All language subtitles for Headless Eyes

(ominous music)

(screaming)

- Please don't scream, lady.

Please, please.

Don't scream please.

At least all I want is 65
dollars for my lousy rent.

(muffled screaming)

(screaming)

(crying)

No, no please let me go.

(shouting)

My eye!

(shouting)

My eye!

(shouting)

My eye!

(crying)

My eye!

My eye!

(screaming)

My eye!

My eye!

(crying)

My eye!

My eye!

(shrieking)

My eye!

My eye!

(shrieking)

My eye!

(continuous growling sound effect)

(effect intensifies)

(distant laughing)

(distant conversation)

(supenseful music bed)

(laughter)

Like me, you are possessed.

Tomorrow, you will awaken.

Will this night, this moment,

this delusion of freedom behind you.

What hidden secrets do
you guard and shelter?

Where do you keep them?

Are you sharing them now?

Right now?

She laughed at you

on a sidewalk, as you

come.

(laughter)

- When the man said
good evening (laughing).

- [Laughing Lady] Oh
Lord, I didn't believe it.

Let's go back there.

It's love time, I love that.

- Hey look.

We've got an audience.

Hey, buddy.

Want a drink?

(laughing)

Does he want a drink?

(laughing heartily)

Here's to ya.

- Hey, Harry.

They are more parted than I thought.

I guess plastic's melting.

We're too hot for his window.

- We're too hot for his window!

(laughs)

- I don't think he's too pleased about our

melting his art objects.

(Harry laughs)

He's a weirdo, Harry.

That plastic's weird too.

(laughter)

What the hell is that?

(laughter)

Come on, let's get out of here.

- Harry!

- [Harry] Come on.

(laughter)

(scary music)

- My feet hurt.

Haven't you ever heard of a taxi, Harry?

- Ah, don't start in on that.

Let's get in the house first.

- Boy was that a boring evening.

You and your special occasions.

- Well it was your idea, not mine.

- Like hell, it was.

- Oh, now don't start in with me again.

You know damn well it was your idea.

The first thing you said when I said

I wanted to stay home is

oh no, I want to go the
opening of The Zanzibar.

Well you went to the
opening of the Zanzibar

and you're not satisfied yet.

- Anything is better that
staying home with you.

(knocking)

- (sushing) There's somebody at the door.

Go answer it.

(knocking)

- Why don't you?

- Well, you're always
throwing up to my face

that it's your house so
it must be your door.

Go answer it.

- Aren't you cute.

- Well I try.

While you're at it,

get yourself into a better frame of mind.

It might be somebody important.

- Well, look who's here.

Come on in.

Harry, it's our man from the window.

Would you like a drink?

Harry, you remember our man in the window.

- (laughs) My, my, yes.

I'm Harry Silver and
this is (moans in pain).

(gasps)

(intense music)

- Hey man.

Uh, you alright?

- What?

Yeah, uh, I'm alright.

- You're bleeding you know?

- Yeah, yes.

I know.

I'm alright (chuckles).

- You in some kind of trouble?

- No.

No, I got away.

- What happened?

- Well, I was trying to
steal back my paintings.

- You paint?

- Yes (chuckles).

The guy wouldn't pay me.

I tried to get them back.

- Far out.

Well, come up to my place

and I'll patch it up for you.

- No, no, no, no.

I don't think so.

- There's no action out here, man.

Come on, we could both use a drink.

Come on.

Come on.

It ain't much, honey, but well,

the rent's paid and
there's no cockroaches.

(dark music)

- What do you do?

- I'm a hooker.

You know, a street walker.

Couldn't you tell?

Shit, no wonder I couldn't score tonight.

- You're a prostitute?

- Prostitute.

Come on, I only brought you up here

because I thought you needed some help.

Now, prostitutes are human too.

- Human!

It's girls like you that Harry Silver

wants to play with, huh?

You see this blood?

Do you see this blood,
Harry Silver's blood, huh?

(gasping)

(crying)

(panting)

- [Voiceover] It's been a long time now.

- Yes.

How did you find me?

- [Voiceover] May I sit down?

Thank you.

- [Arthur] I asked you how found me.

- Your mother.

- She almost had me convinced.

- Of what?

- How is she?

- Fine, fine.

- And you?

- Oh, I'm sorry.

- Does it bother you?

- No.

No it doesn't.

- We're getting nowhere fast, aren't we?

- Oh, Mal, I have so much
to talk to you about.

Don't you paint anymore?

- I'm sure mother has informed you.

- I hadn't corresponded with her at all

until a week ago.

I couldn't...

I had to see you.

- You spent a lot of good money

flying all the way here.

I'm sure it wasn't for the sole purpose

of visiting your old
lover again, now was it?

No, it was probably a little

shopping spree at Tiffany's.

Now for that, Anna would
travel 3,000 miles (laughs).

- You're still the same.

You haven't changed.

You still think I stayed with you

all those years for novelty.

You never did trust my feelings.

You've accused me so many times of

holding on because you were an artist,

because you thought, not I,

but you,

that it was chic to be rich

and in love with an artist.

Well, I never paid any
attention to that attitude.

It goes with the life
you've chosen to live.

I know that.

Maybe, I had my doubts about whether

you were right or not.

Maybe my money was making
your fantasy world for me.

But you kicked me.

You kicked me hard for two years

since your accident and that was real,

no money or fantasy involved.

You tried to alienate
yourself but, Mal, I'm here.

- Why?

For two years, I had been trying

to live alone

and to be able to accept this.

Why are you here?

- Because you haven't convinced me.

- Of what?

- That you're incurable.

- I wrote you the reason
a year ago in the letter.

Now what do I have to do,

give you some sort of proof?

- I think I've earned that privilege.

The letter was all you gave me to go on.

- It's all over, Anna.

- No, I won't let you do this to yourself.

While they had you away,

I drove 60 miles every weekend to see you

and every weekend I was told
you didn't want me there.

Why, Mal, why the same now?

- Because I am twisted.

Because I want to find out something

because I am sick.

Because I am trying very hard

to forget you and your phony sincerity.

What we had in California was yesterday.

Don't you understand this?

I didn't just lose an eye.

No.

Something happened.

Please, I don't like to
lose control over myself.

- [Anna] What happened?

What do you mean?

- Nothing.

Nothing that you or all your money

can do anything about.

- [Anna] How do you know?

You won't let me try.

I can buy the best doctors in the country

for whatever it is that's changed you.

- Changed?

Have I changed, huh?

Do you see it now?

Is he showing himself?

He's always been there I think.

The other one.

We just never noticed him.

You shared him with me.

We just never saw him.

All those years.

You helped him grow.

Do you remember the loft in Pasadena?

At the gallery?

The shows and my paintings?

Do you remember when I sold my first?

Do you remember how we
celebrated that night

with my money?

And Anna,

do you remember when I came to New York

and left you behind?

He had good reasons, Anna.

You were making it too easy for him.

If I didn't sell my work,
you were always there

to pay the bills.

And you made him forget how hard it was.

Now, I don't want to forget
how hard it is, Anna.

He learned the secret, Anna.

He buys these little adornments and toys.

He buys them from a
wholesaler, a business man.

He buys them for 50 cents

and he sells them for a dollar.

And while the customer's
taking out the dollar,

I pray that those beady little eyes

will catch sight of my work,

that which I didn't buy
from the wholesaler.

That which you don't
even have a price tag on.

That's what she created because I had to.

This is mine, Anna.

This is for me.

This is today.

And you, you're the past.

- Ladies and gentlemen,

we're out in front of the
home of Crystal Navorn

where she's going to be
carried for the last time

from her home in a casket
and to the cemetery.

Standing around me are
people who knew Ms. Navorn

and some who are merely the curious.

A few minutes from now, Ms.
Navorn will be brought outside.

Excuse me.

How do you feel about
having a murder committed

in the neighborhood?

Has it frightened people much?

- It does.

I don't walk around this
part of the block anymore.

I get so scared.

When people ask me why
don't I walk around here,

I told them it was a
murder in this house here.

And they asked me how I felt.

I said very nervous.

- Right, thank you.

Excuse me.

Did you know Ms. Navorn long?

- I didn't know her personally

but she seemed like such
a nice, quiet person.

- How long did she live
in the neighborhood?

- About four years.

Terrible.

- I understand there's someone here

who used to go with Ms.
Navorn, used to take her out.

- Yeah.

- Do you know who that is?

- That fellow right there with the --

- This fellow?

Are you the gentlemen that
was recently dating Ms. --

- Yeah, I used to see her a lot.

- And how long have you known her?

- I've known her for about
three years, you know?

It's like a vicious thing, man.

If I ever get my hands on
the guy who did it, you know,

I'm gonna kill him.

- Do you have any trouble with the police?

Were you under suspicion?

- Well they talked to me

but I didn't have nothing to do with it.

- Right, thank you.

Well, it should be just
a matter of moments now

until the coffin comes down the stairs.

Let's see.

How about you?

How do you feel about
the neighborhood now?

Make you a little nervous?

- I don't live here.

I'm just passing through

and saw the people standing here.

I stopped to see what was going on.

It's an eerie feeling, you know.

Somebody got murdered.

- Anyone else who lives in this building?

Sir?

Ah I see Detective Lou Morris,
head of homicide, is here.

Excuse me, lieutenant.

Have there been any further developments

since last night.

- Developments?

Yeah there have been some developments.

If you want to call victim
number 14 a development, yes.

- [Reporter] It's that bad, huh?

- [Detective] There's nothing
obvious about this guy.

Nothing sticks out on him.

We just hope we get him
before he makes it number 15.

- Are there any theories
about what he's been doing

with the eyes?

- God knows.

Some kind of pervert,
demented, I don't know.

- Do you think there's
any reason why, this time,

he only took one eye?

- Look we told all you
guys, three days ago,

something or somebody
must've scared him off.

We just keep hoping it
was somebody who saw him

so they can come in and
give us a description.

- [Reporter] Right. Thank you, detective.

Did you know this woman for a long time?

- [Voiceover] Well I knew
her for about six months

and she was a very nice
girl who kept to herself.

She didn't have much
confidence in anybody.

All of a sudden, I heard she was murdered

in her room up there by somebody.

And we all were conflicted to know why

because she was such a nice girl.

(suspenseful music)

- I see the body of Ms.
Navorn is being carried

to lay at rest at Briar Hill.

The crowd is hushed in silence.

Ms. Navorn, the thirteenth victim

of an insane, ruthless killer.

Last night, he took his fourteenth,

and let us hope, his last victim.

WC Grubbets sending it back to ZBC News.

- I know who did it.

I know who did it.

I--

- Who did it, old lady?

- I know who did it.

I know.

- Did it old lady?

- I know who did it.

I know who did it.

I know who did it.

(suspenseful music)

- There are too many
films like that already.

I've got to have something
that's different.

That's the only thing I can get away with.

Look, I'll read your script okay?

But if you don't have a
different angle to it,

there's nothing I can do for you.

Look, look, Mr. Walters.

I've had 50 scripts like that.

50!

Five last week.

They're all terrible.

There's nothing I can do with them.

Mr. Walters.

Mr. Walters.

How many times do I have to tell you?

I can do anything with your script.

Look, if you got something
new, send me something new.

That's all I can do with it.

Right.

Right.

(suspenseful music)

Look, Mr. Walters.

Enough, enough.

Mr. Walters, send me the script.

Right, okay.

Right, bye.

Let me see your body.

- [Blonde Woman] And
then I worked in a film

that's never been released.

- [Man In Office] I think
there's a part for you

in my film.

It will be released.

Let me have a picture and résumé.

- [Blonde Woman] Oh of course.

- [Man In Office] You'll
be hearing from me.

Very soon.

- [Blonde Woman] Thank you, Mr. Durrell.

(zipper closing)

Very much.

(chaotic music)

(lady melodically humming)

- What should I do first?

Nose job?

Or have my face lifted?

Well, I'll think about it next month.

Oh forget it.

(sighing)

Where is that dictionary again?

Oh that Durrell.

He never can keep anything in its place.

(chaotic music)

(shout)

- Please don't.

Don't tell anyone.

Please, please.

Don't let anyone know.

It's not very pretty is it?

It's not very pretty is it?

(choking)

(Arthur grunting)

(woman crying)

You think I wanted to do that?

You think I wanted to do that?

You had no right to take the patch off.

I'm going to teach you a lesson.

You know what I'm going to do?

You ugly face.

You know what I'm going to do?

I'm going to take your eye out.

(grunting)

I'm going to gouge it out.

Then we will go to take this little one.

Now just wait.

Now just lay there.

(whispering)

Do you know what this is?

Huh?

Know what this is, woman?

You know what this is?

This is a spoon.

This is a spoon.

I'm going to take your eye out.

(screaming)

(whispering)

Your eyes.

Your eyes are old.

They're not beautiful.

I'll make them extraordinary.

I'm sorry.

I'm sorry to have to do this.

You will never have to worry again

about living or dying.

I'm sorry.

You'll never have to worry again.

You'll never have to worry again

about staying young or growing old.

These eyes, they should be one forever.

Oh, from scratch.

I promised you.

Yes (laughs) I promised you.

I promised you.

- I like your work, whoever you are.

You're good, whoever you are.

- The store is not open.

It's closed.

- I'm sorry.

When do you open?

Later tonight?

Tomorrow?

(chaotic music)

- [Arthur In The Past] My eye!

(shrieking)

My eye!

(bellowing)

My eye!

My eye!

(shrieking)

My eye!

- [Woman In The Past] I like
your work, whoever you are.

(echoing)

- [Arthur In The Past] My eye!

- [Woman In The Past] I like
your work, whoever you are.

(echoing)

- [Arthur In The Past] My eye!

(echoing)

(phrases continuously echo)

- I'm sorry.

I'm sorry if I hurt you.

Soon you will be preserved forever.

- [Voiceover] I know
somebody else they're gonna

preserve forever too, boy.

- Who are you?

- Who me?

I'm just an off-duty cop.

The big question is who are you,

killing 15 women?

- [Arthur] I have twisted --

- What's that?

I can't hear you.

- I am twisted.

I am twisted!

- Twisted?

Hey, you're twisted alright.

But you know something?

You just twisted me into
a big fat promotion.

You know what?

There's 2000 cops out looking for you.

They've got computers working on you.

All kinds of fancy equipment.

And look who's got you.

Little old Lou Morris.

Just playing a little old hunch.

- [Arthur] I'm not finished.

- You want a smoke?

- Uh huh.

Uh huh.

I'm not finished yet.

- You know what I'm thinking?

I'm looking at you down in that grave

and I gotta take you out of there.

And they gotta spend a lot of money

and a lot of time just
to put you right back in

where you are now.

- [Arthur] I am not finished.

- [Lou] Come on let's go.

- I am not finished.

- [Lou] You hear me?

I said move it boy.

Come on now.

- I am not finished yet!

(grunting)

I'm not finished yet.

- Are you open for business?

I've only got a few minutes

but I wanted to explain that note I wrote.

- Note?

Four-letter notes?

- Well, yes.

Just a note.

I've tried to catch you open.

I don't know how many
times I've come by here

on my way to the subway.

I'm an art student and...

Oh, I told you that.

I can remember whent this
was a Chinese laundry.

You really changed it around.

- [Arthur] What does she want?

What does she really want?

- How do you tell someone you've never met

that you want to know him?

I'm only studying charcoals now

but I want to sculpt.

I'm thinking seriously
about working with plastic.

Large masses but they don't
teach that sort of thing

at school.

I saw your pieces in the window.

That's where I got the idea.

That's why I wrote you and I was hoping --

- Alright, alright, you have explained.

- Well I can see that note offended you.

- Nobody likes aggressive women.

Especially when they're as young as you.

- I didn't come here to be put on trial.

- What do you want then?

- This.

- It's eight dollars.

- I want you to teach me.

- It's eight dollars.

- My name is Gingy.

- Look, I've got a lot of work to do.

Alright, seven dollars.

- In the first place, I
don't have seven dollars.

And second, I want you to
teach me your technique.

And third, I want to be your friend.

- Take off those silly glasses.

You'd be able to see
the true colors better.

- Look, whatever your name
is, I know you're not --

- Malcolm.

- I know you're not a very
happy person but who is?

I'm just a girl who takes art classes,

who writes notes she shouldn't,

who wears silly glasses and
happens to think you're good.

- You really do want to learn, don't you?

Well, I'll have to think about it.

About you, I mean.

I don't like to get to know people well.

Maybe I'd have to know you too well.

- While you're thinking...

I didn't notice these before.

- It's an experiment.

- They look so real.

Rather frightening but I like them.

How did you do it?

- It's a long and difficult process.

- Well, I really have to go now.

- Where can you be reached?

- I live with my sister
in Washington Heights

but I'm never home.

If I'm not at school,
you can usually find me

down by the lighthouse, under
the George Washington Bridge.

- What's so special about the lighthouse?

- [Gingy] Nothing except
it's away from everything.

I can do my assignments
and nobody bothers me.

I don't particularly get
along with people, you know?

- [Arthur] Alright, how
about tomorrow morning

at 10 o'clock?

This is quite good.

- Oh, you startled me.

This is just an exercise.

I'm glad you came.

- You said that as if
you thought I wouldn't.

- Well, I had my doubts.

- You were right about this place.

Isolated.

Strange kind of a peace.

Well,let's walk.

10 o'clock is rather
early some days, you know?

- Yes, you're right.

- Let's go for a walk and
you tell me about yourself.

(calm, atmospheric music)

Well...

- Thank you, Malcolm.

I hope I didn't bore
you with all my ideas.

- No, no (laughing) not at all.

I enjoyed myself very much this morning.

Thank you.

We should do this again.

We should continue.

You're a very nice person, very talented.

Let's say...

Today is Saturday.

How about Monday?

- I can't make it on Monday.

Oh, the school is having
an exhibition that night.

I promised to help set up Monday morning.

Well how about --

- Would you like to come?

It's only student work
but you might like it.

- Kiss.

- It doesn't cost anything
but you have to have a pass

to get in.

You know, sort of a private exhibition

for invited guests.

- I had one once.

Monday.

Her eyes are different.

Honest.

Maybe.

Maybe.

Maybe.

Maybe.

- But I told you, again and again,

my nerves have caved in.

It has nothing to do with
whether or not I love you.

Well maybe I was good at one time, Tony.

But the fact is I'm not anymore.

(sighs)

Alright, Tony.

Alright.

But this is the last time.

I know where it is.

Pier 43, the north wall
in the fourth garbage can.

I will, Tony, right now.

I've got two hours
before he pulls up, Tony.

I'll get it there.

(chaotic music)

(frighted gasping)

- I only know you as an actress.

What's your real name?

Are you to my left?

Or to my right?

Tell me your name.

Tell me your name.

Tell me your name.

Her name was Katherine.

She was very pretty.

Soon I will present my
work for all of you to see.

I hope you will realize
how difficult it has been.

It has cost me much to be what I am.

I wish I could stop.

But he won't let me.

Each time it happens,
I hope it's the last.

(grunting)

(music intensifies)

(woman crying)

(frighted sobbing)

Why don't you tell them?

I don't want to hurt you.

I don't want to hurt you.

But I have to.

I don't want to hurt you.

He's forcing me.

I don't know why.

He's just there.

I don't want to.

I just need you to stay

a little bit longer.

It will have given up then.

It will have left me alone.

They said I was fine.

They told me I could paint again.

But I know.

I know this thing.

Why don't you give us time?

Now, we go home.

We go home.

Yes.

- [Arthur From The Past] I'm sorry.

I'm sorry if I hurt you.

Soon you will be preserved forever.

Soon you will be preserved forever.

Soon you will be preserved forever.

- Now we go home.

(grunting)

I haven't shown my art yet.

I haven't shown my art yet!

Look at me.

Don't look at me.

Please.

Please!

(discordant music)

- [Arthur From The
Past] I am not finished.

I am not finished!

I am not finished!

- [Voiceover] Wizard
Video invites you to take

The Total Terror Test.

We offer you Dreamaniac,

another Wizard release,
produced exclusively for video

and Headless Eyes.

Can you stand the intense horror,

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this is entertainment designed

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where the light switch
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And the pause button can
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In the tradition of
Nightmare on Elm Street

and Friday the 13th,

we give you Lily the Succubus

in Dreamaniac.

Tonight it's party night at Adam's house.

And you know what that means.

(screaming)

(shrieking)

Music!

Dancing.

Good food.

New friends.

- Nice outfit.

- Do I know you?

- I doubt it.

I've gone to private schools all my life

and I'm rich as shit.

- [Voiceover] Fun and games.

And big surprises.

- Fuck!

- [Voiceover] Like Adam's
very special guest, Lily.

- Mind me crashing your party?

- [Voiceover] Lily is a little
different from other girls.

She's a bit more intense.

And a trifle anti-social.

(shrieking)

Some people say she's a
bad influence on Adam.

(shrieking)

(shrieking)

But that isn't too surprising

because Lily is a Dreamaniac.

A female demon who preys
on the sleeping secrets

of the subconscious.

(crying)

- Nice party, huh?

- [Voiceover] And she does like to party.

- She's not a girl.

She's a succubus.

- [Voiceover] Like crazy.

- Which means she fucks men
and then she kills them.

Not always in that order.

(electricity buzzing)

- You've got to kill him.

And Adam too.

(rock and roll theme music)

(grunting and power tool whirring)

- [Voiceover] Dreamaniac.

Party, party.

Headless Eyes.

Now here's a guy with an unusual hobby.

He collects eyes

and doesn't care where
he has to go to get them.

You won't want to close
your eyes for a second

while you're watching this screamer.

Keep a sharp lookout for
these great new releases

from Wizard.

Premier video product, exclusively for

the home entertainment market.

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(rock and roll theme music)

Dreamaniac and Headless Eyes

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