All language subtitles for STRAIT.JACKET.1964

Advertise your product or brand here
contact www.SubtitleDB.org today

[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.

Please rate this subtitle at %url%
Help other users to choose the best subtitles