Eyes of Laura Mars Page #3

Synopsis: Suddenly Laura Mars can see through the eyes of a serial killer as he commits his crimes. She contacts the police and with the aid of a police detective, tries to stop the killer. But first, they have to figure out who it is.
Genre: Mystery, Thriller
Director(s): Irvin Kershner
Production: Columbia Pictures Corporation
  1 win & 1 nomination.
 
IMDB:
6.1
Rotten Tomatoes:
44%
R
Year:
1978
104 min
751 Views


There's a very interesting case

of a woman...

...in France who had

something similar.

What happened?

She died in an insane asylum.

-Good morning, Miss Mars.

-Good morning, Tommy.

Maybe you shouldn't talk

to anybody about this.

It might just go away.

Big boys!

Look at that.

Is that fabulous?

That's the fourth I've seen today.

They're all over the city.

They'll be so famous we won't

be able to afford them anymore.

You'll find a way.

Miss Mars, I don't know if the cops

told you any of this...

Let's talk about this some other time.

Mr. Phelps here has things

he'd like to tell you about me...

...but I'd rather tell you them myself.

-What things?

-This isn't the time.

I'm trying very hard to keep

my cards on the table...

-...and myself on the street.

-Bad timing.

I did a bit.

I mean I've been in prison.

What did you do?

I was in for armed robbery

and assault with a deadly weapon.

-And I have some prior arrests.

-Jesus! Spare us the soap opera.

You knew that when you

hired me for Miss Mars.

But what kind of deadly...

You did? You knew that?

Why is that so amazing? You can't

just talk about rehabilitation.

I believe in giving people a chance.

You believe in spit.

And I'm not putting up with...

-I'm not putting up with this...

-Wait!

Five minutes ago, you sat in

this car and tried to railroad me!

-Are you going to let him...

-Wait a minute!

I don't want to hear anymore.

-I'm sorry.

-I'm sorry.

That's it.

Both of you leave me alone!

" Both of you"?

" Both of you."

Me and your driver.

I'll do some straightening up down here.

Be up in a minute.

Don't forget the flowers.

They're at the regular place.

-The Greek's?

-Yes.

-I'm sorry if I caused you problems...

-No, Tommy, I'm sorry.

It's a difficult time

for all of us...

...so could we just keep

working together?

-You can count on me for that.

-I can always count on you.

You don't need that.

Thanks, Tommy.

Donald!

Laura!

What is it?

-He's up there.

-What?

-He's up there.

-Who?

I saw him looking at me.

Darling, I know what you're

going through. I feel for you.

But there's a lot of money involved.

I don't care about the money.

And there is the ad agency.

They've got print dates to meet.

Bert is depending on you.

Forget about the clients!

Okay, you're right.

What are we, monsters?

Let's wrap this thing, go home

and wait for the killer to strike again.

Really, you're right.

I'm sorry.

I thought if you kept busy...

You really know how to

manipulate me, don't you?

Manipulate.

" Manipulate" is just

a little bit paranoid.

And to be f rank, I'm beginning

to get the message...

...that you don't really

trust me anymore.

Look, get them ready.

Let's shoot.

Put them in the sink

and wet them down.

Don't disappear.

-Rita?

-Good morning.

The eyes are perfect.

Keep them soft. Don't change.

-Morning.

-Good morning.

Anna.

Cover her shoulder.

Cover it completely.

John...

...will I get enough height

on Anna's tail?

Sure, definitely. Once I brush it,

it'll be completely f ull.

Michele's eye. Cover it.

Okay, I saw that. I'll do it.

Perfect. Much better.

I don't like the pink.

Lulu, it likes you.

-lt's perfect.

-Really?

Really.

I got this for you, man.

A stolen flower.

How nice.

Here I am, girls.

-Hi, Laura.

-Hi, Jim.

You're in the pool, dead.

For a hundred bucks an hour...

There.

You want the eyes opened or closed?

Your head over.

Eyes open. Wide.

-Where do you want the blood?

-There.

That's enough.

That's enough!

Here's your gun.

Give it to Lulu.

Here you go. Be caref ul.

All right, kill the shoot.

Wrap it up. That's it.

Try and pick it up tomorrow.

Do you ever have any warning

when this happens to you?

It terrifies me.

It could happen at any time.

I find myself waiting

for it to happen.

Maybe that's what does it.

People who are af raid of

having an anxiety attack...

...can bring one on just

by being af raid of it.

It's not an anx...

-You don't believe me.

-I'm trying to believe you.

I've been talking to your associates.

They say you're overworked.

-Overworked?

-Yeah.

Overworked?

Am I hallucinating all of this?

Tell me it's all a dream.

Tell me that Doris is still alive.

Tell me Elaine is still

happily involved with Michael.

Overworked!

I'm leaving now with Bert.

Lock up, will you?

-Tommy'll wait for you.

-That's not necessary.

I'll take a taxi.

I'm sorry.

I'll call you.

I think I can show you what I mean.

About what?

About what I'm seeing.

Look through that.

Now if you...

...think of that camera...

...as the eyes of the killer...

...what you're seeing through that lens

is what the killer sees.

It's on the monitor there.

When it happens to me...

...I can't see...

...what's in f ront of me.

What I see...

...is that.

Do you understand?

Let me try.

It looks like f un.

What?

Is that how I look?

Like that?

I think that's how you look.

I look like a damn cop,

is what I look like.

No, it's...

May I ask you a few questions

about what's been happening?

It makes me nervous.

Why is he killing my f riends?

Why is he after me? Why me?

A variety of things might attract

him to you and to your associates.

It could be a person

who's jealous of your success.

It could be a person who,

in his own loony way...

...feels your work is promoting

porno and decadence...

...and he has a mission

to clean up the world.

It could be a person who is outraged

about being seen in your book.

Whoever it was...

...was here this afternoon...

...and he was looking for me.

You know, I find all of this...

...very interesting...

I'm gonna double

the security around you.

I'd advise you to stay

indoors as much as possible.

Goodbye.

Hey, John, you need

a little help with anything?

No thank you, Officer Feeney.

I can handle these subjects alone.

Thank you.

Feeney, get the hell out of here!

What a creep.

Did either of you ever receive

a threatening or obscene phone call...

...in relation to your work

with Miss Mars?

I got a few letters.

Did you get more than one

f rom anyone?

I don't think so.

Do you remember things they said?

The tone?

Oh, yeah.

Or anything specific?

Any specific quotations?

" Even though I'm so ugly

and I have pimples...

I'm so ugly that you would spit at me

if I ever talked to you..."

-Do I have to go on?

-I get the picture.

-I kept mine.

-What?

Can you bring them

so I can read them?

And I can read them too?

Sure. Yeah.

All right.

-Any more questions, officer?

-No, ma'am. This is very fine.

Either one of you need a ride home?

Hey, Feeney, get back in here.

Taxi.

-Anything doing?

-She's still up there working.

-Hey, thanks.

-See you.

Lulu!

-This is Lulu...

-And Michele.

We're not home, so go to hell!

But if you're not a horny creep,

leave a message at the beep!

That was so dumb!

Senseless violence,

unrelenting, inex cusable...

...hatef ul violence,

is once more unleashed.

Each one of us has some purpose

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John Carpenter

John Howard Carpenter (born January 16, 1948) is an American filmmaker, screenwriter, musician, and composer. Although Carpenter has worked with various film genres, he is associated most commonly with horror, action and science fiction films of the 1970s and 1980s.Most films of Carpenter's career were initially commercial and critical failures, with the notable exceptions of Halloween (1978), The Fog (1980), Escape from New York (1981), and Starman (1984). However, many of Carpenter's films from the 1970s and the 1980s have come to be considered as cult classics, and he has been acknowledged as an influential filmmaker. The cult classics that Carpenter has directed include Dark Star (1974), Assault on Precinct 13 (1976), The Thing (1982), Christine (1983), Big Trouble in Little China (1986), Prince of Darkness (1987), They Live (1988), and In the Mouth of Madness (1995). He returned to the Halloween franchise as both composer and executive producer for the horror sequel Halloween (2018). Carpenter is also notable for having composed or co-composed most of his films' music; some of them are now well-known, with the main theme of Halloween being considered a part of popular culture. He won a Saturn Award for Best Music for the film Vampires (1998). Carpenter has released three studio albums, titled Lost Themes (2015), Lost Themes II (2016), and Anthology: Movie Themes 1974–1998 (2017). more…

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Submitted on August 05, 2018

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