All language subtitles for Eyes.of.Laura.Mars.1978.1080p.BluRay.X264-AMIABLE-HI

BARBRA STREISAND SINGING:
♪ I've never been wrong

♪ But you're the the only one
I trust to show me the way

♪ I always hear your voice

♪ And in my dreams I hear you
calling my name

♪ What is it about you?

♪ Some kind of light
shines from your face

♪ And I can't turn away

♪ I'm like a prisoner

♪ Captured by your eyes

♪ I've been taken... ♪

(GLASS BREAKING
INSTEAD OF SCREAMING)

(PHONE RINGING)

(FAINT TRAFFIC SOUNDS)

(CAR HORN HONKING)

(SIREN)

(PHONE RINGING)

(PHONE STILL RINGING)

Hold it, please! Turn around!

WOMAN'S VOICE:
Could you please move out of the way?

ANOTHER WOMAN'S VOICE:
I can't get the shot from there.

MAN'S VOICE:
That's her!

- Good luck tonight, Miss Mars.
- Thank you, Tommy.

Ta-da!
You are perfect.

- How is it in there?
- Too early to tell.

- Uh-oh. We're about to be clotheslined.
- By whom?

Sheila Weissman.

Miss Mars, I'm Sheila Weissman.

I remember you. How are you?

Sheila, we agreed that pictures and
interviews would be done inside the gallery.

Well, I want to ask her if she knows
how really offensive her work is to women.

- Cute.
- Let's go.

BILL BOGGS: Photography is becoming
a high-priced commodity.

And there is outright suspicion
in some circles in the art world,

a feeling that perhaps we're running
out of saleable paintings,

and that photography
is being pumped up.

That an artificial market
is being created,

that photography is just a hype.

Well, these are not easy
questions to answer,

but here in this gallery in SoHo

there is a fabulous exhibit
of violent and sexy photographs.

REPORTER:
Concerning the violence in your photos,

don't you think you're helping
to desensitise people with this stuff?

LAURA: No, I think I'm doing
exactly the opposite.

REPORTER: Yeah, but aren't you
doing a fashion hustle here?

Recycled photographs, really.

Look, does anyone have
anything positive to ask?

Do you consider yourself
a serious artist?

- I'm very serious about my work.
- Serious by what standards?

- By my own standards.
- Isn't that kind of an élitist position?

Honestly, I think
I'd better take the Fifth.

You can do better than that,
Ms Mars. Really.

Fellas, come on.
Give us a break here, huh?

She'll see you later, I promise.
I loved your questions. Very subtle.

But hey, we have to mix
with the real people now.

(APPLAUSE GRADUALLY INCREASING)

- Is there a back door?
- You are a sensation.

And you're just the right
number of minutes late.

Traffic was terrible.

We are going to sell
pictures tonight like crazy.

Now, let's see,
who shall we work on first?

MAN'S VOICE: The art world is
being asked to consider

these extremely provocative pictures
as saleable art.

We are going to be examining
some of these questions tonight,

as well as meeting people on all sides

of what is rapidly
becoming a major controversy.

ELAINE: I don't know when I've seen

a more hostile group of reporters.

If they don't stop drinking,

I'm gonna throw their asses out.

- Have you seen Doris Spenser yet?
- No.

WOMAN: What I think Laura is saying
with her work

is like, "Okay, America.
Okay, world. You are violent.

"You are pushing all this murder on us.

"So here it comes right back at you.

"And we'll use murder
to sell deodorant,

"so that you'll just get bored
with murder." Right?

DONALD:
Oh, my God, I don't believe this.

Just a minute. Let me think. All right,
but do you have to do it right now?

- We just want to question certain people.
- I understand that,

but this thing's going to spread like wildfire.
It's going to wreck the whole opening.

- Now, can't you give us like an hour?
- A half-hour.

Really, that's so gross.

MAN:
I hear you did some work in the Negev.

Yeah, I was there, but I didn't have
a chance to take enough pictures.

So I'm going back in two weeks
to shoot the border war.

- And if she goes, I'm going with her.
- She probably will, too.

Like hell you will.

Whatever happened to beautiful?
Well, it certainly isn't here.

That is tragic. Absolutely tragic.

You really think so?

Yes, I think it's really tragic
that this is the kind of junk

that's passing for art these days.

Oh.

That's a completely
different conversation.

- Don't you think it's a total hype?
- I don't understand.

Hype, hustle, rip-off.

Are you a critic?

No.

Do you know the artist?

What's her name?

- Laura Mars.
- Yeah.

I know her fairly well.

Well, if you see her,
will you point her out to me, because

I'd really be interested to find out

what kind of frustrated
voyeur type this chick really is.

She's nothing like that at all, really.
She's very old-fashioned.

Sort of like Grandma Moses.

Laura.

Excuse me. Could I
steal you away for a moment?

Are you her?

Her stuff is really disgraceful,
don't you think?

- Doris Spenser's been horribly murdered.
- What?

There's a detective here,
and he's asking people questions.

Oh, shit!

Everything happens to me.

Murdered.

Something about her eyes.

Hi, Billy.

What did you say about her eyes?

Something sharp.

Let's get you a drink.

Laura?

Come on, darling.

Come on.
Laura.

It's all right, Billy.

TV: Tonight at the
Elaine Cassell Gallery in SoHo,

fans awaited the arrival of
the famous and wealthy

for the opening
of Laura Mars' photo exhibit.

But the glamour of the affair
was disrupted

by news of the brutal murder
of Doris Spenser,

editor of the soon-to-be-published
book The Eyes of Mars.

- Miss Mars left the gathering immediately.
- (PHONE RINGING)

But as word of the murder
circulated through the crowd,

it seemed to have the effect of
increasing sales of the photographs.

- More after this message.
- (PHONE RINGING)

Hello?

Elaine.

I'm all right. Are you?

We're all over the goddamn news.
The gallery, the murder, the book, you, me.

I don't think I'll be able to shoot.

Of course you're going to shoot.
Life has to go on.

Elaine,

do you...

do you believe in

psychic

experience, like...?

I believe in a good night's sleep.

Now, I know I'm gonna take something
that's gonna knock me out for hours.

I suggest you do the same thing.

All right.

Elaine?

The opening was beautiful.

That's very sweet of you.

Sleep tight.

TV:...unaware that her publisher
was already dead.

As she entered the exhibit,
Miss Mars received an ovation...

MICHAEL:
She's still beautiful, isn't she?

That's the problem.

- Come on.
- Let go of me!

- Let go of me, you pig!
- No. No. No.

(MUSIC: "BOOGIE NIGHTS"
BY HEATWAVE)

ROBERT:
Don't poke me!

(INAUDIBLE CHATTER)

Morning, Wendy.

You like?

Mmm.

Good. Michele.

For Lulu.
I think she'd like it, right?

Okay, that's good.
Hold it very tight.

Ta-da!
Good morning.

Hi, darling.

Oh, Robert, the fan
will be on the left,

so let's get the wave of
the hair on the right.

Fine, there's plenty of volume here.
It'll fly nicely.

- Mighty tired eyes.
- I'll be all right.

Everything under control?
Coffee? Who wants coffee?

- Tea, tea!
- Forget it. Fifteen minutes.

Joey, the same colour on the nails.

Okay.

Joey.

LAURA:
Joey?

Joey!

I'd like her mouth more fuchsia,
her eyes much more intense.

I'd like them to pop.

I'd like to be able to see the mouth
and the eyes from a mile away.

DONALD: All right, Bert, how's this look?
BERT: It's good. They're all good.

BERT: The question is, which one are
we gonna use? DONALD: So choose.

BERT: Now this one.
This one is really beautiful.

- It's beautiful. We'll just...
- Crop it there.

That's right. I'm very pleased.

These are great. These are really
wonderful. What are we gonna start with?

Coats and lingerie.

Okay, but on this one
I gotta see lace, right?

- Don't worry, Bert.
- Don't give me an ulcer.

You can do anything you want to do,
just show me the lace. I gotta see it.

- Here, check the layout. It's right here.
- I don't need to, Bert.

Every photographer in New York's
got to look at layouts.

She doesn't have to look at layouts.

Nicky.

- I think we'd better move the main light lower.
- This is your idea, Laura.

Don't forget why
we're shooting it this way, all right?

- Bert, you want lace?
- I want lace.

Today is lace day in Columbus Circle.
We're gonna have lace on Columbus.

We're gonna have lace on the cherub.
Bert, enjoy yourself. Relax.

You hired this woman,
let her do her work, huh?

She's beautiful. Watch. Watch.

(MUSIC: "BURN"
BY MICHALSKI & OOSTERVEEN)

♪ Play with fire

♪ You wanna burn

♪ Watch that fire

♪ Watch that fire burn

♪ You play with fire

♪ You wanna burn

♪ Watch that fire

♪ Watch that fire burn ♪

God, Lulu!
You don't have to pull it that hard.

Girls, I love it!
Michele, Lulu, look more this way.

Broader action.
Michele, see the lens.

Ready?

(DISTORTED BARKING)

Check that.

- Hey, we gonna work or what?
- What is going on?

She was out late last night.

- You all right?
- (GASPS)

- Yeah. I'm just a little dizzy. I'll be fine.
- Okay.

All right, kill the fire.

Turn off the fans.
Girls, please don't mess yourselves up.

Hold it together.
And just stand by, please.

- What's the problem? Please, Bert!
- BERT: I'm just trying to help!

Did you have breakfast?

I'm fine.

All right, here we go. Start the fire.

Everybody get in your places now.
Here we go.

Hey, come on!
Move it out of there!

(CAR HORNS HONKING)

I have an appointment.
I'll get out here.

Me, I got nothing to do, right, lady?
I just sit here all day, huh?

- Hey, come on, man! I ain't got all day.
- Yeah, stuff it.

MAN:
Let's go! Come on!

(MUSIC ONLY)

(STREET SOUNDS RETURN)

(SIREN)

Let me through.

- Please, let me through.
- Hey, lady, you can't go... Hey!

All right, come on now, lady, let's go.
You gotta keep this area clear.

No! I saw it! I saw it!

Sal, I think we got a witness here.

I'm Detective Sergeant Volpe.
You saw this happen?

Yes.

Did you see the perpetrator?
What'd he look like?

What?

What was his size, his colour?
Can you describe him?

No, no. I didn't see who.

What the hell did you see?

I saw it happen. But I...

- Where were you standing?
- I... what?

- Where were you standing when it happened?
- I was a few blocks away.

You were standing a few blocks away?

What did you see it with,
a telescope?

Go get her.

COP:
Hey, lady!

Hey, lady.

Hey, hold it a minute!

Hey, wait.

Okay, who's next?

- I feel like a hooker.
- Really.

I'm bored.

Tommy Ludlow?

That's me.

Ridiculous. How long do we have to sit around
this pigsty before we get to talk to someone?

Excuse me.

I represent Laura Mars.
She called me about an hour ago.

- Who are you?
- Donald Phelps. I'd...

Okay, Donald Phelps, sit down
and behave yourself.

Pigsty.

- You're a pretty important guy around here.
- Bert!

Is this an accurate statement
of your experience?

What were you doing at my opening?

Just getting to know you.

LAURA:
Why am I here?

I've given you a statement.

(NEVILLE LAUGHS)

NEVILLE:
You certainly have.

Look, what's on those pages
is what I saw.

Well, you can understand that that we might be
having a little bit of difficulty absorbing it,

even though
it is what you saw.

I'm going to call my lawyer.
I think it's the time to do that.

Or do you have to read
my rights or something first?

No, no, hell, no.
I didn't even frisk you yet.

What about this?

That's legal.

Yeah, I know it's legal.

Why do you carry it?

Cut rope and shit.

Yeah, I know.
You probably just carry it

to protect Miss Mars'
fancy, expensive camera equipment.

And maybe protect her
from some creeps, right?

You're the man.

- This whole city's full of creeps, right?
- Really.

Guess which creep's arrest record
I have here.

What I'm trying to do is give

an account of the times
in which I'm living.

And I've seen all kinds of murder.

Physical, yes. But moral,
spiritual, emotional murder!

I can't stop it, but I can show it.

I can make people look at it.

That's a very moral point of view.

Thank you.

I've got something
I want to show you.

Where did you get that?

This is a picture of you
on the front here, isn't it?

Yes.

Have you ever seen

this particular copy
of this book before?

Yes.

I saw it happen.

With your own eyes?

In a nightmare.

Were you friends with Doris Spenser?

I knew her.

Business acquaintances.

And Miss Elaine Cassell?

I knew her...

well.

I am sick and tired
of sitting and waiting back there!

Now I want to know
where my girlfriend is!

- My father happens to be a very...
- My father can whip your father's ass!

Get him out of here.

If you want real suspects,
you oughta take a look at that number

you just dragged outta here.

Hey, that's right.
You can tell me anything you want.

Why don't you give me
a bit of that Rona Barrett?

Frankly, I don't do Rona Barrett.

How'd you like to see
my Barbara Walters?

Hey, I do a terrific Lloyd Bridges.

DONALD:
Huh?

NEVILLE: These are classified police
photographs of unsolved murders.

They've never been
published anywhere at all.

Now, what I would like you to do
is compare your photograph to ours,

in this case,

and in this case.

- So my question is very simple.
- Why are my photographs so much like yours?

NEVILLE:
That's right.

LAURA:
When were these photographs taken?

About two years ago.
This one, about 14 months.

- It's disturbing.
- Extremely.

- No, the timing is disturbing.
- In what way?

Well, you go through definite periods
in your work.

About two years ago,
I began to see

images of murder, violence.

And it started to become
a part of my work.

By "see", do you mean...
"see" as you see in your statement?

No. No no.

I would just be in
the middle of doing something,

and suddenly,
images would come to me.

Well, like those.

You think I was in
those actual situations,

committed the murders and
then re-created them in photographs?

I don't buy it.

Keep it moving, please.

- Get rid of him.
- Come on, I already told you once.

Let's go.

(DOG GROWLING)

- COP: How you doing, lieutenant?
- NEVILLE: How you doing, Murph?

(PHONE RINGING)

COP ON PHONE:
Yeah.

Just send it up. Third floor. Elaine Cassell
apartment. That's right. Third floor.

COP: You want these letters, or do you
want to bundle them up and take 'em down?

I'd like to know if you recognise
any of these clothes.

I think...

they're my husband's.

Husband?

Ex-husband.
We've been divorced over a year.

The last I heard, he was
living in San Francisco.

Well, he's back.

Obviously.

Was this going on
when you were married?

No.

- What's his name?
- Michael.

Michael Reisler.

Is this him?

Is this a picture of your ex-husband?

Yes.

Those are very nice clothes.

What does he do?
Did you buy those clothes?

Michael couldn't kill anyone.

Do you have any idea where he is?

No.

No idea.

Are you still in love with him?

- May I go home now?
- Of course.

Thank you.

Good evening.

Good night.

Good night.

(LIFT DOOR OPENING)

In case you need me, this is my number.
Call me any time, day or night.

John Neville.

Thank you.

Lieutenant Neville...

Should I hire a bodyguard?

No, you already have one.

(DOOR CLOSING LOUDLY)

(SCREAMING)

Quiet! Quiet now!

Michael!

- Quiet!
- Michael, what are you doing here?

How did you get in?

I still have a set of keys.

Tsk-tsk-tsk.

Don't look at me like that.
I did not kill Elaine.

Why would I? She was the best
meal ticket I ever had.

Second best. I was the best.

I was in San Francisco,
working on my novel,

and I ran into her.

She convinced me to come back here.
She said she'd be good for me,

make it easier for me to write.

I've missed you.

- Michael. Michael!
- Oh, come on.

You know I only came back
to be near you.

I would have called you sooner
or later. I still love you, Laura!

Michael!

Michael, stop it!

Oh, poor Elaine.

What good, good friends.

I was your husband.
I was never your friend.

But Elaine was.

Why Elaine?

Do you have to destroy
everything you touch?

I tell you, this whole thing
is pointing towards me,

and I did not do it!

Everything I have is in Elaine's
apartment. I have no money, no clothes.

The police are after me,
and now you provoke me!

You deliberately provoke me!

You may have all these other
people fooled,

but I know what a killer you can
be at three o'clock in the morning.

- Oh no. A killer at three o'clock...
- Where were you? Where?

When I needed something,
some comfort, where were you?

- In your darkroom.
- Where else could I find any peace?

- You were in that bedroom dead drunk!
- You made it impossible for me to write!

That's not true! Michael, you've
been drunk for the last six years!

Oh, but you!
Instant star of the world of chic!

Will fifty dollars be enough?

(CHATTERING)

MAN: I don't give a damn if everybody else
in Manhattan talks to the reporters.

- I don't want you guys talking.
- That guy's bullshit just won't quit.

I'd like to see him hit the streets
and knock on a few doors.

I don't think he could hack it.
He's got bad feet.

Hey, John, how come
in that meeting inside

you didn't mention anything
about that Mars chick

seeing those things
and having those dreams?

- You don't believe her, Sal?
- No.

(ALL LAUGHING)

(STREET NOISES ONLY)

You're playing with the big boys now!
Big boys!

Jesus!

- Hi, darling.
- Morning.

Sleep well?
What'd you find out?

There's a very interesting case
of a woman in 1900s France

- who had something similar to it.
- What happened?

She died in an insane asylum.

- Morning, Miss Mars.
- Morning, Tommy.

Laura, er... maybe it would be a good idea
not to talk to anybody about this.

It might just go away.

(MOUTHING)
Big boys!

DONALD: Look at that.
Is that fabulous?

That's the fourth one I've seen today.
They're all over the city.

They'll be so famous we won't
be able to afford them anymore.

LAURA:
You'll find a way.

Miss Mars, I don't know if
the cops told you...

Let's talk about this some other time.

Mr Phelps here has things
he'd like to tell you about me,

but I'd rather tell you them myself.

- What things?
- Laura, this isn't the time.

TOMMY: I'm trying very hard
to keep my cards on the table,

- and myself on the street.
- Bad timing.

TOMMY:
I did a bit.

I mean, I've been in prison.

You...
What did you do, Tommy?

I was in for armed robbery
and assault with a deadly weapon.

- And I have some prior arrests.
- Jesus! Spare us the soap opera.

You knew that when you
hired me for Miss Mars.

But what kind of deadly...
You did? You knew that?

Why is that so amazing? You can't
just talk about rehabilitation.

I believe in giving people a chance.

You believe in spit, is what you believe
in. And I'm not putting up with...

- I'm not putting up with this...
- Wait a minute!

Just five minutes ago, you sat in
this car and tried to railroad me!

- Are you going to let him...
- Wait a minute!

I don't want to hear any more.

- All right, I'm sorry.
- I'm sorry.

No! That's it.
Both of you leave me alone!

"Both of you"?

"Both of you."

Me and your driver.

I'll do some straightening up
down here. Be up in a minute.

Don't forget the flowers for the shoot.
They're at the regular place.

- The Greek's?
- Yes.

- Miss Mars, I'm...
- Tommy...

- I'm sorry if I caused you any problems.
- No, Tommy, I'm sorry.

It's a difficult time
for all of us,

so could we just keep
working together?

- You can count on me for that.
- I can always count on you.

You don't need that.

Thanks, Tommy.

(CAR ENGINE STARTING)

- (SEAGULLS CAWING)
- (SHIPS' HORNS)

(GASPING)

Donald!

Donald!

Donald!

(SCREAMING)

Laura!

What is it?

- Donald, he's up there.
- What?

- He's up there.
- Who?

I saw him looking at me.

(STREET NOISES ONLY)

DONALD: Laura, darling, I know
what you're going through. I feel for you.

But there is one hell of
a lot of money involved here.

I don't care
about the money, Donald.

And there is the ad agency.
They've got print dates to meet.

Bert is depending on you.
Forget about the clients!

Okay, you're right.
What are we, monsters?

Let's just wrap this thing, go home,
cower in our caves,

and wait for the killer
to strike again.

Really, you're right.

I'm sorry.

I thought if you kept busy...

Donald, you really know how to
manipulate me, don't you?

Manipulate.

"Manipulate" is just
a little bit paranoid.

And, to be quite frank,
I'm beginning to get the message

that you don't really
trust me any more.

Look, get them ready.
Let's shoot.

(MUSIC: "LET'S ALL CHANT"
BY THE MICHAEL ZAGER BAND)

♪ Ah ah eh eh
Let's all chant

♪ Ah ah eh eh
Let's all chant

♪ Ah ah eh eh
Let's all chant

♪ Ah ah eh eh
Let's all chant

♪ Ah ah eh eh

♪ Ah ah eh eh

♪ Ah ah eh eh
Let's all chant

♪ Ah ah eh eh
Let's all chant ♪

Put them in the sink
and wet them down.

Tommy, don't disappear.

- Rita?
- Good morning.

The eyes are perfect.
Keep them soft. Don't change.

- Morning.
- Good morning.

Anna.

Cover her shoulder.
Cover it completely.

John?

Will I get enough height
on Anna's tail?

Sure, definitely. Once I brush it,
it'll be completely full.

Michele's eye. Cover it.

Okay, I saw that. I'll do it.

♪ Ah ah eh eh
Let's all chant

♪ Ah ah eh eh
Let's all chant ♪

Perfect. Much better.

Laura, I don't like the pink.

Lulu, it likes you.

- It's perfect.
- Really?

Really.

♪ Ah ah eh eh ♪

I got this for you, man.

Oh!

A stolen flower.

How nice.

♪ (Ooh ooh)
Let's all chant

♪ (Ooh ooh)
Let's all chant

♪ (Ooh ooh)
Let's all chant

♪ (Ooh ooh)
Let's all chant

♪ (Ooh ooh)

♪ (Ooh ooh)

♪ (Ooh ooh)

♪ (Ooh ooh)
Let's all chant

♪ (Ooh ooh)
Let's all chant

♪ (Ooh ooh) ♪

Here I am, girls.

♪ Your body, my body
Everybody move your body

♪ Your body, my body
Everybody move your body

♪ Your body, my body
Everybody move your body

♪ Your body, my body... ♪

- Hi, Laura.
- Hi, Jim.

You're in the pool, dead.

For a hundred bucks an hour.

There.

JIM:
You want the eyes opened or closed?

Your head over.

Eyes open. Wide.

- Where do you want the blood?
- There.

That's enough.

That's enough!

Here's your gun.

Give it to Lulu.

Here you go. Be careful.

♪ Ah ah eh eh
Let's all chant

♪ Ah ah eh eh
Let's all chant

♪ Ah ah eh eh
Let's all chant

♪ (Ooh ooh)
Let's all chant ♪

All right, kill the shoot.
Wrap it up. That's it.

Try and pick it up tomorrow.

Do you ever have any warning
when this happens to you?

No. It terrifies me, because
it could happen at any time.

I find myself waiting
for it to happen.

Maybe that's what does it.

People who are afraid of
having an anxiety attack

will sometimes bring one on just
by being afraid of it.

It's not an anx...

- You don't believe me.
- I'm trying to believe you.

I've been talking to your associates.
They say you're overworked.

- Overworked?
- Yeah.

Overworked?

Am I hallucinating all of this?

Tell me it is all a dream.
Tell me that Doris is still alive.

Tell me Elaine is still
happily involved with Michael.

Overworked!

Laura!

I'm leaving now with Bert.

Lock up, will you, Donald?

- Tommy'll wait for you.
- No, that's not necessary.

I'll take a taxi.

Donald?

I'm sorry.

I'll call you.

I think I can show you what I mean.

About what?

About what I'm seeing.

Look through that.

Now if you...

think of that camera

as the eyes of the killer,

what you're seeing through that lens
is what the killer sees.

It's on the monitor there.

When it happens to me,

I can't see

what's in front of me.

What I see

is that.

- Do you understand?
- Yeah.

Yeah.

Let me try that.
It looks like fun.

What?

Is that how I look?
Like that?

I think that's how you look.

I look like a damn cop,
is what I look like.

No, it's...

May I ask you a few questions
about what's been happening?

NEVILLE: It makes me nervous.

LAURA:
Why is he killing my friends?

Why is he after me? Why me?

A variety of things might attract
him to you and to your associates.

It could be a person
who's jealous of your success.

It could be a person who,
in his own loony way,

feels that your work is promoting
porno and decadence,

and he has a mission
to clean up the world.

It could be a person who is outraged
about being seen in your book.

Whoever it was

was here this afternoon

and he was looking for me.

You know, I find all of this

very interesting.

I'm gonna double
the security around you.

I'd advise you to stay
indoors as much as possible.

Goodbye.

(DOOR CLOSING)

Hey, John, you need
a little help with anything?

No thank you, Officer Feeney.
I can handle these subjects alone.

MODEL:
Thank you.

NEVILLE:
Feeney, get the hell out of here!

What a creep.

Did either one of you ever receive
a threatening or obscene phone call

in relation to the work
you did for Miss Mars?

I got a few letters.

NEVILLE: Did you get more
than one from the same person?

- I don't think so.
- Do you remember things they said?

- The tone?
- Oh, yeah.

Or anything specific?
Specific quotations?

"Even though I'm so ugly
and I have pimples,

"I'm so ugly that you would spit at me
if I ever had the nerve to talk to you..."

- Do I have to go on?
- No, no, I get the picture.

- MICHELE: I kept mine.
- What?

Can you bring those in
so we can read them too?

And I can read them too?

Sure. Yeah.

All right.

- Any more questions, officer?
- No, ma'am. This is very fine.

- Either one of you need a ride home?
- Mmm-hmm. Yes.

Hey, Feeney, get back in here.

- Taxi.
- (ALL LAUGHING)

(CAR DRIVING UP)

- Anything doing?
- Nah, she's still up there working.

- Hey, thanks.
- See you.

Lulu!

Lulu!

Michele... Michele.

(PHONE RINGING)

(PHONE RINGING)

(PHONE RINGING)

- This is Lulu...
- And Michele.

We're not home, so go to hell!

But if you're not a horny creep,
leave a message at the beep!

No!

That was so dumb!

(LULU AND MICHELE LAUGHING)

PRIEST: Senseless violence,
unrelenting, inexcusable,

hateful violence,
is once more unleashed.

Each one of us has some purpose
on this earth,

some role to play,

and, in the case
of Michele and Lulu,

the role that they had chosen
to play was the role of model.

Now, not having met either
of these lovely young women,

but knowing that I did want
to say something

meaningful about them today,

I went to my Webster's Dictionary
and I looked up the word "model."

"Model: A person that serves
as an artist's pattern,

specifically a person
who poses for an artist."

But beyond that, it says,

"An example for imitation."

The Lord is my shepherd,
I shall not want.

He maketh me to lie down
in green pastures.

He leadeth me beside the still waters.

He restoreth my soul.

He leadeth me in the paths of
righteousness for His name's sake.

Yea, though I walk through
the valley of the shadow of death,

I will fear no evil,
for Thou art with me.

Thy rod and Thy staff,
they comfort me.

Thou preparest a table before me
in the presence of mine enemies.

Thou anointest mine head with oil.

My cup runneth over.

Surely, goodness and mercy shall
follow me all the days of my life,

and I will dwell in
the house of the Lord,

forever.

- Miss Mars! Miss Mars!
- Laura!

Four of your associates
have been murdered now.

Do you intend to go on with
the violence theme in your work?

I blame you, Laura.

Everybody here blames you. No matter
who did the killing, you're to blame.

Don't walk away from me!

You're the murderer!

Because of you, she's dead.
You're gonna pay for this!

You're gonna pay for this!

(HOWLING)

- Where would you like to go?
- Home.

Clear out of here, fellas.
Tommy, come over here.

I'm gonna take the lady home.
I'm dismissing the car, okay?

REPORTER: Other car. Other car.
Go round the other side. Hurry up.

We got her the other side.
Look at this side.

(TRAFFIC SOUNDS ONLY)

Do we have to go
right back to the city?

No.

There he is. Look.

It's a finch.

Do you think Robert is right?

Do you think I should
take this all on myself?

- But I am guilty.
- No, you're not.

Please listen to me very carefully.

I want you to understand
something very important.

I feel that everything
I thought about you,

before I really knew you,

is not what I feel any more.

This is incredible.

In the midst of all this,
I can't stop thinking of you.

- I know. I know.
- What is going on?

I don't know.

I mean, it's completely un-goddamn-
professional of me to be walking with you

- in the woods, I'll tell you that.
- I don't have time for this!

I'm supposed to catch a killer.

- I'm completely out of control!
- I know. Me too.

But I can't stand being so...

LAURA: I can't understand
how it's possible...

(SIGHS IN PLEASURE)

...to live your whole life

without someone,

and be doing more or less okay.

And then, suddenly, you find them.

You recognise them.

You recognise them,

and you know without them.

It's terrifying.

Yes.

It's beautiful.

Yes.

Thank you, ma'am.

There's something I want you to have.

What?

- No, I don't want that.
- Please.

You've got me so well protected that I'm
practically a prisoner in my own house.

I don't need it.

Michele and Lulu
had police protection.

- I don't know how to use it.
- I'll show you.

Just put your hand on the...
That's right.

Put your finger right through there and
use the left hand to support the right.

Push it as far away
from your face as you can.

Look right down the barrel.

And when he comes at you,
you squeeze that trigger.

He'll go away.

Okay. I'll keep it.

If you have to, use it.

Promise me that.

You'll be doing
the son of a bitch a favour.

What's going on up there?

- Her agent. It's his birthday.
- Her agent?

- Her agent.
- Party time.

It'll be a long night.

Refill!

(DOOR BUZZER)

Ah, there she is.

Ta-da!

- I didn't know if you'd come.
- I know. Same here.

Happy birthday.

Come on in. Take this off.

Tonight, we forget everything.
Everything, all right?

- All right.
- This is great.

- That's for you.
- Can I open it now?

Aunt Caroline!

Now, what goes on with you,
apart from all this horrible business?

I think I'm in love.

You're not!

Oh, I can't wait!

DONALD:
Wait a minute. What is this?

(THEATRICAL SCREAMING)

- Look at this! When was this taken?
- When you weren't looking.

I hate it! I love it.

I'm sorry. Tommy, would you
come back in an hour for me?

Yeah. It's just hard to figure out
what to do in just an hour.

- Could you work it out?
- Yeah.

- We'll save you a piece of cake.
- You're a piece of cake.

(DOOR SLAMMING LOUDLY)

PARTY GUESTS SINGING:
♪ For he's a jolly good fellow

♪ For he's a jolly good fellow

♪ For he's a jolly good fellow

♪ Which nobody can deny

♪ Which nobody can deny

♪ Which nobody can deny ♪

It looks like the burning of Atlanta.

Don't catch that wig on fire!

♪ Which nobody can deny ♪

Bert!

- Happy birthday, Donald.
- (PHONE RINGING)

♪ Which nobody can deny

♪ Which nobody can deny

♪ For he's a jolly good fellow ♪

A man.

Hello?

Michael?

Look, Michael.

Michael, where are you?

What a beautiful cake!

Birthday boy!

You take over.
This is for the musician.

Now you have 15 seconds
to gallop this up...

"Gallop this up"?
Then I insist that we all play bridge.

♪ For I'm a jolly good fellow
For I'm a jolly good fellow ♪

Don't take your fingers off the keys.

You gotta play too, Laura.

Oh no.

Now who's been murdered?

No, it's Michael.
He's...

I have to go to him.

What do you mean,
you have to go to him? Laura!

He's in a laundromat in Brooklyn.
He's drunk.

He just woke up there.

- He's talking about killing himself.
- What if he kills you?

He won't.
Michael will only kill Michael.

I don't agree.

The night Elaine was murdered,
he came to me, terrified.

He came to you,
he took money and he left.

Yes, he took money, but he was
terrified and he needed help.

I could have been kinder.

Okay, get our friends downstairs
to drive you.

I won't lead the police to him.

You two, it's time for bridge.

- Just a second, just go back...
- You keep saying that.

Donald, I don't know
how to get past them. Please.

Who is?

- The lieutenant.
- The lieutenant?

Yeah. Now he's getting into her?

- That's what I hear.
- You make me laugh.

- Hey.
- What?

Hey, it's her.

Why the hell's she going
away from her car?

- Where's her driver?
- Come on, let's go.

Miss Mars!

Miss Mars, wait up.

Come on, where you going?
Let us take you where you're going.

Come on, Miss Mars, what are you...?
Listen. Come on.

Hey, wait a minute.
You're not Miss Mars!

So? You're not Kojak.
What does that prove?

Hey, it's him!

- Why are you all dressed up like this?
- It's my birthday. I can be anybody I want.

Wait a minute, you son of a bitch.
Where is she?

Son of a bitch?

What are you, nuts?

I'm sick of this name-calling crap!

(CAR DRIVING AWAY)

(SQUEALING TYRES)

(CRUNCHING METAL)

LAURA:
Donald!

(SCRAPING METAL)

(LAURA SCREAMING)

NEVILLE:...that's all. Laura, the doctor
asked you to stay in the hospital.

You could have at least
stayed overnight.

- LAURA: I'm sorry.
- NEVILLE: You could be hurt and not even know.

LAURA:
Please, don't.

I'm fine! I'm fine.

All right, I'm sorry.

I just don't think
I could stand to lose you now.

I can't stand to lose you.

- (RATTLING)
- No.

Time for one of these bombs.

- It's doctor's orders.
- No, I...

It's gonna make you feel
better than worse.

- Come on, I'll take one with you.
- You will not.

We'll get high.

- Where's your kitchen?
- There.

Now take your medicine for me
like a good girl, please.

Come on.

Thank you.

I can't cry.

I haven't been able
to cry for Donald.

I can't cry any more.

I want to get you away from here.

Not without you.

(DOOR BUZZER)

(REPEATED BUZZING)

I'll get it.

I wouldn't have bothered you,
John, but...

I think we finally
got a break. We found...

(SAL WHISPERING)

- That's good. Be right with you, Sal.
- Gotcha.

What?

- I think we have some evidence.
- What? What is it?

- You still have that gun?
- Yes, in the bedroom.

Good.

Why?

Hang on, Laura.

I think we got the son of a bitch.

- Be careful.
- All right.

COP #1: Junk, junk, more junk.
Oh, God.

- Look at this!
- COP #2: Sorry I'm late. Traffic.

It smells like a gorilla cage in here.

COP #1: It started from the front door.
What's in these boxes?

COP #2: I see nothing but pictures
and pictures and crap.

- COP #1: What's under the mattress?
- COP #2: I looked under there.

COP #1:
Bunch of pictures.

No letters, no weapons.

You haven't seen anything
that looks like an ice pick?

(PHONE RINGING)

Hello?

Who is this?

It's for you.

Hello?

I wanna talk to you, man.

It doesn't matter where the fuck I am.
I just wanna talk to you.

You're in a lot of trouble.
You gonna come in?

I know that.
I just want to talk first.

Right where you are,
but I don't want any cops there.

They're on their way out.
You come and see me.

Okay, get everybody off the street.

Find something to do for a while.
Take a hike.

The man's going to come in.

Okay, boss.

(SNAPS FINGERS)

Let's go.

DAUGHTER:
Would you get off my back, please?

MOTHER: You promised me
you'd call, and you didn't.

DAUGHTER: There was no telephone
in the library. I was studying!

MOTHER: What do you mean,
there's no telephone?

There's a telephone
across the street.

DAUGHTER: I don't care.
Get the fuck out of here.

MAN: Will you shut up?

MOTHER:
You ignorant little bitch. You and your...

DAUGHTER:
Who are you calling a bitch?

MOTHER:
You know who I'm talking about.

DAUGHTER: Oh, shut up!
I wish you'd all goddamn drop dead!

MOTHER:
Don't talk to your mother like that!

DAUGHTER: I don't care who you are.
You're no mother of mine!

What, you gonna arrest me now?

No.

Let's talk for a while.

All right.

TOMMY: Look, man, I mean, I was just
killing time in the basement.

I didn't do nothing. And it came
time for me to get Miss Mars...

NEVILLE: Whoa. Start at the beginning.
Tell me what happened last night.

I was down in the basement
killing time, right?

And when it came time for me
to go to get Miss Mars upstairs,

I went to the elevator.

And then I saw...

And then I remembered
that I was sneaking out

the back door of the bar.

So I said to myself, man,

"What the fuck are you doing?

"Sneaking out the back door,
running away, man, from what?

"I mean, you didn't do nothing.

"Nobody can prove that you did nothing
because you did not do nothing."

Tommy, we have a problem.

We found something that
we think belongs to you.

It's a playing card.

It's from your deck, I believe.

And it was in the elevator
with Donald's body.

It was underneath him.

Do you know how it got there?

Do you think whoever killed Donald
mighta caught him in the elevator

after you had already
gotten off in the basement?

TOMMY: It musta been that way, man.
I mean, I don't know.

NEVILLE: All right, Tommy, you're in
the basement, the elevator door opens,

there was the body.
So you took off.

Next thing you know you're
sneaking out the back door of a bar.

What bar?

Do you know what you had to drink?

No.

- Do you drink a lot?
- No.

- Are you drunk now?
- No.

- You know the bartender's name?
- Wait a minute!

Wait. Wait.

Tommy, if there's any kind
of lapse in your memory,

or if there's any period
of time in your life

that you just can't remember,

If there's anything
you can't remember,

it's very important
that we discover together

what it is.

You're trying to put me
in fucking Bellevue.

(DOOR OPENING)

What's going on here, John?
Did you arrest him yet?

No, Sal, I didn't arrest him.
Take him down for observation, please.

Come on, let's go, Tommy.

Come on!

TOMMY: I'd rather go to the fucking tombs
than a fucking psych ward, man.

- Get out of here!
- (SAL YELLING)

Stop!

(GRUNTING)

- Stop, Sal!
- (GUNSHOT)

He pulled a knife on me.

Hold it! Stop!

(GUNSHOT)

Tommy, don't run!

Come on, let's go.

(SIREN)

Tommy!

Stop!

Tommy!

There he is! Turn around!

Down 49th!

Pull up ahead of him.

Stop!

- (GUNSHOT)
- (WOMAN SCREAMING)

MAN:
Hey, nice work!

- He didn't know what he was doing.
- I saved the state 200,000.

Call a supervisor.

Hey.

He was sick, Sally.

Sick!

NEVILLE:
Laura?

Yes.

Laura, we got him. It's all over.
Pack your bags.

- Hello?
- What?

We got him. It's all over.
Pack your bags. I'm taking you away.

All right, all right.

I love you.

I love you.

We're being sent home now, Miss Mars.
Anything you need before we go?

No.

- Thank you.
- My pleasure.

Excuse me.

(SCREAMING)

No! No!

Go away! Go away!

Go away!

No!

No! Go away!

(SUDDEN SILENCE)

- (GLASS SMASHING)
- (SCREAMING)

He's in here? Who's here?

He's in the elevator.
I saw him kill someone.

- I saw him in the elevator.
- There's nobody in the elevator.

No, I saw it.

- I just got out of the elevator.
- I saw it.

It's over. Believe me.
Tommy's dead.

He's dead. Tommy's dead.

- Tommy's dead?
- Yeah.

I don't understand.

- Why'd he kill all those people?
- He hated you.

He hated you.

- He had the idea...
- He didn't...

He had an idea that your work
was glorifying violence.

He had the idea that
death shouldn't be used

to sell things.

Death

is a sacred thing.

What are you talking about?

His mother.

I don't understand.

Tommy's mother.

Hysterical woman.
She was a hooker, you know.

Leave him sitting three, four days
at a time in a little one-room,

in the same pair of diapers,

while she sold her ass up and down
the streets of the nation's capital.

- It wasn't very pretty.
- No.

No. That's not Tommy's story.

One day, the father comes home.

I think it was the father.

It might have been a john,
you know, a trick.

Outraged about the condition of the child,
he slashes her pretty throat for her,

right there on the spot.

I sat there and watched
the blood dry on her face,

until it was just about
the colour of your hair.

You know?

Neville?

Neville, you said "I."

I don't know what you see
in that son of a bitch.

Can't even pay his light bill.
They turned off his electricity.

He cannot finish his dissertation.
He's been working on it for 3 years.

I'm the one that keeps him in shape.
See this body?

That's my work. If it was up to him,
I'd weigh 98 pounds.

I'm the one that feeds him.
I pay the bills.

I answer the Christmas cards.

I'm the one you want.

I love you! I love you.

If you love me,

kill him.

Now.

Please.

If you love me, you'll kill him.

LAURA:
No.

I love you.

I love you.

Please.

Please, kill him.

(MOUTHING)
I love you.

- (GUNSHOT)
- (GASPING)

No!

(PHONE RINGING)

OPERATOR: Police operator 834.
Where is the emergency, please?

LAURA:
I want to report a death.

OPERATOR: Ma'am, please give me
your name and address.

Give me your address, please.

LAURA:
He came here to kill me.

OPERATOR: Just be calm. I'll have
someone there to help you in a moment.

LAURA:
He couldn't do it.

OPERATOR:
Ma'am?

LAURA:
Because he...

OPERATOR: Ma'am, in order to help you,
I have to have your name and your address.

LAURA:
He really did love me.

OPERATOR:
Just give me your name.

What?

Your name.

I'm Laura Mars.

BARBRA STREISAND SINGING:
♪ I've never been wrong

♪ But you're the only one
I trust to

♪ Show me the way

♪ I always hear your voice

♪ And in my dreams I hear you calling

♪ My name

♪ What is it about you?

♪ Some kind of light shines from your face

♪ And I can't turn away

♪ I'm like a prisoner

♪ Captured by your eyes

♪ I've been taken, and I've been hypnotised

♪ I'm like a prisoner,
captured by your eyes.

♪ I've been taken, I've been hypnotised

♪ And your eyes say everything

♪ You want to keep me here forever

♪ I can't escape

♪ One minute so sincere

♪ Then you completely turn against me

♪ And I'm afraid

♪ You don't have to say you love me

♪ 'Cause if you want me, I'll stay

♪ 'Cause I can't turn away

♪ I'm like a prisoner

♪ Captured by your lies

♪ I've been taken, taken by surprise

♪ I'm like a prisoner

♪ Captured by your eyes

♪ I've been taken, and I've been hypnotised

♪ I'm a prisoner

♪ Captured by your lies

♪ I've been taken, I've been taken

♪ I've been hypnotised

♪ I'm like a prisoner

♪ Captured by your eyes

♪ I've been taken,
I've been taken by surprise ♪

SUBTITLES BY POWERHOUSE FILMS LTD