Possessed by the Night (1994) - full transcript
Several subplots revolve around story of mutant embryo in jar that exercises control over the lives of those who come into contact with it.
[music playing]
Mr. Wong.
Yes?
I didn't mean to rattle your cage
but, uh, you've been a little difficult
to get hold of lately.
Well, business has been going very bad.
I have been trying to find new curios to sell.
Any luck?
You see all of this?
Very rare.
It will, uh, bring good price in shop.
Owner die.
I get very cheap.
Cut the shit, Wong.
I'm here to collect the money you owe.
I get money by the end of week.
I sell antique tomorrow.
Special collector coming by.
You get money end of week.
I want the money now, or I'm gonna start breaking fingers.
You tell Mr. Scott--
Scott wants his money, and he wants it today.
You take this.
It's very valuable.
L-- look.
I wouldn't give you 50 bu--
Please, Mr. Gus.
What the hell is this thing?
No one knows.
What you think?
I, uh--
I think I'll let you slide for a few days.
But by the end of the week.
No bullshit.
No bullshit, Mr. Gus.
Hey, Mr. Wong.
Getting a new shipment in?
Many strange things.
My girlfriend really liked the necklace I got from you.
You got any more stuff? Can I see?
Sure, if you help me carry it inside.
Here.
Let me help you with that.
[ominous music]
Really weird.
What the hell is this?
What is this?
I tell you, it very old.
You must handle it very carefully.
Maybe I should carry it inside.
Fuck off, old man.
What's wrong, Kim?
Nothing.
Just don't need any creepies like you
and Grandma in our neighborhood.
You crazy.
Give me the jar.
Go away.
Fuck off.
[yelling]
Stop it!
[laughing]
Leave me alone!
Why don't you guys take a hike before someone gets hurt?
You're the one taking a hike, asshole.
[grunting]
Thank you.
I don't know what happened.
They're very nice boys.
Ah!
Ugh!
Be seeing you around.
[ominous music]
[dramatic music]
[thunder crashing]
[moaning]
[soft music]
[moaning]
Honey, what's the matter?
Can't sleep.
Want me to make you some hot chocolate?
[gasping]
[dramatic music]
[grunting]
Stop!
Stop it!
Stop it!
No!
[gasping]
[panting]
Gently, he caressed her sleeping face.
[phone ringing]
Honey. It's Murray.
Why don't you let me tell him you're taking a nap?
That'll just make him crazier.
Make it short, Murray.
I'm right in the middle of something.
Glad to hear, Howie, glad to hear it.
Guess where I am?
HOWARD (ON PHONE): You're in your car.
Yeah, but guess where in my car.
Well, I hope you're in the front seat if you're driving.
You must not be getting any, you know?
I mean, you're turning into a real crab.
Fuck you, Murray.
MURRAY (ON PHONE): All right, all right, OK.
I'll tell you where I am.
I don't care where you are.
I'm about five minutes from your place.
I thought I'd drop in for a few minutes.
Listen, Murray.
I'm never gonna get this novel done with you
breathing down my neck.
What breathing?
I just wanted to see how you were doing.
You've called me every day for the last week.
Every time you call, I lose my concentration.
It takes me at least an hour to get back into it.
Haven't you heard?
Digression is the spice of life.
I think Faulkner said that.
I think it was Raymond Chandler,
and he was an alcoholic.
Oh, yeah, I could use a drink myself.
Have one ready for me, will you?
Murray--
Trade you.
He's coming over.
When?
Any minute.
[sighing]
Why can't he leave you alone?
Isn't it enough that you work on the weekends?
I guess not when you have a deadline.
Thanks for the drink.
You're welcome.
Mmm.
[knocking]
- Hi, doll. - Hey.
How's the real estate biz?
- Fine, Murray. - Where's Howard?
Is he upstairs?
No, the patio.
The patio. Oh.
Then, uh, let's walk down to the patio.
Come on.
You walk to the patio, Murray.
I'm going to do some laundry.
Hmm.
Jesus Christ.
Jesus Christ, no wonder you never get anything done.
I'm thinking, Murray.
I bet you got a whole tree there.
I told you right from the get-go I didn't want
to write a horror novel.
I don't have a flair for it.
You need inspiration.
And so do I. You got another one of these now you're working?
You know, Howard, maybe what you need to do is go someplace.
You know what I mean.
Get out of here and see something new.
It gives you a fresh outlook.
What I need is to be left alone, Murray.
I know that.
But look what's happening to you.
You're guzzling down martinis for lunch.
And all you got to show for it is a pile of trash out there.
Eh.
Just promise me you're gonna get out of here today.
How do you expect me to write?
Will you promise me?
Will you?
Anything to get rid of you, Murray.
Don't you have an olive?
A little onion or something?
[sighing]
Oh.
Listen, I-- I'm not leaving until you do.
Do you mind if I change my clothes?
OK, OK.
But make it snappy, all right? - Oh!
Oh, gosh!
Oh, excuse me, honey.
I'm going out for a while.
Where to?
I don't know yet. Ask Murray.
No thanks.
Hmm.
Man oh man.
Hmm.
[birds chirping]
[man moaning]
A little harder.
Looks like you have a visitor.
Yeah.
What's going on, Scott?
It's my day off.
You want a massage?
No.
Are you sure?
GUS: No thank you.
Hmm.
You should make some time for yourself.
Ah.
Well, you know, that's what I was trying to do.
OK, girls.
We are gonna talk him into it later.
Right now, we have to have a serious conversation.
So just run along, OK?
OK.
But don't go too far.
Oh, that's so nice.
Another one.
Oh, baby.
Oh.
I mean.
Hmm. - Hi.
I'm Tina.
Hi.
I'm Trina.
[whistling]
I don't give a shit what anybody says.
I love bimbos!
You got no argument here.
Tomorrow morning I want you to pay a little visit to Murray.
I want you to make him aware that his due date
is around the corner.
And I want you to make an impression on him.
You want me to break something.
Well, I don't want to be that vulgar.
But 25 grand is a big piece of change.
Gamblers, they think they're so lucky.
And I want you to teach him a lesson.
OK?
OK.
I miss your face.
You don't come by much, except on business.
Yeah, well, uh--
I've been kind of busy.
Yeah, I know.
You've changed, Gus.
I hope you don't mind my saying this,
but there was a time when you and I were so much alike.
I used to know what you were thinking.
Now these days, I, uh--
I'm not so sure.
You want to know what I've been thinking?
I've been thinking about getting out of this crummy business.
Jesus Christ.
Nah, I mean it this time.
You've just gone crazy over some broad.
It's got nothing to do with the lady.
Then that's obviously the problem.
I want to introduce you to Trina.
I've met Trina.
I want you to meet her again.
OK.
[music playing]
- Good afternoon. - Hi.
Looks good.
Fattening though.
[wind chimes ringing]
Yeah-- OK.
No-- Mom, this is stupid.
Look, I don't-- I don't care about the shop.
I should be there with you.
OK--
[sighing]
Look, Mom-- Mom, listen to me.
How am I supposed to get anything
done if I'm worrying about Dad?
And besides, he's the only one who
knows where everything goes.
I-- I-- I don't.
[sighing] OK.
OK, fine.
Mom, I don't-- Mom, listen to me.
I don't even know how much to charge people.
Dad never priced anything.
No, he-- no, really.
He kept everything in his head.
[sighing]
OK-- OK, fine.
OK.
Mom, listen-- Mom, listen.
Call me back in five minutes.
Somebody just came in the shop.
Call-- call me back in five minutes, OK?
OK. Bye.
[phone clicking]
Hey.
Hey.
May I help you find something?
Uh, yeah, but it sounds like you have some trouble.
Yeah, my father had an accident today.
Oh, I'm sorry.
He's at the hospital now.
Well, is it serious?
Broken leg maybe.
Oh, he'll be all right.
Thank you.
Can I help you find something in particular?
Well, yeah.
You see, I'm a writer, and I'm just
looking for something, um--
what in the hell is that in the jar?
That is the reason my dad's in the hospital.
He was about to throw it out when he fell and hit his head.
Yeah, but what is it?
Oh.
What it is is hard to describe.
Uh-- something left over from an old carnival or circus,
I guess.
Where'd he get it?
An estate sale, I think.
You ever heard of the Arlin Reece collection?
No.
Well, a few months back, the owner went nuts.
He killed two of his employees and burned
his place to the ground.
He had a private museum with weird and strange stuff,
like this two-headed calf out front.
This was just about the only thing that survived.
But my old man doesn't want to sell it now.
- Why? - He gets funny about stuff.
I don't always understand his reasons.
Well, I'll tell you what.
How about you sell it to me and you can tell him you tossed it.
- No. - OK-- come on--
Sir, I'd love to sell it to you, I really would.
I--
Don't let me stop you.
OK.
Maybe he won't miss it for a while.
I'll write you a receipt. - Thanks.
[phone ringing]
Excuse me, please.
Mm-hmm.
FOK: Hello?
Hi, Mo-- what did the the doctor say?
Mom.
Mom, Mom, just-- just tell me what the doctor said.
[ominous music]
Honey, what do you want for dinner?
Howard?
I'm sorry.
No, no, it's OK.
Come on in.
Whatever possessed you?
I don't know.
I just felt like buying something.
That is the weirdest thing.
Don't you like it?
Seriously?
I'd like to put it in the closet.
Not after what I paid for it.
Just knowing it's in the house is enough.
Yeah, but the shop didn't want to sell this to me.
[laughing]
Well, it would be a hard thing to part with, all right.
He said it was an old sideshow exhibit or something.
Probably just a mutant unborn animal.
Well then, you just had to have it.
I did have to have it.
I felt drawn to it.
So I gather.
Now, what do you want for dinner?
You. [laughing]
Well, you can not have us both,
so it's either me or that thing.
- Well, I'm having both. - Howard.
- Peggy. - Howard.
[laughing]
Put on a little weight, haven't you?
Oh!
That puts me in a romantic mood.
Would you-- [laughing] would you put me down.
Ah, you're not exactly a feather yourself, you know.
Oh, no?
No.
What are you doing, honey?
I need to make love to you.
Need to?
Need to.
Do you know how much I love you?
No.
How much?
Hmm.
About this much.
Liar.
[laughing]
Oh, Howard.
Come on.
Howard--
Oh.
Mm.
Ooh, yes, yes.
Howard, take it easy.
Howard--
Stop.
OK, just not so hard.
Howard.
Come-- Howard.
Ouch!
Ow, Howard!
What is the matter with you? - Come on.
I just want to make love to you. - Would you stop--
- Come on. - Howard.
This is going too far. Come on, stop it.
Come on.
I said stop it.
Peggy--
[gasping]
Ah!
Howard.
Howard.
Howard!
What-- what's wrong, baby?
I gotcha.
I gotcha, it's all right.
You are a bastard.
What?
You scared me half out of my mind.
What did I do?
You know goddamn well what you did.
You put that goddamn thing in our bed.
Honey, what goddamn thing?
That thing!
That thing from the-- from the jar.
I don't know what you're talking about.
No?
Then follow me.
Come on.
If it is there, it's because you put it there.
Oh, it's there all right.
[ominous music]
It was there, I swear it!
And I suppose I made it disappear too.
Hon.
Ugh.
Did you kiss your little friend goodbye?
I'm sorry, that was a stupid things to say.
And I'm sorry about last night too.
I don't know what happened.
Come on.
I promise you it'll never happen again.
[sighing]
[phone ringing]
Hello.
Hi, honey, it's me.
Hey, honey.
How you feeling?
Good.
I saw the doctor this morning.
And?
And-- he says it's going to be a boy!
No kidding, a boy.
Ah.
That's great.
That's really great.
Gus?
You coming home soon?
Soon as I can.
Are you all right?
You sound kind of funny.
Everything's fine.
I'll be home just as soon as I can, OK?
- Love you. - Love you too.
Whoa.
It's finally getting a little class.
You new?
Yeah?
Is Murray in?
Your name, sir?
Oh, hey, don't worry about it.
I'll announce myself.
Excuse me, I'm supposed to announce you.
Yeah, next Thursday at 4:45?
I'll be there.
[knocking]
Gus, baby.
What's happening?
What's happening?
I'll tell you what's happening.
My old lady's pregnant.
My grandmother hasn't recovered from her stroke.
My doctor tells me that I should take it easy,
learn how to relax a little.
So I come here hoping, uh, that you got some good news from me.
I don't like you coming in like this, Gus.
You'll get your money.
You're damn straight.
I never welshed on you before, have I?
Well?
Have I?
You've never been in this deep before.
I keep having these fucking nightmares
that your meal ticket's gonna get writer's cramp.
He's right on schedule, I swear it.
I'm turning in the manuscript next week,
and you'll get your money.
Good.
'Cause I'd hate to tell Howard Hansen
that you've been ripping him off for the last eight years.
How much you figure you've taken from him, Murray?
90, 100 grand?
Why do you keep doing this to yourself?
What, you think I like coming here like this?
Take it easy, chief.
Yeah, take it easy.
Why don't you go powder your nose, sweetheart.
I need to use the phone in private.
I can't just go.
It's OK.
Murray said it was fine. - Are you sure?
Yes, I'm sure.
Go on.
SCOTT (ON PHONE): Hello.
It's me.
Gus, make it quick.
I had one foot out the door.
All right, I gave Murray the word.
Did you bust his jaw like I asked you?
Well, uh-- he knew I meant business.
Gus.
What the hell am I gonna do with you?
If you want to make an impression,
you gotta do a little damage.
Look, Scott, I don't think it's necessary.
We've never had any problems with him before.
He's at the bottom of the well, and you know it.
- Look, Scott, I-- - I don't want to hear that now.
We have to talk about this, but not on the phone.
Tomorrow morning, bright and early, be here.
OK.
I gotta get into landscaping.
[phone ringing]
Hello.
PEGGY (ON PHONE): It's me.
I was hoping you'd call.
PEGGY (ON PHONE): I couldn't get anything done.
I was snapping at my clients all day.
I'm so sorry, babe.
PEGGY (ON PHONE): Yeah, me too.
This novel's been driving me nuts.
PEGGY (ON PHONE): I know.
Not that it's any excuse.
Anyway, I think I got this thing licked.
PEGGY (ON PHONE): That's great.
So how about you and I do a little celebrating tonight?
A little dinner, a little dancing?
PEGGY (ON PHONE): Dancing?
I can't even remember the last time we went dancing, Howard.
Then it's settled.
When are you coming home?
PEGGY (ON PHONE): Um--
probably not till about after 6:00, maybe later.
Whenever.
I love you.
PEGGY (ON PHONE): I love you too.
Bye.
[knocking]
Hey.
Long time no see.
Carol McKay, I'd like you to meet the world's
greatest writer, Howard Hansen.
Nice to meet you.
Hi.
Well, are you gonna invite us in or what?
Uh-- yeah, sure.
Come on.
Did we have, um, a meeting or something today?
I want you to meet your new secretary.
What?
Carol, you know, this guy is the only writer
I know that hasn't moved into the 20th century.
He still uses a quill pen and writes by candlelight.
[chuckling]
I bought a computer last month just for you, Murray, remember?
Yeah, yeah, yeah, I remember, yeah.
But you still haven't learned how to use it.
So I figured that Carol could speed things up a little,
you know?
You write, and, uh, she'll feed it right into the computer.
Hmm?
Could we step into the kitchen for a second, please?
- Huh? - We'll be right back.
Come on. MURRAY: What?
HOWARD: You've been a pain in the ass
before, but, you know, this is too much.
MURRAY: What? - Murray.
You know, there was a time when I actually liked you.
But right now, I don't.
You're even starting to get on my nerves.
I didn't think you'd mind a little help.
She probably can't even type.
You can't type.
She types 105 words a minute.
She's going to annoy me.
Humor me, please?
She can sleep upstairs in your office.
- You want her to stay here? - Lookit, Howard.
This could be a major turning point in your career.
I don't want to see you blow this.
As soon as you're done, she's out of here.
I'm not gonna blow it.
Please?
Pretty please?
Pretty please?
I'm sorry we don't have a spare bed.
But, uh, there's a futon in the closet you can use.
Oh, my god.
Look, if you don't like it, you can-- um--
I'm sorry.
That was rude.
It's OK.
I understand it's a bit of an imposition.
HOWARD: So how long have you been with Murray?
You're it.
It's my first day.
OK.
That's what I've done so far.
It won't take me long.
Hopefully, I'll have some more for you soon.
OK.
Uh-- make yourself at home.
If you get hungry or thirsty, you know where the kitchen is.
Thanks.
Um, I noticed the gym set in your bedroom on the way up.
Would it be OK if I used it--
after I finish my work?
Sure.
It's about time somebody got some use out of it.
Thanks. I don't want to get flabby.
[growling]
[ominous music]
Ah!
Take it easy.
You are just one big knot of tension, aren't you?
There.
How's that?
That's better.
You know, I had a dream last night.
Would you like to hear about it?
Sure.
It was wonderful.
We had this pretty little house.
And it was in a small town.
Not LA.
And you were in the front yard playing with the baby.
Was I teaching him baseball?
No.
He was squirting you with a hose.
[laughing]
And we had friends.
Regular people.
They respected us.
Well, that sounds great.
Gus, you know, I was thinking--
Ah.
Jill, not tonight, please.
Why?
'Cause I'm tired, that's why.
Yeah, well, I'm tired too.
I'm tired of waiting for the phone to ring.
And I'm tired of wondering if you're
gonna come home at night.
Like I told you before, I can take care of myself.
Stop worrying about it.
How can I?
You just have to trust me.
(CRYING) Gus, you've gotta get free from all this.
I mean, you've gotta get away while you still can.
Don't cry.
Gus, I'm so afraid that some day you won't come home at all.
[sighing]
[dance music playing loudly]
That works.
[weights clanking]
She is fast.
[sighing]
[ominous music]
No, no.
Courage.
It's probably just as well.
That'll do.
[growling]
Hello?
Did you want me for something?
No.
I thought I heard you call.
No, I didn't.
What are you doing?
Couldn't seem to write.
Thought I'd at least make use of myself.
I can clean this for a while.
I've never seen a gun.
Up close, I mean.
Was my side arm in the service.
Do you mind?
Sure.
Be careful, it's loaded.
Does it have much of a--
a kick?
Some.
It could be dangerous.
[dramatic music]
Come on.
[moaning]
Honey.
Howard? You up there?
Hi.
You must be Peggy.
That's right.
Uh, who are you?
Carol McKay, Mr. Dunlap's secretary.
Oh.
OK.
You're home early.
Man, have I been sailing today.
Howard, what's with the new addition?
- You mean Carol? - Uh-huh.
She's putting everything into the computer.
I know, she told me.
But why is she living here?
It was Murray's idea.
You know how he's been about this book.
He's like an old hen. He's worried--
It would have been nice if you would have
asked me how I felt about it. - OK.
How do you feel about it?
[phone ringing]
- Hello? - Carol.
It's Murray.
How's it going?
Actually, it's going great.
I must have typed about 30 pages already.
Maybe more.
Do you want to talk to Howard?
No, actually, I want to talk to you.
I need a favor to ask you.
CAROL (ON PHONE): Sure.
About a year ago, Howard tried his hands on a romantic novel.
Uh, I think it was called "Thunder Over Paris"
or something like that.
He hated it so much that he never showed it to anyone.
It's gotta be in his office somewhere.
He never throws anything out.
See if you can find it.
Well, he must know where it is.
I'll ask him. - Oh, no, no.
Don't say anything to him or Peggy about it.
I'm cooking up a little surprise.
It's between you and me, OK?
Sure.
MURRAY (ON PHONE): Uh, is he around?
He's out on the patio.
Oh.
Then go look for it now.
As soon as you find it, call me.
I'll be at the office here until about 9:00 or so.
After that, I'll be at my house.
All right.
MURRAY (ON PHONE): Good girl.
Catch you later.
[ominous music]
[growling]
HOWARD: You know what happens if I call your office.
They put me on hold.
Come on, give me a break.
I am giving you a break.
You should have called, you should
have said it was important, and you should
have asked me about this. - I called.
It was Murray's idea. You know how how he is--
I don't care about Murray.
He drives me crazy.
I'm your wife, OK? Ask me.
HOWARD: Well, what am I supposed to do?
What are you supposed to do?
Figure it out, Howard.
Holy Jesus Christ.
You'd think I'd really done something terrible.
Honey, all I'm asking for is a little bit of consideration.
All right!
I'm sorry.
Does that make you feel better?
Not if you don't say it like you mean it.
Ah, for Christ's sake.
I'm getting out of here.
[piano playing]
[clearing throat]
Eh-- eh-- can I-- can I get another one of these, please?
Yes, sir.
Oh, Mr. Beckman.
Mr. Dunlap.
How are you, sir?
Won't you sit down?
Thank you.
It was your good fortune that I happened to be in town.
Well, perhaps, uh, your good fortune as well.
Thanks. What about you?
Oh, no.
Just some mineral water for me, please.
I did enough drinking last night to last a lifetime.
I know what you mean.
These conventions can wear you out all right.
[chuckling] - That they can, that they can.
Now, what kind of a novel are we talking about?
A romantic novel.
Romantic novel?
That's a little out of Howard's line, isn't it?
Well, he's ready to branch out.
Right now he's writing a horror novel for Randall House.
Oh, I see.
Thanks.
Aren't you going to order anything?
No, thank you, I'm not hungry.
But you go ahead.
Well, fine.
Thank you, that's it.
Now, where were we?
Oh, yeah, you were gonna make me an offer.
That was merely your assumption, Mr. Dunlap.
You call me Murray.
Why isn't Randall House interested in this property?
What makes you think they're not?
You better let me think it over, Murray.
You know, I'll be honest with you, Calvin--
Mr. Beckman.
Look, the only reason I'm even here
is because my client's got an eye on New House,
and I know that he needs some quick cash.
Now, if you're not interested, just say so
and I'll take it someplace else.
Don't get excited.
I'm not getting excited.
Just don't high hat me.
My apologies.
OK.
Now, uh, what kind of figure are we talking about?
$35,000 flat, and you could own it outright.
That's a bargain no matter how you look at it.
It's a good price.
A damn good price.
Naturally, I'd have to run this past a few people.
When could I have delivery?
As soon as possible.
Assuming I can get approval, would it be possible to have
it before I leave for New York? MURRAY: When is that?
Tomorrow evening.
Oh, no problem.
I'll deliver it myself.
Do I make out the check to you?
That's correct.
Upon delivery?
Upon delivery.
Don't bother to get up, but I really have to get going.
Nice doing business with you, Mr. Beckman.
See you tomorrow.
[phone ringing]
Yo.
I'll make this quick, Gus.
And I don't want your fuckups anymore.
I just got a call from the guy Maxwell, the paint man.
What now?
Go over and bust his jaw, or I'll bust yours.
He's trying to weasel on me.
Can you believe it?
He told me to go fuck myself.
Yeah, I believe it.
SCOTT (ON PHONE): I want you to get the hell over there
and get the cash. - He ain't due yet.
Gus.
I want you to wake him up and get my money.
OK.
I'll do it.
And tomorrow, bright and early, be here.
Yeah, yeah.
[music playing]
Help me.
Ooh!
Yeah, yeah, yeah.
You set my soul on fire.
Got me burning up with sweet desire.
Been trying to keep my cool.
But if I keep holding back, I'll be one horny fool.
Ooh, baby, just wanna love you.
So let me hug you tonight.
Come on, baby.
Ooh, baby, just wanna squeeze you.
Let me please you tonight.
Where's Big Ed?
If you don't tell me, I'll find him myself.
[thudding]
[drill whirring]
How you doing, Big Ed?
Doing fine, Gus.
You?
Same old same old.
Did Scott call you?
Yeah.
You ain't getting any more dough out of me, Gus.
I've had it with you fucking sharks.
Ha.
I can't believe you're talking to me this way.
I mean, didn't Scott bail you out when you was in deep?
Now you want me to tell the man to go fuck himself.
I think these paint fumes have been getting to your head.
Take a hike, man.
I don't need to pay you or anybody else.
Hey.
One phone call from me to the cops, you all go to jail.
Give me the money, Ed.
You know what?
You can go fuck yourself too, Gus.
Is that the way you want it?
Ugh!
[yelling]
Ugh!
Ugh!
[grunting]
Give me the money, Ed.
I want the rest by next week, OK?
OK, Gus.
Good.
[music playing]
(SINGING) Baby, just wanna squeeze you.
Squeeze you.
Let me please you tonight.
Tonight, tonight.
Since we last met, I kept it all in check.
But now he's getting out of hand,
and you can surely bet he's gonna track you down.
And when you're finally found, he's gonna do what he do
and take a bite out of you.
[suspenseful music]
Ah, finally.
[growling]
[knocking]
Peg.
Um-- I'm sorry, Peg.
You were right about this afternoon.
I don't know why I got so bent out of shape.
I never want to hurt you, Peg.
It's not called "Thunder Over Paris."
It's called "Thunder Over Hawaii."
MURRAY (ON PHONE): Beautiful.
I'll pick it up in the morning.
What time?
MURRAY (ON PHONE): Uh, say between 8:30 and 9:00.
And remember-- - I know.
It's a secret.
There's something bothering you, isn't there?
I have to tell you, Peg.
Um-- I think the reason I blew up at you--
because I was feeling guilty.
You know, honey, the sooner she's out of here,
the better I'll feel.
Thank you.
Maybe she's not the problem.
You mean we're the problem?
You're gonna think I'm crazy.
You think it's that thing in the jar, don't you?
Yes.
I mean, it's like there's some dark force gripping this house.
Listen to yourself, would you, honey?
Come on.
You sound like a little kid, and you're
trying to blame our problems on a dead thing in a pickle jar.
I don't know.
I'm scared.
Don't be.
Where are you going?
I'm getting rid of that jar.
And when I'm done with this book,
we're going on a long vacation.
Howard--
I don't think so, Howie.
Howard?
Howard?
We're in here.
Come on in, Peg.
Carol, listen to me--
No, you listen to me.
I'm in charge now.
You're not in charge.
That thing is in charge.
Take off your clothes.
What?
You heard me.
Take off your clothes.
We don't need her.
Shut up. Do it.
Now!
Have a little fun with it, Peg.
Come on.
Better.
That's it.
Let's see it.
Come on.
That's better.
Get over here.
Come on.
That's nice.
OK.
Come.
Come on.
[erotic music]
Now get busy.
The bra, Howie.
Come on, take it off.
Rip it off.
Ah!
That's it.
Ah!
That's it.
[moaning]
[growling]
You can't squeeze blood out of a turnip.
Murray isn't a turnip.
You push him too hard, he's gonna fold.
You don't push him, you'll walk away with nothing.
Yeah, well, you run that risk anyways.
Sit down.
No, I don't want to sit down.
I know, but I want you to sit down.
I don't like people talking to me looking down at me.
I think you're making a mistake, Scott.
Let me tell you something about human nature.
You give a guy a deadline, especially
a sleaze like Murray, and right away he begins to wonder
if you really mean it.
And when there's money involved, he
begins to convince himself that you don't mean it,
especially since he is running on empty.
Ah.
Man, I told you before, that shit's out.
I'm no shooter.
I'm not asking you to use it.
Just flash it.
Sit down.
Not this time, Scott.
I want out.
You're getting too goddamn greedy.
Greed makes the world go 'round.
Yeah, maybe your world, but not mine.
Half.
What are you talking about?
I'll give you half of what I get from Murray.
$12,500.
I don't get it.
From now on, we split 50/50.
I'm making you my partner.
Why, Scott?
Because I need a partner.
I'm tired.
And you are the only son of a bitch that I trust.
Welcome to my world.
[gunshot]
In your world, Scott, you can't trust nobody.
You wanna know what I'm gonna do?
I'm gonna go tell Murray he's off the hook.
That you won't be needing the money anymore.
Good morning.
Sleep well?
I didn't.
I've been up all night thinking.
I'll make some coffee.
You know what I've been thinking about?
No.
I've been thinking about how I've
never really been able to do the things I wanted to do.
You did pretty well last night.
Yeah.
We had fun, didn't we?
Sit down.
Why don't I go get the coffee started?
[gun cocking]
Sit down.
You've slipped back, haven't you?
I don't know what you mean.
Yes, you do.
You've been away from him too long.
I'm scared of him, Carol.
He doesn't make you do anything you don't want to do.
You know, for the first time in my life, I feel in control.
I was told what to think and how to feel for so long.
I don't know what I feel anymore.
That is until he came along.
Let's discuss this further over a cup coffee, OK?
Don't be long.
[suspenseful music]
You know what else I was thinking?
What?
I was wondering what it would be like to kill someone.
How pleasant.
Seriously.
If you wanted to kill someone, how would you do it?
I never really thought about it.
Well, think about it.
Would you poison them?
Stab 'em?
- I don't want to kill anyone. - Never?
You've never wanted to kill anyone?
Yes, I have.
I knew it.
Only I'd worry that the person I wanted to kill would kill me.
Well, you'd have to make sure you had the advantage.
What would you like for breakfast?
I'm not hungry.
Well, I am.
How you doing?
Murray at home?
I'm sorry, he's out for a meeting.
Can I help you?
He left something on his desk for me.
I'll get it myself.
Hey, excuse me.
You're not supposed to go back there.
Where is that little weasel?
Howard Hansen, 2338 Observatory Lane.
Would you watch the eggs? I'm gonna wake Howard.
I'd use my hands.
What?
That's how I'd kill somebody.
With my hands.
I'd strangle the bloody life out of them.
If you had the advantage.
If I had the advantage.
[suspenseful music]
Howard, wake up.
Hurry.
No, there's no time for that.
There's always time for that.
We have got to get out of here.
Why?
Why?
Because we're in danger.
Danger from what?
Too much sex?
Would you forget about that?
Not likely.
Howard, we have got to get out of here now while we
can still think straight.
Would you listen to me?
Now, I just spent the last 10 minutes
talking to Carol about different ways to kill people.
Well, if you're not up for getting a little,
I guess I'll go take a shower.
What is wrong with you?
Nothing's wrong with me.
But I can guess what your problem is.
You had a good time last night.
And now you're feeling guilty about it.
I guess you're right.
You bet I'm right.
This is insane.
It's got him too.
Ugh.
Here comes Murray.
Boy is he gonna be surprised.
[ominous music]
Carol.
Carol.
Murray.
Huh?
For Christ's sake, keep it down. CAROL: What?
Come on, I don't want to make a lot of noise over here.
Oh, hi, Peg.
Uh, I just dropped in to see Carol.
Well, here I am.
Uh, can I see you in private?
Peg, you don't mind if I, uh-- - Not at all.
You want some coffee? I got some made.
Sit down, Peg.
What-- what the hell is going on here?
Well, Murray, right at the moment,
I'm trying to decide whether I want to shoot you
or cut you in little pieces.
Wait, wait, wait, wait.
If this is a gag, it isn't funny.
Get in there.
Now.
I thought I heard your voice, Murray.
What are you doing here?
He came to get one of your old manuscripts.
What old manuscript?
"Thunder Over Hawaii."
What in the hell were you gonna do with that?
Well, you see, I--
I can't think straight what that gun pointed on me.
Oh, sorry.
[gun cocking]
Try real hard.
I was gonna sell it.
- Sell it? - Yeah, man.
I-- I'm in debt up to my eyeballs.
I needed the money.
You could have asked me.
I would have loaned you the money, Murray.
You don't have it to loan.
You're broke.
I'm broke?
How can I be broke, Murray!
I gamble.
I lose.
That's all there is to it.
Why don't you kill him, Howie?
It's what you want to do, isn't it?
[suspenseful music]
Come here, Murray.
Come on!
No, Howard!
Get away from me, man.
Ugh!
Uh!
[grunting]
You're fucking nuts. - Come on.
You're stronger than this.
Come on!
Ugh!
[gunshot]
[gunshot]
Ugh!
Hey.
Hold it, lady.
[gunshots]
Howard?
Oh, thank god.
OPERATOR (ON PHONE): 911.
My name is Peggy Hansen.
I live at 2338 Observatory Avenue in Van Nuys.
Could you send somebody over right away?
Three people have been killed, and my husband's injured.
OPERATOR (ON PHONE): OK, that's 2338 Observatory?
Mm-hmm.
OPERATOR (ON PHONE): OK, we'll have somebody right on the way.
Put down the phone, Peg.
[crying]
Put down the phone, Peg.
This is perfect.
Howard, listen to me.
I can kill you and say any one of them did it.
And who's gonna say any different?
I already called the police.
I told them you were injured.
They'd know it was you.
I'll tell them you made a mistake.
Don't give in to this thing.
Don't let it win.
[gun cocking]
It already has, Peg.
[gun clicking]
Son of a bitch.
I thought I fixed that.
Hah!
Hey.
Peggy.
Where are you?
Hmm?
I don't know what came over me.
My god, I could have killed you.
Peggy?
We've gotta destroy that thing before it destroys us.
I don't think I have the strength to do it alone.
Come on out.
Hah!
Ugh!
[suspenseful music]
Ah!
[grunting]
Take her.
Take her.
Take this, you son of a bitch.
No!
Are you OK?
What happened?
Oh.
It's gonna be all right.
[sirens blaring]
[dramatic music]
Mr. Wong.
Yes?
I didn't mean to rattle your cage
but, uh, you've been a little difficult
to get hold of lately.
Well, business has been going very bad.
I have been trying to find new curios to sell.
Any luck?
You see all of this?
Very rare.
It will, uh, bring good price in shop.
Owner die.
I get very cheap.
Cut the shit, Wong.
I'm here to collect the money you owe.
I get money by the end of week.
I sell antique tomorrow.
Special collector coming by.
You get money end of week.
I want the money now, or I'm gonna start breaking fingers.
You tell Mr. Scott--
Scott wants his money, and he wants it today.
You take this.
It's very valuable.
L-- look.
I wouldn't give you 50 bu--
Please, Mr. Gus.
What the hell is this thing?
No one knows.
What you think?
I, uh--
I think I'll let you slide for a few days.
But by the end of the week.
No bullshit.
No bullshit, Mr. Gus.
Hey, Mr. Wong.
Getting a new shipment in?
Many strange things.
My girlfriend really liked the necklace I got from you.
You got any more stuff? Can I see?
Sure, if you help me carry it inside.
Here.
Let me help you with that.
[ominous music]
Really weird.
What the hell is this?
What is this?
I tell you, it very old.
You must handle it very carefully.
Maybe I should carry it inside.
Fuck off, old man.
What's wrong, Kim?
Nothing.
Just don't need any creepies like you
and Grandma in our neighborhood.
You crazy.
Give me the jar.
Go away.
Fuck off.
[yelling]
Stop it!
[laughing]
Leave me alone!
Why don't you guys take a hike before someone gets hurt?
You're the one taking a hike, asshole.
[grunting]
Thank you.
I don't know what happened.
They're very nice boys.
Ah!
Ugh!
Be seeing you around.
[ominous music]
[dramatic music]
[thunder crashing]
[moaning]
[soft music]
[moaning]
Honey, what's the matter?
Can't sleep.
Want me to make you some hot chocolate?
[gasping]
[dramatic music]
[grunting]
Stop!
Stop it!
Stop it!
No!
[gasping]
[panting]
Gently, he caressed her sleeping face.
[phone ringing]
Honey. It's Murray.
Why don't you let me tell him you're taking a nap?
That'll just make him crazier.
Make it short, Murray.
I'm right in the middle of something.
Glad to hear, Howie, glad to hear it.
Guess where I am?
HOWARD (ON PHONE): You're in your car.
Yeah, but guess where in my car.
Well, I hope you're in the front seat if you're driving.
You must not be getting any, you know?
I mean, you're turning into a real crab.
Fuck you, Murray.
MURRAY (ON PHONE): All right, all right, OK.
I'll tell you where I am.
I don't care where you are.
I'm about five minutes from your place.
I thought I'd drop in for a few minutes.
Listen, Murray.
I'm never gonna get this novel done with you
breathing down my neck.
What breathing?
I just wanted to see how you were doing.
You've called me every day for the last week.
Every time you call, I lose my concentration.
It takes me at least an hour to get back into it.
Haven't you heard?
Digression is the spice of life.
I think Faulkner said that.
I think it was Raymond Chandler,
and he was an alcoholic.
Oh, yeah, I could use a drink myself.
Have one ready for me, will you?
Murray--
Trade you.
He's coming over.
When?
Any minute.
[sighing]
Why can't he leave you alone?
Isn't it enough that you work on the weekends?
I guess not when you have a deadline.
Thanks for the drink.
You're welcome.
Mmm.
[knocking]
- Hi, doll. - Hey.
How's the real estate biz?
- Fine, Murray. - Where's Howard?
Is he upstairs?
No, the patio.
The patio. Oh.
Then, uh, let's walk down to the patio.
Come on.
You walk to the patio, Murray.
I'm going to do some laundry.
Hmm.
Jesus Christ.
Jesus Christ, no wonder you never get anything done.
I'm thinking, Murray.
I bet you got a whole tree there.
I told you right from the get-go I didn't want
to write a horror novel.
I don't have a flair for it.
You need inspiration.
And so do I. You got another one of these now you're working?
You know, Howard, maybe what you need to do is go someplace.
You know what I mean.
Get out of here and see something new.
It gives you a fresh outlook.
What I need is to be left alone, Murray.
I know that.
But look what's happening to you.
You're guzzling down martinis for lunch.
And all you got to show for it is a pile of trash out there.
Eh.
Just promise me you're gonna get out of here today.
How do you expect me to write?
Will you promise me?
Will you?
Anything to get rid of you, Murray.
Don't you have an olive?
A little onion or something?
[sighing]
Oh.
Listen, I-- I'm not leaving until you do.
Do you mind if I change my clothes?
OK, OK.
But make it snappy, all right? - Oh!
Oh, gosh!
Oh, excuse me, honey.
I'm going out for a while.
Where to?
I don't know yet. Ask Murray.
No thanks.
Hmm.
Man oh man.
Hmm.
[birds chirping]
[man moaning]
A little harder.
Looks like you have a visitor.
Yeah.
What's going on, Scott?
It's my day off.
You want a massage?
No.
Are you sure?
GUS: No thank you.
Hmm.
You should make some time for yourself.
Ah.
Well, you know, that's what I was trying to do.
OK, girls.
We are gonna talk him into it later.
Right now, we have to have a serious conversation.
So just run along, OK?
OK.
But don't go too far.
Oh, that's so nice.
Another one.
Oh, baby.
Oh.
I mean.
Hmm. - Hi.
I'm Tina.
Hi.
I'm Trina.
[whistling]
I don't give a shit what anybody says.
I love bimbos!
You got no argument here.
Tomorrow morning I want you to pay a little visit to Murray.
I want you to make him aware that his due date
is around the corner.
And I want you to make an impression on him.
You want me to break something.
Well, I don't want to be that vulgar.
But 25 grand is a big piece of change.
Gamblers, they think they're so lucky.
And I want you to teach him a lesson.
OK?
OK.
I miss your face.
You don't come by much, except on business.
Yeah, well, uh--
I've been kind of busy.
Yeah, I know.
You've changed, Gus.
I hope you don't mind my saying this,
but there was a time when you and I were so much alike.
I used to know what you were thinking.
Now these days, I, uh--
I'm not so sure.
You want to know what I've been thinking?
I've been thinking about getting out of this crummy business.
Jesus Christ.
Nah, I mean it this time.
You've just gone crazy over some broad.
It's got nothing to do with the lady.
Then that's obviously the problem.
I want to introduce you to Trina.
I've met Trina.
I want you to meet her again.
OK.
[music playing]
- Good afternoon. - Hi.
Looks good.
Fattening though.
[wind chimes ringing]
Yeah-- OK.
No-- Mom, this is stupid.
Look, I don't-- I don't care about the shop.
I should be there with you.
OK--
[sighing]
Look, Mom-- Mom, listen to me.
How am I supposed to get anything
done if I'm worrying about Dad?
And besides, he's the only one who
knows where everything goes.
I-- I-- I don't.
[sighing] OK.
OK, fine.
Mom, I don't-- Mom, listen to me.
I don't even know how much to charge people.
Dad never priced anything.
No, he-- no, really.
He kept everything in his head.
[sighing]
OK-- OK, fine.
OK.
Mom, listen-- Mom, listen.
Call me back in five minutes.
Somebody just came in the shop.
Call-- call me back in five minutes, OK?
OK. Bye.
[phone clicking]
Hey.
Hey.
May I help you find something?
Uh, yeah, but it sounds like you have some trouble.
Yeah, my father had an accident today.
Oh, I'm sorry.
He's at the hospital now.
Well, is it serious?
Broken leg maybe.
Oh, he'll be all right.
Thank you.
Can I help you find something in particular?
Well, yeah.
You see, I'm a writer, and I'm just
looking for something, um--
what in the hell is that in the jar?
That is the reason my dad's in the hospital.
He was about to throw it out when he fell and hit his head.
Yeah, but what is it?
Oh.
What it is is hard to describe.
Uh-- something left over from an old carnival or circus,
I guess.
Where'd he get it?
An estate sale, I think.
You ever heard of the Arlin Reece collection?
No.
Well, a few months back, the owner went nuts.
He killed two of his employees and burned
his place to the ground.
He had a private museum with weird and strange stuff,
like this two-headed calf out front.
This was just about the only thing that survived.
But my old man doesn't want to sell it now.
- Why? - He gets funny about stuff.
I don't always understand his reasons.
Well, I'll tell you what.
How about you sell it to me and you can tell him you tossed it.
- No. - OK-- come on--
Sir, I'd love to sell it to you, I really would.
I--
Don't let me stop you.
OK.
Maybe he won't miss it for a while.
I'll write you a receipt. - Thanks.
[phone ringing]
Excuse me, please.
Mm-hmm.
FOK: Hello?
Hi, Mo-- what did the the doctor say?
Mom.
Mom, Mom, just-- just tell me what the doctor said.
[ominous music]
Honey, what do you want for dinner?
Howard?
I'm sorry.
No, no, it's OK.
Come on in.
Whatever possessed you?
I don't know.
I just felt like buying something.
That is the weirdest thing.
Don't you like it?
Seriously?
I'd like to put it in the closet.
Not after what I paid for it.
Just knowing it's in the house is enough.
Yeah, but the shop didn't want to sell this to me.
[laughing]
Well, it would be a hard thing to part with, all right.
He said it was an old sideshow exhibit or something.
Probably just a mutant unborn animal.
Well then, you just had to have it.
I did have to have it.
I felt drawn to it.
So I gather.
Now, what do you want for dinner?
You. [laughing]
Well, you can not have us both,
so it's either me or that thing.
- Well, I'm having both. - Howard.
- Peggy. - Howard.
[laughing]
Put on a little weight, haven't you?
Oh!
That puts me in a romantic mood.
Would you-- [laughing] would you put me down.
Ah, you're not exactly a feather yourself, you know.
Oh, no?
No.
What are you doing, honey?
I need to make love to you.
Need to?
Need to.
Do you know how much I love you?
No.
How much?
Hmm.
About this much.
Liar.
[laughing]
Oh, Howard.
Come on.
Howard--
Oh.
Mm.
Ooh, yes, yes.
Howard, take it easy.
Howard--
Stop.
OK, just not so hard.
Howard.
Come-- Howard.
Ouch!
Ow, Howard!
What is the matter with you? - Come on.
I just want to make love to you. - Would you stop--
- Come on. - Howard.
This is going too far. Come on, stop it.
Come on.
I said stop it.
Peggy--
[gasping]
Ah!
Howard.
Howard.
Howard!
What-- what's wrong, baby?
I gotcha.
I gotcha, it's all right.
You are a bastard.
What?
You scared me half out of my mind.
What did I do?
You know goddamn well what you did.
You put that goddamn thing in our bed.
Honey, what goddamn thing?
That thing!
That thing from the-- from the jar.
I don't know what you're talking about.
No?
Then follow me.
Come on.
If it is there, it's because you put it there.
Oh, it's there all right.
[ominous music]
It was there, I swear it!
And I suppose I made it disappear too.
Hon.
Ugh.
Did you kiss your little friend goodbye?
I'm sorry, that was a stupid things to say.
And I'm sorry about last night too.
I don't know what happened.
Come on.
I promise you it'll never happen again.
[sighing]
[phone ringing]
Hello.
Hi, honey, it's me.
Hey, honey.
How you feeling?
Good.
I saw the doctor this morning.
And?
And-- he says it's going to be a boy!
No kidding, a boy.
Ah.
That's great.
That's really great.
Gus?
You coming home soon?
Soon as I can.
Are you all right?
You sound kind of funny.
Everything's fine.
I'll be home just as soon as I can, OK?
- Love you. - Love you too.
Whoa.
It's finally getting a little class.
You new?
Yeah?
Is Murray in?
Your name, sir?
Oh, hey, don't worry about it.
I'll announce myself.
Excuse me, I'm supposed to announce you.
Yeah, next Thursday at 4:45?
I'll be there.
[knocking]
Gus, baby.
What's happening?
What's happening?
I'll tell you what's happening.
My old lady's pregnant.
My grandmother hasn't recovered from her stroke.
My doctor tells me that I should take it easy,
learn how to relax a little.
So I come here hoping, uh, that you got some good news from me.
I don't like you coming in like this, Gus.
You'll get your money.
You're damn straight.
I never welshed on you before, have I?
Well?
Have I?
You've never been in this deep before.
I keep having these fucking nightmares
that your meal ticket's gonna get writer's cramp.
He's right on schedule, I swear it.
I'm turning in the manuscript next week,
and you'll get your money.
Good.
'Cause I'd hate to tell Howard Hansen
that you've been ripping him off for the last eight years.
How much you figure you've taken from him, Murray?
90, 100 grand?
Why do you keep doing this to yourself?
What, you think I like coming here like this?
Take it easy, chief.
Yeah, take it easy.
Why don't you go powder your nose, sweetheart.
I need to use the phone in private.
I can't just go.
It's OK.
Murray said it was fine. - Are you sure?
Yes, I'm sure.
Go on.
SCOTT (ON PHONE): Hello.
It's me.
Gus, make it quick.
I had one foot out the door.
All right, I gave Murray the word.
Did you bust his jaw like I asked you?
Well, uh-- he knew I meant business.
Gus.
What the hell am I gonna do with you?
If you want to make an impression,
you gotta do a little damage.
Look, Scott, I don't think it's necessary.
We've never had any problems with him before.
He's at the bottom of the well, and you know it.
- Look, Scott, I-- - I don't want to hear that now.
We have to talk about this, but not on the phone.
Tomorrow morning, bright and early, be here.
OK.
I gotta get into landscaping.
[phone ringing]
Hello.
PEGGY (ON PHONE): It's me.
I was hoping you'd call.
PEGGY (ON PHONE): I couldn't get anything done.
I was snapping at my clients all day.
I'm so sorry, babe.
PEGGY (ON PHONE): Yeah, me too.
This novel's been driving me nuts.
PEGGY (ON PHONE): I know.
Not that it's any excuse.
Anyway, I think I got this thing licked.
PEGGY (ON PHONE): That's great.
So how about you and I do a little celebrating tonight?
A little dinner, a little dancing?
PEGGY (ON PHONE): Dancing?
I can't even remember the last time we went dancing, Howard.
Then it's settled.
When are you coming home?
PEGGY (ON PHONE): Um--
probably not till about after 6:00, maybe later.
Whenever.
I love you.
PEGGY (ON PHONE): I love you too.
Bye.
[knocking]
Hey.
Long time no see.
Carol McKay, I'd like you to meet the world's
greatest writer, Howard Hansen.
Nice to meet you.
Hi.
Well, are you gonna invite us in or what?
Uh-- yeah, sure.
Come on.
Did we have, um, a meeting or something today?
I want you to meet your new secretary.
What?
Carol, you know, this guy is the only writer
I know that hasn't moved into the 20th century.
He still uses a quill pen and writes by candlelight.
[chuckling]
I bought a computer last month just for you, Murray, remember?
Yeah, yeah, yeah, I remember, yeah.
But you still haven't learned how to use it.
So I figured that Carol could speed things up a little,
you know?
You write, and, uh, she'll feed it right into the computer.
Hmm?
Could we step into the kitchen for a second, please?
- Huh? - We'll be right back.
Come on. MURRAY: What?
HOWARD: You've been a pain in the ass
before, but, you know, this is too much.
MURRAY: What? - Murray.
You know, there was a time when I actually liked you.
But right now, I don't.
You're even starting to get on my nerves.
I didn't think you'd mind a little help.
She probably can't even type.
You can't type.
She types 105 words a minute.
She's going to annoy me.
Humor me, please?
She can sleep upstairs in your office.
- You want her to stay here? - Lookit, Howard.
This could be a major turning point in your career.
I don't want to see you blow this.
As soon as you're done, she's out of here.
I'm not gonna blow it.
Please?
Pretty please?
Pretty please?
I'm sorry we don't have a spare bed.
But, uh, there's a futon in the closet you can use.
Oh, my god.
Look, if you don't like it, you can-- um--
I'm sorry.
That was rude.
It's OK.
I understand it's a bit of an imposition.
HOWARD: So how long have you been with Murray?
You're it.
It's my first day.
OK.
That's what I've done so far.
It won't take me long.
Hopefully, I'll have some more for you soon.
OK.
Uh-- make yourself at home.
If you get hungry or thirsty, you know where the kitchen is.
Thanks.
Um, I noticed the gym set in your bedroom on the way up.
Would it be OK if I used it--
after I finish my work?
Sure.
It's about time somebody got some use out of it.
Thanks. I don't want to get flabby.
[growling]
[ominous music]
Ah!
Take it easy.
You are just one big knot of tension, aren't you?
There.
How's that?
That's better.
You know, I had a dream last night.
Would you like to hear about it?
Sure.
It was wonderful.
We had this pretty little house.
And it was in a small town.
Not LA.
And you were in the front yard playing with the baby.
Was I teaching him baseball?
No.
He was squirting you with a hose.
[laughing]
And we had friends.
Regular people.
They respected us.
Well, that sounds great.
Gus, you know, I was thinking--
Ah.
Jill, not tonight, please.
Why?
'Cause I'm tired, that's why.
Yeah, well, I'm tired too.
I'm tired of waiting for the phone to ring.
And I'm tired of wondering if you're
gonna come home at night.
Like I told you before, I can take care of myself.
Stop worrying about it.
How can I?
You just have to trust me.
(CRYING) Gus, you've gotta get free from all this.
I mean, you've gotta get away while you still can.
Don't cry.
Gus, I'm so afraid that some day you won't come home at all.
[sighing]
[dance music playing loudly]
That works.
[weights clanking]
She is fast.
[sighing]
[ominous music]
No, no.
Courage.
It's probably just as well.
That'll do.
[growling]
Hello?
Did you want me for something?
No.
I thought I heard you call.
No, I didn't.
What are you doing?
Couldn't seem to write.
Thought I'd at least make use of myself.
I can clean this for a while.
I've never seen a gun.
Up close, I mean.
Was my side arm in the service.
Do you mind?
Sure.
Be careful, it's loaded.
Does it have much of a--
a kick?
Some.
It could be dangerous.
[dramatic music]
Come on.
[moaning]
Honey.
Howard? You up there?
Hi.
You must be Peggy.
That's right.
Uh, who are you?
Carol McKay, Mr. Dunlap's secretary.
Oh.
OK.
You're home early.
Man, have I been sailing today.
Howard, what's with the new addition?
- You mean Carol? - Uh-huh.
She's putting everything into the computer.
I know, she told me.
But why is she living here?
It was Murray's idea.
You know how he's been about this book.
He's like an old hen. He's worried--
It would have been nice if you would have
asked me how I felt about it. - OK.
How do you feel about it?
[phone ringing]
- Hello? - Carol.
It's Murray.
How's it going?
Actually, it's going great.
I must have typed about 30 pages already.
Maybe more.
Do you want to talk to Howard?
No, actually, I want to talk to you.
I need a favor to ask you.
CAROL (ON PHONE): Sure.
About a year ago, Howard tried his hands on a romantic novel.
Uh, I think it was called "Thunder Over Paris"
or something like that.
He hated it so much that he never showed it to anyone.
It's gotta be in his office somewhere.
He never throws anything out.
See if you can find it.
Well, he must know where it is.
I'll ask him. - Oh, no, no.
Don't say anything to him or Peggy about it.
I'm cooking up a little surprise.
It's between you and me, OK?
Sure.
MURRAY (ON PHONE): Uh, is he around?
He's out on the patio.
Oh.
Then go look for it now.
As soon as you find it, call me.
I'll be at the office here until about 9:00 or so.
After that, I'll be at my house.
All right.
MURRAY (ON PHONE): Good girl.
Catch you later.
[ominous music]
[growling]
HOWARD: You know what happens if I call your office.
They put me on hold.
Come on, give me a break.
I am giving you a break.
You should have called, you should
have said it was important, and you should
have asked me about this. - I called.
It was Murray's idea. You know how how he is--
I don't care about Murray.
He drives me crazy.
I'm your wife, OK? Ask me.
HOWARD: Well, what am I supposed to do?
What are you supposed to do?
Figure it out, Howard.
Holy Jesus Christ.
You'd think I'd really done something terrible.
Honey, all I'm asking for is a little bit of consideration.
All right!
I'm sorry.
Does that make you feel better?
Not if you don't say it like you mean it.
Ah, for Christ's sake.
I'm getting out of here.
[piano playing]
[clearing throat]
Eh-- eh-- can I-- can I get another one of these, please?
Yes, sir.
Oh, Mr. Beckman.
Mr. Dunlap.
How are you, sir?
Won't you sit down?
Thank you.
It was your good fortune that I happened to be in town.
Well, perhaps, uh, your good fortune as well.
Thanks. What about you?
Oh, no.
Just some mineral water for me, please.
I did enough drinking last night to last a lifetime.
I know what you mean.
These conventions can wear you out all right.
[chuckling] - That they can, that they can.
Now, what kind of a novel are we talking about?
A romantic novel.
Romantic novel?
That's a little out of Howard's line, isn't it?
Well, he's ready to branch out.
Right now he's writing a horror novel for Randall House.
Oh, I see.
Thanks.
Aren't you going to order anything?
No, thank you, I'm not hungry.
But you go ahead.
Well, fine.
Thank you, that's it.
Now, where were we?
Oh, yeah, you were gonna make me an offer.
That was merely your assumption, Mr. Dunlap.
You call me Murray.
Why isn't Randall House interested in this property?
What makes you think they're not?
You better let me think it over, Murray.
You know, I'll be honest with you, Calvin--
Mr. Beckman.
Look, the only reason I'm even here
is because my client's got an eye on New House,
and I know that he needs some quick cash.
Now, if you're not interested, just say so
and I'll take it someplace else.
Don't get excited.
I'm not getting excited.
Just don't high hat me.
My apologies.
OK.
Now, uh, what kind of figure are we talking about?
$35,000 flat, and you could own it outright.
That's a bargain no matter how you look at it.
It's a good price.
A damn good price.
Naturally, I'd have to run this past a few people.
When could I have delivery?
As soon as possible.
Assuming I can get approval, would it be possible to have
it before I leave for New York? MURRAY: When is that?
Tomorrow evening.
Oh, no problem.
I'll deliver it myself.
Do I make out the check to you?
That's correct.
Upon delivery?
Upon delivery.
Don't bother to get up, but I really have to get going.
Nice doing business with you, Mr. Beckman.
See you tomorrow.
[phone ringing]
Yo.
I'll make this quick, Gus.
And I don't want your fuckups anymore.
I just got a call from the guy Maxwell, the paint man.
What now?
Go over and bust his jaw, or I'll bust yours.
He's trying to weasel on me.
Can you believe it?
He told me to go fuck myself.
Yeah, I believe it.
SCOTT (ON PHONE): I want you to get the hell over there
and get the cash. - He ain't due yet.
Gus.
I want you to wake him up and get my money.
OK.
I'll do it.
And tomorrow, bright and early, be here.
Yeah, yeah.
[music playing]
Help me.
Ooh!
Yeah, yeah, yeah.
You set my soul on fire.
Got me burning up with sweet desire.
Been trying to keep my cool.
But if I keep holding back, I'll be one horny fool.
Ooh, baby, just wanna love you.
So let me hug you tonight.
Come on, baby.
Ooh, baby, just wanna squeeze you.
Let me please you tonight.
Where's Big Ed?
If you don't tell me, I'll find him myself.
[thudding]
[drill whirring]
How you doing, Big Ed?
Doing fine, Gus.
You?
Same old same old.
Did Scott call you?
Yeah.
You ain't getting any more dough out of me, Gus.
I've had it with you fucking sharks.
Ha.
I can't believe you're talking to me this way.
I mean, didn't Scott bail you out when you was in deep?
Now you want me to tell the man to go fuck himself.
I think these paint fumes have been getting to your head.
Take a hike, man.
I don't need to pay you or anybody else.
Hey.
One phone call from me to the cops, you all go to jail.
Give me the money, Ed.
You know what?
You can go fuck yourself too, Gus.
Is that the way you want it?
Ugh!
[yelling]
Ugh!
Ugh!
[grunting]
Give me the money, Ed.
I want the rest by next week, OK?
OK, Gus.
Good.
[music playing]
(SINGING) Baby, just wanna squeeze you.
Squeeze you.
Let me please you tonight.
Tonight, tonight.
Since we last met, I kept it all in check.
But now he's getting out of hand,
and you can surely bet he's gonna track you down.
And when you're finally found, he's gonna do what he do
and take a bite out of you.
[suspenseful music]
Ah, finally.
[growling]
[knocking]
Peg.
Um-- I'm sorry, Peg.
You were right about this afternoon.
I don't know why I got so bent out of shape.
I never want to hurt you, Peg.
It's not called "Thunder Over Paris."
It's called "Thunder Over Hawaii."
MURRAY (ON PHONE): Beautiful.
I'll pick it up in the morning.
What time?
MURRAY (ON PHONE): Uh, say between 8:30 and 9:00.
And remember-- - I know.
It's a secret.
There's something bothering you, isn't there?
I have to tell you, Peg.
Um-- I think the reason I blew up at you--
because I was feeling guilty.
You know, honey, the sooner she's out of here,
the better I'll feel.
Thank you.
Maybe she's not the problem.
You mean we're the problem?
You're gonna think I'm crazy.
You think it's that thing in the jar, don't you?
Yes.
I mean, it's like there's some dark force gripping this house.
Listen to yourself, would you, honey?
Come on.
You sound like a little kid, and you're
trying to blame our problems on a dead thing in a pickle jar.
I don't know.
I'm scared.
Don't be.
Where are you going?
I'm getting rid of that jar.
And when I'm done with this book,
we're going on a long vacation.
Howard--
I don't think so, Howie.
Howard?
Howard?
We're in here.
Come on in, Peg.
Carol, listen to me--
No, you listen to me.
I'm in charge now.
You're not in charge.
That thing is in charge.
Take off your clothes.
What?
You heard me.
Take off your clothes.
We don't need her.
Shut up. Do it.
Now!
Have a little fun with it, Peg.
Come on.
Better.
That's it.
Let's see it.
Come on.
That's better.
Get over here.
Come on.
That's nice.
OK.
Come.
Come on.
[erotic music]
Now get busy.
The bra, Howie.
Come on, take it off.
Rip it off.
Ah!
That's it.
Ah!
That's it.
[moaning]
[growling]
You can't squeeze blood out of a turnip.
Murray isn't a turnip.
You push him too hard, he's gonna fold.
You don't push him, you'll walk away with nothing.
Yeah, well, you run that risk anyways.
Sit down.
No, I don't want to sit down.
I know, but I want you to sit down.
I don't like people talking to me looking down at me.
I think you're making a mistake, Scott.
Let me tell you something about human nature.
You give a guy a deadline, especially
a sleaze like Murray, and right away he begins to wonder
if you really mean it.
And when there's money involved, he
begins to convince himself that you don't mean it,
especially since he is running on empty.
Ah.
Man, I told you before, that shit's out.
I'm no shooter.
I'm not asking you to use it.
Just flash it.
Sit down.
Not this time, Scott.
I want out.
You're getting too goddamn greedy.
Greed makes the world go 'round.
Yeah, maybe your world, but not mine.
Half.
What are you talking about?
I'll give you half of what I get from Murray.
$12,500.
I don't get it.
From now on, we split 50/50.
I'm making you my partner.
Why, Scott?
Because I need a partner.
I'm tired.
And you are the only son of a bitch that I trust.
Welcome to my world.
[gunshot]
In your world, Scott, you can't trust nobody.
You wanna know what I'm gonna do?
I'm gonna go tell Murray he's off the hook.
That you won't be needing the money anymore.
Good morning.
Sleep well?
I didn't.
I've been up all night thinking.
I'll make some coffee.
You know what I've been thinking about?
No.
I've been thinking about how I've
never really been able to do the things I wanted to do.
You did pretty well last night.
Yeah.
We had fun, didn't we?
Sit down.
Why don't I go get the coffee started?
[gun cocking]
Sit down.
You've slipped back, haven't you?
I don't know what you mean.
Yes, you do.
You've been away from him too long.
I'm scared of him, Carol.
He doesn't make you do anything you don't want to do.
You know, for the first time in my life, I feel in control.
I was told what to think and how to feel for so long.
I don't know what I feel anymore.
That is until he came along.
Let's discuss this further over a cup coffee, OK?
Don't be long.
[suspenseful music]
You know what else I was thinking?
What?
I was wondering what it would be like to kill someone.
How pleasant.
Seriously.
If you wanted to kill someone, how would you do it?
I never really thought about it.
Well, think about it.
Would you poison them?
Stab 'em?
- I don't want to kill anyone. - Never?
You've never wanted to kill anyone?
Yes, I have.
I knew it.
Only I'd worry that the person I wanted to kill would kill me.
Well, you'd have to make sure you had the advantage.
What would you like for breakfast?
I'm not hungry.
Well, I am.
How you doing?
Murray at home?
I'm sorry, he's out for a meeting.
Can I help you?
He left something on his desk for me.
I'll get it myself.
Hey, excuse me.
You're not supposed to go back there.
Where is that little weasel?
Howard Hansen, 2338 Observatory Lane.
Would you watch the eggs? I'm gonna wake Howard.
I'd use my hands.
What?
That's how I'd kill somebody.
With my hands.
I'd strangle the bloody life out of them.
If you had the advantage.
If I had the advantage.
[suspenseful music]
Howard, wake up.
Hurry.
No, there's no time for that.
There's always time for that.
We have got to get out of here.
Why?
Why?
Because we're in danger.
Danger from what?
Too much sex?
Would you forget about that?
Not likely.
Howard, we have got to get out of here now while we
can still think straight.
Would you listen to me?
Now, I just spent the last 10 minutes
talking to Carol about different ways to kill people.
Well, if you're not up for getting a little,
I guess I'll go take a shower.
What is wrong with you?
Nothing's wrong with me.
But I can guess what your problem is.
You had a good time last night.
And now you're feeling guilty about it.
I guess you're right.
You bet I'm right.
This is insane.
It's got him too.
Ugh.
Here comes Murray.
Boy is he gonna be surprised.
[ominous music]
Carol.
Carol.
Murray.
Huh?
For Christ's sake, keep it down. CAROL: What?
Come on, I don't want to make a lot of noise over here.
Oh, hi, Peg.
Uh, I just dropped in to see Carol.
Well, here I am.
Uh, can I see you in private?
Peg, you don't mind if I, uh-- - Not at all.
You want some coffee? I got some made.
Sit down, Peg.
What-- what the hell is going on here?
Well, Murray, right at the moment,
I'm trying to decide whether I want to shoot you
or cut you in little pieces.
Wait, wait, wait, wait.
If this is a gag, it isn't funny.
Get in there.
Now.
I thought I heard your voice, Murray.
What are you doing here?
He came to get one of your old manuscripts.
What old manuscript?
"Thunder Over Hawaii."
What in the hell were you gonna do with that?
Well, you see, I--
I can't think straight what that gun pointed on me.
Oh, sorry.
[gun cocking]
Try real hard.
I was gonna sell it.
- Sell it? - Yeah, man.
I-- I'm in debt up to my eyeballs.
I needed the money.
You could have asked me.
I would have loaned you the money, Murray.
You don't have it to loan.
You're broke.
I'm broke?
How can I be broke, Murray!
I gamble.
I lose.
That's all there is to it.
Why don't you kill him, Howie?
It's what you want to do, isn't it?
[suspenseful music]
Come here, Murray.
Come on!
No, Howard!
Get away from me, man.
Ugh!
Uh!
[grunting]
You're fucking nuts. - Come on.
You're stronger than this.
Come on!
Ugh!
[gunshot]
[gunshot]
Ugh!
Hey.
Hold it, lady.
[gunshots]
Howard?
Oh, thank god.
OPERATOR (ON PHONE): 911.
My name is Peggy Hansen.
I live at 2338 Observatory Avenue in Van Nuys.
Could you send somebody over right away?
Three people have been killed, and my husband's injured.
OPERATOR (ON PHONE): OK, that's 2338 Observatory?
Mm-hmm.
OPERATOR (ON PHONE): OK, we'll have somebody right on the way.
Put down the phone, Peg.
[crying]
Put down the phone, Peg.
This is perfect.
Howard, listen to me.
I can kill you and say any one of them did it.
And who's gonna say any different?
I already called the police.
I told them you were injured.
They'd know it was you.
I'll tell them you made a mistake.
Don't give in to this thing.
Don't let it win.
[gun cocking]
It already has, Peg.
[gun clicking]
Son of a bitch.
I thought I fixed that.
Hah!
Hey.
Peggy.
Where are you?
Hmm?
I don't know what came over me.
My god, I could have killed you.
Peggy?
We've gotta destroy that thing before it destroys us.
I don't think I have the strength to do it alone.
Come on out.
Hah!
Ugh!
[suspenseful music]
Ah!
[grunting]
Take her.
Take her.
Take this, you son of a bitch.
No!
Are you OK?
What happened?
Oh.
It's gonna be all right.
[sirens blaring]
[dramatic music]