The Thrill Killers (1964) - full transcript

Three psychotic murderers escape from a mental institution and stalk women in Los Angeles.

(cool jazz)

- [Voicover]
Hollywood, California.

The man you're looking
at is Joe Saxon.

He's one of many

caught in the web
of non-reality.


This is the reason he
is here in Hollywood.

The land of the stars.

Joe's ambition is
to be one, a star.

A star of motion pictures,

that world of make believe.

So far Joe has had
very little success.

For that road to
stardom can be a long

and hard grind.

Unfortunately, Joe has refused

to accept the world of reality,

and has found himself trapped

amongst the monthly
payment plans.

He's got a new house, a new car,

new TV set,

swimming pool.

Very impressive to the
people here in Hollywood.

But unless the monthly
payments are kept up,

there won't be any TV
sets, or swimming pools.

Time to call his wife, and

give her the news of today.

(slow jazz)

This is Joe's wife, Liz.

Former actress turned artist.

(phone rings)

She gave up the business
a long time ago.

The insecurity was
too much for her.

But then she met Joe, and

love won out.

But love can also wear out.

When the bills keep coming,

and the stomach starts to

get hungry.

But Joe has another hunger.

That to be a movie star.

Even if he has to play
make-believe all day,

just for himself.

Joe Saxon.

Caught in the world
of non-reality.

(toy piano)

These are the children
of Dennis Kasteckian.

Young Greek immigrant.

Dennis is caught in
the world of reality.

He must make those
monthly payments.

As you can see, he has
a lot of mouths to feed.

His English isn't the greatest,

but his desire to succeed is.

And where is there a
better place to succeed in,

than in America?

Dennis Kasteckian,

a realist.

(engine throbs)

- Hi, can I give you a lift?

(ominous music)



No, don't!


(gun fires)

(horn blows)

(gun fires)

(gun fires)

(upbeat go-go music)

- Hey, Joe?

I saw part of your
movie this afternoon.

Boy, was it bad!

- Hi, honey.

- What was it I said?

Boy, I couldn't sit
through the rest of it.

- Was it that bad?

- It was that bad.

- Joe, what are you trying
to prove with this party?

You're just spending money
that we don't have, and

there's no one here but
a lot of crazy people.

- Just let me worry about that.

Well, here you are,
Mr. Hall, rum and coke.

- Thank you, Joe.

- I'll have a little bourbon
and soda, Joe. - Alright.

- Thank you, very much.

(partiers laughing and talking)


- I saw your picture
this afternoon, Joe,

and I must say I
thought extremely slow.

- Of course, but that
was just a rough cut.

Rough cuts are usually
slow, aren't they?

- Oh, I wasn't criticizing
your acting, Joe.

It had nothing to
do with your acting.

- I'm not trying to
defend my acting.

I know I'm not the
best in the business.

- Well, I will have to
go along with Archie,

it was a little bit slow.

- That's right, Mr. Morgan.

- Of course, your judgment
is much better than mine.

- Well, after all, Arch and I
have seen enough rough cuts,

we should be a good
judge, don't you think?

- That's right, Mr. Morgan.

- Of course, you've probably
seen more rough cuts

than I've seen pictures.


- Ah, you've got nothing
to worry about, Joe.

Well, you know, you
put in a little music,

and you put in
some sound effects,

and a dissolve and a
couple of opticals,

you'll have a pretty
fair little picture.

- What is your next
picture, Mr. Morgan?

- Well, after all, it's a
little early to talk about that.

- That's right.

- Well, it's just in the
planning stage, but uh,

if there's an egg for you,
I'll remember you, boy.

- [Toady] That's
right, Mr. Morgan.

- I thought the race track
scene of mine was pretty good,

wasn't it?

- Say, you know, I like a
good scene, and it was good.

- Maybe that's because
Joe had so much practice

at Santa Anita.


- Yeah, or Hollywood Park, huh?

- [Toady] That's
right, Mr. Morgan.

(motorcycle rumbles through)

(loud splash)

- [Morgan] In the pool!

- That's right, Mr. Morgan.

(go-go music)

(partiers laughing,
shouting and talking)

(singing softly)

- Well, here we are.

- It's a great
place you have here.

- Yeah, for the rats.

(traffic noise)

- You got something
to drink here?

- Yeah, scotch. You want some?

- Yeah.

- First we'll have
some music, alright?

Proper procedure.


And then the booze.

Then, the...

(soulful jazz)


Tell me something, will you?

- What would you like to know?

- What do you do for a living?

- Oh, I just sort of kill time.

- Then why are you dressed
in blue jeans and boots

to go dancing for
ten cents a dance?

And then offer me fifty dollars

to bring me to my
apartment to talk?

- What makes you
think I want to talk?

- I don't.

You know something,
you're a weirdo.

- You don't say.

- But I think I could
get to like you.

- Why don't you try?

- Hmm, why don't you help?

- You mean, like this?

- Mm hmm.

(hard slap)

Hey! What did you do that for?

- People are no good!

- What do you mean,
people are no good?

- I hate people.

They're no good!

- Oh boy, you are a weirdo.

- You're cheap!

- Cheap?

What's so cheap
about fifty dollars?

(slow piano jazz)

- I hate you.

I'm going to kill you.


(hard slap)

(hard slap)

- Help!

- No!

- Help!

(hard slap)

(hard slap)


- Whoa!





(intense orchestral music)

- [Radio Announcer] We
interrupt this program

to bring you a
special news bulletin.

At 10:29 this
evening, three inmates

of the state asylum for
the criminally insane

successfully made their escape
after slaying five guards

and hurdling the 20
foot barbed wire wall

that surrounds the institution.

Authorities have
identified the escapees

as Herbie Click, Keith
Rogers, and Gary Barcroft.

Complete descriptions of
these men will be broadcast

at a later hour.

Residents of the Topanga
Canyon are hereby warned

to be on the lookout for the
three escaped mental patients.

Any information leading
to their whereabouts

should immediately be
forwarded to Chief Patton

at District Headquarters,
or to this radio station.

Do not, we repeat, do
not, on any account,

attempt to apprehend
these men on your own.

They are armed and
extremely dangerous.

And now, back to our
regularly scheduled program.

- Well, I guess we didn't
have all the lunatics

at our party tonight.

- I wish you'd just
forget about that.

- I'd like to forget about it.

I'd like to forget
about Hollywood.

For good.

- Come on, what's the
matter with you tonight?

- It's just that I don't
like to see you living

in a dream world all the time.

- Now what do you mean by that?

- I don't think you know the
difference between reality

and the roles you play.

Here we are up to our
necks in debt, and

you throw a party.

We can't even pay the rent,
much less the liquor bill.

- You let me worry about that.

(romantic orchestral music)

- Oh, Joe.

Can't we go away for awhile?

- You know I can't
leave the telephone.

It might ring any minute

with the part I've
been waiting for.

- Oh, Joe.

(slow orchestral music)

(quiet orchestral music)

(driving jazz)

- Hi.

- Monica, Tony! Come here!

I thought I told you never
to talk to strangers!

(car whooshes past)

(sparse orchestral music)

- [Radio Announcer] And
now for the local news.

Early this morning,
police discovered the body

of dance hostess Arena
Davour, in her apartment

at 465 South Main
Street in Los Angeles.

Investigating officers
located the murder weapon,

a pair of household scissors,
near her mutilated corpse.

Fingerprints found at
the scene of the crime

have led police officials
to believe Miss Davour's

assailant is Mort
"Mad Dog" Click,

long wanted by the
authorities of other states

for similar horrendous crimes.

A statewide manhunt
has been organized

for the deranged
psychopathic killer.

Also on the local scene,
Chief of Police Drummond,

disclosed today, his
department has no further clues

to the identity of the
murderer of traveling salesman

Dennis Kasteckian, whose
body was found yesterday

out on Highway 101.

According to the victim's
wife, Mr. Kasteckian was

en route to Lancaster to
conclude a business transaction.

Kasteckian's car, a blue
1953 Plymouth station wagon,

is believed to have been
stolen by his killer.

And now for other news.

There has been no further word
on the three mental patients

who escaped yesterday from
the state asylum at...

(radio clicks off)

- What do we owe you, Linda?

- It's on the house.

(dance hall music)

Since you two are getting
married next month,

just consider it a little
wedding present from me.

- Well thank you.

- Oh, and by the way,
where are you two living

after you get married?

- Ron found a place real
cheap, right near here.

- Old Hank Lawry's place.

- I haven't seen it yet, but
Ron says it's just great.

- Well, I hope you two
know what you're doing.

The last time I was
over at old Hank's place

there was nothing
but a bunch of weeds.

- Ron can change that.

- Yeah.

Good bye, Linda.

And thanks again for the drinks.

- How about a cup of coffee,

for a weary traveler?

- Well, if it isn't
cousin Elizabeth

from glitter city.

What are you all doing way
out here in the sticks, honey?

- It's a long story.

- Well, tell cousin
Linda all about it.

She has nice, long ears.

- I just can't take it anymore.

Phony actors, phony
life, I'm just bored.

- Speaking of actors, how
is your handsome husband?

- I wouldn't know.

I left before he
got up this morning.

- Without saying good bye?

- I left him a note.

- Well, there it is, honey.

It needs a little work, but uh,

for only a hundred bucks
down, what more could we ask?

- Just great.

Just like I pictured it.

- Come on, we'll fix it up.

Come on, I'll show you around.

(knocks on door)

(knocks on door)


Maybe he's around back.

(record player at end of record)

(ominous music)


Hank, where are you?

- Oh, he's not here.

- He's here somewhere, 'cause
he knew we were coming out

to see the place today.

Come on.

He's close.

Record player's still going.

Wait here a second.


Hank, where are you?

Hank, where are you?

He's not in there.

Let's go out back,

there's something I
want to show you anyway.

- Oh, I forgot my radio.

- We'll get it later.

- What are your plans for this?

- I thought we'd fix it
up and rent it out, maybe.

It's got an upstairs.

Room for a couple of bedrooms.

Come on, I'll show you.

(door slams)


- Hank!

- You looking for Hank?

Here he is.

(intense music)



- On the ground!

Tommy, I've got...

- Hey.

- What are you doing?

- What am I doing?

We're having a little party.

- Who are you?

What do you want? - I
want to introduce you

to Brother Keith.

Keith, say hello.

- Hello.

- Say "hello Keith."

Say "hello Keith."
- Hello, Keith.

- Say "hello Gary." - Gary.

- Say "hello Gary."

- Say "hello Gary!"

- Say "hello Gary."

- Hello Gary. You want money?

- Hello Gary. - Hello
Gary. Hello Keith.

Hello lady. - Don't hurt her!

- You, girl, back. Back, back!

- Don't hurt her.

- Keith, say hello to the lady.

- Gary, do you want money?

Keith, say hello to the lady.

- Hello, lady.

- [Gary] Lady, say
hello to Keith.

Say hello to Keith!

Lady, say "hello, Keith."

- Lady, say "hello, Keith."

- Lady, say "hello, Keith."

- Say hello to him.


- Say, would you come
here for a minute, Gary?

Stella, say hello to Gary.


- Keith, would you like her?

- Keith, would you
like that broad?


- Keith, say hello to the lady.

Lady, keith, go get
her, go on in, Keith.

You can be a part...
- No keith. - Yeah.

If you like her
for a game partner.

Keith, would you like
that girl for a party?

- Yeah, you, would
you like that broad?

- Yeah.


- Well then, hurry up.

- Bring her out here.

Bring her out here,
she's your broad.


(yelling and screaming)

(heavy dramatic music)


- Don't hurt her!

Don't hurt her!

(screaming, yelling,
maniacal laughing)

- open it!

- I didn't do it, Gary.

- Open it!

Open the door!

- He did it, he did it, get
him, Gary, get him, get him!

Hit him, hit him,
Gary! Give it to him.

- I told you, don't lock me in!


I told you,

you lousy rotten screw,

don't lock me in!



- Gary, hey! Hold it, Gary.

Hold it, boy. Take it
easy, take it easy.

Calm down, Gary.

Calm, calm down, Gary.

Calm down.

Calm, man.

Hose, Gary.

Cool it, baby.

Who is...

(chaotic shouting)

(fast jazz)




(taunting and laughing)

- [Radio Announcer] 3:15,
and time once again for

the happy time hour,
with Uncle Big John.

- [Uncle Big John]
Hello, kiddies,

this is your own Uncle Big
John, to tell you another

of your favorite stories.


Today, big Uncle Big
John is going to tell you

the story of Little
Red Riding Hood.

- [Gary] No, don't run any more.

Now you stop.

Don't run.




- [Uncle Big John]
Right out to the wolf.

Wolf, you fiend,
your time has come.

Then the hunter turned
back to the wolf,

and chopped off the wolf's head.


(axe falls)

And her Grandmother,
and the hunter,

lived happily ever after.

(go-go music)

- Good morning, baby.

Hey, you forgot my
breakfast this morning.

- Not exactly.

- You remember Mr. Morgan.

- Oh, hello, Liz.

- Mr. Morgan, this is
Liz's cousin, Linda.

- Hi.

- I'm very happy
to know you, Linda.

- George is a producer, and
he's looking for a location

for his next film.

Since Liz was up here, I
thought I'd bring him up

and show him your diner.

- Ah, this is the greatest.

Just what I've been
looking for, Joe.


Yes sir, this place really
has a lot of character.

- Hey, you left mighty
early this morning.

- If you came to take
me back with you,

you might as well just turn
around and go back to Hollywood.

- Aw, let's not have a
fight before breakfast.

- You know, we dirty up
these walls a little,

this'll make a great set
for the murder sequence.

(horn honks)

- Keith, come on!

Keith, come on,
what are you doing?

- So cool it, Dad, I had
to get a shirt, didn't I?

I had to get a shirt.

- Come on!

- Go.

- If we can dirty up
the walls a little,

we can use the place.

And I'll pay you a
hundred bucks a day.

- I don't know, I just
painted the place.

- We can re-do it
when we finish.

- Well, can I feed my customers
while you're shooting?

- Well, I'm sorry, but uh,

I'll tell you what you can do.

You can feed my cast and crew.

You'll make just as much.

Maybe even more.

- What are you
stopping here for?

- Because I gotta get
some hot coffee down me.

And I gotta call my brother
in L.A. so he can help us.

- Let me out, I want a beer.

- Yeah, yeah, a beer.

- Hello. - Hello.

- Could you possibly direct
me to the nearest telephone?

- Yeah, it's right over
there, around the corner.

- Thank you very much, lady.

- Pardon me, Mr. Morgan.

- Surely.

- Oh, these darn flies.

(door slams shut)

- Now you listen to
me, you little tramp.

If I had wanted
that door closed,

I would have closed it myself.

So you keep your
filthy hands off it!

- Gary, Gary, please Gary.

Gary, Gary, for God's sake,
calm down, boy, calm down.

Calm down.

You see, my friend there,
has a terrible case

of claustrophobia.

- Remember the broadcast
we heard last night?

Could these be the
men that escaped

from the insane asylum?

- What'll you fellas have?

- Gimme a beer.

- Me too, can I have
a beer too, Gary?

I'll have a beer.

- Yeah, I'm in Topanga Canyon.

I'm okay, I'm okay,
don't worry about it.

Look, I need your help, bad.

I, I got a couple
of nuts with me.

- A couple of nuts, huh?

So what do you want
me to do about it.

I've got problems of my own.

- I want you to help me, buddy.

Help me!

Now look, I got bread,
don't worry about it.


- Poor old Hank.

He had dandruff.

What a mess.

Now how do you expect me to
open it without an opener?

- Why don't you
just pop the top?

- Just pop the top?

Pop the top.

- Come up through L.A., and

turn off to the left
at Topanga Canyon,

and its the bottom of the
hill, the Pleasant Inn.

I gotta shake these guys.

- Yeah?

Well, my time's valuable.

You got some money?

You got some real change?

'Cause I don't do
nothing for nothing.

- I got the bread, I got money.

I'll wait here for you.

Okay, brother?

Make it fast, boy.


See ya.

- Hey, what do you
think you're doing?

- I'm taking cigarette change.

- Hey, fella, put
that money back.

- Drop it, buddy,
down, down, down!


Ain't nobody gonna get hurt.

Feel better?


- Hey, why don't
you play some music?

- Down, get your
hands off, there.

- Well I want some
change for the jukebox.

- Well, you ask for it.

- May I have a quarter?

- Yes.

Would you please get me...


Get me a cup of coffee.

I would like a cup of coffee.

(50s doo wop music)

(rhythmic jazz)

(50s doo wop)

- Hey you, hey Curly!

That your pictures over
there, that you, huh?

- Yeah.

- What are you, a movie
star or something?

- Hey, huh?

- Curly, you a movie star?

- Yeah, yeah, he's got his
pictures all over the place.

- That's right, that's him.

An honest to
goodness movie star.

Yeah! He's a movie star.

- Hey, can I, can I
put his head on....

- No no no no you had
it, Keith you had one.

I want this one.

Take the girl.

Take the girl.

- Let me have his
head on the wall.

- No no no.

Keith, Keith!

You take the girl.

- [Keith] I'll take the girl.

- Go ahead, take the girl.

- Movie star...

- Take the girl!

Movie star, how about you and me

playing a little
scene together, okay?

Come on, on the set.

Up up up up.


(giving directions)

Let me see the muscles, come on!



Need some coffee.



muscle man,

get ready for
Sampson's death scene.

- Oh come on now, this
thing's gone about far enough.

- Come on, feeble
man, get over here.

- You're awfully brave with
a gun in your hand, aren't...

- Yah!

- Shut up!


Oh, no no, Keith,
no no no no no.

Her! She got hair, she got hair.

See this, that's for you,
right there, right there.

Right there, little closer.

See the barrel?

Close your mouth, close your
mouth, close your mouth.

Close your mouth!

Close it!



Coffee, coffee.


Get over there, broad.



When the director says,


that means




Want your last meal?

Okay, have your last meal.

No last meal.





Roll 'em.


- What's the matter?

- Poison!


(driving jazz)

- Hold it!


- Take care of him, George.

- I can handle
the little squirt.

Linda, call the police.

(driving jazz)











- [Joe] Hey you!

Hey, you!

Run, Liz, run!

- Oh, Joe, help!

- Get some help!

(intense orchestral music)



- A madman's after my
husband, you've gotta help me!

- Get in the car.

- Liz!


(intense upbeat jazz)

- Where are you taking me?

Stop this car!

- No, no!

No, I don't want to go back!

Don't take me back!

No, no,

I don't want to go back!

I want my axe!

No, I don't want to go back!

No, no no!

- Joe, where's Liz and
that guy with the knife?

- Don't worry about him,
he fell in a ravine.

Liz, isn't she here?

I saw her get in a station
wagon and ride off.

I thought she came
back here for help.

- What was the make
on the station wagon?

- Oh, it was a blue
'53 or '54 Plymouth.

- Sounds like the make we
got on that APB yesterday.

- If that's the guy she with
then she's in real trouble.

Which way'd they go?

- I saw 'em headed north.

- Get in the car and
get out an APB on them.

- Right, you come with me.

Car 70813, confirmation on APB,

'53 blue Plymouth wagon,
last seen heading North

on Topanga Canyon.

Possible assault and kidnap.

Suspect may be armed.

- Get this guy
back to the station

and then give me a call.

I may need you later. - Right.

- Proceed with
caution, 10-4, out.

- Alright, let's get going.

(siren wails)

(driving jazz)

(siren wails)

- Suspect's car North
on Red Rock Road.

Am in pursuit.

- [Detective] Heading
toward Red Rock Canyon Road.

Cars 21 and 22, intercept.

(tires screech)

- Stop this car!

Let me outta here!

The police are behind us.

We'll never get away from them.

(siren wails)

- Come on!


Come on!


- No!



(siren wails)

- Take the motorcycle and
cut him off at the pass.

You, that way.

You two, go that way.

Let's go, Joe.

(siren wails)


- Oh, Joe!

(shotgun fires)

(gun fires)


(gun fires)

(gun fires)

(gun fires)

(gun fires)

(gun fires)

(horse gallops)

(engine roars)

- It's Mad Dog Click on a horse.

(siren wails)

(gun fires)

(gun fires)

(gun fires)

(gun fires)

(gun fires)

(guns firing)

(driving jazz)

(guns firing)

(water splashes)

(light orchestral music)

- Oh, what a relief to
be able to just relax.

- Boy, I've had
enough excitement to
last me a lifetime.

- I'm so glad you decided
to give up acting.

- Honey?

We're going on a long vacation.

And when I get back,

I'm going to take a regular job,

nine to five.

- Do you really mean it?

- Mm hmm.

(phone rings)

- That you, Joe baby?

Listen, I'm in Palm Springs.

And I've just decided
to give you the lead

in my next picture.

Yeah, it's $5000 a week
for ten weeks, guaranteed.

And you're going to be starred
opposite my new discovery.

Miss Transylvania.

- Well, who is it, honey?

- It's George!

- Oh, what does he want?

- He wants me for the
lead in his next picture,

with Miss Transylvania.

- I'm glad you
decided to give up...


- $5000 a week, ten weeks.

- Well,

maybe we can postpone
our vacation.

Hey, who's this
Miss Transylvania?

- George?

George, are you there?




George are you there?



(upbeat orchestral music)