Asylum Page #19

Synopsis: Asylum (also known as House of Crazies in subsequent US releases) is a 1972 British horror film made by Amicus Productions. The film was directed by Roy Ward Baker, produced by Milton Subotsky, and scripted by Robert Bloch (who adapted four of his own short stories for the screenplay). Baker had considerable experience as a director of horror films as he had tackled Quatermass and The Pit, and Scars of Dracula. Robert Bloch, who wrote the script for Asylum based on a series of his own short stories, was also the author of the novel Psycho, which Alfred Hitchcock directed as a film.
Genre: Horror
Production: Paramount Classics
  2 wins.
 
IMDB:
6.5
Rotten Tomatoes:
36%
PG
Year:
1972
88 min
$295,287
Website
785 Views


HOLLY:

You mean, Josh's father had nothing

to do with it?

CHRIS:

No!

HOLLY:

You're sure?

CHRIS:

Sure I'm sure!

Holly grabs Chris.

HOLLY:

Where is he?

Chris checks his watch.

CHRIS:

Well, he should be on his way back to

his apartment by now.

HOLLY:

Do you know the way?

CHRIS:

Sure, it's on the red metro line you....

HOLLY:

No, by road?

CHRIS:

Yeah, pretty well.

HOLLY:

Good we'll take Josh's Jeep, come on!

Holly drags Chris and they fly out the door slamming it behind them.

EXT - PRAGUE STREET - CHRIS/HOLLY - DAY

With Holly driving the Jeep Cherokee they pull out of the parking spot

and screech off down the street. The jeep weaves past traffic and

takes a major arterial road.

INT - PAVEL'S OFFICE - DOUG/PAVEL - DAY

Show wall-clock, time is 2.50 Doug is sitting in Pavel's desk chair.

Pavel enters the office with an Officer. Doug swings around to face

them. Pavel has seven floppy disks in his hand. Doug stands up.

DOUG:

It's been nice knowing you.

The Officer is in the doorway and blocks Doug's way.

DOUG:

We had a deal!

PAVEL:

Yes, you are free to go, Karel here

will drive you home.

Doug checks the Officer.

DOUG:

That's okay I like the metro, it's only

a couple of stops from here.

PAVEL:

I insist, it is the least we can do.

Doug acquieces.

PAVEL:

I strongly advise you to be on that

plane this evening.

Pavel nods to the Officer.

PAVEL:

Goodbye Mr Greenwell.

Doug shoves past the Officer and exits with the Officer. Pavel looks

at the disks in his hand.

EXT - POLICE STATION - DOUG/OFFICER(Karel) - DAY

Doug and the police Officer exit from the police station, there is a

postbox on the wall nearby. Officer leads Doug over to an old police

car. Doug notices mailbox and gets out the envelope from his jacket.

DOUG:

(Motioning to postbox)

Okay?

Doug doesn't wait for answer and posts letter, Officer follows a

little and watches cautiously. Doug comes back and they get in the

car and drive off.

EXT/INT - OLD POLICE CAR - DOUG/OFFICER(Karel) - DAY

They drive through suburbia. Doug is checking out the Officer, car

interior and passing scenery. Doug gets out cigarettes and lighter

and motions to the Officer.

DOUG:

Mind if I smoke?

OFFICER:

(Subtitles)

No thank you.

Doug realises the Officer doesn't understand English.

DOUG:

Well, you're all morons

Officer nods taking it as a compliment.

DOUG:

In fact, I would say that you are the

dumbest brick-head I've ever met and

that your boss is a real bastard.

Officer is wary now. Doug reaches into his knapsack and gets out a

Czech/English dictionary and lifts it up to the Officer and motions as

though it_s a gift.

DOUG:

I insist cretin, take it. Go on and

look that up while you're at it.

Officer takes book and places it in the door pocket.

OFFICER:

(Subtitles)

Thank you.

INT/EXT - JEEP - CHRIS/HOLLY - DAY

Holly is driving vigorously. Chris struggles to get the seat-belt on.

CHRIS:

Take this exit.

HOLLY:

That one?

CHRIS:

Yeah!

Holly brakes sharply and crosses two lanes of traffic.

EXT - PRAGUE STREETS - CHRIS/HOLLY - DAY

They continue in the Jeep away from the river and into suburbia with

architecture turning from historic to modern Soviet functionalist

design. Jeep passes through a red light at some crossroads.

INT/EXT - JEEP - CHRIS/HOLLY - DAY

Chris is holding onto the dashboard.

CHRIS:

Take it easy, or Doug'll be visiting

us in jail - or worse, hospital.

Jeep swerves around a car which is blasting it's horn.

CHRIS:

Jesus Holly, we got enough time.

HOLLY:

Okay, but I don't want to miss him.

CHRIS:

Follow that Budjovice sign.

The Jeep takes a turn at speed.

EXT - PRAGUE STREET - CHRIS/HOLLY - DAY

They travel towards a district of high-rise "Panelak" apartments, the

Jeep overtakes a tram and brakes sharply for an old LADY at a

crossing.

EXT - HOUSING ESTATE - DOUG - DAY

The police car with Doug in it passes a metro station and pulls into

the car park of a large housing estate with a couple of dozen cars in

it. The police car stops and, after a few moments, Doug gets out and

slams the door - the car drives off. Doug turns and starts wearily

towards his apartment building entrance. ANGLE TWO MEN in the

entrance doorway. Doug gets close to the entrance and the two men

come out and focus in on him. Doug stops, looks at the men and

glances around. Doug turns around and the two men reach for guns

under their jackets. They aim to shoot at Doug as he takes a running

leap between two parked cars nearby. The men take a few steps and

shoot at Doug one after the other. Doug gets up and makes it to

another row of parked cars and looks back to see the men in pursuit.

Doug makes his way between some cars. As he puts his head up to

locate his attackers he is shot at and ducks down again and keeps

moving.

EXT - HOUSING ESTATE - HOLLY/CHRIS - DAY

The Jeep approaches the entrance to the car park.

INT/EXT - JEEP - CHRIS/HOLLY - DAY

Still driving at speed, along the estate's street.

HOLLY:

It's that one isn't it.

CHRIS:

Yeah....Sh*t, those guys have guns.

Shots ring out.

CHRIS:

There shooting at something.

HOLLY:

Doug?

CHRIS:

Turn around quick!

Chris winds down his window.

EXT - HOUSING ESTATE - CHRIS/HOLLY - DAY

Holly swings the Jeep around and heads straight for the TWO MEN.

EXT - HOUSING ESTATE - DOUG - DAY

Doug is at the end of a row of cars with no more cover nearby. The

TWO MEN are on the other side coming down the row, checking it car by

car. Doug looks around and gets ready to make a run across the open

space. Hearing the screech of the Jeep he looks up. The men see Doug

and take another shot at him before one of them moves to get a clear

shot at him. One of the men turns as he hears the Jeep coming right

at him.

INT/EXT - JEEP - CHRIS/HOLLY - DAY

CHRIS:

It's got to be Doug. Take that guy out!

The Jeep just misses one of the TWO MEN and a man dives clear.

CHRIS:

(Pointing)

There he is!

CHRIS:

Doug!

EXT - HOUSING ESTATE - DOUG/CHRIS/HOLLY - DAY

The Jeep skids around the end of the row of cars and Chris throws open

the rear door. Doug looks over to the Jeep. The second of the TWO MEN

moves clear of the car and takes another shot at Doug.

CHRIS:

Come on!

Doug makes a run and another shot rings out. He dives into the rear

seat and the Jeep screeches away. The TWO MEN shoot at the Jeep. One

of the Jeep's side quarter-windows is blown out and a side quarter-

panel takes a hit. The TWO MEN run after the Jeep and take final

shots. SHOW a Czech COUPLE looking on. Aerial view showing bleakness

of the surroundings and the Jeep speeding off.

INT/EXT - JEEP - DOUG/CHRIS/HOLLY - DAY

Chris checks Doug over who is lying down trying to catch his breath.

DOUG:

God, I think I need a holiday.

CHRIS:

Some deal you did there!

DOUG:

I should have read the fine print.

(leaning over to Holly)

I love you Holly, thanks.

Doug reaches over and kisses Holly. The Jeep screeches to a halt and

Holly turns around to embrace Doug.

CHRIS:

What about me?

DOUG:

Here!

Doug gets the baseball out of his pocket and puts it in Chris's face.

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Robert Bloch

Robert Albert Bloch was an American fiction writer, primarily of crime, horror, fantasy and science fiction, from Milwaukee, Wisconsin. He is best known as the writer of Psycho, the basis for the film of the same name by Alfred Hitchcock. more…

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