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HOST: Starring tonight, James Farentino,

John Astin,

and Joanna Pettet as The Girl with the Hungry Eyes.

Good evening, let me welcome you to this parlor of paintings.

We offer them to you, for your enjoyment and edification.

Feel free to dwell on them at your leisure

and in your own good fashion.

But, kindly don't touch, because here, they frequently touch back.

Our number one painting in tonight's exhibit,

this intriguing portrait of a young lady,

curiously photogenic and hauntingly familiar.

Recall seeing this face? You've seen it.

On billboards and magazine ads and television commercials.

Oh, yes, you've seen it, but there are people who having seen it, wish they hadn't.

Our painting is called The Girl with the Hungry Eyes.

And should I have failed to mention it, this is the Night Gallery.

DAVID: A dlllar, a dollar, a 10 o' clock scholar.

What makes you come so soon? You used to come at 10:00,

and now you don't even call, baby.

(PHONE RINGING)

Faulkner Studios.

Oh, Harry, you know you're really something.

How many times have I told you to keep your hands off my camera?

Now, don't tell me you don't know what I'm talking about.

I shot a test roll with this chick and I must've stopped at number 11.

You came up here and clicked off the last one on some broad who...

(BREATHES DEEPLY)

All right. Forget about it. What about the 50?

You're hurting? Harry, I'm hurting.

Overhead to you is available light. To me, it's this whole cockamamie studio...

Hold on a minute. What?

You. Us.

What?

You need a model. I want to be a model.

Well, what've you done?

Why don't you hang up the phone, David?

Harry Krell shot this, didn't he?

She's rather pretty.

Who's Harry Krell? I see.

Now, you're gonna stand there and tell me

that you and Harry Krell weren't up here this afternoon and...

He didn't take this...

Are you all right?

Who are you?

Don't you know me, David?

You look tired David. We'll do it in the morning. Say, 10:00?

Just what agency are you with? What've you been getting?

10:00.

You never modeled in your life.

Well, I don't pay amateurs, it's strictly on spec.

Hey, and I'm gonna need your name, address and phone number

on a release form.

It's on the table.

(DOOR CLOSES)

Now, if I can get just one good one

I'm sure I'll work it into my rounds.

Now, let's have a big smile.

lam smiling.

If that's the best you can do, we're gonna be in a lot of trouble.

Look in my eyes, David.

What was that shtick about the release papers? They were empty.

Are we through, David?

No, just a minute. Be patient.

This time before you go lam gonna need your name and address.

I'll keep in touch.

What is it with you anyway? Everybody...

My way, David.

Everything's going to work out fine my way.

And David, don't ever try to follow me.

(INAUDIBLE MUMBLING)

They say it takes all kinds. Listen, I pay $25 an hour tops.

And I usually pay late.

The money's not important.

Look at me, David. Do you see the smile now?

No. What do you see?

I see a need.

A hunger.

You'll see.

Uh, look, why don't we get a couple of bikini shots.

That's always a grabber. Try the red one over there.

You don't mind, do you?

Why should I?

MUNSCH: Simple, unadorned with claptrap.

Simplicity is at the heart of endurance, David Faulkner

and this campaign will endure, I promise you that.

That's very impressive, Mr. Munsch.

Here, in this space,

will be the elusive ingredient.

The girl.

The girl, Miss Munsch.

Been looking for her for seven months, not gonna do the campaign without her.

Now, the agency says you've handled only very small accounts.

Don't worry about that. I have to turn over every stone.

How's your beer?

Mmm. Fine, thank you.

(STUTTERING)

I'm sure, uh...

My...

I have what your looking for, Mr. Munsch.

Well, I'll be the judge of that.

But before I look at your pictures,

I want you to consider something.

The girl Munsch Brewery is looking for,

must be the manifestation of our materialism and our lust.

She must be the mystery that drives men to victory in whatever arena we enter.

Do you believe in telepathy?

Oh, yes, sir, very much so.

I believe that men have created collectively in their minds a girl

shaped into a single image. A composite, so to speak.

Fame, power, sex, immortality.

All these desires common to every man. They have a look to them.

They have a face.

Oh, yes, sir. They sure do.

I'll know that face when I see it.

I'll know the eyes in that face.

That face will be Miss Munsch.

Do you have that face with you, David Faulkner?

Well...

Look, why don't you just flip through these, Mr. Munsch?

All right.

Miss Munsch.

(EXHALES)

DAVID: To your health, Miss Munsch.

Well, you're a lousy traitor, David.

You could at least toast her in beer.

Better yet, why not introduce me?

Oh, that's the most I could do, Harry and I'm not about to do that.

What? ls she your private stock?

(STAMMERING)

We haven't so much as shared a cheeseburger.

Oh, forget it, I don't see her at all, Harry.

Well, I see her all the time.

Bimini swimwear and Danielle Perfume.

Come on, David I'm a big boy.

You can at least give me her name.

Well, since you're an old friend, Harry, you can call her Miss Munsch.

Hey, now cut it out, David, I'm serious, man.

There's something about this chick.

She's got me climbing the walls.

The way she makes me feel, it's almost...

What, Harry?

Well, I never felt that way before.

Does she scare you, Harry? Does she?

Yeah. Yeah, she scares me.

And I'd like to know why.

So, help me, man. When I look at that face...

It's like she's looking back, right through me.

She knows me, man, she knows things about me she couldn't possibly...

You're laughing at me.

(SCOFFS)

No it's... Look, I'm gonna close up shop. It's getting late.

Well, thanks for nothing, pal.

Hey, are you... David... Harry, please.

He's gone.

Don't ever let that happen again, David.

I'm sorry. He just dropped in. He only wanted to know your name.

Why didn't you tell him?

You know it.

Sure. Elizabeth, Melissa, Catherine, Rose.

Teresa, Nancy...

All of them.

(GLASS SHATTERING)

Munsch was right, sweetheart.

You're nothing

but the essence of dreams!

(SPEAKING INAUDIBLY)

GIRL: And, David, don't ever try to follow me.

(PHONE RINGING)

Faulkner...

(STAMMERING) Just a minute.

(CLEARS THROAT)

Faulkner Studios.

A little excitement in your neighborhood last night.

According to the morning paper, another one of the maybe murders.

What?

L keep forgetting. Photographers don't read.

They just look at pictures.

The press calls them "The Maybe Murders",

because the police can't decide

whether they are homicides or heart attacks.

(GASPS)

Mr. Munsch, I'm not very clear this morning.

In my neighborhood? Where?

In the park. Just like all the others.

Perfectly healthy man alone in a quiet place.

But I didn't call you to discuss obituaries. Listen.

With regard to Miss Munsch, I think it's time we met.

No!

She's remained anonymous long enough.

I plan to be present at the next shooting session.

Please, Mr. Munsch, you don't understand. You see...

She's a very strange chick.

She won't work with anyone else in the studio.

Then we'll chat.

I've learnt over the years that most models find the

brewery business utterly fascinating.

Look... (PHONE CLICKS)

GIRL: Good morning, David.

What are you doing here?

Where else would I be?

I don't know.

I don't know anything about you.

You know how rich I've made you. The rest shouldn't matter.

What did you do after you left here last night?

Well, I was hungry. What do you think I did?

A man was murdered in the park.

A friend.

A very good friend.

Now, look, I saw you from the window!

You were talking to him. You walked off together.

You said this new account was a big one. Shall we get started?

What do you want, David?

Do you know what you want?

Revenge? Or justice? Or what?

Tell me, David.

I want...

I want you.

You sound surprised.

I never realized before, but I do.

I want you. I need you.

In time, David. Not yet.

We need each other. We have from the beginning.

Me, giving you what you wanted and needed,

and you doing the same for me.

But it's not enough. l want more.

It either waits or it ends right now.

I can make it without you now, David.

Can you say the same?

This new account, David. What do I wear?

DAVID: Doesn't matter, they just want to use your face.

GIRL: Is my hair all right?

DAVID: I'm afraid of you. You really scare me.

Sometimes I think you only exist because I photograph you.

You're something I alone can see. Through the camera lens or the lens in my eye.

Everyone else, they see only the pictures. Never you, not the real you.

(KNOCKING ON DOOR)

Except for Harry, and the others like him.

�The Maybe Murders.�

MUNSCH: David Faulkner!

I knocked, you didn't answer.

Sorry.

Can I get you something? Her.

You can get her for me, David Faulkner.

I have to see her, I have to know her...

Mr. Munsch, if there were any way, l would...

Find one.

Arrange it. Manage. Bring about! Do!

Cause to be, David Faulkner!

Mr. Munsch, I tried to explain to you on the phone.

You don't seem to understand.

No, no, it's you who don't understand.

You've seen her, you've talked to her.

Have you touched her?

(FADED) Then you know what I mean?

It's different with her, isn't it? It isn't sex.

It's life or death or everything in between.

Who is she?

(YELLS) Who is she? DAVID: I don't know.

MUNSCH: Find out! Any way you can.

For all of our sakes, find out.

Follow her home, she must live somewhere.

Where? Where? Where does she five? DAVID: (YELLING) I don't know!

Mr. Munsch, do you have any idea what could happen to you if you do see her?

MUNSCH: I can't help that, can I?

Last week Mr. Munsch wanted me to follow you.

And I thought about it, but I was afraid.

But last night because his...

Patience gave out, he followed you, didn't he?

Let go. Didn't he?

He did because he wanted to.

He had to.

And now he's dead just like that poor joker over there and Harry,

and I don't know how many others.

And you too, maybe.

Oh, no.

Because I know you now.

But you want me just the same.

Don't you, David?

Tell me how you want me.

Your...

Eyes are...

Are hungry.

It's time, David. Time.

Don't do it, David.

(BREATHING HEAVILY)

You almost got to me.

Hungry Eyes.

Hungering for my soul.

Then you understand.

(YELLS) Understand what?

That all a man has to do is look at the promise of you on a billboard,

in a magazine or a cover and he's yours?

Oh, I understand, sweetheart.

Because I know you now!

Then have me. Enjoy me.

You're every girl who ever promised herself to every lonely guy.

You're the smile that makes us change our brand.

You're the eyes that pick our pockets and spend our lives.

Are you so sure, David?

You're the lure.

The bait.

We lust for you and what those eyes hold out.

And you, you suck the love from us.

Because that's what feeds you, isn't it?

Our greed is your nourishment, right, sweetheart?

David, I want you.

It's too late, baby.

I want your wanting me.

You not only want my wanting you, you require it.

It's your survival kit, your life force.

And these... These are what make you tick.

Everything you are exists right here on these negatives.

It's your seed, your blood, your heartbeat.

That's murder, David.

That's right, Hungry Eyes.

And I'm going to kill off the seed that spawned that smile.

The eyes that promise and betray.

I'm going to destroy you before you bleed the world dry.

(SCREAMS) David, stop it, no! No!

No! David!

No, no. No, please, stop it, David!

No! David!

Stop it, please!

David! No! No! Stop it!

Please, David! Stop it!

I want to look at you now.

Stop it! No!

I want to find the horror behind those eyes.

Because that's where it happens isn't it?

Those vampire eyes sucking out the last shred of desire,

feeding on the curiosity and passion. The eyes...

(COUGHING)

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