Original subtitles

[waves crashing]

[upbeat music]

[motor running]

[man screaming]

[boy screaming]

[ominous orchestral music]

[dramatic orchestral music]

- [Daisy] The farm is coming along just fine, sir.

Of course, I still haven't made enough money

to get up there to visit you.

But Mr. Parsons says that maybe by Christmas

we can save up enough.

I don't know what I would have done without Mr. Parsons'

help all these years since your daddy died and you got hurt.

He's been a real savior to me.

I know he's looking forward to the days

when you come home just as much as I am.

You and Mr. Parsons are going to be such good friends.

I just know it.

- Mr. Parsons!

[ominous orchestral music]

Mom, I'm home.

Mom?

Mom?

It's me, Matthew.

Mom?

It's me, Matthew.

I've come home.

Mom?

[all laughing]

[all chattering]

[laughing]

- Well?

- Yup.

- You're going to carry her over the threshold, Mack?

- Darn right!

Only I don't know if my back can take it.

[all laughing]

- Oh, now you know I ain't that heavy.

- [Blanche] Well, you two do make the handsomest of couples,

I do say.

- Oh, go on.

- Come on, Blanche.

Let's leave these two lovebirds be

on their first day of marriage.

[all laughing]

- Do you have to go?

- Call me tomorrow, Daisy, tell me everything.

- Come on, Blanche.

- Don't do anything I wouldn't do, honey.

- In that case there ain't nothing she can't do.

[laughing]

- [Daisy] Whatever is he talking about?

- I'll tell you all about it later.

[laughing]

Bye now!

[ominous orchestral music]

Happy?

- More than anything.

- Come on.

[gasping]

- [Daisy] Matthew?

- When did you get home, son?

- Don't you call me son.

- You didn't tell me you were coming home.

We would have- - I'm home now, Mom.

- Oh, and I'm glad too, son.

Only you frightened us standing there like you were.

We thought-

- You went and got married, Mom.

- Matthew, he's, well, you can call

him daddy now because him and me-

- He's not my daddy.

- Come on now boy.

We can, we can be good friends.

- No, you just stay away from me.

Stay away from me and my mama too.

You hear?

- Matthew, he's my husband now, you're new daddy.

You shouldn't talk to him-

- You married him.

I went to the hospital,

and they give me a claw like some freak

and you married that man!

- Because I love him.

- No, you don't!

No, you don't, no, you don't, no, you don't!

- Look here, boy!

- She doesn't love you.

I won't let her.

- Matthew!

- Let him go, Daisy!

Let him go!

He'll be all right.

- But he's my boy.

- Well, guess that's it for now, right, Matthew?

- Yes, Mr. Parsons.

- Come on boy, you don't have

to keep calling me Mr. Parsons.

You don't have to call me daddy either, just Mack.

You can call me Mack like everybody does.

- Yes, sir.

- And knock off this sir stuff.

We're family now.

You, your Ma, and me, we're all a family now.

- Sir?

[laughing]

- Come on.

Let's go see what your Ma's got fixed for lunch.

We'll attack this damn tractor later.

[ominous orchestral music]

- Mack.

- Mm-hmm.

[ominous orchestral music]

- Shouldn't we be doing this kind of thing

in our own bedroom?

- Nothing wrong with doing it in our own farm.

- What if Matthew-

- Oh, what would he be doing out here in the woods

this time of night, huh?

- Mack, I'm worried about him.

- Aw, he'll be fine.

Like I said before, he just got to,

got to get used to it, is all.

- Oh, I hope so.

God, I hope so.

- I know so.

Come here.

- [Daisy] Mack.

- [Mack] I'm here now, Daisy.

I'm here.

[suspenseful orchestral music]

- Whoa!

We got to get on back to the house.

This is no way for a newly married couple to act.

- Well then.

You got to wait for me there, hon,

because I got to check on that damn cow,

see if she didn't chew through her rope again.

- I'll wait for you.

- I'll just be a minute or two.

[suspenseful orchestral music]

[leaves rustling]

[bird crying]

[suspenseful orchestral music]

Hello, anybody there?

Daisy?

[suspenseful orchestral music]

Hey!

Who's there?

Anybody there?

[suspenseful orchestral music]

- Matthew, I brought you some pie and milk.

- Look, whoever you are, stop this fooling around, you hear?

Who's in there, damn it?

[suspenseful orchestral music]

- Matthew, you here?

- Who's out there?

Damn it!

[intense orchestral music]

[groaning]

Help me!

Help me, please!

Help me!

- Matthew?

Matthew, is that you?

- Hi.

I'll be right there, Mama.

I, one second, I'll be right there.

[intense orchestral music]

[ax squelching]

- Good Jesus Christ!

- Mama?

Don't look, Mama!

- Matthew.

- I didn't want you to see this, Mama.

- Matthew?

- It's all right.

I took care of everything.

We're free!

- Oh my God!

Matthew!

- It's all right.

It's all right!

- Oh my God, Matthew!

- No, Mama!

Mama, please listen to me.

Listen to me, please.

- Please, somebody help me.

Help me, please, please! - No, Mama!

No!

- Please don't hurt me.

- I could never hurt you, Mama.

You shouldn't have married him.

That's all.

I didn't need another father.

We didn't need him.

- I needed him.

I loved him.

- No!

No, you didn't.

You only loved me.

You and me.

We didn't need nobody else Mama, nobody.

- Please!

- And now he doesn't have to touch you no more.

- I wanted him to touch me.

- No, you didn't.

You didn't want him to touch you.

You hated it!

- Please don't!

No!

- You hated it.

You hated it, and I'll kill you for it!

[groaning]

Mama?

[dramatic orchestral music]

Mama!

- Well, howdy, Matthew!

- Hello, Mr. Simpson.

- Where you going so early in the morning?

- I figure as long as Mama got a new husband,

she doesn't need me around to look after her.

- Oh, nonsense!

Your mama loves you just as much as ever.

She know you leaving home?

- Yes, sir.

I just said goodbye to her, Mr. Parsons too.

- They don't mind you going off like this?

- It's the only way, sir.

- We're supposed to have supper with them this evening.

I'll tell you one thing, I'm gonna

give them a piece of my mind.

Letting a kid your age go off on his own.

- Mama sent me by here about that, Mr. Simpson.

She said that maybe you ought to come over

in a couple of days for supper instead of tonight.

I mean what with me leaving and all,

she just didn't feel up to it.

- Sure, I understand, only- - You got a customer.

Yeah.

- Yeah.

Look, don't go nowhere for a sec, you hear?

I want to talk to you about your leaving.

Fill it up?

- $2 worth, and forget the front.

- Right.

- Hi. - Hi.

- Like it? - It's real nice.

- Hey, maybe he needs a ride.

- Sure.

How far you going?

- As far as I can get, I guess.

- Well get in, we'll take you as far as you can get.

- Thanks!

- That'll be two bucks even.

- Two bucks even.

- I see I can't talk you into staying.

- No, you can't talk me into staying.

- Ready to go.

- I'm ready when you are.

[bell ringing]

[light orchestral music]

- [Brenda] What's your name?

- [Matthew] Matthew.

What's yours?

- Brenda.

He's Lex.

- [Matthew] Hi.

- [Lex] We're on our way down to LA.

- [Brenda] Our honeymoon trip.

We eloped last night.

- [Matthew] You two just got married.

- [Lex] Anything to get her mother off my back.

- You know how mother's can be.

- I, I'm not sure what you mean.

- Hey, he's the first person who knows about you

and me getting married.

- Congratulations, Matthew.

- No, congratulations to you.

[light orchestral music]

- [Brenda] Oh look, Lex, what a great stream!

- [Lex] Hey, yeah!

Man, that looks inviting!

- [Brenda] Let's go in.

- [Lex] Sure.

- [Brenda] How about you, Matthew, want to dunk your feet?

- [Matthew] I uh, I think I'll watch.

- [Brenda] Aw, come on.

- [Lex] Sure you won't go in Matthew?

- [Brenda] I love streams!

Come on!

- [Lex] Here's a good spot honey.

- Oh, I wish we had bathing suits.

Come on, Matthew, you won't melt.

See?

Come on!

Get your circulation going!

Matthew, come on.

Come on in, Matthew!

This is, it's too good to be true!

[ominous orchestral music]

- Come into the water, Matthew.

- Come on, man.

It can't hurt you.

- Come on in boy.

We'll all be one big happy family.

- Well? What are you waiting for?

- You don't want us to come out there and get you, do you?

- Please.

Matthew, shall I come out there and get you?

- I'm going to get you, Matthew.

- Oh come on, Matthew.

Don't be such a fraidy cat.

- Don't touch her.

- What?

- Don't touch her.

[suspenseful orchestral music]

- [Lex] What's the matter, Matthew?

- Don't touch her!

- Hey, man that's not funny.

- That's not funny.

That's not funny.

- He's crazy!

- I'm not crazy.

I'm not!

- Damn it!

What's the matter with you?

- Get away from her!

- Cut it out!

[ominous orchestral music]

- No!

No, please leave him alone.

No more.

No more.

He can't take anymore.

- I only did it for you.

That's all.

So we can be free.

Now he doesn't have to touch you no more.

- Oh my god!

- You see that, don't you, don't you?

- No.

Please don't hurt me!

Please. - You don't have to run away from me.

I only did it for you. That's all.

- No, please don't hurt me!

Please!

- You see why I had to do this for you, don't you?

Huh? Don't you?

Please! Please don't!

- Don't you see why I had to kill him, Mama?

Don't you?

- [Brenda] I'm not your mother.

- Yes, you are.

You're my mama, and you love me.

And now we're free of him.

We're free. - I'm not your mother.

I'm not, you're choking me!

You are! - I'm not your mother.

- Why do you say things like that?

You're my mama. You love me.

You're my mama, my mama!

Now, you, you'll stay dead.

Dead, do you hear me?

Stay dead!

[ominous orchestral music]

- Matthew.

Matthew.

- Oh, no.

No.

No!

No!

No!

[intense orchestral music]

- Matthew?

You can't run from me.

Matthew, you can't run.

- Oh my God!

- [Daisy] Matthew, you can't run from me.

Matthew, you can't run.

- [Mack] Run, boy.

We'll all be one big, happy family.

- [Daisy] You can't run from me, Matthew.

I'm your mama.

- [Mack] You can call me Pa, Matthew.

- [Daisy] Matthew, you can call him Daddy now.

It's your new Daddy.

- [Mack] Run, boy.

- [Daisy] Matthew, shall I come and get you?

- [Mack] You can't run, boy.

You can't run.

- [Daisy] Shall I come and get you, Matthew?

- [Mack] I'm going to get you, Matthew.

- [Daisy] Going to get you, Matthew.

- [Mack] Get you, Matthew.

- [Daisy] Get you.

- [Mack] Matthew.

- [Daisy] Matthew.

[voices echoing]

[light orchestral music]

- Hi.

- You friend or a customer?

- I don't understand.

- Friend wants me to stay here and paint.

Customer wants me to go inside with him.

Which one are you?

- I'm a friend.

- Well, hello there, friend.

What do you think of it?

- Uh, your painting?

- Mm-hmm.

- Well, it's uh- - Oh, you don't like it.

- Oh yes.

Yes, I do.

I like it very much.

- Tell me what It looks like to you.

Oh go on.

You won't hurt my feelings.

Paintings like these can be anything you want them to be,

so whatever you say can't be wrong.

- I'd rather not.

- Oh, go on.

- Well, it's, it's hot like the sun.

All the reds and yellows.

There's someone in there burning.

His skin is on fire, near the bottom where the blue is.

- Go on.

- He's trying to get out of the painting.

He's in terrible pain.

He's being punished by the sun.

- What's he being punished for?

- He's being punished for-

- Please go on.

I want to hear.

- He's being punished for chopping up

the man who took his mother away from him.

- Oh, I didn't know I was such a good artist.

- You are.

You're very good. I, I like you very much.

- Well, thanks!

I like to be liked very much.

- Can I stay and talk to you?

- As a friend or as a customer?

- As a friend.

I'd like that.

- Hello there.

Is this where Vera lives?

- Right.

- Are you Vera?

- In person.

- Hey.

That's not bad.

Hey, man that's not bad at all, you know what I mean?

I'm a friend of Tony Denkis.

- Tony Denkis?

- Yeah, you know, Tony the guy that works down the shipyard.

- Oh.

Hey, you know. It's a funny thing too.

I was supposed to sail this morning,

but now my ship won't be ready and uh- - So?

- So I get an extra days leave

and Tony gives me your address.

And it's a lucky thing too 'cause like if I were to sail

this morning like I was supposed,

I never would have got a chance to meet you and-

- Is that wine for me?

- Oh yeah.

Yeah.

Tony said you liked wine.

- Tony was correct.

You want to go inside?

- Yeah.

Yeah, sure.

Look, what about the kid here?

- Oh he's cool.

He's my friend.

- Oh yeah?

Let's get it on then, huh?

I'll go find us some glasses, huh?

- Help yourself.

- Don't go in there.

Don't go in there, please.

- Hey, don't ever tell me what I can do.

I don't owe anybody any explanations.

- Please, I, I'm sorry.

- [Sailor] Hey, don't you have more than one glass in here?

- I gotta go in now.

I have to.

- I, I'm still your friend.

- Then, maybe I'll see you later.

Okay, friend?

- Okay.

- Hey, you coming?

Hey, why don't you come and lie down over here

by me and we can drink our wine out of one glass, huh?

- [Vera] Beautiful.

- You know, you've got a nice body.

You know that, Vera?

- [Vera] Thanks, Admiral.

[suspenseful orchestral music]

- [Sailor] Come on over here and make ourselves comfortable.

You know what I mean?

- [Vera] Anything you say.

[ominous orchestral music]

No. No, Mama.

Don't let him touch you, Mama.

He wants to take us apart, Mama.

[suspenseful orchestral music]

[dramatic orchestral music]

- [Sailor] Say, I got to remember to thank Tony

for your address. You know what I mean?

- [Vera] Hey!

Hey, you forgot my money.

- [Sailor] Money?

Oh, yeah.

Yeah, I almost forgot.

- [Vera] Sure you did.

- [Sailor] $10, right?

- [Vera] Come on, come on.

- [Sailor] Okay, hold my hat.

Hey, $10 more and I get another squeeze, huh?

- [Vera] That's all for you.

Go home.

- [Sailor] Okay. Okay, I'm going.

Hey, wait, hey, wait!

Give me my hat.

- [Vera] Bon voyage!

[suspenseful orchestral music]

- [Matthew] Hey!

- [Sailor] Huh?

- Wait up. - Yeah.

Yeah, what do you want?

- [Matthew] Uh, I'm a friend of Vera's.

- Oh yeah?

Oh yeah.

Yeah, the kid.

Hey, hey kid, your friend Vera, she's pretty hot stuff.

You know what I mean?

[chuckling]

- She only does that because she needs the money.

She doesn't like you.

She hates you.

- Oh yeah?

Well, that's uh that's a pretty funny thing, you know,

because like when we were making it in bed together,

I got the idea she liked me a lot.

You know that?

- Look, she said you forgot something.

I wish to give it to you.

- I did?

What I forget?

- This.

- Huh?

[sailor gasping]

You little mother-

[gasping]

[gagging]

[water splashing]

[ominous orchestral music]

[knocking on door]

- Yes?

Oh!

It's the friend, right?

- Right.

- Change your mind?

Decide to come for business?

- I don't do that kind of business.

Neither should you.

- As I told you- - I know.

You don't owe me any explanations.

- How come you're standing like that?

- Like what?

- With your hand behind your back?

- You don't hate me for it, do you?

That I only have one hand.

- Why would I hate you?

- I don't know.

Some people think it's sickening when

they see someone who's not whole.

- Oh no, they don't.

You're being dramatic. - They do.

I see it in their faces.

They get sick inside when they see

that all I have for a hand is a hook.

- Well, I don't get sick at all, inside or outside.

And I'm not even going to ask you what happened

to your hand either.

- You're not?

You don't care?

- Sure, I care, only way I see it,

I figure it's your hand, your story.

If you want to tell me, you'll tell me.

- You're a very special person, Daisy.

- Well, thanks.

But my name's not Daisy. It's Vera.

- I'd like to call you Daisy. Is that okay?

- Sure, it's okay, If you tell me why

you have your hand behind your back.

- I, I brought you something, a present.

- You did? What is it?

- Well, I- - Show me, show me.

[intense orchestral music]

Oh, you frightened me.

I thought you were going to stab me with that thing.

- I'd never hurt you, Daisy.

- Where did you get this?

It's mine, isn't it?

- Yes.

I waited for you to finish, before with the sailor,

and after you went in, he, the sailor,

he cut up your painting and took your painting knife.

I followed him and asked him for it.

Told him it was very important to you, and he, well,

finally he gave it back to me.

I only wanted you to have it back, Daisy. That's all.

- Sailor cut up my painting?

- Yes, I saw it with my own eyes.

It was bad, very bad.

- Yeah, I guess they were.

- You should never see people like that,

like the sailor anymore.

They're dangerous, very dangerous.

- Well, they have money.

They keep me going.

You know what I mean?

- I have money, lots of it.

I have enough money so you'll never

need to see those men anymore.

- Sure you do, kid. - Honest.

I, well, my father's very rich.

He owns lots and lots of things, farms and oil wells,

and machinery.

We live in a big mansion with servants.

You'll never need to take money from anybody

else again, except me.

- Look, I've heard every line

in the world a dozen times each,

especially that one.

You want to stay my friend?

Yes. Yes, I do.

- Just don't hand me any bull.

You stay a nice little boy, and I'll

stay Vera who throws it down for a couple of bucks, okay?

- Then, you'll let me come here and visit you?

- If you stay out of the way.

You know what I mean?

- Yeah, I know what you mean.

- I gotta go in now.

You need a place to stay the night?

- Of course not.

I told you, my father's very rich. - Okay.

Okay.

Spare me the details.

Good night, friend.

- Goodnight, Daisy.

I'll be back to visit you.

- I'll be here.

[suspenseful orchestral music]

[banging on door]

- Yes?

- Hi.

Hi. What do you want?

- My car broke down.

I need to use your telephone.

- I don't see any broken down car.

- Oh, it's around the corner on Claridge.

- Then, why didn't you go bang on some door in Claridge?

What did you come all the way over here for?

- Well, I knocked on a few houses,

some where nobody home, others wouldn't listen to me.

I guess because the way I look or maybe it was my one hand.

Maybe they didn't want me in their houses, a cripple.

- Sounds like the folks in this neighborhood.

You know they wouldn't give you the time of day

if they owned all the clocks in the world.

- I guess I'd better go.

- Hey, wait a second, boy.

Are you sure your car is broke down?

- [Matthew] Oh yes, ma'am.

Right around the corner.

I can't get it to move.

- Well, all right.

Come on in.

And wipe your feet.

- [Matthew] Yes, ma'am.

- The phone's in the kitchen. Just follow me.

- Yes, ma'am.

- [Mrs. Anatole] Bridey-Lee, who was that?

Who was at the door?

- Nothing Mrs. Anatole.

Just a young man who needs to use the phone.

- [Mrs. Anatole] Young man?

What young man, Bridey-Lee?

- Come on.

- But the lady upstairs-

- Screw her.

Come on.

[suspenseful orchestral music]

Oh well, the telephone's over there.

I have to get back to Mrs. Anatole's supper.

Well, are you going to call about your car, or not?

- Oh yeah.

Yeah, sure.

[dial tone humming]

- [Automated Voice] At the tone the time will be-

- Hello, is this Zimmerman's Auto Repair?

Let me speak to Mr. Zimmerman please.

No, I'll wait.

Thank you.

Zimmerman's with a customer.

It'll just take a second.

- Take all day.

It doesn't bother me any.

- [Automated Voice] At the tone the time will be-

- [Mrs. Anatole] Bridey-Lee.

Bridey-Lee!

- What is it now Mrs. Anatole?

- [Mrs. Anatole] The television, come up and turn it on.

- But I'm doing something right now,

Mrs. Anatole, can it wait?

- [Mrs. Anatole] My favorite shows are on now.

Come up and turn this television set on.

- But Mrs. Anatole-

- [Mrs. Anatole] Right now!

- Aw crap!

Hey I got to go up and, hey where did you-

- I'm sorry, lady.

I need the house.

- [Bridey-Lee] Oh God!

[Bridey-Lee screaming]

[glass breaking]

[screaming]

[Matthew grunting]

[Bridey-Lee groaning]

- [Mrs. Anatole] Bridey?

What was that yelling and banging about?

[suspenseful orchestral music]

Are you there?

Bridey?

Bridey!

I demand to know what's going on in my house.

Oh God, Bridey, please answer me.

[suspenseful orchestral music]

[Mrs. Anatole screaming]

[gasping]

[dog growling]

- Okay, dog.

Come with me.

You're next.

[suspenseful orchestral music]

Good dog.

A fine dog.

Good dog. Come on.

Come on!

Up on the table.

Good dog.

Good dog.

Come on.

That's it.

[knife slamming] [dog whimpering]

[breathing heavily]

[light orchestral music]

[knocking on door]

Hello, Daisy.

- Hello.

- [Matthew] Are you busy?

- I'm waiting for someone to come over.

- [Matthew] Business?

- Could be.

You have your hand behind your back again.

What have you got now, another palette knife?

- A flower picked from the front yard of my mansion.

- Picked from the front yard of my mansion.

How easily you say that.

- Well, do you like it?

- Yes.

Yes, very much.

You know it's not a Daisy.

- I know, but we can pretend that it's a daisy,

just like we pretend that it's your name.

- Okay.

Okay, it's a daisy.

- You want to see my car?

It's right over here.

- Sure, I'll see your car.

Wow!

I didn't know there were any of these jobs still around.

- Then, you like it?

- Like it?

It must be worth a fortune.

- I told you I was rich.

I told you.

And I have enough money to take care of you.

And you never need to see those men anymore.

- Hold it.

Hold it.

Slow down.

Okay, so maybe you are rich, but I never gave you

the idea that I was for sale, did I?

- No, but I only want to-

- It's a very nice car, and you're a very nice boy,

but take it easy with the owning stuff.

Okay, friend?

- Okay.

If- - If?

- If you let me take you for a ride in my car

to show you my mansion and to show you

that I really am a rich person.

- I got it, I got it.

So this is what it's like to ride in style, huh?

- [Matthew] Fantastic, isn't it?

It's a very expensive car, you know?

There are only a few of them left in the whole world.

- [Vera] No kidding.

- [Matthew] And my father owns three more just as valuable.

And wait to you see the mansion.

That's really expensive.

It cost millions.

- [Vera] Come on, millions?

- [Matthew] And I've got a special surprise

waiting for you when we get there.

I did it all by myself, just for you.

- [Vera] What kind of surprise?

- [Matthew] Oh, you'll see.

It's the last thing I'm going to show you in the mansion.

I'm saving the best for last.

- [Vera] But you didn't even know

I was coming with you today.

- [Matthew] Sure, I did.

That's why there's a surprise for you in the house.

- [Vera] Don't I even get it a hint?

- [Matthew] It has to do with the fact

that you're such a good painter.

- It has something to do with my painting,

and it's the last thing you'll show me in the house.

Very nice.

- [Matthew] We can have big dinner parties here and invite

all kinds of interesting people who

don't get to come to houses like this.

- [Vera] We could?

- [Matthew] Yes, if you'll move in here with me.

Just as my friend.

Oh, we'd have a lot of fun, Daisy. - [Vera] No.

- I'm rushing you.

I shouldn't do that.

Peace.

- Peace.

- So there's sunlight in here all day long.

And I took out all the furniture.

And I'll buy you paint and an easel and everything.

Well you'll like that, won't you?

- There are a lot of things in life I like,

but I learn to do without them.

- You don't listen.

I've got lots of money.

I can buy you everything.

- People belong where they belong.

I'm an amateur painter who turns tricks to make the rent.

That's where I belong.

- No.

No, you don't.

You're better than that.

You don't need the dirty money from the sailors

and the guys who touch you.

- It's a way of life.

You get so used to doing things one way,

it's not so bad anymore.

I couldn't stay here with you.

It wouldn't be my home.

- No.

This is your home, Daisy.

- Look, I don't want to get cruel with you.

I've had a lot of fun seeing your house

and your daddy's money, but now it's time to go.

- Why?

Fine.

Why?

What's wrong with living here, huh?

What's wrong with having everything you want,

money and food and clothes?

You could be a famous painter maybe.

- It's okay.

You don't want to drive me home, I'll take a bus.

It's okay.

- No, don't leave me.

We're friends.

- Yes.

Yes, we're friends, you and I.

- Where are you going?

- To my home.

- This is your home.

- I have my own home.

- Then, the men there, they'll touch you.

- It's okay.

I don't mind. I like it.

It's okay.

- No, you don't want them to touch you.

Come back here.

Come back here!

- I have lots of friends in the neighborhood who'll miss me,

who'll come looking for me.

- They won't know where to look.

They'll look for a little while and then they'll stop looking.

And you'll be here with me forever and ever.

You see? You see?

- No!

You'll get used to it. I promise you.

You'll learn to like it.

- No! - Please!

[gasping]

No!

What you do that for, Daisy?

I wasn't going to hurt you.

I'd never hurt you.

I wanted to give you things to make you happy.

I want you and me to be good friends.

We are gonna be good friends now, aren't we, Daisy?

Oh, you'll like it, Daisy.

I promise you.

See how peacefully you sleep here.

You're getting used to it already.

Now, don't you worry.

I'll be back soon.

I'm gonna go get you a few surprises.

You'll love them when you see what I'm getting you.

Don't try to get away, okay?

[door clicking]

[man grunting]

[suspenseful orchestral music]

[man grunting]

- [Woman] No, stop!

- And what do you think of this, a steak?

Well, who else ever bought you a steak before, huh?

Nobody, that's who.

And paints and an easel.

An easel, how do you like that?

There's more damn stuff here than you've ever seen in your life.

Do you appreciate it?

No.

No, you don't appreciate it.

Fine dresses and nice food, the best art

stuff they had in their whole store,

I'd like to see the sailor buy you things like this.

Well, he wouldn't, would he?

Huh?

Would he?

Would he?

Would he?

Damn right he wouldn't.

All he wanted to do was make you filthy,

touch you, and look at you.

Well, I'm not damn sorry I cut his throat for him.

- Huh?

- Oh, didn't I tell you I killed the sailor?

Well, I did.

I did it just for you.

So we can be together, you and me.

See what I do for you?

I get groceries and clothes and art stuff and kill people.

And do you appreciate it?

No.

N-O.

But you will.

You'll learn to count on me for everything.

That's it.

Chew it up real good.

If you don't chew your food, you'll get sick.

- I don't want anymore.

- Oh, you've got to eat, Daisy.

Otherwise, you'll waste away and become

nothing but skin and bones.

- Please, I don't want anymore.

- Eat.

- No.

- Eat or I'll cut your tongue out of your mouth.

- No.

- Yes.

- I'll eat.

- That's not to see.

I know you enjoy this food, don't you?

[mumbling]

Well, keep eating.

You'll learn to like it.

[spitting]

You'll get used to all of this,

and then you'll be very happy,

won't you, Daisy?

- My name is Vera.

- No,

it's Daisy.

- It's Vera!

- It is Daisy.

[phone ringing]

What's the matter?

Think it's for you?

- I, I- - Well, it's not.

Would you like some more to eat, my dear?

No?

That's too bad.

It's very good.

[Vera crying]

[phone ringing]

- [Man] And now Mrs. Gloria Jennings of Butte, Montana.

- [Mrs. Jennings] The one on the right

is definitely brighter.

The colors are cleaner and brighter too.

- [Man] Whiter, brighter, cleaner clothes.

The laundry on the right.

Well Mrs. Jennings, let's take a look

and see which best-selling laundry

detergent made that happen.

- [Mrs. Jennings] My goodness!

- [Man] That's right.

It's Axiom, Axiom laundry detergent.

Gets the job the other detergent left behind.

- [Announcer] Don't miss tonight's

Hal Robert's show when Hal and his guests

take a hilarious look at the world of fashion.

That's right after the 11 o'clock news, the late night

place to be.

- [Announcer] And now we return

to our program, "The Break of Day".

- [Woman] It's me, Judy.

Can you hear me, darling?

Judy, please.

You don't know we've all worried about you these months.

Judy, please.

Don't turn away like that.

You've been just like a daughter to us.

Please, Judy, please.

[doorbell ringing]

[knocking on door]

- Hey, anybody home in there?

[muffled crying]

Does anybody in there want to buy any candy?

I've got mints and jellies and chocolate.

[muffled crying]

Hey, anybody want to buy a box of candy?

[knocking on door]

[knocking on door]

[muffled crying]

Ain't anybody home in there?

[muffled crying] [doorknob rattling]

Candy!

Get your candy.

Anybody want to buy a box of candy?

Candy for sale.

Who wants to buy a box of candy?

[muffled crying]

[phone ringing]

[gasping]

- Oh my God.

[dial tone humming]

Help me.

Somebody help me.

Operator?

[grunting]

[grunting]

- [Operator] Operator.

- Wait!

Wait!

- [Operator] Operator.

May I help you?

- [Vera] Oh yes!

Please, help me please.

- [Operator] This is the operator.

May I help you please?

- [Vera] Yes.

Oh yes.

Yes, help me.

- [Operator] What is the trouble please?

[intense orchestral music]

Hello?

Anyone there?

Hello?

- I'm sorry.

Wrong number.

Hi, I'm home.

Now you get a good night's sleep.

You've had a long day today.

Tomorrow, you'll feel so much better.

Maybe you'll paint a picture or something too.

Okay?

I'll come in here bright and early.

And I'll fix you a nice breakfast.

And maybe I'll take you to your

painting room for a while too.

Okay?

We're gonna start having a lot of fun around here,

you and me, a lot of fun.

Good night.

[door clicking]

Aren't you going to paint something?

You said you liked to paint more than anything.

- I don't feel like painting.

- Huh?

What's that?

I didn't hear you, Daisy?

- I don't feel like painting.

- Why?

Why not?

There's paints.

There's brushes. There's an easel.

You never had an easel before, did you?

Huh?

- No, I never had an easel.

- Well, I bet you could paint very nice pictures

with an easel.

All you got to do is try, Daisy.

Try.

- I can't.

- Yes, you can.

- I feel like a dog on a leash.

- I know, Daisy. I know.

But soon I'll be able to trust you,

and I won't have to make sure that

you won't run away from me.

You'll be much happier then.

You'll see.

- Matthew.

I want to go home.

- You are home, Daisy.

You are home.

- [Vera] No.

[doorbell ringing]

- Don't you-

- Please, please!

Don't!

Help me! Help me!

Please.

Please help me!

Help me, help me, help me.

Help me!

Help me!

Oh, please-

[muffled screaming]

[suspenseful orchestral music]

[Vera screaming]

- Who are you?

- I'm Matthew.

Who are you?

- Dr. Epstein, Helen Anatole's physician.

- She's not at home.

- What do you mean she's not at home?

Her car's right out front. Where is she?

- She's, I'm her nephew.

- She never mentioned a nephew to me, son.

Now-

[intense orchestral music]

Back East?

What the hell are you talking about?

- My grandfather died, her brother.

She went back East to the funeral in Maine.

- And you?

- She asked me to come here and watch the house.

[intense orchestral music]

[muffled crying]

Yes, sir.

- You're making that up.

- I never lie, sir.

- When will she be back?

- I'm not too sure, sir.

[banging on door]

- [Dr. Epstein] Bridey, is she here?

- No, sir.

That's why I'm here.

Bridey went with my aunt Helen to Maine.

[sighing]

- I can't believe she'd go without informing me.

She needs her arthritis shot every other day.

Your aunt should know better.

- [Matthew] Well, I'm sure you understand the emergency.

What with grandpa dying and all, she was very upset.

- Well, I suppose I might as well...

You don't mind if I look around, do you,

just for my own peace of mind?

- But I already told you-

- Let's start with Mrs. Anatole's room first, shall we?

I've been telephoning here for three days without getting

an answer, and I want to know what's happening

in this house.

- You better leave right now.

My aunt would be very upset if she knew I let you in here.

[intense orchestral music] [banging on door]

- What was that?

- It was the dog.

It was the dog in the kitchen.

- Sounds like it's coming from down there for Christ's sake.

- Look mister, you can't just come in here and-

- I want to know what's going on here.

[intense orchestral music]

Oh God.

[Dr. Epstein grunting]

- Told you'd be sorry, didn't I, Daisy?

It's all your fault.

It never would have happened

if you fully cooperate.

He would have gone home, and everything would've been fine.

Well, he's dead.

And it's all because of you.

I hope this teaches you a lesson to try to corporate

and live nicely as my friend.

I wouldn't want anything like this to happen again.

Would you?

Good, me neither.

See here?

See?

Not one word of your disappearance, not one.

We're safe.

They can't find us, and they don't even want to.

Just you and me, Daisy.

We're free.

No one will ever bother us again.

Right?

Right, Daisy, hm?

- [Vera] Right.

Right, right.

- Yes, very right.

- [Vera] Matthew?

- [Matthew] Hm?

- Matthew, I haven't had a bath since I've, I've been here.

- Yes?

- Well, maybe I'd, I mean I think I'd feel a lot

better if I had a nice, hot bath.

I've been wearing these clothes a long time.

Matthew?

- How do I know this isn't a trick

to try and get away from me?

- You can take all of my clothes and leave me

nothing but a towel to dry with.

I couldn't run away without clothes.

- I don't know.

- Well then, you could watch me while I

take the bath to make sure I don't try anything.

- No, I don't want to.

I mean I don't think it will be necessary.

- All right.

All right, Matthew. I don't have to take a bath.

All right.

- Do you really want to take a bath?

- Yes.

Please.

- Uh, what would it hurt if you took a bath, right?

- Yes.

- You better hand me your clothes like you said you would.

- Don't you trust me?

- I, no, I don't trust you.

Hand me those clothes.

- Sure, Vera's clothes coming up.

- I'm sorry to have to treat you like this, Daisy,

but until I can be sure you won't try to leave me,

I have to.

You understand, don't you?

- [Vera] Of course, I understand perfectly.

- That's good because I- - [Vera] Here.

[Matthew breathing heavily]

And here's the rest.

Well, take it all ready, Matthew.

Take it.

You said you wanted the rest of my clothes.

This is all of them.

Take it, Matthew.

Take it.

- God damn you.

- Poor Matthew.

- God damn you.

- Poor, poor Matthew.

- God damn you.

[water running]

- Matthew?

- What?

- I'm finished.

- Yes.

- I mean I thought you might like to know when I was done.

- Oh yeah.

Yeah sure.

- Well?

- Well what?

- What happens now?

- Now, we go back to the bedroom,

and you put on one of those things I got for you,

and I tie you up again.

- It's your mansion.

- And don't try to run away or anything.

- Who's running?

Here I am at your beck and call, Matthew.

- Don't make fun of me.

- I'm not.

Isn't this what you wanted?

I do everything you tell me to.

I eat when you want.

I sleep when you want.

I'm your prisoner.

Aren't you happy?

- I, you better put some clothes on now.

- Why?

Don't you like me without clothes on, Matthew?

- It's just that, I think it's better to get dressed now.

That's all.

- Other men like me without clothes on.

[suspenseful orchestral music]

- I don't like those other men.

I want you to get dressed.

I have to tie you up now.

- They like to look at me.

They like to touch me.

They like to make love with me, Matthew.

- I don't care about those other men.

They're filthy, disgusting!

- Wouldn't you like to make love with me, Matthew?

- I- - Haven't you ever made love,

Matthew, huh?

- Vera, stop this!

Now!

- If we're going to live together,

then we have to make love together.

No, we don't. We don't have to.

- You said you'd provide me with everything I need.

You have to provide love too.

- No.

No.

- Come on, Matthew.

- Don't do this.

- Come.

We'll be friends and more, much, much more.

I'll teach you.

I'll teach you, Matthew.

- Please.

- You'll see.

You'll love me even more than you do now.

Come.

- I'd better stop.

No, no more.

- Don't you like it?

Don't you like to kiss me?

- Yes.

Yes, I like to.

I like to.

- That's it.

Kiss me.

Kiss me.

- See?

I can provide for you.

I can.

I'll make you very happy, Daisy, very happy.

- Yes.

Yes, Matthew, yes.

[laughing]

- What have you become?

- What's the matter, Matthew?

- What's the matter, Matthew?

- You're hurting me Matthew!

- Why don't you die?

Why don't you stay dead and leave me alone?

Leave me alone, Mama!

Leave me alone! - No, Matthew.

Matthew please!

Somebody!

Somebody help me!

[gasping]

Oh my God!

Help me!

Help me somebody!

Help me! Help me!

Help-

[Matthew screaming]

[Vera gasping]

[Daisy laughing]

- Matthew?

I'm waiting for you, Matthew.

We all are.

Come.

- No!

- Oh, come!

[Daisy laughing]

[suspenseful orchestral music]

- No.

[suspenseful jazz music]

[Daisy laughing]

[Matthew breathing heavily] [Daisy laughing]

[tires screeching]

[tires screeching]

[man shouting]

[suspenseful jazz music]

[Daisy laughing]

[loud organ music]

[Daisy laughing]

[hook slashing]

[Matthew gasping]

[loud organ music]

[ominous orchestral music]