Original subtitles

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[Woman Screaming]

OH! OH!

NO! NO!

[Man] EXTRA, EXTRA!

READ ALL ABOUT IT! LOVE SLAYER INSANE!

[Woman Narrating] LUCY HARBIN WAS DECLARED LEGALLY INSANE TODAY.

� [Brass Fanfare]

IT ALL STARTED ON A HOT, STICKY SATURDAY NIGHT.

LUCY'S HUSBAND, FRANK HARBIN, HAD GONE TO A ROADSIDE TAVERN...

TO MEET A FORMER GIRLFRIEND, STELLA FULTON.

HIS WIFE WAS AWAY. FRANK WAS SEVEN YEARS YOUNGER THAN HIS WIFE.

HE'D MARRIED HER BECAUSE SHE OWNED PROPERTY.

BUT SHE DIDN'T OWN HIM-- AT LEAST, THAT'S WHAT HE KEPT TELLING STELLA.

HE PERSUADED THE GIRL TO LEAVE WITH HIM.

� [Swing On Jukebox]

HARBIN'S FARM WAS JUST A SHORT DISTANCE.

HE TOOK STELLA THERE, KNOWING HIS WIFE WAS AWAY--

AND NOT EXPECTED TO RETURN UNTIL THE FOLLOWING DAY.

COME ON, BABY.

COME ON! COME ON.

[Train Whistle Blowing] LET'S GO IN THE HOUSE.

I DON'T WANT TO. HEY, COME ON.

[Both Muttering]

IT'LL BE ALL RIGHT. COME ON.

[Woman Narrating] THERE WAS NO ONE ELSE IN THE HOUSE BUT YOUNG CAROL,

DAUGHTER OF FRANK AND LUCY HARBIN.

[Stella Giggling]

THEY MADE ONE MISTAKE-- IN THINKING THAT THE CHILD WAS ASLEEP.

[Stella Chuckling]

[Moaning] [Train Whistle Blowing]

THEY MADE ANOTHER MISTAKE, TOO: FRANK'S WIFE, LUCY,

HAD DECIDED TO COME HOME ON THE EVENING TRAIN.

LUCY HARBIN. BORN AND RAISED ON A FARM.

PARENTS, POOR. EDUCATION, MEAGER.

VERY MUCH A WOMAN, AND VERY MUCH AWARE OF THE FACT.

[Conductor] ALL ABOARD!

LUCY'S FIRST HUSBAND HAD BEEN AN OLDER MAN,

CHOSEN BY HER PARENTS; WHEN HE DIED, SHE PICKED FRANK.

HERSELF. AT LAST, SHE HAD WHAT SHE WANTED OUT OF LIFE.

[Tinkling]

[Door Creaking]

[Lucy] LEAVE ME ALONE! LEAVE ME ALONE!

LEAVE ME ALONE! I'M NOT GUILTY! I'M NOT GUILTY!

I'M NOT GUILTY! I'M NOT! IT WAS A MISTAKE!

[Screaming]

NO! NO!

OH, GOD, NO!

[Screaming, Pounding Of Ax Continue]

NO! NO-O-O!

NO!

MY MOTHER, A MURDERESS.

AND NOW YOU KNOW.

CAROL, DON'T YOU SEE? IT DOESN'T MATTER.

UNCLE BILL AND AUNT EMILY ADOPTED ME, AND THEY MOVED OUT HERE--

WHERE NOBODY KNOWS WHO I AM.

MICHAEL, DO YOU REALIZE I HAVEN'T SEEN MY MOTHER FOR TWENTY YEARS?

- THE DOCTORS WOULDN'T LET ME. - CAROL? CAROL.

YES, AUNT EMILY? BILL JUST CALLED FROM THE STATION.

THEY'LL BE HERE IN A FEW MINUTES. WHAT'S ALL THIS ABOUT?

YOU SAY BILL'S AT THE STATION? IT'S ALL RIGHT. HE KNOWS.

BILL WENT BACK TO THE MIDWEST, TO TALK TO THE DOCTORS AT THE INSTITUTION.

THEY ASKED HIM TO COME. THEY'D BEEN SENDING REPORTS.

ABOUT CAROL'S MOTHER? YES.

THEY'VE BEEN USING SOME-- SOME NEW METHODS OF TREATMENT.

AND THEY THOUGHT PERHAPS SHE WAS READY TO-TO FACE THE OUTSIDE WORLD AGAIN.

THE OUTSIDE WORLD? YOU SEE, THAT'S WHY I HAD TO TELL YOU.

MY-MY MOTHER HAS BEEN RELEASED.

FROM AN ASYLUM.

SHE'S COMING HOME... TODAY.

[Locomotive Bell Ringing]

THERE THEY ARE!

NOW, CAROL, DON'T YOU WORRY.

EVERYTHING'S GOING TO WORK OUT JUST FINE. I HOPE SO.

OF COURSE IT WILL. WHY, AFTER ALL THESE YEARS,

IT'LL BE JUST LIKE MEETING A STRANGER.

[Doorbell Ringing] I'LL GET IT.

I'LL, UH, PUT THESE BAGS IN YOUR ROOM.

RIGHT IN HERE. I KNOW SHE'S DYING TO SEE YOU.

COME IN, DEAR.

[Door Closing]

[Gasping, Sniffling]

YOU SEE? NOW YOU KNOW WHERE YOUR EGGS CAME FROM AT BREAKFAST.

[Rooster Crowing] I NEVER THOUGHT MY BROTHER WOULD END UP RUNNING A FARM.

HE STARTED IT RIGHT AFTER WE MOVED OUT HERE.

TWENTY YEARS AGO.

WHAT'S THE MATTER? NOTHING.

I JUST HATE TO SEE ANYTHING CAGED.

OH, IT'S NOT FOR LONG. WE BUTCHER THEM AT SUN--

COME ON. THERE'S MORE TO SEE.

THAT'S LEO KRAUSE. HE'S THE HIRED HAND.

NOT VERY TIDY, IS IT?

BUT NECESSARY. YOU FATTEN THEM UP FOR THE SLAUGHTER.

LET'S-LET'S LOOK AT THE LOCKER-PLANT, SHALL WE?

NO-NO SENSE GOING INSIDE. IT'S JUST A BIG OLD DEEP FREEZE.

YOU SURE ARE PRETTY.

MUST BE VERY LONELY AROUND HERE FOR SOMEONE LIKE YOU.

NOT AT ALL. I'VE LOTS OF FRIENDS.

COME ON. I'LL SHOW YOU.

WON'T YOU COME IN?

[Sighs] WELL, WHAT DO YOU THINK?

THIS IS WHAT YOU DO: A SCULPTOR.

SCULPTRESS. [Chuckles]

YOU LIKE IT? OH, YES.

I'VE BEEN PUTTERING AROUND HERE FOR YEARS.

UNCLE BILL TURNED THIS GUEST HOUSE INTO A STUDIO WHEN I GOT OUT OF SCHOOL.

DO YOU SELL YOU WORK? MM-HMM. WHEN I'M LUCKY.

SOME OF THE ART SHOPS ALONG THE COAST TAKE MY PIECES,

AND MICHAEL SAYS I SHOULD HAVE AN EXHIBITION.

MICHAEL? YOU HAVE A YOUNG MAN?

YES. I DIDN'T HAVE A CHANCE TO TELL YOU, BUT--

WELL, WE'RE PRACTICALLY ENGAGED.

OH. DON'T WORRY. I'M NOT RUSHING INTO ANYTHING.

WE HAVEN'T EVEN TOLD HIS PARENTS YET.

YOU'LL LIKE THE FIELDS. YOU'LL MEET THEM SOON, AND--

MICHAEL IS COMING TO DINNER TONIGHT.

I'M NOT READY TO MEET STRANGERS!

NO-NOT JUST YET.

H-HE'S NO STRANGER.

EVERYONE'S A STRANGER.

I ALMOST FORGOT. I HAVE A SURPRISE FOR YOU.

I HOPE YOU LIKE IT.

YOU MADE THIS?

YOU SEE, MOTHER? I'VE NEVER FORGOTTEN.

[Laughing]

- IS SOMETHING THE MATTER? - MM-MM.

NO, I-IT'S JUST SUCH A WONDERFUL SURPRISE.

I THINK IT'S THE BEST THING I'VE EVER DONE.

OH, I AM SO PROUD OF YOU.

AND I'M PROUD OF YOU.

I'VE CHANGED, HAVEN'T I?

TWENTY YEARS.

IT'S A HELL OF A LONG TIME.

WE ALL CHANGE, MOTHER. LOOK WHAT TWENTY YEARS HAS DONE TO ME.

[Chuckles] PRETTY SWELL, I'D SAY.

I-I HAVE SOMETHING ELSE I WANT TO SHOW YOU.

[Jangling]

- DO YOU REMEMBER? - WHERE DID YOU GET THOSE?

I-I SAVED THEM.

I STILL REMEMBER HOW THEY USED TO JANGLE...

WHEN YOU'D PICK ME UP TO KISS ME GOOD NIGHT.

AND I SAVED THIS, TOO.

PHOTOGRAPH ALBUM. WOULD YOU LIKE TO LOOK AT IT?

AFTER A WHILE. ALL RIGHT.

YOU KNOW, I DID SOME MODELING, TOO.

DOCTOR ANDERSON LET ME WORK WITH SOME CLAY IN THE HOSPITAL.

HE SAYS IT'S GOOD THERAPY.

MOTHER!

MAYBE WE'D BETTER GO BACK TO THE HOUSE.

COME ON.

MICHAEL WILL BE COMING SOON.

I WON'T BE LONG.

LOOKS GOOD, DOESN'T IT?

OH, BILL?

DID YOU GET OUT THE ICE CUBES? ALL SET!

BILL? ALL RIGHT? THAT'S PERFECT.

- [Bill Chuckles] - MOTHER, WHAT DO YOU THINK?

YOU LOOK WONDERFUL.

[Chuckling] I'M TALKING ABOUT THE FLOWERS.

OH, I FORGOT ABOUT THE NAPKINS.

OH, THE GOOD ONES. THEY MUST BE IN THE LINEN CLOSET. YEAH.

I'LL GET 'EM, IF I CAN FIGHT OFF THE MOTHS!

ISN'T THERE SOMETHING I CAN DO TO HELP? NO, THANKS--

I'LL TELL YOU WHAT YOU CAN DO!

YOU COULD FILL THE WATER GLASSES.

I'LL GET THE PITCHER FOR YOU.

WHERE'S AUNT EMILY? FIXING HER HAIR.

HERE, NOW JUST FILL IT FROM THE TAP.

WE'LL GET THE ICE CUBES FROM BILL.

[Doorbell Rings] THERE'S MICHAEL!

[Tap Running]

- [Sighing With Pleasure] - [Tap Continues Running]

EVERYTHING ALL RIGHT? OF COURSE.

COME ON. I'VE TOLD HER ALL ABOUT YOU.

SHE'S DYING TO MEET YOU.

[Tap Continues] MOTHER, I WANT YOU TO MEET MI--

WELL, SHE WAS JUST HERE.

[Shuts Off Tap] IT'S ALL RIGHT, DARLING.

MOTHER'S JUST A LITTLE SHY. YOU UNDERSTAND, DON'T YOU?

WELL, PERHAPS SHE JUST STEPPED OUT FOR A MOMENT.

I THINK I KNOW WHERE SHE IS.

SHE'S NOT HERE.

WHAT IS IT? NOTHING. JUST AN OLD PHOTOGRAPH ALBUM.

I GAVE IT TO MOTHER-- CAROL, LET ME HAVE IT.

I'M SORRY ABOUT LAST NIGHT. BUT YOU WERE SO RIGHT.

I UNDERSTAND WHY YOU DIDN'T WANT TO MEET MICHAEL.

AFTER ALL, WE GIRLS HAVE TO LOOK OUR BEST.

I'M NOT A GIRL ANYMORE. BUT YOU WILL BE, AS SOON AS WE FINISH SHOPPING.

JUST WAIT AND SEE.

IT'S BEEN SO LONG SINCE I BOUGHT ANYTHING NEW.

THEN IT'S ABOUT TIME YOU HAD A CHANCE.

WE REALLY HAVE SOME NICE LITTLE SHOPS HERE.

COME ON. WE'RE GOING TO HAVE SOME FUN.

DID IT LOOK ALL RIGHT? IT LOOKED WONDERFUL ON YOU.

WELL, SHALL I WRAP THEM UP?

DO YOU REALLY THINK I SHOULD? DEFINITELY. I THINK THEY'RE LOVELY.

YES, BUT NOT VERY PRACTICAL.

LOOK. JUST WHAT I WANTED.

I THOUGHT YOU'D LIKE IT.

DO YOU THINK THESE WOULD GO WITH MY BRAND-NEW OUTFIT?

NOT THAT PAIR, THIS. AREN'T THEY PRETTY? I THINK THEY'RE PERFECT.

WE'RE SPENDING AN AWFUL LOT OF MONEY.

[Laughs] DON'T BE SILLY. WE SAID, "HEAD TO TOE," REMEMBER?

WHICH REMINDS ME-- WE'VE GOT ONE MORE STOP TO MAKE. HURRY, WILL YA?

I DON'T KNOW. DON'T YOU HAVE TO HAVE AN APPOINTMENT TO GO TO A BEAUTY PARLOR?

IT'S ALL ARRANGED, MOM. YOU DON'T REALLY THINK THEY CAN DO ANYTHING WITH ME.

OF COURSE THEY CAN. MY HAIR'S SUCH A MESS.

WELL, I-I WASN'T THINKING OF A PERMANENT.

- OH, NO, I-I COULDN'T. - BUT MOTHER, IT'S THE LATEST THING. EVERYBODY WEARS THEM.

- BUT I FEEL SO FOOLISH. - [Chuckles] LET'S TRY IT. JUST FOR FUN.

I JUST KNOW IT WOULDN'T BE RIGHT FOR ME.

[Lucy] ARE YOU READY? [Carol] HURRY UP. I CAN'T WAIT.

- HOW DO YOU LIKE IT? - YOU LOOK LOVELY.

ISN'T SHE BEAUTIFUL?

IF YOU'RE SURE IT DOESN'T MAKE ME LOOK TOO YOUNG--

YOU LOOK JUST LIKE YOU DID TWENTY YEARS AGO.

JUST AS I'VE ALWAYS DREAMED OF YOU.

IS THAT WHAT YOU WANT?

THAT'S WHAT I'VE ALWAYS WANTED.

THINGS ARE GOING TO BE SO WONDERFUL FOR US FROM NOW ON.

YOU'LL SEE.

[Girl's Voice] "LUCY HARDIN TOOK AN AX,

"GAVE HER HUSBAND 40 WHACKS.

"WHEN SHE SAW WHAT SHE HAD DONE,

SHE GAVE HIS GIRLFRIEND 41."

[Girls Playing Skip Rope] � LONDON BRIDGE IS FALLING DOWN �

� FALLING DOWN, FALLING DOWN-- IS THERE SOMETHING WRONG?

I HEARD THEM. HEARD WHAT?

[Singing Continues] THOSE KIDS.

[Together] � MY FAIR LADY

� LONDON BRIDGE IS FALLING DOWN-- �

[Chuckles] IT'S ONLY A NURSERY RHYME.

YOU'RE TIRED. I'LL GET YOUR THINGS AND WE'LL GO HOME.

� MY FAIR LADY

� TAKE A KEY AND LOCK HER UP

� LOCK HER UP, LOCK HER UP

� TAKE A KEY AND LOCK HER UP �

� MY FAIR LADY

[Girl's Voice] "LUCY HARDIN TOOK AN AX,

"GAVE HER HUSBAND 40 WHACKS.

"WHEN SHE SAW WHAT SHE HAD DONE,

"SHE GAVE HIS GIRLFRIEND 41. NO.

"LUCY HARDIN TOOK AN AX, NO!

"GAVE HER HUSBAND 40 WHACKS.

"WHEN SHE SAW WHAT SHE HAD DONE, [Breathing Heavily]

"SHE GAVE HIS GIRLFRIEND 41.

[Continues, Louder] "LUCY HARDIN TOOK AN AX,

"GAVE HER HUSBAND 40 WHACKS.

"WHEN SHE SAW WHAT SHE HAD DONE,

"SHE GAVE HIS GIRLFRIEND 41. NO!

LUCY HARDIN TOOK--" [Screams]

[Girls' Voices Continue, Relentlessly]

"...WHAT SHE HAD DONE, SHE GAVE HIS GIRLFRIEND 41.

TOOK AN AX. TOOK AN AX. TOOK AN AX!"

BILL!

BILL! BILL!

[Lucy] BILL! BILL!

BILL, BILL, BILL! [Cries] WHAT? WHAT?

LUCY, LUCY. NOW, CALM DOWN. WHAT HAPPENED?

HELP ME, PLEASE! LUCY--

LUCY, TELL US WHAT HAPPENED. OH. BILL.

I-I SAW THEM IN MY BEDROOM. I REALLY DID.

BUT THERE'S NOTHING TO BE AFRAID OF. [Sobbing]

MOTHER! ARE-ARE YOU ALL RIGHT?

THAT'S WHAT WE'RE TRYING TO FIND OUT.

TH-THERE WAS SOMETHING IN MY BEDROOM.

LE-LET'S GO LOOK. NO!

NOT YOU, YOU MUSTN'T. WE'LL ALL GO.

COME ON. COME ON, LUCY.

[Whimpering] NOW, COME ON.

[Lucy Sobbing]

[Screaming] CAROL! DON'T YOU GO IN THAT ROOM. LUCY!

NO, SHE'S RIGHT. I'LL GO.

THERE IS NOTHING HERE.

COME ON. COME ON, AND SEE FOR YOURSELF.

THERE'S NOTHING WRONG.

BU-BU-BUT I SAW--

JUST WHAT DID YOU SEE, DEAR?

IT-IT WAS LIKE A DREAM.

OH, MOTHER--

[Chuckles Softly] YES.

I-IT MUST HAVE BEEN A NIGHTMARE.

YEAH.

[Laughs]

BILL, I DON'T KNOW. MAYBE YOU SHOULD PUT THROUGH...

A LONG-DISTANCE CALL TO DR. ANDERSON.

THERE'S NO REASON TO MAKE SUCH A FUSS ABOUT IT.

JUST BECAUSE MOTHER HAD A BAD DREAM.

OH, EVERYBODY DREAMS, EMILY. REMEMBER WHEN CAROL WAS A LITTLE GIRL,

THE WAY SHE USED TO WAKE UP SCREAMING?

THAT'S RIGHT. YOU'RE FORGETTING ONE THING.

LUCY IS NOT A CHILD. PLEASE.

IF YOU ONLY KNOW HOW MUCH IT MEANS TO ME TO HAVE MY MOTHER HERE WITH ME AGAIN--

I KNOW I CAN HELP HER. WE CAN ALL HELP HER.

CAROL, ARE YOU SURE YOU'RE DOING THE RIGHT THING?

[Sighs] PLEASE, LET'S TRY IT. JUST FOR HER SAKE.

ALL RIGHT. ALL RIGHT. YOU ARE THE DOCTOR.

AND LET'S NOT HAVE ANY MORE TALK ABOUT DOCTORS.

ALL MOTHER NEEDS IS JUST A LITTLE PATIENCE AND UNDERSTANDING.

BILL, I CAN'T HELP WORRYING.

YOU CAN JUST STOP WORRYING, BECAUSE IT'S OVER AND DONE WITH.

[Emily, Sighing] I WISH I COULD BE SURE OF THAT.

[Clucking]

GOOD MORNIN'.

WHAT'S THE MATTER? WHAT YOU LOOKIN' AT?

[Windmill Turning Rhythmically]

I'M JUST BUTCHERIN' A CHICKEN, THAT'S ALL.

SORRY IF I DISTURBED YOU, LADY.

YOU DIDN'T DISTURB ME. I WAS RAISED ON A FARM.

MAYBE YOU'D LIKE TO... TRY IT YOURSELF?

[Windmill Grows Louder]

[Windmill Continues]

[Chicken Flapping Wings, Screeching]

[Screaming]

[Windmill Continues Rhythmic Rumbling]

MICHAEL!

DARLING! MICHAEL!

MM. WELL, THIS IS A SWITCH.

WHAT? USUALLY, THE BOY CALLS FOR THE GIRL...

WHEN THEY HAVE A DATE. DON'T YOU WORRY, WE'RE GOING IN MY CAR.

THEN WHY DID YOU LURE ME OUT HERE?

I WAS HOPING YOU'D STOP IN FOR A MOMENT, AND SAY HELLO.

MOM AND DAD HAVEN'T SEEN YOU FOR WEEKS. ALL RIGHT.

WELL, CAROL. HOW'S MY GIRL? FINE.

WHAT DO YOU MEAN, YOUR GIRL? IT'S ALL IN THE FAMILY.

CAROL, HOW GOOD TO SEE YOU. GOOD TO SEE YOU.

WELL, COME IN. SIT DOWN.

CAN I GET YOU SOMETHING? NO, THANKS. WE'RE ON OUR WAY TO THE MOVIES.

WE'LL HAVE DINNER LATER. GLASS OF MILK?

OH! YOU AND YOUR MILK!

WHY NOT? I GET IT WHOLESALE.

AFTER ALL, IT'S MY DAIRY.

WHAT MOVIE ARE YOU GOING TO SEE?

WE HADN'T DECIDED YET. THERE'S A MURDER MYSTERY DOWN AT THE DRIVE-IN.

NICE AND GORY. PAY NO ATTENTION TO HIM. HE HAS THE INSTINCTS OF A KILLER.

INHERITED FROM HIS MOTHER, NO DOUBT. OH, RAYMOND!

AND SPEAKING OF MOTHERS-- DIDN'T I HEAR YOU HAD A VISITOR, CAROL?

IT'S NOT A VISIT, REALLY.

MY MOTHER HAS COME HOME TO STAY.

SHE LIVED BACK EAST, DIDN'T SHE? THAT'S RIGHT.

I HADN'T SEEN HER FOR TWENTY YEARS.

TWENTY YEARS, MY. CAROL'S MOTHER'S BEEN AN INVALID.

OH! I'M SO SORRY. I DIDN'T KNOW.

SHE'S COMPLETELY RECOVERED NOW.

JUST, UH, WHAT WAS HER ILLNESS?

DAD, I HATE TO INTERRUPT, BUT WE BETTER BE GOING.

RIGHT, DARLING? YES, IF YOU'LL EXCUSE US.

NOW, YOU PROMISE TO BRING YOUR MOTHER OVER FOR DINNER. WE'D LOVE TO MEET HER.

OF COURSE. THANK YOU.

GOOD-BYE.

SEE YOU SOON.

[Door Closing]

MICHAEL'S REALLY SERIOUS ABOUT HER, ISN'T HE?

IF YOU ASK ME, THEY MAKE A VERY HANDSOME COUPLE.

DID YOU NOTICE HOW NERVOUS SHE SEEMED...

WHEN YOU STARTED ASKING QUESTIONS ABOUT HER MOTHER?

WHY NOT? IT REALLY ISN'T ANY OF OUR BUSINESS.

ANYTHING THAT CONCERNS MICHAEL IS OUR BUSINESS.

WHY DON'T YOU HAVE SOME MILK? CALM YOU DOWN.

I'LL FEEL A LOT CALMER AFTER I FIND OUT A FEW THINGS ABOUT CAROL'S MOTHER.

� [Classical]

YOU'VE BEEN AWFULLY QUIET THIS EVENING. MAD AT ME?

NOT REALLY.

I STILL THINK YOU SHOULD HAVE LET ME TELL THEM.

LET THEM MEET YOUR MOTHER FIRST-- THEN WE CAN TELL THEM.

AFTER THEY GET TO KNOW HER AND SEE SHE'S ALL RIGHT.

SHE IS ALL RIGHT, ISN'T SHE? WHY DON'T YOU SEE FOR YOURSELF?

I'M SORRY. MICHAEL--

WHY DON'T YOU STOP BY FOR A DRINK TOMORROW AFTERNOON?

� [Ending]

� [Big Band]

[Door Banging]

- [Chuckling Nervously] HE'S LATE. - ARE YOU SURE I LOOK OKAY?

OF COURSE YOU DO.

MOTHER, I'M-I'M SO PROUD OF YOU.

YOU'VE NO IDEA HOW DIFFERENT YOU LOOK.

� [Continues]

TH-THERE'S NOTHING TO BE NERVOUS ABOUT.

[Sighs Deeply]

I GUESS IT'S THE-- THE RECORD, AND-- OH, I DON'T KNOW!

IT'S JUST LIKE IT WAS TWENTY YEARS AGO.

LOOK. YOU PROMISED, REMEMBER?

YOU DON'T TALK ABOUT THE PAST. ONLY THE FUTURE.

[Doorbell Ringing]

AND I THINK MY FUTURE HAS JUST ARRIVED.

� [Continues]

HI, SWEET. DARLING.

BILL AND EMILY WON'T BE JOINING US. THEY'RE GETTING READY TO GO OUT FOR DINNER.

COME ALONG. SHE'S WAITING.

WELL!

� [Trumpet, Brassy Solo]

HMM. YOU DIDN'T TELL ME HE WAS THAT GOOD-LOOKING.

COME ON. I BET YOU COULD USE A DRINK.

NOW, DON'T TELL ME. LET ME GUESS. UMM--

BOURBON AND WATER. SCOTCH ON THE ROCKS, PLEASE.

OH, ONE OF THOSE!

� [Clarinet]

THAT'LL BE FINE, THANK YOU. YEAH?

JUST A MINUTE.

OH, CAROL, I'D ALMOST FORGOTTEN ABOUT YOU.

YOUR YOUNG MAN IS QUITE A CHARMER.

REALLY, MRS. HARBIN, I'M JUST A... COUNTRY BOY.

AND I'M JUST A COUNTRY GIRL.

YOU DON'T HAVE TO BE SO FORMAL WITH ME.

WHY DON'T YOU JUST CALL ME LUCY?

[Ice Tinkling In Glass] MOTHER!

- CAROL. YOU WANT A DRINK? - NOTHING FOR ME, THANKS.

- BUT THIS IS A CELEBRATION! - NO, THANK YOU, MOTHER!

I'LL TELL YOU WHAT:

YOU JUST COME RIGHT OVER HERE...

AND YOU SIT RIGHT DOWN THERE WITH CAROL, BECAUSE, YOU SEE...

I WOULDN'T LIKE MY LITTLE GIRL TO THINK I WAS TRYING TO TAKE HER FELLOW AWAY.

� [Continues]

MICHAEL,

IF YOU'D HAVE SEEN HER WHEN SHE ARRIVED, YOU WOULDN'T BELIEVE IT.

WHY, UH, SHE'S LIKE A DIFFERENT PERSON NOW.

[Phone Ringing]

[Ringing]

HELLO? IS THIS... [Indistinct]

WHO? [Indistinct]

- � [Stops] - YES SHE IS. JUST A MINUTE.

- MOTHER, IT'S FOR YOU. - WHO ON EARTH--

HE DIDN'T GIVE HIS NAME.

PROBABLY ONE OF MY SECRET ADMIRERS.

HELLO? YES-- [Man] LUCY?

WHO IS THIS? DR. ANDERSON.

WHERE ARE YOU? IN TOWN.

I'D LIKE TO COME AND SEE YOU, LUCY.

YOU MEAN, NOW?

YES, I'LL BE RIGHT OUT. [Line Clicks]

MOTHER, WHAT IS IT?

- WHY DID YOU SEND FOR HIM? - WHO?

HE JUST CALLED FROM TOWN. HE'S ON HIS WAY HERE, NOW.

MOTHER, WHAT ARE YOU TALKING ABOUT?

BILL!

BILL!

[Door Slamming]

[Sighs] MICHAEL, I DON'T KNOW WHAT THIS IS ALL ABOUT,

BUT PLEASE BELIEVE ME-- SHE ISN'T LIKE THIS.

SOMETHING'S UPSET HER. PERHAPS IT WOULD BE BETTER IF I STOPPED BACK ANOTHER TIME.

NO, MICHAEL. I'M SURE IT'S NOTHING SERIOUS.

I THINK IT WOULD BE BETTER FOR YOU IF I GO.

MICHAEL.

YOU DO UNDERSTAND, DON'T YOU?

OF COURSE, DARLING.

I'LL CALL YOU LATER.

[Door Opens, Closes]

DID EMILY SEND FOR HIM?

LUCY, PLEASE BELIEVE ME, NOBODY SENT FOR HIM.

WELL, THEN, WHAT'S HE DOING HERE? I DON'T KNOW!

LOOK, ARE YOU SURE THAT IT WAS DR. ANDERSON THAT YOU SPOKE TO?

DON'T YOU THINK I'D RECOGNIZE THAT VOICE AFTER LISTENING TO IT FOR TWENTY YEARS?

[Rooster Crows]

[Doorbell Ringing]

WELL, STOP WORRYING.

I'M GOING TO TRY TO FIND OUT WHAT THIS IS ALL ABOUT.

YOU PROMISE, BILL? I PROMISE.

THERE. THAT'S A GIRL.

GOOD AFTERNOON. WHY-- DR. ANDERSON.

YOU'LL HAVE TO EXCUSE MY APPEARANCE. I'M PLAYING HOOKEY.

WELL, YOU COME RIGHT IN. THANK YOU.

DRIVING UP TO OREGON ON A FISHING TRIP.

THOUGHT I'D STOP IN ON MY WAY AND SAY HELLO.

OH, THEN THE, UH-- THE INSTITUTION DIDN'T SEND YOU.

OH, NO. NO, IT'S NOT AN OFFICIAL VISIT.

AS LONG AS I WAS IN THE NEIGHBORHOOD, I WANTED...

TO SEE HOW THINGS ARE GOING.

WELL, THEY'RE UH-- THEY'RE ALL RIGHT, I GUESS.

THEN IT WAS YOU THAT LUCY SPOKE TO ON THE TELEPHONE.

YES, SHE SEEMED A LITTLE--

LUCY! IT'S GOOD TO SEE YOU.

WHY DID YOU COME HERE?

OH, IT'S JUST A COINCIDENCE, REALLY. I WAS TELLING YOUR BROTHER.

YES, I KNOW. I HEARD.

[Pouring Liquor] I HAVE NO SECRETS FROM YOU.

- DO I, DOCTOR? - I HOPE NOT.

BILL? I'M ALL READY. WHERE ARE YOU?

WE'RE GOING TO BE LATE IF YOU DON'T-- OH, I'M SORRY.

- EMILY, THIS IS DR. ANDERSON. - OH, DR. ANDERSON.

FROM-FROM LUCY'S HOSPITAL.

I HOPE I'M NOT INTRUDING. OH, NO.

NO, NOT AT ALL.

BILL AND I HAVE A DINNER ENGAGEMENT IN RIVERSIDE.

I'LL JUST GO AND CANCEL IT. [Anderson] PLEASE, NOT ON MY ACCOUNT.

I'LL BE RUNNING ALONG IN A FEW MINUTES, ANYWAY.

� [Big Band Blaring]

DOCTOR, PERHAPS WE SHOULD-- NO, NO. YOU TWO GO AHEAD.

LUCY AND I WILL VISIT.

WELL, IF YOU INSIST.

I DO. NICE SEEING YOU, MRS. CUTLER.

GOOD-BYE, DOCTOR. HAVE A GOOD TRIP.

THANK YOU, BILL. EMILY.

� [Continues]

I HOPE YOU'LL BE ALL RIGHT, LUCY.

[Door Closes]

NERVOUS?

� [Match Scratches Record, Music Stops]

WHY DON'T YOU SIT DOWN?

ALL RIGHT, LUCY.

HOW ARE YOU?

- HOW DO I LOOK? - QUITE DIFFERENT.

FEEL DIFFERENT, TOO.

WHEN I LOOK IN THE MIRROR...

IT'S HARD FOR ME TO BELIEVE THAT 20 YEARS HAVE PASSED.

BUT THEY HAVE PASSED, LUCY. YOU'VE GOT TO REMEMBER THAT.

I DON'T WANT TO THINK ABOUT IT.

ALL THAT MATTERS TO ME IS NOW.

THAT'S JUST WHAT I'M TALKING ABOUT. YOU CAN'T TURN BACK THE CLOCK.

DON'T YOU APPROVE OF THE WAY I LOOK?

IT'S THE WAY YOU FEEL... THAT'S IMPORTANT.

THE PLACE IS IN SUCH A MESS.

WE WERE ENTERTAINING HERE THIS AFTERNOON.

USUALLY, IT'S VERY QUIET.

LUCY?

HOW DO YOU SPEND YOUR TIME?

KNITTING.

I-I-I DO A LOT OF KNITTING.

REMEMBER, THEY TAUGHT ME THAT IN THERAPY.

- WHAT ARE YOU MAKING? - I DON'T KNOW YET.

I HAVE TO FIND A PATTERN.

LUCY--

EVER FEEL LONELY?

NO. MM-MM.

UM, YOU SEE, THERE'S BILL AND EMILY AND KRAUSE. HE WORKS HERE.

I SOMETIMES HELP HIM IN THE YARD.

WHAT ABOUT YOUR DAUGHTER? OH, SHE'S OUT BACK.

YOU TWO GET ALONG WELL TOGETHER?

OH, YES, SHE'S BEEN WONDERFUL.

SHE BROUGHT HER FIANCEE OVER TO MEET ME THIS AFTERNOON.

WHY ARE YOU ASKING ME ALL THESE QUESTIONS?

DON'T YOU BELIEVE ME?

I JUST WANT TO BE SURE. SURE OF WHAT?

YOU CAN SEE I'M ALL RIGHT.

LUCY.

OH, MY KNITTING.

IT'S ALL UNRAVELLED.

IT'S COMING APART.

LUCY--

HAVE YOU HAD ANY DREAMS?

WHO TOLD YOU ABOUT MY DREAMS?

WHO TOLD YOU ABOUT MY NIGHTMARES?

WHO TOLD YOU? NO! LEAVE ME ALONE!

[Door Slamming]

LOOKING FOR SOMEBODY? DID LUCY-- UH, MRS. HARBIN...

HAPPEN TO COME OUT HERE JUST NOW?

I AIN'T SEEN HER. THANK YOU.

WHERE COULD I FIND HER DAUGHTER?

CAROL? I SAW HER GO INTO HER PLACE A LITTLE WHILE AGO.

OVER THERE. THANK YOU.

[Carol] DOCTOR, HOW IS MY MOTHER?

I WAS HOPING YOU MIGHT BE ABLE TO ANSWER THAT QUESTION.

[Sighs] THAT'S VERY LOVELY.

HAVE YOU FINISHED WITH IT? NO, NO. NOT QUITE.

IT'S HARD FOR AN ARTIST TO TELL WHEN ANYTHING IS FINISHED.

IT'S HARD FOR A DOCTOR TO TELL, TOO.

CAROL, I'VE KNOWN YOUR MOTHER FOR MORE THAN TWENTY YEARS.

SO HAVE I. YOU WERE ONLY A LITTLE GIRL WHEN SHE WAS SENT AWAY.

BUT YOU'RE WRONG, DOCTOR. THERE ARE SOME THINGS YOU JUST DON'T FORGET.

THAT'S TRUE.

BUT, THAT DOESN'T AFFECT OUR RELATIONSHIP NOW.

IT'S JUST THAT, WELL, I'VE NEVER FORGOTTEN.

- NEITHER HAS YOUR MOTHER. - WHAT DO YOU MEAN?

SHE'S PERFECTLY ALL RIGHT. YOU RELEASED HER.

TODAY I SAW A DIFFERENT LUCY, A WOMAN WHO'S TRYING...

TO LOOK AND ACT AS IF THOSE 20 YEARS HAD NEVER EXISTED.

A WOMAN WHO'S TRYING TO RECAPTURE HER PAST.

BUT FOR HER, THE PAST IS DANGEROUS.

DOCTOR, I-I WANTED TO TELL YOU.

[Exhales] IT'S PROBABLY ALL MY FAULT.

SH-SHE DID IT TO PLEASE ME.

I'M THE ONE WHO SUGGESTED THE CLOTHES, AND THE WIG, AND--

- OH? - WELL, YOU SEE, AT FIRST, WHEN SHE CAME HERE...

SHE WAS SO DEPRESSED.

SHE DIDN'T WANT TO MEET ANYONE.

EVERYTHING BOTHERED HER.

AND I THOUGHT, IF-- WELL, IF SHE WAS MORE CONFIDENT ABOUT HER APPEARANCE--

- PERHAPS YOU MADE A MISTAKE. - BUT SHE IS SANE NOW.

ISN'T SHE? SANITY'S A RELATIVE TERM.

THE BOARD RECOMMENDED YOUR MOTHER'S RELEASE.

FRANKLY, I HAD MY DOUBTS. SO WE DECIDED TO PUT HER ON PROBATION.

WHEN I TOOK THIS VACATION, THE BOARD SUGGESTED I LOOK IN ON HER.

I WANTED TO TEST HER REACTIONS UNDER STRESS.

ARE YOU SAYING THAT... MY MOTHER MIGHT--

WITH WHAT I'VE SEEN TODAY, I FEEL THERE IS A DANGER.

SOMETHING COULD HAPPEN THAT WOULD TRIGGER HER.

PLEASE DON'T. YOU'RE RIGHT.

IF THE INSTITUTION SENT SOMEONE OUT, IT WOULD ONLY UPSET HER.

I'LL TAKE HER BACK MYSELF. BUT YOU'RE ON A VACATION!

THAT CAN WAIT. I'D BETTER TELL HER.

DOCTOR? YES?

YOU WILL MAKE HER UNDERSTAND, WON'T YOU?

I'LL TRY.

[Door Opens, Closes]

[Chickens Clucking]

[Jangling Sound]

- [Screams] - [Thumping]

[Crowing]

MOTHER?

MOTHER?

MOTHER?

[Gasps]

GIVE IT TO ME.

MY KNITTING. I DROPPED IT.

I'VE BEEN LOOKING EVERYWHERE FOR YOU.

WHERE WERE YOU? RIGHT HERE IN THIS CHAIR.

SITTING IN THE DARK?

I MUST HAVE FALLEN ASLEEP.

Y-YOU'VE CHANGED YOUR CLOTHES.

I CAN'T WEAR THEM.

I'VE TRIED TO DO IT. JUST TO PLEASE YOU.

CAROL, I'D DO ANYTHING IN THE WORLD FOR YOU, YOU MUST KNOW THAT.

BUT I CAN'T GO BACK TWENTY YEARS. IT'S WRONG.

YOU'VE GOT TO UNDERSTAND.

WHEN I PUT THOSE CLOTHES ON,

SOMETHING HAPPENS TO ME.

SOMETHING... FRIGHTENING.

- Y-YOU SAW THE DOCTOR? - YES.

- WHAT DID HE SAY? - NOTHING.

YOU MEAN, HE DIDN'T TELL YOU?

TELL ME WHAT?

WHERE-- WHERE IS THE DOCTOR?

WELL, HE MUST HAVE LEFT HOURS AGO.

H-HIS CAR!

- SOMETHING WRONG? - IT-IT'S STILL OUTSIDE.

WHERE IS HE?

WHERE IS HE? THE DOCTOR'S GONE.

MOTHER-- THE DOCTOR'S GONE.

MOTHER!

THE DOCTOR'S GONE. TELL ME!

OH, MY GOD!

[Starts Engine]

[Car Door Opens, Closes]

[Horn Beeping Insistently]

OKAY, OKAY. I'M ALL SET.

HURRY UP, BILL. THIS LOAD HAS TO BE IN THE FREIGHT OFFICE IN 20 MINUTES.

THE WAY EGG PRICES ARE DROPPING, IT HARDLY PAYS TO BRING 'EM IN.

TALK TO THE HENS. MAYBE THEY'LL ORGANIZE A UNION.

[Laughing] OH, IS CAROL UP YET?

[Chuckling] SHE'S HAVING COFFEE.

[Starting Engine] DRIVE CAREFULLY, BILL. THEY'RE NOT BUYING SCRAMBLED EGGS.

CAROL?

CAROL?

THE DOCTOR'S CAR IS GONE. YES, I KNOW.

BUT THAT MEANS EVERYTHING'S ALL RIGHT, ISN'T IT?

PLEASE. WE'RE NOT GOING TO TALK ABOUT IT.

BUT WE'VE GOT TO TALK ABOUT IT. I HAVE TO TELL YOU SOMETHING.

I DON'T WANT TO HEAR IT! BUT YOU'VE GOT TO LISTEN TO ME.

PLEASE! YOU LET GO OF ME!

LISTEN TO ME! IT'S ABOUT THE DOCTOR!

I LIED TO YOU LAST NIGHT.

I DIDN'T REALLY SEE HIM GO.

I WAS TALKING TO HIM...

AND I RAN OUTSIDE.

HE GOT ME SO UPSET.

I DON'T KNOW.

THE NEXT THING I REMEMBER WAS...

SITTING THERE IN THE DARKNESS, WHEN YOU CAME IN.

I THOUGHT IT WAS THE DOCTOR, COMING TO TAKE ME BACK TO THE HOSPITAL.

SO I HID IN THE CORNER. [Telephone Ringing]

HELLO? YES, THIS IS THE CUTLER RESIDENCE. THE CUTLER RESIDENCE?

LONG DISTANCE CALLING. LONG DISTANCE?

WHAT HOSPITAL?

OH.

AND YOU COULDN'T REACH HIM AT THE FISHING CAMP THIS MORNING?

WELL, WHY DID YOU CALL HERE?

OH, I SEE.

HE SAID HE MIGHT STOP HERE?

WELL, PERHAPS HE MEANT HE'D STOP ON HIS WAY BACK.

NO, I'M SORRY. DR. ANDERSON IS NOT HERE.

DON'T WORRY, MOTHER. I WON'T LET THEM TAKE YOU BACK.

[Sobs] THAT'S OKAY.

[Snorting, Squealing]

� [Whistling]

WHAT ARE YOU DOING?

WHAT DOES IT LOOK LIKE? I'M PAINTING MY CAR.

YOUR CAR? IT'S NICE, HUH?

WHERE DID YOU GET IT?

WELL, LET'S JUST SAY I PICKED IT UP...

- LAST NIGHT. - LAST NIGHT?

AIN'T NO LAW AGAINST A FELLA OWNIN' A CAR, IS THERE?

COURSE THERE'S LAWS AGAINST OTHER THINGS.

WHAT ARE YOU TALKING ABOUT?

YOU ASK TOO MANY QUESTIONS. I WANT THE TRUTH!

[Blows Air] HMPH. OKAY.

[Chuckles]

OKAY.

THIS THE KIND OF TRUTH YOU'RE LOOKING FOR?

YOU'RE FIRED. [Laughs] SURE.

TAKE THE CAR AND GO. YOU'D LIKE THAT, WOULDN'T YOU.

GET OUT OF HERE!

YOU WANT TO TELL ME ABOUT THE DOCTOR FIRST?

NEVER MIND. YOU DON'T HAVE TO.

I CAN GUESS.

YOUR MOTHER'S A LOONEY, AIN'T SHE?

[Horn Honks] COME ON, HONEY. LET'S GO!

YOU BETTER RUN ALONG, "HONEY."

I WANT YOU OUT OF HERE BEFORE TONIGHT.

NO. I'M GOING TO STAY AROUND A WHILE...

"HONEY."

HERE. WANT TO HELP ME?

� [Whistling]

� [Continues]

WISH YOU'D TELL ME WHY YOU'RE SO UPSET. I'M NOT UPSET.

IT'S JUST THAT I REALIZE WE MUSTN'T ANNOUNCE OUR ENGAGEMENT NOW.

IT WOULDN'T BE FAIR.

- FAIR TO WHOM? - MICHAEL, YOU'VE GOT TO THINK OF YOUR PARENTS.

THEY'VE GOT SUCH A BIG FUTURE PLANNED FOR YOU.

- I'M THINKING OF OUR FUTURE. - SO AM I.

BUT WE'VE GOT TO CONSIDER THE WAY THEY FEEL.

MICHAEL, YOUR FATHER'S WEALTHY. HE'S GOT HIS POSITION IN THE COMMUNITY TO CONSIDER.

IS THAT THE REAL REASON?

PART OF IT.

YOU'D BETTER TELL ME THE REST.

HEY, YOU STILL LOVE ME?

YES, I LOVE YOU.

THEN, WHAT'S THE MATTER? JUST THAT I LOVE MY MOTHER TOO.

WHEN WE MADE OUR PLANS WE DIDN'T KNOW SHE WAS COMING BACK.

MICHAEL, I'VE GOT TO HELP HER.

SHE NEEDS SO MUCH LOVE AND AFFECTION.

IT'S GOING TO TAKE TIME.

IF I DESERTED HER NOW, I'D NEVER FORGIVE MYSELF.

YOU SAW HOW SHE WAS YESTERDAY. SHE DID SEEM A LITTLE--

YOU DON'T HAVE TO SAY IT. YOUR PARENTS WILL.

BELIEVE ME, MICHAEL. THEY'LL NEVER ACCEPT HER.

IF THEY DON'T, WE'LL RUN OFF AND ELOPE.

RUNNING AWAY WON'T SOLVE ANYTHING. I KNOW.

I'VE BEEN RUNNING AWAY ALL MY LIFE--

FROM THAT TOWN WE USED TO LIVE IN, KIDS WHO USED...

TO MAKE FUN OF ME AT SCHOOL.

THAT'S WHY WE MOVED OUT HERE.

I CAN'T RUN ANYMORE, NOT NOW.

DON'T YOU SEE? I'D BE-- I'D BE RUNNING AWAY FROM MY MOTHER...

- JUST WHEN SHE NEEDS ME THE MOST. - SHE NEEDS TO FEEL AT EASE.

LET ME HELP YOU WHEN YOU BRING HER TO DINNER TONIGHT. NO.

I DON'T THINK IT WOULD BE WISE FOR US TO COME.

MY FOLKS ARE EXPECTING YOU. MICHAEL, IT-IT-IT'D JUST BE EMBARRASSING--

FOR THEM, FOR MOTHER.

IF ANYTHING WENT WRONG, I'D-I'D BLAME MYSELF FOREVER.

IT'S ONLY A SIMPLE DINNER JUST FOR THE FAMILY.

I WANT TO HELP YOUR MOTHER TOO. THE BEST WAY IS TO SHOW HER SHE IS ACCEPTED.

DO-DO YOU REALLY THINK WE COULD? I'M SURE OF IT.

THEN YOU'D BETTER TAKE ME HOME. WE'LL HAVE TO GET READY.

REMEMBER, DARLING, WE'RE EXPECTING YOU AT 6:00.

BILL AND EMILY ARE COMING TOO. SO DON'T YOU WORRY ABOUT A THING.

[Rooster Crowing]

[Blows Air]

[Pigs Squealing]

[Shaver Buzzing] � [Humming]

BILL, FOR HEAVEN'S SAKE, GET OUT OF THE WAY.

AW, COME ON, EMILY. WE'VE GOT PLENTY OF TIME.

WHERE ARE CAROL AND LUCY? WHAT?

WHAT WRONG WITH YOUR EARS? I ASKED WHERE--

WHAT'S WRONG WITH YOUR EYES?

WAS THAT MY NAME I HEARD DROPPING JUST NOW?

YES. JUST WONDERING IF YOU READY.

I WAS JUST ABOUT TO GET DRESSED. IS YOUR MOTHER READY YET?

I DON'T KNOW. I WAS OUT WITH MICHAEL. HAVEN'T YOU SEEN HER?

NO. WE JUST GOT BACK A LITTLE WHILE AGO.

HEY, UH, CAROL. NOW THAT WE'RE ALONE, HOW IS LUCY?

WELL, SHE SEEMS PERFECTLY ALL RIGHT.

UH, WHAT DID THE DOCTOR SAY YESTERDAY?

HE SAID SHE'S GOING TO BE JUST FINE.

GOOD. LUCY! WHERE HAVE YOU BEEN?

I WENT FOR A WALK. BUT YOU KNEW WE HAD A DATE TONIGHT.

I'M NOT GOING. WHAT?

I WON'T GO. I'VE MADE UP MY MIND.

PERHAPS SHE'S RIGHT, CAROL.

IF YOUR MOTHER FEELS SHE WON'T BE COMFORTABLE-- BUT THEY'RE EXPECTING US.

WHY DON'T WE TAKE A RAIN CHECK ON THIS WHOLE DEAL?

YOU RUN OVER THERE ALONE. BUT IT'S MOTHER THEY WANT TO MEET.

THAT'S THE WHOLE REASON FOR GOING, AND MICHAEL AND I HAD IT ALL PLANNED.

I DON'T WANT TO MAKE A SPECTACLE OF MYSELF AGAIN IN FRONT OF YOUR YOUNG MAN.

HOW LONG DO YOU THINK HE'LL BE MY YOUNG MAN IF YOU KEEP ACTING LIKE THIS...

HIDING IN CORNERS AS IF YOU WERE ASHAMED?

I'M NOT ASHAMED, MOTHER. DON'T YOU REALIZE THAT?

DON'T YOU REALIZE HOW MUCH TONIGHT MEANS TO ME?

OH, HONEY, I-- PLEASE, SAY YOU'LL COME...

FOR MY SAKE.

EMILY, QUIT SQUIRMING. I CAN'T HELP IT.

WHAT'S THE MATTER? YOUR GIRDLE TOO TIGHT? [Chuckles]

BILL. I THINK IT'S EXCITING.

WE'RE GOING TO HAVE SUCH RICH RELATIVES. OH.

HEY, YOU TWO, WHY ALL THE SILENCE BACK THERE?

WELL, JUST REMEMBER. WE'RE GOING TO A PARTY, NOT A FUNERAL.

BILL, DO I LOOK ALL RIGHT? YEAH, YOU LOOK GREAT.

MOTHER?

- MOTHER? - I'M SORRY, CAROL,

- I-- I JUST CAN'T. - PLEASE, I NEED YOU NOW.

LET ME OUT! COME ON, LET ME OUT OF HERE!

I GOTTA GET OUT! I GOTTA GET OUT!

LET ME OUT! LET ME OUT!

LET ME OUT. LET ME OUT!

HERE YOU ARE. I THINK I GOT MOST OF IT OUT.

THANK YOU. YOU NEVER CAN BE SURE ABOUT COFFEE STAINS.

PUT IT ON. I'M SURE IT WON'T SHOW.

I'M SORRY I MADE SUCH A FOOL OF MYSELF.

HOW CAN EVER GO BACK IN THERE AND FACE THEM?

NOW, MOTHER, REALLY. THERE'S NO HARM DONE.

PEOPLE SPILL COFFEE EVERY DAY.

COME ON. PUT IT ON. BUT I'M SO EMBARRASSED.

I WANT SO TO MAKE A GOOD IMPRESSION FOR YOUR SAKE.

MOTHER, THEY REALIZE IT WAS JUST AN ACCIDENT.

THEY'RE SUCH NICE PEOPLE. THEY CAN TELL I DON'T BELONG IN A PLACE LIKE THIS.

I KNEW I SHOULDN'T HAVE COME UP HERE TONIGHT.

MOTHER, IT'S JUST YOUR IMAGINATION. YOU'RE DOING FINE.

JUST KEEP ON TALKING, HONEY, WILL YOU?

[Chuckles] COME ON.

AHH. HOW DO YOU LIKE THIS LIQUEUR?

WELL, IT TASTES DIFFERENT. YES, IT PROBABLY DOES. [Laughs]

OH, HERE YOU ARE.

WE WERE GETTING WORRIED ABOUT YOU. IS EVERYTHING ALL RIGHT NOW?

YES, THANK YOU. I WANT TO APOLOGIZE.

- NONSENSE, IT WAS NOTHING. - WELL, NOW, YOU'RE JUST IN TIME.

YES, MICHAEL'S GOING TO SHOW THE NEW ADDITION TO THE DAIRY.

I THOUGHT BILL AND EMILY WOULD LIKE TO SEE IT.

- UH, CAROL, WOULD YOU LIKE TO COME ALONG TOO? - SURE.

I'LL, UH-- I'LL COME WITH YOU.

WHY DON'T YOU JUST STAY HERE AND BE COMFORTABLE.

NOTHING EXCITING ABOUT VISITING A COW BARN. GOOD.

THIS WILL GIVE US A CHANCE TO GET ACQUAINTED.

HAVE FUN. [Chuckles]

DO SIT DOWN.

IS THERE SOMETHING I CAN GET YOU?

NO, THANK YOU. I-I WAS JUST LOOKING TO SEE IF THIS SPOT SHOWED.

YOUR DAUGHTER DID AN EXCELLENT JOB.

THEY SAY COLD WATER IS VERY GOOD IF YOU USE IT RIGHT AWAY. IT EVEN WORKS WITH BLOODSTAINS.

NOW, THERE'S A MORBID LITTLE HOUSEHOLD HINT FOR YOU.

RAYMOND-- MM. YES, DEAR.

THERE. NOW, WE CAN TALK.

MICHAEL HAS TOLD US QUITE A BIT ABOUT YOU, MRS. HARBIN.

- HAS HE? - MM-HMM.

- HE'S A CHARMING BOY. - WELL, WE THINK SO.

YOU KNOW, I LIKED HIM THE MOMENT I SAW HIM.

I'M SO GLAD HE AND CAROL ARE GOING TO BE MARRIED.

OH. OH, I-I'M SORRY. I-I THOUGHT YOU KNEW.

I WASN'T AWARE ANY DECISION HAD BEEN MADE IN THE MATTER.

- BUT THEY LOVE EACH OTHER. - OH?

SURE. ANYBODY CAN SEE.

CAROL'S A VERY UNUSUAL GIRL. DON'T YOU THINK SO?

OH, I'M SO PROUD OF HER. SHE'S A VERY FINE ARTIST.

OH, I'M-I'M SURE WE'RE BOTH VERY FOND OF YOUR DAUGHTER.

BUT, UH, WHEN IT COMES TOCONSIDERING MARRIAGE--

IT'S ABSOLUTELY OUT OF THE QUESTION.

BUT WHY? I DON'T UNDERSTAND!

I THINK YOU DO.

I SEE.

YOU'RE ASHAMED, AREN'T YOU?

- BECAUSE I WAS IN THE SANATORIUM. - SANATORIUM?

- IS THAT WHERE YOU WERE? - NO REASON FOR US TO GO INTO THAT NOW, IS THERE?

SUPPOSE I FIX US ALL A LITTLE DRINK? WAIT A MINUTE.

I WANT TO HEAR THE TRUTH. WHY WERE YOU IN A SANATORIUM?

WELL-WELL, I WAS-- IT-IT WAS-- ANSWER ME! WHY?

I-I WAS ILL. ALICE, DON'T YOU SEE YOU'RE UPSETTING HER?

IT WASN'T JUST A SANATORIUM, WAS IT?

- WAS IT! - NO!

NO, IT WASN'T!

IT WAS AN ASYLUM! AND IT WAS HELL!

TWENTY YEARS OF PURE HELL!

BUT I'M NOT ASHAMED.

I PAID FOR ANYTHING I DID.

YOU'LL NEVER KNOW HOW MUCH I PAID.

I'M ALL RIGHT NOW. I'M ALL RIGHT.

YOU SEE, IT-IT'S ALL OVER WITH.

THAT'S-THAT'S WHY THEY LET ME GO.

I'M ALL RIGHT. LET ME GO.

I-I'M ALL RIGHT, I TELL YOU. YOU MUST LISTEN. LET ME GO.

CAROL AND MICHAEL CAN BE MARRIED. I'M ALL RIGHT! RAYMOND! YOU'RE INSANE!

STOP IT, BOTH OF YOU!

MY GIRL IS GOING TO HAVE WHAT SHE WANTS OUT OF LIFE.

SHE IS. I WAS CHEATED.

BUT SHE'S NOT GOING TO BE. NOT MY GIRL, NOT CAROL!

CAROL AND MICHAEL ARE GOING TO BE MARRIED!

AND NOBODY'S GOING TO STOP IT!

YOU'LL SEE! NOW, NOW, NOW, NOW.

LET ME GO CALL BILL. PERHAPS, HE OUGHT TO DRIVE YOU HOME--

LET ME ALONE!

I DON'T NEED BILL. I DON'T ANYBODY!

PERHAPS I'D BETTER GO AFTER HER.

ANYTHING WRONG? WE HEARD SOME SHOUTING.

WHERE-WHERE'S LUCY? SHE LEFT.

I'M AFRAID SHE WAS UPSET. SHE RAN OUT BEFORE WE COULD STOP HER.

MOTHER? MOTHER!

WHERE DID SHE GO? MICHAEL, WE'VE GOT TO FIND HER.

DON'T WORRY. WE'LL FIND HER. SHE CAN'T HAVE GOTTEN FAR.

I'LL TAKE MY CAR. RIGHT, I'LL GET MINE.

NO. NOW, THERE'S NO SENSE IN BOTH OF US GOING. YOU OUGHT TO TAKE THE GIRLS.

NO! HE'S RIGHT. I'LL BRING THE CAR AROUND.

DON'T YOU WORRY. I'LL FIND HER.

BUT I WANT YOU TWO AT HOME WHEN I BRING HER BACK.

BE CAREFUL, NOW, BILL.

[Sobbing]

YOU SURE YOU'LL BE ALL RIGHT? OF COURSE.

I'M SORRY I MADE SUCH A FUSS.

I'LL HEAD BACK AND CONTACT BILL. HE'S PROBABLY ALREADY FOUND HER.

THANK YOU, MICHAEL. DON'T YOU WORRY.

WE'LL BRING HER HOME SAFE AND SOUND.

GOOD NIGHT.

WHY HAVEN'T WE HEARD ANYTHING?

WHERE COULD SHE BE? NOW, JUST CALM DOWN.

I'M SURE EVERYTHING'S GONNA BE ALL RIGHT.

I SHOULD BE OUT LOOKING FOR HER MYSELF. CAROL!

YOU'LL DO NO SUCH THING.

NOW, YOU JUST LISTEN TO ME.

YOU'RE GOING TO GET UNDRESSED AND GO TO BED.

B-BUT I'VE GOT TO SEE HER. I DON'T THINK ANYONE SHOULD SEE HER TONIGHT.

SHE'LL BE UPSET TOO. LET BILL BRING HER HOME AND PUT HER TO BED.

WE CAN TALK THINGS OVER SENSIBLY IN THE MORNING.

NOW, I WANT YOU TO GET INTO YOUR PAJAMAS AND GO STRAIGHT TO BED.

PROMISE?

IF YOU NEED ME JUST CALL. I'LL BE RIGHT HERE. ALL RIGHT.

GOOD NIGHT, DEAR.

OH, RAYMOND, HOW CAN YOU AT A TIME LIKE THIS?

WHAT'S WRONG WITH THE TIME? I ALWAYS EAT BEFORE I GO TO BED.

THE WAY I FEEL NOW. I COULDN'T SLEEP A WINK.

WELL, STOP PACING. YOU'RE WEARING OUT THE CARPET. OH, REALLY.

[Clinking] RAYMOND.

YES, DARLING, I'M LISTENING. DID YOU HEAR THAT?

HEAR WHAT? THERE WAS A NOISE.

OH, YOU'RE IMAGINING THINGS. [Clinking]

THERE IT IS AGAIN!

RAYMOND, THERE'S SOMEONE OUTSIDE THAT FRONT DOOR.

WHY DON'T YOU OPEN IT AND LET THAT IN? OH, RAYMOND.

ALL RIGHT, DEAR. I'LL GO.

BE CAREFUL.

WHAT IS IT? NOTHING.

NOTHING BUT YOUR IMAGINATION.

WELL, MAYBE IT'S SOMEONE AT THE BACK DOOR.

MICHAEL MIGHT HAVE LEFT IT OPEN WHEN HE TOOK THEM OUT TO SEE THE DAIRY.

WHERE ARE YOU GOING? IT'S BEDTIME.

WELL, PLEASE DON'T LEAVE ME. THEN, COME ALONG.

NOT UNTIL MICHAEL COMES HOME. OH, HE'S A BIG BOY NOW.

I DON'T CARE. I WON'T REST UNTIL HE'S HOME.

I WANT TO KNOW WHAT HAPPENED. RAYMOND, AREN'T YOU EVEN INTERESTED?

ALL RIGHT. I'LL WAIT WITH YOU. JUST LET ME GET INTO MY PAJAMAS FIRST, HUH?

PROMISE ME YOU'LL COME RIGHT DOWN. ONLY TAKE ME A MINUTE.

[Sighs]

[Sighs]

[Chuckles]

- [Yells] - [Clock Tolling]

RAYMOND? [Tolling Continues]

RAYMOND?

RAYMOND, WHAT ARE YOU DOING IN THE STUDY?

[Gasps]

[Relieved Sigh]

[Sighs]

RAYMOND?

OPERATOR, I WANT THE POLICE!

THIS IS AN EMERGENCY!

MRS. HARBIN.

WHERE HAVE YOU BEEN? WE'VE BEEN LOOKING EVERYWHERE FOR YOU.

THANK GOD YOU'RE HERE, MICHAEL. YOU'VE GOT TO STOP HER.

SHE TRIED TO KILL ME! SHE TRIED TO KILL US ALL!

YOU'VE GOT TO STOP HER!

[Sobbing]

IT DOESN'T MATTER, DARLING.

DON'T YOU UNDERSTAND? WE CAN BE MARRIED!

THEY CAN'T STOP US NOW!

WE'LL HAVE THE MONEY! WE'LL HAVE EVERYTHING!

[Sobbing] I PLANNED THIS FROM THE BEGINNING...

WHEN I KNEW SHE WAS COMING BACK. YOU PLANNED?

OF COURSE, I KNEW YOUR PARENTS WOULD OBJECT TO THE MARRIAGE.

BUT WE'RE RID OF THEM NOW.

EVERYONE WILL THINK LUCY IS THE MURDERESS.

DON'T YOU SEE? SHE'S INSANE!

SHE'S INSANE!

SHE'S INSANE! SHE'S INSANE! SHE'S INSANE!

I HATE HER! I'M SANE! [Sobbing]

I HATE HER! OH, OH, I'M SORRY.

PLEASE-- NO, I DIDN'T MEAN TO HURT YOU.

PLEASE, I LOVE YOU. I HATE YOU!

[Sobbing] I LOVE YOU. I LOVE YOU.

I LOVE YOU. I LOVE YOU.

I HATE YOU!

GODDAMN IT, I HATE YOU!

I HATE YOU! I'M SANE!

INSANE! ALL I DID WAS INSANE!

[Overlapping Screams]

YOU SEE, THIS WAS ALL PART OF CAROL'S PLAN--

THE HEADS ON MY PILLOW, THE AX.

SHE PROBABLY MADE THESE HEADS RIGHT HERE IN HER STUDIO.

WELL, SHE MUST HAVE PUT THESE IN YOUR ROOM.

WHEN YOU RAN OUT, SHE REMOVED THEM.

SHE ALSO SLASHED ALL THE HEADS OFF THE PHOTOGRAPHS IN THE ALBUM...

AND MADE SURE MICHAEL SAW THEM.

I REMEMBER STARING THROUGH THE WINDOW.

I COULDN'T UNDERSTAND WHY MICHAEL WAS SO UPSET.

WELL, SHE-- SHE HAD TO CONVINCE EVERYONE...

THAT YOU WERE STILL... UNBALANCED.

SHE ALMOST CONVINCED ME TOO.

BILL, SHE MUST HAVE STARTED THE DAY I CAME BACK.

EVEN WHEN SHE TOOK ME TO THE BEAUTY SHOP, IT WAS ALL PART OF THE PLAN.

[Girl's Voice] LUCY HARBIN TOOK AN AX,

AND GAVE HER HUSBAND 40 WHACKS.

WHEN SHE SAW-- [Recorder Clicks Off]

I THOUGHT I WAS HEARING VOICES.

SHE HAD TO HAVE HIDDEN THIS IN HER PURSE.

BOY, SHE HAD EVERYTHING WORKED OUT, DIDN'T SHE?

MODELING YOUR HEAD, SO SHE COULD MAKE A MASK FROM IT THAT LOOKED LIKE YOU.

EVEN DRESSING LIKE YOU.

CAROL'S WHOLE PLAN DEPENDED ON KEEPING ME HERE...

UNTIL SHE COULD KILL THE FIELDS, SO I COULD TAKE THE BLAME.

THEN WHEN THE DOCTOR CAME TO TAKE ME BACK,

SHE KILLED HIM TO PREVENT IT.

WHEN KRAUSE BEGAN TO SUSPECT, SHE MURDERED HIM TOO.

WELL, WHEN DID YOU REALIZE WHAT CAROL WAS DOING?

I DIDN'T. I JUST WENT BACK TO THE FIELDS' TO APOLOGIZE.

BILL, HOW SHE MUST'VE HATED ME ALL THOSE YEARS.

OH, THOSE FIGURINES, YOU'RE SENDING THEM TO CAROL.

NO...

I'M PUTTING THEM AWAY FOREVER.

I'M GOING TO CAROL. YOU'RE-- YOU'RE GOING TO CAROL?

LUCY, CAROL IS IN A PLACE LIKE YOU WERE. I KNOW.

CAROL NEEDS ME. SHE'S NEEDED ME FOR A LONG TIME,

BUT I WAS NEVER THERE TO HELP HER.

MAYBE NOW, I CAN HELP HER.

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