
-That was nice.
You're important
to me, Jennifer.
All the children
are important to me.
Oh, oh yes.
The water.
It's so cold and clear.
And sweet.
[MUSIC PLAYING]
-I used to dream about
a girl strong of wit.
There was never anybody.
I'm very glad you came, Ellie.
-I'm not going to be
here for long, Walt.
-What do you mean?
-I mean I'm going to run
away the first chance I get.
Will you help me?
-I can't help you, Ellie.
-You could if you wanted.
-You can't run away, Ellie.
You wouldn't stand a chance.
-Other kids--
-They were boys, Ellie.
They could take care of
themselves in the woods.
Besides it's not really
that bad living in a home.
-Then you're blind.
Jennifer's dying in the
attic and that stupid witch
is starving to death.
-But we get enough to eat.
-Walter, I did see three kids
in the infirmary the first day
I got here.
-I told you, Ellie.
We were all outside for
Mr. Mullins' inspection.
Now you're just blowing
this all out of shape.
And Jennifer, she'll be OK too.
Mrs. Deere's a little
strict, that's all.
-Tom Kredge.
He gives me the creeps.
-He was a homeless lurch.
A starving hobo before
Mrs. Deere took him in.
Ellie.
-I can't stand being
cooped up in one place.
I never could.
Besides, I've got
to find my father.
-What for?
What good's it going
to do you, Ellie?
-Maybe you've got
folks somewhere.
Don't you want to know?
-Know what?
-You've got a mother
and you've got a father.
You're a little bit
of both of them.
You can look at them and
see what you're going to be.
-Maybe it's better not to know.
-I've got to.
There's got to be something
better than my mother.
Maybe my father was
strong and kind.
-Probably just some
horny salesman.
-You're horrible.
-Did you ever stop
to think that maybe
it's horrible to
find out, Ellie?
You know, I'm kind of glad
I never knew my folks.
Because I've got nothing
to live up to or down.
I'm just me, Ellie.
And that's all I care about.
-That is all you care about.
[SUSPENSEFUL MUSIC PLAYING]
[HAMMERING]
-Poor Ellie Masters.
All cooped up in this old
house in the in of nowhere.
-It isn't exactly my doing.
-Do I get the feeling
you want to get away?
-Hardly more than all the time.
-And now you can.
-Can what?
-Escape.
-Is this part of job,
seeing who wants to run?
-Of course, if you're
not interested--
-Maybe I am.
-Meet me in the cellar.
-Cellar?
-It's where I keep my tools.
No one will see us talk there.
Here hold this.
-No.
-Take it so I can get down.
-No.
-It won't bite.
It's just a hammer.
Take it.
[SUSPENSEFUL MUSIC PLAYING]
-Is that you?
-What are you doing here?
Have you finished your chores?
-No ma'am.
Not yet.
-Why are you dawdling, boy?
-Well.
You told me once that if I
ever saw anything that looked
suspicious, that I should
come and report it to you.
-Well?
-Well when I was outside
a few minutes ago,
I saw something I think
you ought to know about.
-Oh.
How'd you get in here?
-I hopped in through a window.
I don't want anybody
to know we're together.
-You'd better tell me
what you got in mind.
-I'll show you a way to escape.
What'll you do for me?
-Anything you want.
-You promise?
-You show me.
-A deal.
Here it is.
A great escape.
Whiskey.
[SUSPENSEFUL MUSIC PLAYING]
[CRYING]
[SHOUTING]
-You'll be punished
for this Ellie.
Tom, come here.
I know what you've been up to.
-He tricked me into
coming down here.
-I'll deal with
you later, Ellie.
Go to your room.
-You know--
-Go.
-Nothing really happened.
It was-- I caught her
around the freezer and--
-You're a liar and a
stupid one at that.
She doesn't suspect
anything about the freezer.
You've had your last warning.
-You're right, lady, I have.
From now on, you
keep your mouth shut.
-You're fired.
Get out of here.
-I'm not fired.
Matter of fact, you and
me just became partners.
From now on, I'm in
for 50% of the action.
-You're in for
nothing but trouble
if you don't leave my house.
-I'll leave here.
I'll take our little
secret with me.
But when I get through,
it won't be a secret.
-You're not that stupid.
You'd implicate yourself.
-You're lucky I'm a man
who has nothing to lose.
Of course, if it's worth
having, I've already lost it.
You and me.
50 50.
You alone, 0.
-All right, Tom.
If that's the way it has to be.
[MUSIC PLAYING]
-Please.
-Stop your whimpering.
-You're a witch.
[SLAP]
-A crazy witch.
[SLAP]
-You weren't entirely
at fault, Ellie.
Otherwise I'd really punish you.
-Like Jennifer in the attic?
-Jennifer tried to run away and
I was advised to punish her.
-By who?
God?
-My husband Jameson always
advised me and counseled me.
-I thought he was dead.
-He's not living but that
doesn't mean he's dead.
Science is making
marvelous progress
with drugs and transplants.
Someday, people who have
passed away before their time
will be restored.
Like my husband and others.
If we preserve their bodies.
So you see, Ellie.
What you call death may be only
the temporary absence of life.
-You don't really care if
Jennifer lives or dies.
-It's so simple when
you're young, isn't it?
Black and white.
Good and bad.
Life and death.
Youth and beauty.
You children are so fortunate.
-And you hate us
for it, don't you?
-On the contrary, Ellie.
I'd like to preserve you all.
Just as you are.
[MUSIC PLAYING]
-Walter.
-Ellie, I did an awful thing.
I was one that told
Mrs. Deere that you
were in the cellar
with Tom Kredge.
Why?
-I was jealous, I guess.
It's pretty dumb, isn't it.
Being jealous of Tom.
-Yes.
Now you can clean up the shed.
Hey, I can use this
when I run away.
The old witch took mine.
-Is there anything in it?
-Walter, how many girls
have you made love to?
-Hundreds.
-That's what I thought.
-What the hell
difference does it make?
-You get into town
once in a while,
you could have
patronized my mother.
-Ellie, for crying out loud.
-I knew a lot of her clients.
The mailman, the postman,
Mr. Samuels the banker.
-Ellie, how can you talk about
your own mother that way?
-Sometimes I'd hear
them come in late
at night, laughing and giggling.
Then later I'd hear
them thrashing around
and I, I used to lie there
in my bed and wonder--
-Wonder what?
-Wonder what it would've been
like to have had a real father.
Not a stepfather.
Not a foster father.
But a real blood relation.
-Maybe it's better not to know.
-Mother wouldn't
even talk about it.
You know she wouldn't-- wouldn't
even tell me who he was.
The only thing she ever said
was that the first man who
made love to her
got her pregnant.
And ruined her figure.
But the own feeling that she
ever had for me was blame.
You know what,
maybe you're right.
Maybe it is best not to know.
-Not to know what?
-That you're just
some poor accidental
bastard that nobody even wanted.
-Well.
If it isn't the answer
to a maiden's prayer.
I thought I'd get a little
bit of sun before class
this afternoon.
-I don't think Mrs. D ought
to catch you in that outfit.
-What makes you so
damn good, Walter?
-Maybe your age.
-Ellie's only a couple
years older than I am.
Come back in a couple years
and we'll talk about it.
-Boy, you're dumb.
Care to see what she is?
-No, Bunch.
What is Ellie?
-You know.
Strange.
She's a big tease.
Anybody can see that.
-All girls tease, Bunch.
It's just part of the equipment.
Look at you.
-I wish your would, Walter.
Well?
-Yeah.
It's all there.
MRS. DEERE: I know I
shouldn't worry about money.
But losing that
$150 on Ernest could
mean the difference
between profit and loss.
If we lose another child,
it could be the end.
And there's the mortgage
to pay and the food.
So many problems.
Money.
The children running away.
And now Tom Kredge.
I suppose I'll have
to get rid of him.
Just as you say.
I so want out of these
responsibilities.
Oh but, but I am grateful
for your help, Jameson.
[SUSPENSEFUL MUSIC PLAYING]
[SCREAMING]
-It came from that room.
-What happened?
-I don't know.
I think she had a bad dream.
-Ellie, did you
have a nightmare?
-What's wrong?
-I saw the hammer.
It was horrible.
Horrible.
-Horrible what?
-Face.
-It was a nightmare, of course.
-I don't know.
It is seemed so real.
-Ellie, have you had
nightmares since your mother--
-Yes.
-Well.
That's that.
All right girls.
Back to bed.
There's nothing to
do afraid of, Ellie.
It was a bad dream, wasn't it?
A bad dream.
[CRICKETS CHIRPING]
-That's all wrong for you.
-How do you know what's
wrong or right for me?
-Look, I do know that
that looks like something
out of a carnival sideshow.
Let me help you.
-Will you just leave me alone?
I really don't need any
of that big sister stuff.
-OK.
But a girl your age shouldn't
be wearing makeup anyway.
-Oh yes, a girl my age.
You're so mature and wise.
-Bunch, why do you hate me?
Walter was never interested
in you even before I got here.
-I'll make him interested.
-I'm sure you can make Walter.
But you'll never interest him.
[SMASH]
[SHRIEKS]
-All right, ladies.
Let's not break anything.
-You're a liar in addition
to everything else.
-Oh look who's talking.
Talk about your father Ellie.
Talk about your mother.
-You don't know anything
about yours except
that she had four
legs and barked.
-Cut it out.
Ellie, where's my hammer?
-How should I know?
-You had it in the cellar.
-Well then that's where is is.
-Only it isn't.
-It isn't?
I had a dream.
I saw a hammer.
No wonder it looked so real.
It was his.
-Now Pete, can you remember
what you're supposed to do?
-Yeah but what is this?
A senior prank?
-Just go find Walter and
tell him what I told you.
-OK.
-Then what do you do?
-Exactly 10 minutes after
Walter gets to the shed,
I tell Ellie that Walter want to
see her in the shed right away.
-Good.
Now get going.
-OK.
-Hey Walter.
-Yeah.
-Bunch is over at the shed.
Says she's got
something to show you.
-What is it?
-You've got to see
it to believe it.
-Walter, I've decided--
-Ellie.
Walter.
You and your little slut
can have each other.
I'm clearing out.
-Let her go Walter.
-But I think she's
going to run away.
-Good.
-But I don't want her to go.
-Mrs. Deere.
It's Ellie.
You've got to stop her.
-Walter, every time
I see you, you've
got some hot news about Ellie.
What is it this time?
-She's going to run away.
-Who told you?
-She did.
-Someone tried to kill me
last night and I know who.
-It was just a dream.
-That was no dream.
There was a man in my room.
-And where is this man now?
-I don't know.
Maybe he's still in the house.
-Stop it.
-I'm not staying here to
be killed by some maniac.
-And where would you go that
this maniac you've imagined
couldn't find you?
-I don't know.
Maybe the police.
-All right, Ellie.
-Mrs. Deere.
Mrs. Deere.
[KNOCKING]
Mrs. Deere.
Mrs. Deere please
let me out of here.
Mrs. Deere.
Please, you've got to
let me out of here.
-I knew that girl was trouble.
-Let her run away.
To hell with the money.
-Suppose she goes to the
police with a wild story
about a killer
hiding in the house.
What do you suppose
would happen?
-We'd have cops
all over the place.
-There's only one thing to do.
Walters knows Ellie wants to go.
And by now, all
the children know.
So nobody's surprised
when she shows up absent.
-Sure.
Just like our friends
in the freezer.
-I'll keep all the
children outside.
So you and Ellie
won't be disturbed.
-OK.
What about that
welfare guy, Mullins?
-Next time he
comes, we'll simply
show him Ellie Masters
in the infirmary.
Poor dear.
She caught a cold.
[SUSPENSEFUL MUSIC PLAYING]
[SCREAM]
[SUSPENSEFUL MUSIC PLAYING]
[SCREAM]
[SUSPENSEFUL MUSIC PLAYING]
[CAR ENGINE]
-Old lady, I want
to talk to you.
-Why Harold, what a surprise.
-You can save the crap.
You've made a fool out of me.
-I don't know what you mean.
-You said that Ernest
was the only kid
that ever ran away from here.
-That's right.
-But somebody told
the police there
have been a whole lot of others.
-Shh.
Harold, the children.
-To hell with the children.
To hell with you.
I've got a job at stake.
-Let's talk about
it in the house.
Uh, no.
Let's take a walk.
-I don't want to take a walk.
Let's go into the house.
But this time I want to
speak to every single kid.
-Why of course, Harold.
Whatever you say.
-And they'd better all be there.
-Certainly.
You'll see them all.
Every one.
-Pete, I think
you're full of crap.
-I saw it.
It happened.
-In your mind, you mean.
-In the cellar, I mean.
He put her in the
freezer and he locked it.
Bunch, Ellie's going
to die in there.
-I'm not falling
for your corny joke.
Go tell it to Mrs. Deere.
-Are you kidding?
Tom works for her.
They're probably in
on this together.
-What an imagination.
-Bunch, y you've got to
go to the cellar with me.
I'm too scared to go by myself.
-That's ridiculous.
-Maybe you're scared too.
-OK.
I'll play your game.
[SUSPENSEFUL MUSIC PLAYING]
[SCREAMING]
-There.
Do you hear that?
-No.
I don't hear a thing.
-That pounding.
You can't hear it?
-I don't have time for your
dumb jokes, little boy.
And you'd better mind
your own business.
Because you know Mrs.
Deere doesn't like us--
-I saw him.
-You're just trying
to get me in trouble.
-Tom.
Mr. Mullins doesn't seem to
feel we run a proper home here.
He wants to inspect again.
-From top to bottom.
-Be better from bottom to top.
-Yes Tom.
Good idea.
Start with the cellar, Harold.
Tom will guide you.
-I want to see every nook
and cranny in this house.
-Oh you will.
-And then I want to talk
to each child alone.
-You may find some of them
aren't very talkative.
-I'll take that chance.
-This way, Mr. Mullins.
-What are you doing, Pete?
-I was trying to get in there.
-You know you're not
allowed in the cellar.
Now get out of here.
Go outside with the other kids.
Go on.
-Why was he so anxious
to break this open?
-Beats me.
Crazy kid.
It's a cold room
for meat storage.
Let's get going on those
nooks and crannies.
-Where's Pete?
Where's Pete?
-Here he comes.
Right here.
-Where were you?
-I want to see the
inside of this.
-Oh sure.
Only I don't have a key.
-Then you'd better
get it, Kredge.
-Sure.
You wait right
here, Mr. Mullins.
-He wants in the freezer.
-Then that's where
we'll put him.
-Come on.
Come on.
I haven't got forever.
-But Harold.
That's exactly what you do have.
[SUSPENSEFUL MUSIC PLAYING]
-Who the hell are you?
Whoever you are,
you're a dead man.
[SUSPENSEFUL MUSIC PLAYING]
-Good luck leaving my house.
[SUSPENSEFUL MUSIC PLAYING]
-Ellie you got out.
-She tried to kill me.
-See, I wasn't making it up.
-She's got the bodies
of the kids who
tried to run away
in the freezer.
She murdered them.
Look, all of you.
Run.
Run away.
This is your only chance.
Run.
[SUSPENSEFUL MUSIC PLAYING]
-Come on.
Let's go.
Let's go.
-Go where, Pete?
[SUSPENSEFUL MUSIC PLAYING]
-You going to leave
me in here to die?
-Why Tom.
You won't die.
Not in here.
We're just going to chill your
blood and stop the bleeding.
-Please don't leave me in here.
-But Tom.
All your friends are here.
[SCREAMING]
[SUSPENSEFUL MUSIC PLAYING]
[SCREAMING]
[SUSPENSEFUL MUSIC PLAYING]
-No.
No, don't kill me.
No, please.
I don't mean to hurt you.
I didn't even know
that you were with her.
I didn't want to hurt you.
Not you.
And your face.
Calvin.
-That's right.
Calvin.
Last week I found the body of
a man near your mother's house.
He was burned and his face
was smashed to a pulp.
It wasn't hard to
figure out, Ellie.
He was in bed with
your mother that night.
But you didn't kill him and
he managed to crawl away.
Oh, you said you
never saw the hammer.
But I thought it was
kind of funny you'd
have nightmares about
it unless you did.
When you learned that a man
wasn't found with your mother,
you knew he got away.
So you decided to pin
everything on him.
-He was just another
one of mother's clients.
-I figured you knew you
smashed his face in pretty good
and you made a
fugitive out of him.
So you might be afraid
he'd be out for revenge.
-Back at the house
they tried to kill me.
-I thought there
was something fishy
about Mrs. Deere and her house.
So I thought I'd do
some snooping around.
I got the idea I
would use you as bait.
Scare you into running off
to see what they would do.
Well I found out.
-You're so clever, Calvin.
False face and all.
-This is nothing but
theatrical makeup, that's all.
Come on.
-What's going to
happen to me now?
-Well that's up to you, Ellie.
You don't think I would want
anything to happen to you,
do you?
-What do you mean?
-Well I figured we
could become friends.
Very good friends.
Now that we've gotten to
know each other so well.
-Don't you want to arrest me?
-Arrest you?
No, Ellie.
I-- I want to marry you.
-Marry me?
-Yeah.
No one would have
to know what I know.
-You mean you
wouldn't say anything?
-Not if you're my wife.
Wouldn't be loyal.
-And if I'm not.
-Be a shame to see
that pretty little
neck in a hangman's noose.
-Would they really hang me?
-I'd say at least
life imprisonment.
-No I couldn't stand that.
-Well you have a choice.
-Calvin, you are corrupt.
-Well evil breeds evil, honey.
How about it?
-Mother always said that older
men made the best husbands.
-I bet your mother
never told you
that I was the first
one to make love to her.
[GIGGLING]
[LION ROAR]