Lady in a Cage Page #2

Synopsis: The lady is Mrs. Hilyard, a wealthy poetess who lives in a three-story city mansion and her cage is her elevator, which stops a dozen feet short of the main floor due to an electrical failure on a July 4th weekend. She rings her outside alarm, eventually noticed by a drunken derelict, who breaks into the house, ignores her plight and helps himself to various items and alcohol. He leaves with his loot but returns a while later with a plump prostitute and three teenage hoodlums, who proceed to terrorize Mrs. Hilyard as they wreck her home.
Director(s): Walter Grauman
Production: Paramount Pictures
 
IMDB:
6.9
Rotten Tomatoes:
20%
NOT RATED
Year:
1964
94 min
127 Views


It's three stories high,

a private elevator, and you could see

the things all around.

- Yeah?

- Yeah.

I thought maybe, you and me,

we could take a trip.

- You wanna have a piece of toast?

- No, I don't eat much.

Maybe that's the trouble.

Oh, okay.

Hands off in the morning

or you'll repent for real sure.

Alouette, gentille alouette

Alouette, je te plumerai

I'll write a poem in my head.

Oh, I haven't written anything

but letters in so long.

Oh! I have worshiped thee,

False god

For thou art false, electricity

Ye gods, what a rhyme.

Kilowatt is his name

And we did burn incense to his power

But lo, one day

Our god Kilowatt left us

Could we then go back

To the gods of our childhood?

To reindeer, Santa Claus?

Almost, almost got it.

Almost...

...almost...

...almost got it.

Wow!

Wow!

Wow, honey,

I never saw nothing like this,

not even in magazines,

not even in advertisements.

How much you think

it's worth, like, this spoon?

Not even in advertisements.

I'm right in the sun, and I'm sticky

and sweaty. What's happening?

Must have been some kind

of alarm bell.

How about we go

look in some windows?

Two minutes.

What's that, now?

It's a cup, like for babies, but it's...

I think it's a gold one.

I heard of silver ones, but a gold one!

"Baby Malcolm Cornelius Hilyard.

Weight 7 pounds, 3 ounces."

- Gold.

- Let's go look what's upstairs.

What's the matter?

George is your name?

George. Yeah. George. I told you,

George L. Brady Jr.

The L is for Luckman,

that's my mother. German.

George, this is big.

This thing you found us here

is big, real important,

and I'll always be grateful, but let's

not lose it out of being greedy.

- What do you mean?

- Suppose somebody comes,

- you could handle him?

- I don't want no other man.

I just don't.

Okay, George.

Let's look at the rest of the house.

You just can't make up your mind,

can you?

Repent one minute, slobber the next.

Slobber, slobber.

Here's the...

A lot of wine.

Close that door. Close it.

Close that door!

My whole future is at stake!

Close it yourself.

Get out!

You want some other man here

instead of me, go on, get out!

Call your butler, why don't you, and

have him escort me to the door.

Stop her.

Take it off the hook or something.

Help! Help! Please help.

1132 Lenko.

Emergency. Help!

This is Mrs. Hilyard.

I am trapped, address is 1132 Lenko!

Help! Help! Please.

I am trapped in small,

private elevator.

1132 Lenko Street.

1132 Lenko Street.

Help! Please help. I...

This is my house.

My son's and mine.

I broke my hip a few months ago,

and I am somewhat incapacitated.

I need help.

Haven't you ever needed help?

Perfume?

Isn't that perfume? A woman?

Are you a woman?

Listen.

Hello.

My name is Hilyard.

I am Mrs. Hilyard.

What's your name?

Won't you answer me?

Please answer me.

Let me alone! Leave me alone!

Somebody! Run! Somebody!

Arriba.

Did you think you could keep this

to yourselves?

An old wino and a fat hustler?

What is this?

What are you doing here?

Oh! I cut my rear. I think I'm cut bad.

If you're cut in your rear, muchacha,

you ain't cut near nothing delicate.

I'm bleeding all over my dress,

all over the floor. I think

I'm bleeding to death.

I think I cut a main vessel. I gotta find

a place to stop the bleeding.

Now, you better tell me

what you're doing here

with these things on your faces.

What are you afraid of?

Afraid of being identified, dad.

She see you, the lady in the elevator?

Oh, no, no, she didn't see me.

Hey, how about this big old

flop-flop!

We really got ahold of

something super!

- I can't see good with this thing on.

- Leave that on your head.

Randall's always talking

about holding up

a bank money truck or something.

- Keep the mask on.

- Okay.

This is so you won't be

recognized either, wino.

I know who you are.

You followed me here.

This is my place I found,

now, you leave here.

What's happening?

On your knees, dad.

Hey, cut it out. Cut it out.

Cut it out, cut it out.

"Cut it out."

It is hot in here.

What did you do to him?

Is he alive? What did you do?

Oh, his breath is moving.

He ain't dead.

Hey, look at that tub!

Look at the size of that tub.

There's room for two.

Three. Four, maybe.

A ball.

Elaine.

I...

I did tell you, leave your shirt on?

Okay, load her up.

Let's get to work.

Oh, you're hard. I never... I never

seen people as hard as you people.

Somebody taking a bath?

You're our pickup truck,

our little old pickup truck.

I ain't toting for you.

Pickup trucks,

they don't answer back.

Elaine.

- You come out and carry too.

- Drop down dead.

Wait a minute. Please listen.

Take it all. You can have

anything you want.

Take anything you want, take anything

you want, but in the name of humanity,

help me get out of this horrible cage.

Couldn't you let me out of this cage?

Please. Please.

Please!

What...? Who...?

What monsters.

Do your stealing and get out.

Steal and get out.

What sort of creatures are you?

Oh, even animals would have

more simple compassion than you.

What? You're something

holier than thou?

You're something...?

You ain't no animal?

I am a human being.

A thinking, feeling creature.

Well, me, I'm an animal.

Right now I am all animal.

A lot of time I can't even

make animal.

A lot of time I'm just

what they call "inmate."

Animal is better.

What do you mean, inmate? Asylum?

You're from some asylum?

Asylum?

Oh, no, you don't.

Reformatory, work farm.

I been inside every way

there is to be inside.

I been some kind of inside

since I was 9 years old.

Oh, I see.

You're one of the many bits of offal

produced by the welfare state.

You're what so much of my tax dollars

goes for the care and feeding of.

Well, I don't know from "offal."

But yeah.

Yeah.

And I sure do wanna thank you,

ma'am, for all them tax dollars.

The food is lousy though.

Hey, you got another load of stuff?

We're piling it on the back porch.

Yeah, come on up.

The world must have ended.

Someone on one side or the other

must have pushed the button,

dropped the bomb.

Ladies and gentlemen...

... here before us stands...

... the man of tomorrow.

We made us cities and towns and

thought we had beat the jungle back,

not knowing we had built

the jungle in.

I suppose every hospital room's

a jungle...

... every neat little room where

somebody's having his body opened...

... or lies dying.

Every marriage bed...

... love bed...

... lust bed.

Elaine.

Elaine!

Put this over your face.

That's it, hand it to me, come on.

Help me, somebody!

I missed that.

Help me!

Help!

Why hast thou blinded me?

Oh, God!

Blind!

- Why hast thou blinded me?

- He thinks he's blind.

- Oh, God, Lord God.

- That ain't so funny.

Who is it? Who is it?

Who's...? Who's laughing?

He has blinded me.

Am I so much guiltier than others?

You ain't blind, honey,

now, take it easy.

- You ain't blind. See? See?

- What is it? Who is it?

It's Sade, it's Sade,

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Luther Davis

Luther Davis (August 29, 1916 – July 29, 2008) was an American play- and screenwriter. He attended Culver Academies, received a BA from Yale and rose to the rank of major in the US Air Force. He was the father of two daughters and was married to soap opera actress Jennifer Bassey, his companion since 1978, from 2004 until his death. In collaboration with Charles Lederer, Robert Wright, and George Forrest, Luther Davis wrote Kismet, Timbuktu!, and two different treatments of Vicki Baum’s novel Grand Hotel (At the Grand for the Los Angeles and San Francisco Light Opera Association and the Broadway musical version, Grand Hotel, The Musical). He received two Tony Awards in 1954 (with Lederer) for Kismet as Best Author (Musical) and as co-author of the book contributed to the Best Musical win. He was nominated again in 1978, for Most Innovative Production of a Revival, as producer of Timbuktu!, and in 1990 as author of the Best Book (Musical) for Grand Hotel, The Musical. He wrote fifteen movies, many television specials and co-produced Stephen MacDonald’s Off-Broadway play, Not About Heroes. He won two Mystery Writers of America Edgar Awards and was nominated many times by the Writers Guild of America and the League of American Theatres and Producers. more…

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Submitted on August 05, 2018

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