Original Written Content Copyright 2001 P. Breen
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  As Frank and his lady are busy getting busy, Mac slips into an office building undetected by a patrolling security guard. He has a trademark quirky habit of snapping his fingers (which you can hear for yourself at the end of the 'You My Lady Clip'), and the triple snap always signals something bad is about to happen. He hides in the shadows and makes his way upstairs. His gaze is fixed upon a black cleaning lady. The woman pushes a maintenance cart into a restroom. Mac follows her, and gains her attention through his snap trick. Startled by the sound, the woman spins around and yells, "What'cha doin' in here, boy?" He slithers close to her. "I'm looking for you. And I ain't your boy!" He backs her against the sink. "What you want with me? I ain't done nothing to you." He grabs her cleaning cart. "Yes you have, old lady. What's a matter? Don't you remember me? You're going to take a nice little ride "

Mac forces the wailing woman into her cleaning cart and rolls her to the top of a stairwell. "Are you sure you don't remember me?" he taunts. She pleads with him to let her go and claims she's never seen him before. "Are you sure?" teases Mac. "They say I look like my old man " Her eyes widen in terror as she recognizes him. "Oh No!" she shrieks. "Heh heh bye bye," Mac coos as he shoves the cart down the stairs. The woman screams (it's actually the exact same sound byte used in the earlier car explosion). An obvious mannequin tumbles to its death. Laughing, Mac casually approaches the broken body and crouches down for a closer examination. "You're an ugly nigger, you know that?" he hisses at the corpse. Mac scribbles a note before slinking off to exit the building.

As he makes his way to the main entrance, he bumps into the security guard. Before the guard knows what's happening, Mac slugs him in the gut and dashes out the main door. The guard rushes after Mac, pausing only to shoot at the intruder (a bit harsh, considering he hadn't discovered the body yet). Mac returns fire. He scrambles down a series of concrete stairs that lead to some riverside docks. Once at the docks, he cuts down the guard with a bullet to the chest. Police cars rush to the scene and surround Mac. He runs to the edge of a pier. As the police close in, he dives into the Ohio River. The officers fire into the murky water, but they see no signs of life. A Jefferson County Police boat arrives and scans the river with a giant spotlight. They find nothing. Again, Mac managed to elude the authorities.

Waterlogged and panting, Mac crawls back to his home, a dilapidated shack with 'MACK' scrawled on the outside. He collapses in front of a vanity mirror. He takes off his sunglasses and begins to weep. He rips off his Afro wig and removes wads of cotton from his mouth - revealing that he is in fact a white man disguised in blackface!! (Not just any white man in blackface: it's Three on a Meathook star James Pickett!!!) Still sobbing, he drags himself over to his bed. He sits at the edge and begins rocking back and forth. "Stupid. Stupid. Stupid," he chants. He calms down long enough to grab a picture of his father from the vanity. On the back of the picture is a handwritten list of names. He crosses a name out. His eyes roll into his skull. "One more down," he murmurs.

Elsewhere, Frank and Marty consume a greasy fried chicken dinner at a fast food restaurant. Marty stuffs himself with soul-fried goodness while Frank racks his brain over the murder case. "All those names mean something to me I've seen them before. Just don't know where. You know, that son of a bitch is going to do me in. He's getting sloppy though." Marty is far more interested in the good eatin', and asks if he has time for a slice of apple pie. "You're kidding, right?" asks Savage. Wilson grumbles, "I don't know why I eat with you."

Sometime later, Marty enters Lieutenant Creason's office to see Savage nervously pacing with a cup of coffee in his hands. (Note: This is a very awkward edit - almost as if the previous scene was designed to appear elsewhere.) Creason tells Marty to go and sit in the corner. Bob is visibly nervous, glancing at the telephone repeatedly. Wilson asks, "You waiting on a call from your bookie or what?" Creason explodes, "Will you tell your loudmouthed understudy to shut his mouth before I put him on latrine duty?" Savage puts his index finger to his lips. "Shhh." Creason senses Frank's lack of sincerity and says, "You drink any more of that coffee savage, you're going to piss in your pants when he calls." Frank shoots back, " So I change my pants." Marty is confused. "When who calls?" Creason hands Wilson a note that reads, 'Savage be by your phone at 3 p.m. Wednesday. No jive. -- Mac." Marty hands the note back to Savage. "You do strange things to people, Frank." Stoker grins. "Don't I man?" Creason is fed up. "I'm glad you two loonies take this so la-de-da . I hope you have other trades you can go to if we don't capture this freak." Bob's tantrum is cut short by the ring of a telephone. Savage tentatively picks up the receiver. "Let me talk to Savage," demands Mac from a phone booth. "This is Savage."

Mac laughs. "Why hello Savage. It's been a long time. Too long. If you're tracing this call, pig, it won't do you any good. 'Coz I ain't gonna talk long enough to help you." Savage lashes out, "Then quit wasting my time!" Mac seethes. "Shut up you black pig. When I want to hear your jive shit I'll let you know. Now listen mother: just 'coz you're so stupid and still don't know who I am, I'm gonna give you a hint. Not a big one - just a LITTLE - BITTY one. You ready boy? Here's your clue. November, 1971. And Savage - I want to compliment you on your choice of women." Before Savage can utter another word, Mac hangs up. The psychopath watches Frank's Lady as she exits a department store across the street. His sadistic giggle is chilling.

Frank puts down the phone and mutters, "November 1971 November 1971." He turns to Creason. "I think you might be right. I don't think the dude's black." Marty offers, "It's obviously something you know that no one else does - otherwise, why call you?" Savage snaps out of his daze. "Hey Robert? I want a guard put on my lady." Roberts asks, "What for?" Savage looks away. "I don't know yet." Creason presses, "Do you have any idea yet what that date signifies?" Savage strolls to the door as if to leave and answers, "No." Creason yells, "Hey, where are you going?" Frank replies, "To change my pants," then exits.

Across town, Mac skulks into a moving and storage warehouse. (Not just any warehouse: IT'S BILL GIRDLER'S STUDIO!!!) Unaware that he's being watched, a heavyset man steps into an elevator and ascends. He cheerily whistles "If You're Happy And You Know It Clap Your Hands" as the elevator slowly rises. Somehow, Mac is there to greet him when he reaches his floor. "Good morning," Mac hisses as he pulls out his pistol.

"What's this all about? I don' have any money on me," the frightened man stammers. "I don't want your money fatso, I want your life." Mac shoves the gun in the man's face. The man asks, "What's a matter with you? You're not black. Are you crazy?" Mac rocks his head from side to side. "You're the one who's crazy. You're not going to be around long enough to tell anyone about it. You're so corrupt that you can't see the light of day! What makes you think you can take bribes from people who keep ol' rat traps like this open - then pass judgement on the life of someone else? Now that , my friend, is crazy."

Confused, the man mumbles, "Who are you talking about?" Mac snarls, "My old man. You think you're so smart don't you? Had to be headman on the jury didn't you? Tell everyone else what to do." Mac punches the man in the stomach, knocking the wind out of him. He drags the stocky fellow to the edge of the elevator shaft. "But now you're gonna be first again. You gonna beat that elevator to the bottom!" Mac pushes the man down the shaft, and watches attentively as the screaming man hits the ground floor with a sickening thud. Mac picks up the man's clipboard and pens another message. Gleefully, he tosses the clipboard down the shaft.

At the police station, Savage and Wilson are drawn to a strange commotion in the lobby. They watch as a fleet of fancy limousines pulls up to the front door. A pack of pimps pops out, followed closely by a few beefed-up black body guards and some busty ebony babes. Finally, The Big Man emerges (the biggest pimp in town, if you recall from the D'Urville Martin scene). It turns out that The Big Man is a midget. "You got to be putting me on," blurts Marty. The Big Man shuffles into headquarters. Wilson and Savage shrug and walk away.

(Note: This scene is blatantly in the wrong place, and it doesn't make much sense. I read that The Big Man is so creeped out by the serial murders, he gives himself up to police in order to feel safe.)

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