All language subtitles for Are.You.In.The.House.Alone.1978.1080p.BluRay.H264.AAC-RARBG

[CRICKETS CHIRPING]

[DARK EERIE MUSIC]

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[DIAL TONE RINGING]

[DRAMATIC MUSIC]

[WOMAN GROANS]

[STRETCHER RATTLING]

[MUFFLED TALKING]
[DRAMATIC MUSIC CONTINUES]

[ENGINE RUMBLING]
[SIRENS WAILING]

[CAR ENGINE RUMBLING]
[SIRENS WAILING]

[TIRES SCREECHING]

- NURSE: Dr. Gardener,
Dr. Gardener, please.

- DOCTOR: Do you know
why you're here, Gail?

- He raped me.

- Who raped you?

Do you know him, Gail?

[GAIL PANTING]

- I can't.

I can't tell anybody.

I can't tell anybody,
they won't believe me.

They won't believe
me, I know it.

I can't tell anybody.

He called me.

He was there.

He must've been watching
me the whole time.

He was at the lake.

He was there, there,
there, there, there, there,

there, there, there,
there, there, there.

That water's freezing.

- ALLISON: Come on, it's
the last one for the season.

We do this every year.

- It's gonna be the
last swim of my life.

I'm gonna have a
heart attack as soon

as I jump in the water.

- It's like an Indian
summer outside.

You'll get used to it.

- No, it's freezing.

- ALLISON: After the
initial shock you'll warm up.

- I told you I'd
have a heart attack.

- Come on!

- I can't!

- Here, oh!

[GIRLS GIGGLING]

Hurry it up, the
water will be there.

I'll race you!

- GAIL: No way!

Oh, it's freezing.

[SUSPENSEFUL MUSIC]
- And you've got

a sweatshirt on!

It's not fair.
- I'm still cold.

[GIRL CHEERS]
[WATER SPLASHING]

[EERIE MUSIC]

[GIRLS GIGGLING]
[WATER SPLASHING]

- Come on, Gail! It's warm!

Come on in!

[EERIE MUSIC]

[LEAVES RUSTLING]

[WATER SPLASHING]

[GAIL GROANS]

[ALLISON LAUGHS]

Wear your blue sweater
tomorrow night.

- Where are we going?

- A movie and then
out for coffee.

- I don't think
I'm ready for this.

- Phil said Steve's a nice guy.

You'll like him.

- Well maybe I should
wear my pink sweater.

- Your blue one
looks better on you.

- Well what movie
are we gonna see?

- "Three Days of the Condor".

Phil picked it.

Redford's in it.

- Do you think he's cute?

- Redford?

- No, Steve.

- Yes.

Steve Pastorinis happens
to be a straight A student.

He's already been
accepted at Dartmouth

and he's on the fencing team.

- He isn't my type.

- ALLISON: What's
that supposed to mean?

- He's too successful.

- You're impossible.

I suppose E.K. Miller
was more your type.

[BOTH LAUGHING]

- No, E.K. Miller
wasn't my type.

- Then who is?

- I don't know, I
just know who isn't.

- You are impossible.

- Well, just let me
ask you one thing.

What if I don't like
Steve Pastorinis?

- Then you don't have to
go out with him again.

[GAIL LAUGHS]

- Well what if he
doesn't like me?

- Impossible.

[ALLISON LAUGHS]

[WATER SPLASHING]

[ENGINE RUMBLING]
[CRICKETS CHIRPING]

[STEVE SIGHS]

You two stay here,
I'll go get her.

- Allison, where is Steve?

- Oh, he's in the car.
- Oh, he's in the car?

I would like to meet him.

Why is he in the car?

- Well, he would've come in
except that he was driving

and we're sorta double parked,
it seemed easier this way.

[KNOCKING]

[CRICKETS CHIRPING]

- Hello.
- Hello.

- Uh, Mrs. Osborne?
- That's right.

- Uh, I'm Steve Pastorinis.

- Hello, Steve.

I'm very glad to meet you.

I'm glad you came in.
- Thank you.

Nice to meet you.

- GAIL: Hi.

- Hi.

Um, are you ready?

- Well, bye, Mom.

We'll be home early.

- By 12, Gail, huh?

Midnight, Steve.

- Yes.

- Well have a good time, kids.

- Bye.
- Goodbye.

Bye bye.
- Night.

[UPBEAT MUSIC]
[MUFFLED TALKING]

- Hey, John.

Bring me some money.

- GAIL: I just love
that part, you know,

when Faye Dunaway says
that he doesn't have

much of a future and
that he's gonna die.

- When was that?

- You know, when
Richard says that he

just wants to spend the
night and then he'll leave.

- I remember.

- I thought it
was very romantic.

- I didn't.

I still say she
shouldn't have just let

him sleep with her like that.

- She didn't just let
him sleep with her.

I mean, she was falling
in love with him.

She wanted him, too.

- That's not love, that's sex.

- Well, what's wrong with that?

Maybe it'll turn into love.

- She got what she wanted.

- Well, I wouldn't do it.

- What's that supposed to mean?

Well, they were falling in love

and I still think
it's beautiful.

- Gail, you could meet a
stranger, fall in love with him

and go to bed with
him in two days?

- Maybe.
- It was three days.

- No, it wasn't.

No, that was the second
night they were together.

Well, I couldn't.

- Well how can you be so sure
about everything all the time?

- Because nobody falls
in love in two days.

That's not love.

Love has a future.

- Oh, come on.

I think you're both over
analyzing this, you know?

I mean, Redford was
just telling her

what she wanted to hear.

- I give up.

- Hey listen, you two, haven't
you ever heard of romance?

I could fall in
love in two days.

Two hours.

Maybe it isn't forever, but
that doesn't mean it's not love.

[CAR ENGINE RUMBLING]

I guess they didn't
like the movie.

[GAIL LAUGHS]

- Well I did.

- Me, too.

I hear you're-
- I hear you're-

- Into photography.

You first.
- No, you go first.

- Okay.

I hear you take
terrific photographs.

- You did? Who told you?

- You also take
compliments really well.

[GAIL LAUGHS]

- Yeah, I sure do.

No, my pictures aren't terrific
but they might be someday.

I mean, they're good.

Well, they're pretty good.

- It's getting worse.

[BOTH LAUGHING]

- Okay, they're good.

[STEVE CHUCKLES]

What about Dartmouth?

You're going there next year,
what's your major gonna be?

- Biology.

- Bet you win a Nobel Prize.

[CRICKETS CHIRPING]
[CAR ENGINE RUMBLING]

[STEVE SIGHS]

[GAIL SIGHS]

- I'm gonna catch it.

I better go in,
I'm late already.

- No, no, no.

A couple more
minutes won't hurt.

- You're being very bad.

- Okay, just one more minute.

[LIGHT DRAMATIC MUSIC]

[CAR ENGINE REVVING]

[STEVE SIGHS]

- I got to go in.

- Okay.

Hey, Gail?

- GAIL: Yeah?

- Would you have lunch
with me tomorrow?

Great.

[GAIL SIGHS]

[DOOR THUDS]

[CAR ENGINE RUMBLING]

[DOOR CLICKS]

[PHONE RINGING]

- Hello?

[HEAVY BREATHING]

Hello?

[EERIE MUSIC]

Hello?

Is this a joke?

Because if you don't tell me
your name I'm gonna hang up.

[PHONE CLATTERING]

[DOOR THUDDING]

- Who called last night?

- I don't know, it musta
been a wrong number.

- I don't want your friends
calling here that late.

- Why do you say it's
one of my friends?

I just said it was
a wrong number.

- All right, all right. Peace.

- ANNE: What time
did you get home?

[GAIL SIGHS]

- GAIL: About 12.

- 12:20.

- Why did you ask
if you already knew?

- What your mother
is trying to say

is that you were out late and
don't let it happen again.

- That's not what
I'm trying to say

and please don't speak for me.

Look, I do not intend to sit up

and worry about you every night.

- Worry about what?

Mother, don't you trust me?

- If Steve Pastorinis or Ronis

or whatever his name is
can't get you home on time

you're not going out
with him again, Gail.

- Anne.

- Why don't you like him?

Why is it you don't like
anybody I've ever gone out with?

- I don't even know him!

Steve is not the issue.

- Yes, Steve is the issue
because you made up your mind

to not like him before
you even met him.

- Look, when I tell you
to be home at 12 o'clock,

I mean 12 o'clock, not 12:20.

You hear?
[NEIL WHISTLES]

- Hey.

This isn't getting us anywhere.

Now, go to school,
you're getting late.

[FEET STOMPING]

[GAIL SIGHS]

- Mom?

Goodbye.

- Goodbye.

[PAPER RUSTLING]

Am I too hard on her?

I guess I'm too hard on her.

I don't know, I don't know.

I just worry about her.

- Why?

- Why? Don't you
remember how she...

[SIGHS]

How upset she was when she
broke up with Eddie Miller?

Hm?

Well I don't want her
rushing into anything again.

- Like we did?

- That's not what I
was talking about.

Now that you mention
it, yes, like we did.

18, 18 when we got married.

It's just too young.

[NAIL SIGHS]

- It was too young.

But here we are.

- I know.

[ANNE SIGHS]

- What was the story with
Gail and E.K. Miller?

- I don't know.

- Well why don't you ask her?

- Do you think that
she would tell me?

- No.
[ANNE LAUGHS]

- I just worry about her.

- She's only 17.

At that age they're immortal.

- She's not.

[LIGHT MUSIC]

[MUFFLED TALKING]

- In secret we met.

In silence I grieved that
thy heart could forget

thy spirit deceived.

If I should meet
thee after long years

how should I greet thee
with silent and with tears.

What is the poet
telling us, Miss Bremer?

- I don't know.

I'm sorry, I wasn't listening.

- I see you already know all
there is to know about love.

Lord Byron is not so eloquent
as Miss Allison Bremer is.

I don't know why
I waste my breath.

You all make puppy
eyes at one another

in the ice cream store and
you think you know everything.

[BELL RINGING]

[MUFFLED TALKING]

- Malevich is such a crack pipe.

[GAIL LAUGHS]

- I don't know, she is dramatic.

I like her.

- They say she was
the czar's mistress.

- Allison...

- Okay, she's not old enough.

Can't be right.

[GAIL CHUCKLES]

She and Sonia sure are a pair.

- Really?

- All right, tell me, what did

you think of Steve Pastorinis?

- Well, like you said,
he is an A student,

he has been accepted
to Dartmouth,

he is on the fencing team.

- Gail.

- And he is smart and
sexy and fun to be with

and we like the same
movies and he's perfect.

He's absolutely perfect.

- Oh, Gail, that's great.

When are you gonna
see him again?

- 10 minutes, lunch today.

- Not lunch, I mean a real date.

- I don't know, he
hasn't asked me yet.

[MEN HUMMING]

♪ Each time we have a quarrel

♪ It almost breaks my heart

♪ Because I'm so afraid

♪ That we will have to part

♪ Each night I ask
the stars up above

♪ Why must I be a
teenager in love

[CAMERA CLICKING]

♪ Each time we have a quarrel

♪ It almost breaks my heart

♪ 'Cause I have-

- I'll see if Phil can find
out anything from Steve.

[CAMERA CLICKS]

- Well don't ya think
he'll ask me himself?

- I don't see why
not, he likes you.

- How do you know?

- 'Cause he told Phil.

- GAIL: Why didn't you tell me?

- I just did.

I'll go find Phil
and save us a table.

- Steve?

Hi.

- STEVE: Hi.

- Thank you.

Allison's saving seats for us.

- Okay.

- Oh, I'm starving.
- Hey, Steve.

Listen, you are a true pal.

- I lent E.K. my chemistry
homework this morning.

- Just the comparison, Gail.

A mere meeting of great minds.

You know, Pastorinis, I'd have
to say this an even trade.

Yeah.

I pass chemistry
and you get Gail.

[GAIL SIGHS]

- I don't think
it's so even, E.K.,

I get the better
end of the deal.

- Yeah?
- Yeah.

- Well, listen.

Don't bet on it.

- What was that all about?

- I don't know.

- Didn't you used
to go out with him?

- Yeah, when I first moved here.

- Hey.
- We're over here!

Hey.

- Thank you.
- Thank you.

- You're welcome.

[SKATEBOARD RATTLING]

[HAUNTING MUSIC]

[MUFFLED TALKING]

[LIGHT DRAMATIC MUSIC]

[PAPER RUSTLING]

[LIGHT DRAMATIC MUSIC]

- The objective of this
exercise is to create

a personality as you see it.

A self portrait makes
a statement about you.

How do you feel about you.

Now, today we're gonna try
out different selves, okay?

It should appeal to most of you.

Just by changing a
nuance of your character,

of your image, you can
show us how you feel.

Macho self, a sexy self.

Okay, Gail, now
why don't you try.

Give us a sexy self
portrait, okay?

Knock yourself out, sweetheart.

[CAMERA WHIRRING]

[CAMERA CLICKS]

Okay, Gail, that's
Hollywood sexy.

Give us a little reality, okay?

[CLASS LAUGHS]
All right.

[FAN WHIRS]

[CAMERA WHIRRING]

[E.K. WHISTLES]

[CAMERA CLICKS]

[BELL RINGING]

Okay.

[MUFFLED TALKING]

- Allison!

- Listen, I've got some
information for you.

Phil said Steve's gonna
call you and ask you

if you wanna go on a double
date with us Friday night.

- Good.

- ALLISON: Well,
what's the matter?

- I want you to
look at something.

Look at this, it was
sticking out of my locker.

- So?

- Well don't you think
it's a little bit creepy?

- Don't be so dramatic.

Somebody's watching you.

He likes you.

That's all it says.

- I don't know.

- You always overreact.

It doesn't even have
your name on it.

Maybe someone stuck
it in any old locker.

Phil's waiting for
me, I gotta go.

[PAPER RUSTLING]

- My Dad mostly designs
schools and hospitals

and stuff like that.

In San Francisco, he
commutes every day.

Yeah, it is a long way
but he wants to live here.

- How long has she
been on that phone?

- 45 minutes.

- ANNE: 45?

Is it Steve again?

- Who else?

- Now, what, tell me what could

be all that interesting, huh?

- Well, how about The
Beatles' first album?

- The Beatles?
- Mm hm.

- The Beatles?

- You know, when
we were in college

we were on the phone
together all the time.

- Yep, every night
at six o'clock.

[LAUGHS] Oh, if you only knew.

You know, if you were
late, one minute late,

I would sit there by that
phone, stomach churning away.

- I was never late.

- You were late,
you were late often.

You were late.

- I'll tell you something.

I used to make a list
of all that happened

to me during the day
just so I'd be sure

to tell you everything.

- Did you?
- Mmhm.

- [SIGHS] Gosh, it all
seemed so important.

- It was.

[ANNE CHUCKLES]

- See, my parents
bought an A frame

up in Petaluma Lake
when I was a little kid

so we've been coming up here
in the summer for years.

And then six months
ago our apartment

in San Francisco got
ripped off and my dad

decided we should move here.

He thought it'd be safer.

- ANNE: Gail, hang
up, it's enough now.

[GAIL SIGHS]

- You hear that?

I'd better go.

Okay.

Okay.

[LAUGHS] Okay.

Bye.

[GAIL SIGHS]

[MUFFLED TALKING]
[PEOPLE LAUGHING]

- Right.

[ALL LAUGHING]
- No!

- That's horrible.

It's so silly.

- Now it's time
for my skee ball.

Skee ball it is.

- Oh no.

- [LAUGHS] Look.

[BALLS CLATTERING]

Oh, look.
- Got him up there.

- Oh, he's so cute.
- The spoils of battle.

[GAIL LAUGHS]

There you go.

- Thanks.

- He's adorable! Look at him.

Oh.

Oh, I love him.

I love him.

[GAIL GIGGLES]

- Where the hell do you go?

- NAIL: Don't
pressure me, Anne.

- I have a right to know.

You cannot pretend that
nothing has changed.

You talk to me, damn it.
- Don't change the subject.

I already told you what I think.

I don't want you taking a
job selling real estate.

- What's wrong with
selling real estate?

- Well if I seem to
remember correctly

you hated real estate
when we were in college.

- When we were in
college I was putting

you through graduate school.

I wasn't selling houses, I
was renting dumpy apartments

to college students
while my boss tried

to make passes at me.

- You never told me that.

- Oh, Neil.

- Look, forget it.

I don't want you to do it.

It's not necessary.

- It is necessary.

It is necessary to me.

It is necessary because
I'm not gonna stand here

and let our lives fall a...

[ANNE SIGHS]

- Gail, um...

Come in.

- What's going on?

- Nothing.

How about some
chocolate ice cream?

[ANNE SIGHS]

[ANNE SIGHS]

You want some?

- ANNE: No, thanks.

Jessica Hirsch called, Gail,

she wants to know if you
can babysit tomorrow night.

Her regular sitter canceled.

- But I have a date with Steve.

- Well, believe it
or not I didn't know

that you had plans.

Her number's by the
phone, do what you want.

- Wait a minute, I'll do it.

I'll do it.

[PHONE RINGING]

- Who's calling this hour?

Hello?

Hello?

Hello?

- Hello?

[DIAL TONE RINGING]

[EERIE MUSIC]

[CRICKETS CHIRPING]

- Well, they are
all bathed, fed,

and if anybody
gets hungry there's

some yogurt pops in the fridge.

- I'll tell you what.

If you go get your
book, I'll read to ya.

- Terrific, you're a hit.

[KNOCKING]

- Jessica!
- Hi, come in.

- How are you doing?
- Fine.

- Hello, Gail.

- Hi, Mr. Elden.

- JESSICA: You two
know each other?

Oh, right, from high school.

- Right.

You ready?
- Yeah, let's do it.

Oh, Gail, we'll be at the movies

there's no way you can reach us.

- Oh, that's okay,
we'll be fine.

- Well, okay, I'll give you
a call around 10 o'clock

just to check in, okay?

- Uh, counselor, we are
going to miss the credits.

- Andy?

Come say goodbye, honey.

You smell good.

Like baby powder.

- CHRIS: You know,
those last photos

you took were really good.

You're starting to develop
your own style now.

- Well, thank you, I
wasn't really sure.

- You need to get
your confidence, Gail.

Start showing your work.

- I was gonna ask you
about the yearbook.

- That's a great idea.

Why don't you stop up at the
office sometime next week

after school and
we'll talk about it.

- GAIL: Okay, thank you.

- Chris?

[CHRIS HUMS]

You're the one who said
we were gonna be late

if we didn't hurry.

- Right you are.

Goodnight, Gail.

- Goodnight.
- Goodnight.

Oh, and don't forget
to lock the door.

- Okay.
- Okay.

Goodnight.
- Goodbye.

- I'll race you
guys to the door.

Go, go, run, run!

You locked it, that's very good.

Come on, let's go upstairs.

Come on, I'll read the book.

Woops.

[CLOCK TICKING]

[PHONE RINGING]

Hello?

Hello?

[CREEPY LAUGHING]

Hello?

- MAN: I'm getting closer.

[LIGHT DRAMATIC MUSIC]

[DOOR RATTLING]

[LIGHT DRAMATIC MUSIC CONTINUES]

[PHONE RINGING]

[CLOCK TICKING]

[DOOR CLICKING]
- Gail?

[GAIL GASPS]

Sorry, I didn't
mean to scare you.

Are you okay?

[GAIL SIGHS]

Well we tried to call
you and the theater

was so loud so we
decided we'd just

have dinner and come home early.

As a matter of fact we were
a little worried about you.

Chris tried to call and
there was no answer.

- Oh, um, maybe
there was something

wrong with the telephone.

- I probably dialed
the wrong number.

- I meant to ask
you if you could sit

for me next weekend.

My regular sitter's a little
hard to pin down these days.

Evidently cupid has struck.

- [LAUGHS] Now
don't be so snide.

- I'm not being snide, I'm
just jealous, that's all.

Are you interested?

Here, I think that's all right.

Anyway, I'd love
to see you take it

as a regular Saturday
night babysitting job.

Or you could just let me
know from week to week.

- Well, I'm not sure.

Can I call you?

- JESSICA: Okay, think about.

- Wait and I'll drive you home.

- Oh no, it's okay. I'll walk.

I'd rather walk, I
do it all the time.

- Gail?

Is there something wrong?

What is it?

- Somebody called and
they said horrible things

and I hung up on 'em.

- Oh, honey, I'm sorry.

Some guy used to call
here all the time

but he stopped after I told him

I'd put a trace on the phone.

Guess I'll just have
to change my number.

- I think it was for me.

- Well, why should
it be for you?

It's my house, isn't it?

Come on, don't worry
about it, okay?

Why don't you let
Chris drive you home?

- No, no it's okay, I'm fine.

It isn't far anyway.

Goodnight.

- Goodnight.

[LIGHT DRAMATIC MUSIC]

[DOG BARKING]

[CAR ENGINE RUMBLING]

[DRAMATIC MUSIC]

[SUSPENSEFUL MUSIC]

- Gail, it's me, Chris Elden.

Get in.

I'll drive you the
rest of the way.

[DOOR THUDS]

[CAR ENGINE RUMBLING]

Jessie just couldn't
stand the idea

of your walking home alone.

Lady lawyers.

Cautious types.

Hey, Gail?

Is anything wrong?

- No, no.

Uh, there it is, the
second house on the right.

[DOOR CLICKS]

Thank you, Mr. Elden.

Thank you very much.

I'll see you later.

[DOOR THUDS]

- I wanna see those
photographs, Gail.

Now don't forget.

[HAUNTING MUSIC]

- STEVE: Hey, they're good.

- GAIL: Steve, you scared me.

- I'm sorry, but you are late.

It's four o'clock.

Oh.
- Oh, I'm sorry.

I've been working.

It's really quiet here.

I lost track of time.

- What are the circles for?

- Mugshots.

- STEVE: Everybody's
going to Phil's.

[CAR ENGINE RUMBLING]

[TIRES SCREECHING]
[HORNS HONKING]

[PEOPLE CHEERING]

[DOOR THUDS]

[MUFFLED TALKING]
[PEOPLE LAUGHING]

- Very nice.

- Wow, this place is incredible.

- Well, have at it.

[MUFFLED TALKING]

[WHEEL TICKING]

[BALLS SMACKING]
[UPBEAT MUSIC]

- GAIL: This place
has everything.

- I've been here
before with my father.

- When?

- STEVE: Well, he's a plumber.

The sink's backed up
and I helped him fix it.

- Look at Allison,
she looks so happy.

Must be really wonderful
to know exactly

what your future's gonna be.

I mean, to marry Phil and
someday they'll have this house.

[BALL THUDDING]

- Wouldn't want this
house, lousy pipes.

Come on, let's go.

Come on, let's go!

[E.K. LAUGHING]

[LIGHT MUSIC]

[CAR ENGINE RUMBLING]

What happened between
you and E.K. Miller?

[GAIL SIGHS]

- He's mad at me.

- I know he's mad at you,

but what happened
between the two of you?

- Now you're mad at me, too?

- I am not mad at you.

- Yes, you are.

See that road up there?

Turn left.

- Where we going?

- I'll show you.

It'll take us to the lake
house I was telling you about.

[GAIL SIGHS]

What happened with me and
E.K., it's hard to explain.

I went with him for
a couple of months.

It was just after I moved here.

And we had a good time for
a while and then he broke up

with me because I
wouldn't sleep with him.

- Go on.

- That's it.

- But why is he so mad at you?

- I just told you.

- That's the only reason?

- He thinks I led
him on, but I didn't.

I never said I would.

The whole thing, it's stupid,
it's completely stupid.

But I didn't know what I wanted

but I knew that it
wasn't right between us.

- Gail, then why didn't
you break up with him?

- I don't know, I...

I just thought it would sort
of happen after a while,

that I would fall
in love with him.

But I didn't.

It never happens
that way, does it?

[LIGHT MUSIC]

- Gail, did E.K. love you?

- No, and he never said he did.

- Ask me.

- Ask you what?

[LIGHT MUSIC CONTINUES]

- STEVE: Ask me if I love you.

- How does Steve
feel about Gail?

- He loves her.

- I love you, too.

[LIGHT MUSIC CONTINUES]

[EERIE MUSIC]
[BIRDS CHIRPING]

[LEAVES RUSTLING]

[DRAMATIC MUSIC]

[MUFFLED TALKING]

- Hey, would you look at that?

Well, ain't love grand?

[E.K. LAUGHS]

- Jealous.

[LIPS SMACKING]

Come on, let's go,
we're gonna be late.

I'll see you later, okay?

- Okay.

- Hey, Gail.

Wait up.

- Hello.

- What's with you?

- What do you mean?

- You look all spaced out.

- It must be love.

- You practically just met him.

- So what?

Oh, I forgot.

Love has a future.

- Well, it does.

Okay, maybe I overdid it a
little bit for Phil's benefit.

He's such a prude.

But you practically just
met Steve Pastorinis.

How can you call that love?

- Because it has a present.

- You're impossible.

Gail, don't read it.

Why don't you just
throw it away?

- I know where you are, I'm
watching you, you tramp.

- Stop it!

That's terrible.

- Read it.

- I don't have to read it to
see what it's doing to you.

You're letting some
creep get to you.

- Read it, Allison.

[PAPER RUSTLING]

- Okay.

I said it's terrible and it is.

Now forget it.

- Why would anybody write this?

What did I do?

- Gail, forget about it.

Can't you just put
it out of your head?

Pretend it never happened.

- I can't forget about it.

I wanna do something about it.

- ALLISON: He'll
get tired of it.

He'll stop.

- Well what if he doesn't?

- What are you gonna do?

Call the Oldenfield Police

and have 'em
stakeout your locker?

Gail, for once can't
you just not react?

[ALLISON SIGHS]

[KNOCKING]

- ROUILLARD: Yes?

- Miss Rouillard,
may I speak with you?

- Oh, yes, come in, Gail.

Sit down.

I'm glad you dropped by.

I was gonna send for you today

because I wanted to talk to
you about your PSAT scores.

I was comparing them
with your grades,

and frankly, Gail-
- Miss Rouillard?

- You should've scored higher.

For a bright girl you're
a bit of an underachiever.

Don't worry, a little
bit of work and we'll

get those scores up.

As a matter of fact, I have
several books I can recommend.

What's this?

- It was in my locker.

There's been other
notes and phone calls.

- Who, Gail?

Who wrote this?

- GAIL: I don't know.

- Think hard.

Most of the time
the girl does know

who the boy is
that's bothering her.

- Well I've thought about it,

I've been thinking
about it all the time.

I don't know.

- Gail, you don't look
like the kind of girl

that would encourage
this sort of thing,

but I-
- That note says

that he's coming after me.

- Calm down, calm down.

Nobody is coming after you.

Boys your age are all talk.

Now, I can't help you
unless we know who it is.

Let's try to figure this out.

Has there been anyone
hanging around lately?

Making remarks?
That sort of thing.

Think hard, dear.

Sometimes without
even realizing it

you might have been
rejecting of a boy.

- You make it sound
like it's my fault.

- Oh no, no.

It could be completely
innocent on your part.

Boys are very easily provoked.

An old boyfriend maybe.

[GAIL SIGHS]

- No, no, I don't think so.

I have to go to class.

- Gail.

I want you to think about it

and let me know what
you come up with.

In the meantime I'll
have a word with

a few of our problem boys
and we'll talk in a few days.

Okay?

[DOOR CLICKS]
[LIGHT DRAMATIC MUSIC]

[LOCKER SLAMS]
[MUFFLED TALKING]

- How do I love thee?

Let me count the ways.

I love thee with the
depth and breadth

and height of all
my soul can reach.

When feeling out of sight

for the ends of being
and ideal grace.

I love thee to the
level of every day's

most quiet need, by
sun and candlelight.

I love thee freely, as
men strive for right.

I love thee purely, as
they turn from praise.

I love thee with the passion-
[BELL RINGING]

Review.

We will continue
this tomorrow, class!

Gail.

I do not wish to pry, but is
there something troubling you?

Perhaps you'd like
to talk about it.

- No, I'm fine.

Thank you, though.

[LIGHT DRAMATIC MUSIC]
[MUFFLED TALKING]

[TIMER BUZZING]

[GAIL GASPS]

[GAIL SIGHS]

- You said you wanted to talk
to me about the yearbook.

- Oh, I forgot.

- You still interested?

- Yeah, sure.

- Well, what if you took some
shots of the athletic events?

You might enjoy
working with movement.

- Okay.

- These are really good.

I like 'em.

Oh, especially that one.

It's kinda sexy.

- Mr. Elden?

Oh, hi, Gail.

- GAIL: Hi.

- Hey, I've got a scratch
on the negative here.

Is there anything
I can do for it?

[MUFFLED TALKING]

- Steve?

Excuse me.

Steve?

- Hi.
- I have to talk to you.

- Okay, let's go.

[PAPER RUSTLING]

What is this?

- Somebody left it in my locker.

- Who?

- I don't know.

- Well, look, are you
sure it's for you?

I mean, there's no name on it.

- I'm sure.

- Okay, okay, I'm sorry.

Look, it's just that I don't
know what to make of it.

I mean, maybe it's
just some stupid joke.

- No.

No, I don't think
it's a stupid joke.

There was another note-

- Another note?

- Yeah, I...

I think somebody's
trying to scare me.

- Then I think we should
try to figure out who.

- I know, but I've tried.

- Look, Gail, there
must be some clues.

Now, who's got a
sick sense of humor

that would think this was funny?

- He doesn't mean
it to be funny.

It isn't a joke.

- Then it's gotta
be someone who's got

it in for you, like E.K.

- Yeah, I thought of
that, it just doesn't seem

like something he'd do.

- Why not?

He knows your locker,
your schedule,

he could've planted
the note easily.

- I just don't think so.

- Look, it adds up.

You even said E.K. thought
you were leading him on

and he sure has been
acting weird lately.

- Yeah, but he
thinks I'm a prude.

Why would he bother?

- Gail, did you
tell me everything

that happened
between you and E.K.?

- You can't help me, forget it.

- STEVEN: Hey,
look, Gail, Gail.

Listen, I'm sorry.
- No, just leave me.

- Just leave me alone!
- No, I didn't mean it.

Gail.

Look, I...

Gail, I'm sorry!

- Mom?

- ANNE: Hi, honey.

Did you have a good day?

- Uh, yeah, it was okay.

- Listen, I'm late.

I'm not gonna be
here for dinner,

but I've got a
casserole in the oven.

Just put it on
whenever you're hungry.

About 20 minutes, I'd say, 350.

- Where you going?

- ANNE: I've
gotta show a house.

- This late?

- Yeah, you know, I
think I've got a buyer

for the Brooklidge Street place?

Oh, they've seen it once
and they wanna see it again.

I gotta run over and
give them the keys.

- Well, where's Dad?

- ANNE: He's at a meeting.

But don't wait for him
'cause he's not sure

when he'll get back.

- Mom, Mom, wait.

- What do you want?

- I have to talk to you.

- Gail, why do you always do
this when I'm running out?

I can't talk to you now.

- I just wanted to ask
you if we could change

the phone number,
but never mind.

- The phone number? Why?

- Because of the calls.

- ANNE: What calls?

What are you
talking about, Gail?

- Well what difference
does it make?

You never know what
I'm talking about,

you never listen to me!

- Oh, Gail.

[DOOR THUDS]

[FEET THUDDING]

I am sick and tired of this.

I'm always the one
that doesn't listen.

Well just maybe
you don't listen,

maybe you don't understand me.

I have to hold up my
end in this family.

Now, I know I have
not been easy on you,

I've been hard on you lately.

But listen, there's a reason.

I can see myself in you.

I fell passionately in
love with your father

when I was just about your age.

We rushed into
marriage, you were born.

- Well are you sorry
you married Dad?

- No, I don't regret it all.

I wouldn't give either of you
up for anything in the world.

I just wish that I
had taken the time.

The time to find out about
myself, about the world.

There's so much, Gail.

There are so many
choices to make,

I want you to take
the time to make them.

I want you to have it all.

Listen, I have got to go.

I am so late, I'm sorry.

We'll talk about it later, okay?

[LIGHT DRAMATIC MUSIC]

[DOOR THUDS]

[CRICKETS CHIRPING]
[LIGHT MUSIC]

[GAIL SIGHS]

[LIGHT MUSIC]

[WATER SPLASHING]

- Your father doesn't
work here anymore.

- What?

- He got laid off
about a month ago.

A lot of the guys did.

We didn't get this
big contract we bid on

so there wasn't enough work.

Well, that's what happened.

I'm sorry, Gail.

- Are you sure?

- He never told you?

- He leaves the house the
same time every morning

like he's going to work.

- I guess a lotta
the guys do that.

They can't get used to
breaking the routine.

- Well, then where does he go?

I have to find him, I
have to talk to him.

Could you at least
tell me where to look?

- Try King's Inn.

King's Inn, it's
across the street.

Your father used to eat
lunch there every day.

It's a little early for lunch,
but, well, it's worth a try.

- Okay.

- Oh, Miss.

I'm sorry, but we don't
start serving until 11:30.

I can't seat you yet.

- Oh, I don't want a table.

I'm looking for someone.

There's no one here?

- Well, the bar is open, but-

- May I just take a look?

I'm just trying to find someone.

- All right.

[LIGHT MUSIC]

- GAIL: Why didn't you
tell me he lost his job?

- ANNE: Come on
in and sit down.

How'd you find out?

- It doesn't matter, does it?

I found out.

- Does your father know?

- GAIL: No.

Why didn't anybody tell me?

- Because we didn't
wanna worry you.

And what could you do about it?

- You're treating me
as if I'm 10 years old.

Aren't I a part of this family?

- Sweetheart, parents
wanna protect children.

Now maybe that's
wrong, I don't know,

we did the best thing
that we could do.

- Well I think it
would be better

if we tried talking to
each other once in awhile.

- Gail, you've got to
promise me that you're not

gonna tell your father that
you know he's laid off.

You have to promise me.

- But why?

- Because it was his
decision not to tell you.

He doesn't want you to
be disappointed in him.

He sees himself as an architect.

And being a man is all
tied up in that job.

He loves you, he's just lost.

You can understand
that, can't you?

He never could stand
to say no to you.

He wants you to adore him so.

[ANNE CRIES]

And sometimes that's been
hard for me to deal with.

- Yeah.

- Now, listen, you must be
very adult about this, huh?

Have to protect him now.

He still sees you
as his little girl.

And he wants you to see him...

He wants you to see him
as the perfect father.

Somebody strong, somebody to
fight your battles for you.

- But he can't anymore, can he?

- No, he can't.

Don't be too hard on
him for that, huh?

- Okay, I won't tell him.

[GAIL CRIES]

[ENGINE RUMBLING]

- STEVE: You weren't
in school today.

- GAIL: I just went
to see my father.

- STEVE: In San Francisco?

- GAIL: Yeah.

- STEVE: Did you
show him the note?

- GAIL: No, I decided not to.

You're probably right,
it's a stupid joke.

It'll stop.

- Gail, what's the matter?

I don't know what you want.

- I just wanted you to hold me.

Is there anything
wrong with that?

- Gail, you were the
one that started-

- Look, okay...

I'm confused,
everything is in a mess.

I can't right now, okay?

I just can't.

- I didn't expect anything.

- [SIGHS] Well then
why'd you bring me here?

[STEVE SIGHS]

- To be alone with
you, to talk to you,

and because it happens
to very pretty out here.

[ENGINE REVVING]

- Oh, Steve, I'm sorry.

- So am I.

[ENGINE REVVING]

[MUFFLED TALKING]

[BELL RINGING]

[DOOR THUDS]

- I'm late, can I have
a late pass, please?

[HAUNTING MUSIC]

[DRAMATIC MUSIC]

[HAUNTING MUSIC]

[CRICKETS CHIRPING]

[DOOR SQUEAKS]

[PHONE RINGING]

Hello?

- STEVE: Gail, hi, it's Steve.

- [SIGHS] Hi.

- STEVE: How ya doing?

Kids asleep?

- Yeah, yeah, they're
fine, I'm fine.

Listen, I'm sorry
about the other day.

- STEVE: It's okay.

- I just...

Oh, I don't know, I'm
a bit jumpy lately.

And I got another note,
it's worse than the last.

- STEVE: Listen, I'm helping
my father with a job tonight

and he said I could
have the car afterwards.

You want me to come over
and keep you company?

- Oh, yes.

Thank you, Steve.

- STEVE: Okay, one
flooding toilet to cure

and I'll be right there.

- Okay, bye.

[PHONE RINGING]

Hello?

[MAN CACKLING]

- MAN: Are you in
the house alone?

[DIAL TONE RINGING]
[LIGHT DRAMATIC MUSIC]

[GAIL SIGHS]

[LEAVES RUSTLING]

[SHADE RATTLING]

[SUSPENSEFUL MUSIC]

[DIAL TONE RINGING]

[HAUNTING MUSIC]
[DOOR THUDDING]

[KNOCKING]

- GAIL: Oh, Steve.

Oh, Phil.
- Oh, hi, Gail.

Hey, is Allison here?

- No.

- Oh yeah?

She said she was gonna come by.

That's strange, she
shouldn't be wandering

around at night, you know?

Oh, uh, can I use your phone?

- GAIL: Sure.

- Thanks.

Uh, it's off the hook.

Hello?

[PHONE CLICKING]

[LIGHT DRAMATIC MUSIC]

Oh, hello, Mrs. Bremer.

Yeah, this is Phil.

Is Allison there?

[PHIL CHUCKLES]

[THUDDING]

I really had you
fooled, didn't I?

[GAIL SIGHS]

Had you real scared.

- Phil, will you cut it out?

- Are you in the house alone?

[GAIL GROANS]

Hey, uh, I know all about you.

You and Pastorinis
down at the lake.

I know what you like.

I've been watching
you a long time, Gail.

Sending you notes.

Calling you, huh?

I've been real patient.

- Yeah, well, I
think you need help.

What about Allison?

- Hey, leave Allison
out of this, okay?

I've waited for you.

Don't give me any of this
lily white virgin stuff either

'cause I know you
got nothing to lose.

Hey, come here.
[GAIL SCREAMS]

Ouch!

[DRAMATIC MUSIC]

[THUDDING]

[DIAL TONE RINGING]

[DRAMATIC MUSIC CONTINUES]

[CRICKETS CHIRPING]

[HEAVY BREATHING]

[DOOR SLAMS]

[LIGHT DRAMATIC MUSIC]

[HEAVY BREATHING]

[DOOR RUMBLING]

[STRETCHER RATTLING]

- I can't believe it, I
just can't believe it.

She was just lying there.

- Gail.

Gail!

Wake up now, Gail.

That's a good girl.

Can you tell me your name?

Gail?

Can you tell me your name?

- Gail.

You're in Oldenfield Hospital

and you're going to be fine.

I'm Dr. Carson.

I have to ask you
a few questions,

do you feel up to it?

It's okay, you're doing fine.

Do you know why
you're here, Gail?

- He raped me.

- DOCTOR: Who raped you?

Do you know him, Gail?

- I can't...

I can't...

I can't tell anybody.

I can't tell anybody,
they won't believe me.

I know they won't believe me.

He called me.

He must've been watching
me all the time.

He was at the lake.

He was there.

[GAIL SOBS]

[SPOON CLINKING]

- She probably
won't get pregnant.

Carson said that she
probably won't get pregnant.

- Who would do this to her?

I know it isn't passion.

She's a part of me and I feel
like this happened to me.

You know, I look at
her and I tell myself

it's all over, she's all right.

But I can't hang onto that.

It just hits me again.

Rage hits me again.

And I wanna kill the animal
that did this to her.

- Hi.

- Steve?

[DOOR THUDS]

Oh.

[LIGHT MUSIC]

- It's okay.

[GAIL GASPS]

- GAIL: It was horrible.

- It's okay.

- I was so scared.

- It's okay.

You opened the door
because you thought

it was me, didn't you?

[GAIL CRIES]

- It doesn't matter.

- Gail.

Gail.

Do you know him?

Do you know who it was?

- It was all a blur.

I don't remember.

- What color was his jacket?

[GAIL SIGHS]

- I don't know, brown maybe.

- What color pants? Did
he have on a hat, gloves?

- No.

It isn't any use, I just
don't remember anything else.

- Okay, I want you to
come down to the station

and take a look
at some mugshots.

Maybe you'll recognize him.

And if that doesn't
work we have an artist

who can put a drawing together.

You know, tall with brown hair
isn't much of a description.

You let a stranger in
the door, you struggled,

he threw you down,
assaulted and raped you

and you can't remember
what he looks like?

I'll tell you what I think.

I've been on these cases before
and they always remember.

So if you decide to give me
his name, call the station.

And if you don't, we don't
have a case and he walks

around free and it's gonna
happen to somebody else.

- Philip Lawver.

Philip Lawver raped me.

- ANNE: Neil, stop,
you can't go over there.

- JESSICA: This is no solution!

- There is no other solution.

The police won't
even issue a warrant.

- Listen, Neil,
it's complicated.

You gotta listen, listen.

- It's not complicated,
it's very simple.

Philip Lawver raped my daughter

and now you're telling
me that even if

we do get a warrant the
judge is a good buddy

of John Lawver's and
we don't have a chance.

- That's not what I said.

Now, Neil, for god sakes,
would you please think?

- I am thinking.

I am thinking about that
kid walking around free

while I can't even
put him behind bars.

Why?

- Because she's not
a virgin, that's why.

[ANNE SIGHS]

- No, that's not why.

But this is a
difficult case, though,

and there's some
facts that we have

to take into consideration.

Their lawyers do have influence,

Gail did let Phil in the door.

Plus the fact that
she's not a virgin.

Now, if we have to go to
court the defense attorney

is going to make Phil
look like a model student

and Gail the seductress.

- She musta done something,
why did it happen to Gail?

- I can't believe you said that.

- Anne, Gail didn't
provoke the attack

and it doesn't
make any difference

what went on between them.

Nothing justifies rape.

- I know that, I didn't mean it.

Listen, I'm just as
scared and frightened,

as angry as you are.

And now what happens?

Philip Lawver walks
around free and I've got

a child upstairs who won't
even leave the house.

Neil, my world is falling apart.

If we are gonna face this,
we've got to face it together

because I cannot face it alone.

I can't, I can't face it alone.

[SWORD CLANKING]
[FEET STOMPING]

[MUFFLED TALKING]

[METAL CLATTERING]

[HEAVY BREATHING]

- I'd like to kill you
for what you did to her.

[GAIL SIGHS]

[GAIL GASPS]

- Oh.

Daddy.

- It's okay.

- Where you going?

- Nowhere.

- You're going to
Phil's aren't you?

- No.

- Police won't arrest
him, will they?

- Not yet.

Jessica will get them
to issue a warrant.

- But why won't they?

- It's a small town.

The Lawvers run the show.

- And even if they arrest them
he'll get off free, won't he?

- Maybe.

[GAIL SIGHS]

- I keep dreaming about
it and then I wake up

and try and tell myself it's
a bad dream, but it isn't.

We moved here because
it would be safe.

But it isn't, it isn't safe.

- Do you remember when
you were a little girl

you had a favorite
bedtime story?

Remember?

Huh?

- Yes, it was about the
princess in the tower.

- Right.

Princess was locked in the
tower by the evil knight

and the prince would
come and rescue her

and take her away to his
castle where she'd be safe.

You remember?

Only sometimes I kinda
changed the story

a little bit, you know?

The castle had a
moat and some dragons

and all sorts of things.

But the prince
always rescued her.

There was always a happy ending.

Well, it's not true.

There isn't always
a happy ending.

I should've told you that.

- I know that, Daddy.

- I wanted to move
here to protect you

and I didn't tell you I
lost my job to protect you.

And I suppose that's the
reason that I never told you

that sometimes life is hard

and I can't protect
you from that.

- But I know that.

It isn't your fault.

- Maybe it's everybody's.

I'll take out a loan, we'll
send her to a private school.

What else can we do?

- I don't know.

Maybe we should send
her back to Oldenfield.

[NEIL SCOFFS]

- With Philip Lawver there?

- Hasn't he done enough?

Does he also get to force
her out of Oldenfield High?

- I'm not going back there.

I heard what you said,
I've made a decision.

I won't go back.

- ANNE: Honey, you don't
have to decide that yet.

- Yes, I do.

I wanna go live with
Aunt Meg in Connecticut.

That's my decision.

- ANNE: Okay, okay,
let us talk about it.

[ANNE SIGHS]

- No way.

[DOORBELL RINGS]

- Miss Malevich.

- So you live.

The rumors conflict
on that point,

so Malevich must
see for herself.

- Um, Mom, Dad, this
is Miss Malevich.

This is my mother and father.

- Hello, Miss Malevich.
- How do you do?

Pleasure.
- Won't you come in?

- Please, I must ask you
to excuse this intrusion

to your home, but you see,

the school is like a small
village inside a small village

and rumors abound
in such places.

- What are they saying?

- Nonsense.

They invent dramas.

They say you were
put upon by a gang

of dog fiends and beaten.

Machines are said
to keep her alive.

Oh, you will have an
aura of great mystery

when you return to school.

- I'm not going back.

- Oh, I see.

- Can I get you
something, Miss Malevich?

- No.

No, thank you.

- Mom, Dad, can I talk to
Miss Malevich by myself?

- Sure.

Excuse us.

[GAIL SIGHS]

- I was raped.

- There is always that
nugget of truth in all talk.

Oh, I...

Oh, I am so sorry.

Who did this thing to you?

- Philip Lawver.

- Oh.

I knew the Lawvers long
before you were born.

They always lived too
much like they were

the only people on Earth.

I am not so astonished
that in time

they should produce
a son who cannot live

in this world with others.

- Oh, but he will.

He probably won't even
be punished for this.

- You look for justice
and you punish yourself.

- What do you mean?

- Your friends, your life here.

It is of importance to you?

Then you must fight for it.

Criminals walk the streets
and you hide yourself inside.

Then you are the prisoner.

You must not let this happen.

But you already know,
you know you cannot

run from this thing.

[LIGHT DRAMATIC MUSIC]
[MUFFLED TALKING]

[CAR ENGINE RUMBLING]

[ANNE SIGHS]

[GAIL SIGHS]

- Well I gotta do it sometime,
might as well be now.

- I'm proud of you.

[GAIL SIGHS]

[DOOR THUDS]

[LIGHT DRAMATIC MUSIC]
[CAR ENGINE RUMBLING]

[MUFFLED TALKING]

- Hyperbole, alliteration,
onomatopoeia.

I want you to write
these terms down

in your notebook, class.

Study them very carefully.

In all likelihood
they will be used

in your final examination.

Now, if you have paid
attention during class

you should have
no trouble at all.

But if you have not, I
would be very willing

to stay after school and help.

But you must study these
words, they are very important.

- Okay, the amount you have
to increase your exposure

when you have the
filter over lens

is generally referred
to as a filter factor.

Study these photos you've got.

You should be able to
tell who's got it right

and who hasn't.

Some of them look just
horribly grotesque,

the rest of them-

Ah.

[DOOR THUDS]

And when it's done right
it's a definite addition.

Now, I'm gonna read this article

and you can go to
sleep if you want to,

but the filter factor
is simply the number

of times the exposure
must be increased

to reproduce a gray
object properly

when using the given filter.

Filter factor of two means
the exposure must be double,

the factor of four
means the exposure

must be increased four times.

[MUFFLED TALKING]

- Allison.

Are you planning on just
never speaking to me again?

- Don't be silly.

- I'm not.

- It's not your fault.

I guess you just
couldn't help it.

- What isn't my fault?

- Never mind, let's
just forget about ti.

- No!

Forget what?

What did he tell you?

- ALLISON: Let's just
forget about it, okay?

- No, not okay.

I was home a whole week,
why didn't you call me?

- Steve said you didn't
wanna talk on the phone.

- That's a lame excuse,
you never even tried.

- Yes, I did.

- No, you didn't.

You just wanna pretend
that the whole thing

never even happened.

Phil sent me those
notes and Phil raped me

and you know it.

- Phil was right,
you're out of your mind!

- He's got tramps and angels.

You're the angel and
everybody else is a tramp!

- Phil said you threw
yourself at him,

well now I know it's true!

- Philip Lawver raped me.

Allison, why would I make
something like that up?

- Because you're crazy!

You're jealous and you're crazy!

Phil told me.

You just want Phil, don't you?

You're jealous of us,
that's what it is!

[THUDDING]
- And you won't give up

your wedding cake
fantasy, will you?

[GAIL CRIES]

- STEVE: You didn't
really expect Allison

to believe you, did you?

- GAIL: I don't know.

She's my best friend.

He's sick, it's all wrong.

- STEVE: Don't think about it.

- GAIL: [sighs] I have to.

The preliminary
hearing's next week.

The judge could
throw it out of court

or Phil could even get
off by plea bargaining.

It's hopeless, there just
isn't enough evidence.

- Gail...

If you really feel that way
maybe you shouldn't go to court,

maybe you should
just give yourself

some time to get over it.

- No, I have to go, it's the
only way I can get over it.

[MUFFLED TALKING]

[LOCKER THUDS]

[PAPER RUSTLING]

It's like the note he sent me.

The first note.

Now he's after Sonia.

This is evidence, isn't it?

- [SIGHS] I don't know.

I just don't know.

- I can't let it happen again.

I've gotta find a way
to prove it was Phil.

- How?

[METAL SCRATCHING]

How much longer?

- I'm just about finished.

- What do you call it?

- Time lapse photography.

You see, the shudder will
click every couple of seconds

and that way...

If Philip Lawver tries to put
another note in Sonia's locker

[SIGHS] I'll get it on film.

[LIGHT DRAMATIC MUSIC]

[CAMERA CLICKS]

[DRAMATIC MUSIC]

- He did not wear
his scarlet coat,

for blood and wine are red.

And blood and wine
were on his hands

when they found
him with the dead.

The poor dead woman he loved
and murdered in his bed.

He walked amongst the trial
men in a shabby suit of gray.

[DRAMATIC MUSIC]
[CAMERA CLICKING]

[MUFFLED TALKING]

[DOOR CLICKS]

[CAMERA CLICKING]

- GAIL: Can you come with
me to the lab tonight?

- Tonight?

- Yeah.

I wanna develop that film.

- I understand
about all of this.

I really do.

But lately the only time I'm
alone with you is in here.

I'm beginning to feel
like you're afraid of me.

- No.
[LIGHT MUSIC]

Remember what you said
about just getting over it?

[STEVE HUMS]

I'm just giving myself time.

Okay?

- Okay.

[DRAMATIC MUSIC]
[CAMERA CLICKING]

[DOOR CLICKS]

[LIGHT DRAMATIC MUSIC]

[MUFFLED TALKING]
[LIGHT DRAMATIC MUSIC]

[SMACKING]

- Why won't you
say anything to me?

Phil!

I saw you that night.

You were on my porch.

You looked crazy.

[PHIL HUSHES]

You said that Gail
threw herself at you.

That's what you told me.

But that just
doesn't make sense.

[AIR WHIPPING]

Say something.

Please just tell
me what happened.

- I don't have to account
to you for anything I do.

I don't have to account to
anyone for anything I do.

[DRAMATIC MUSIC]
[CAMERA CLICKING]

[DRAMATIC MUSIC]
[GAIL GASPS]

[HAND SLAPPING]

[CLATTERING]

[GAIL SCREAMING]

[GLASS SHATTERING]

[GAIL SCREAMS]

[DRAMATIC MUSIC]

[LIGHT DRAMATIC MUSIC]

[LIGHT MUSIC]

- GAIL VOICEOVER: We
never did get to court.

Philip Lawver pleaded
guilty to assault,

so they threw out
the rape charge.

But even though I
lost it was worth it

to get it all out in the open.

Phil left school
after Thanksgiving.

Someone said he went crazy
and they put him away,

but Steve and I don't
think that's what happened.

Somebody else said
his folks sent him

to a boarding school
in New Hampshire.

That's probably where he is.

After it was all
over I asked Jessica

how come the law protects
the rapist and not the victim

and she said because
the system is wrong.

[LIGHT DRAMATIC MUSIC]

[FUNKY UPBEAT MUSIC]

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