Asylum Page #6

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
786 Views


(Renata:
Czech girl early twenties)

DOUG:

Hi Rene, any messages?

ANGLE the room. There are two other men. Renata checks for messages.

(Honza:
Czech man late twenties, tough-looking)

ON HONZA:

HONZA:

Hey Doug, where you been?

ON DOUG/RENATA

DOUG:

Working....Under cover.

ON HONZA:

HONZA:

Yeah, what's her name?

ON DOUG/RENATA

RENATA:

There's nothing for you Doug.

Are you going to be around today?

DOUG:

No, I'm too busy. Is the boss in?

RENATA:

Yes and I think he would like to see you.

DOUG:

Later.

Doug joins a clean-cut young man JIRI sitting at a P.C. terminal.

(Jiri:
Czech man early-twenties)

DOUG:

Alright Jiri, getting the hang of it?

Jiri shrugs and continues. Doug grabs a chair and sits down next to

Honza.

ON DOUG\HONZA

DOUG:

I need to borrow something from

you Honza.

HONZA:

Forget it, I'm broke.

DOUG:

No, just a drill.

HONZA:

A drill, what are you up to?

DOUG:

Nothing. I've got to put up some

kitchen shelves that's all. You've

got one haven't you?

HONZA:

Yeah.

DOUG:

And a fifty foot extension lead?

HONZA:

You don't have fifty foot of apartment!

DOUG:

Come on, don't me give a hard time.

I'm just trying to make the place

look nice for Katka.

HONZA:

Sure!

DOUG:

Give me a break, will you. How often

do I ask you for something?

HONZA:

Okay, Okay, but I want it right back.

It belongs to my father.

DOUG:

No problem, is it at your place?

HONZA:

Yeah.

DOUG:

Great, let's break for lunch and

I'll buy you a beer on the way.

HONZA:

But I have to finish this....

DOUG:

Come on, that sh*t can wait.

Doug helps Honza out of his seat and turns to head to the door but is

confronted by the boss, HENRY.

(Henry:
40 yr-old American, stressed out)

ANGLE HENRY:

HENRY:

Well, Well, Douglas it's good to see you.

Have you stopped by to pick up your things?

ON DOUG/HONZA

DOUG:

No, I came to have a word with you. I've

got something I think you'll like.

ANGLE HENRY:

HENRY:

Really, what's that? A terminal illness!

Doug moves to join Henry.

DOUG:

No, it's a story on the cutting edge

of Prague's sub-culture. If you've

got a moment, I'll fill you in.

Doug and Henry move to his office. Doug turns to Honza.

DOUG:

Hang five Honza, I'll be right with you.

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

The office is a cluttered and there is an American flag in the corner

and a picture of George Bush on the wall along with a large map of

Eastern Europe with dots marking capital cities. Doug and Henry take

their seats.

ON HENRY:

HENRY:

So? What've you got for me?

ON DOUG/HENRY

DOUG:

The inside scoop on the squat scene!

HENRY:

What squat scene?

Doug picks up a pack of Henry_s cigarettes from the desk.

DOUG:

You mean you don't know, Henry!

We got a bunch of anarchists, controlling

a six-level block of luxury apartments

down on Janovska street here in the Old

Town, and you don't know about it?

HENRY:

Ah, so what?

DOUG:

That's only the half of it. I've heard

a rumour they're taking over a theatre

to use for alternative arts; you know

what that means?

Henry shakes his head slowly.

DOUG:

Henry, these guys already push most of the

drugs in this town and now they want to move

into pornography, right? Believe me, it

won't stop there either, next it'll be a

church and pretty soon they'll have their

own department store or something......

Henry, we've got to stop them. The

foundation's got to put an end to it!

HENRY:

How?

DOUG:

I'm in close with these guys, it isn't

easy, but slowly they're opening up to me.

Give me a month and I'll blow their

movement wide open.

HENRY:

A month, Jesus! And how do I know you're

not crapping me?

DOUG:

You can hold back this months pay-check

until I come through with the story.

HENRY:

What pay-check? You ain't done nothing!

DOUG:

Henry, I've been working my tail off

on this. Look, all I need is a little

cash to loosen up some tongues and you've

got the scoop. It'll send those scum-bags

down for life; be a big feather in the cap

for the Bugler and your board of directors

back home!

HENRY:

I got a bad feeling about this....

How much do you need?

DOUG:

Two hundred dollars, make it six thousand

crowns?

Henry chokes slightly and gets some cash out of his pocket and counts

out some notes on the desk.

HENRY:

There's three thousand and if you don't

come through, I'm going throw you clean

out of that window. Deal?

DOUG:

Deal!

Doug gets up to go.

HENRY:

And take Jiri with you?

DOUG:

What for?

HENRY:

Insurance!

Doug exits into main office.

INT - BUGLER OFFICE - DOUG/RENATA/HONZA/JIRI - DAY

DOUG goes to the reception and scribbles out a note before walking

over to Jiri.

DOUG:

Hey Jiri, it's your lucky day you're

working with me. Here's what I want you

to do - Go to this address, you'll find a

cafe; a squat. I want you to keep an eye

on it and put everything down in a daily

report to Rene. This is big, so don't let

me down, okay? Just dress up smart and

take lots of notes..

DOUG:

Come on Honza let's split, drinks on me.

ANGLE Honza getting up and walking to Doug. Doug winks at Renata.

HONZA:

So, he didn't fire you?

DOUG:

No way, he even gave me back pay.

Doug and Honza exit office.

EXT - BETLEMSKA STREET - DOUG - DAY

Workmen are finishing up on building site, rubbish is smouldering in

the drum. An OLD LADY passes by with a wiener DOG. Doug's walking

down the street with knapsack on. He passes Asylum front entrance and

stops to look at front side and peers through door crack before moving

on. Doug checks out a passing YOUNG LADY and goes around the corner

and enters into the passage, going through to rear court yard.

INT - ASYLUM - DOUG/CHRIS - DAY

Doug is inside and walks down a corridor, there is still lots of

rubble around and shovelling noises are heard. Doug stumbles over

some rubble, he's slightly drunk.

DOUG:

Chris!

INT - ASYLUM FOYER - DOUG/CHRIS - DAY

Doug walks across foyer, shovelling has stopped and the area has been

cleared of rubble.

DOUG:

Chris?

ANGLE Chris covered in dust/dirt emerging from the other dimly-lit

side corridor.

DOUG:

Wow!....What have you been doing,

rolling around in it?

CHRIS:

No, just making my contribution to

cultural enlightenment, that's all.

DOUG:

Well, don't get carried away.

CHRIS:

I'll try not to, I'll leave that to

you. Anyway, there's still plenty

more of it.

DOUG:

Good, I love swinging a shovel.

Doug takes off knapsack, kneels down and opens it up.

DOUG:

Wasn't easy, but I've got what we need.

Show drill and lead, plus drill bits, a small wood saw, screwdriver,

pliers, some lock barrels and a hammer. Chris bends down, picks up

drill and stands up.

CHRIS:

Where did you find it all, in a pub?

DOUG:

No, why?

CHRIS:

'cause you stink of booze.

DOUG:

Yeah, that was Honza's idea, I had

to buy him a few beers in return

for the gear.

CHRIS:

Tough break.

Doug surveys the foyer, pipe area and checks the other corridor.

DOUG:

Looking good, another day and we

should have this place cleared up.

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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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