Candyman (1992)

Em: 00:02:18

Hi everyone. I'm Em, and welcome to Verbal Diorama, episode 315, Candyman.

This is the podcast that's all about the history and legacy of movies you know and movies you don't that will be written on a thousand walls. Our episodes told and retold by our faithful believers. We shall die together in front of their very eyes and give them something to be haunted by.

Come with me and be immortal. But, you know, listen first. Then let's be immortal. Welcome to Verbal Diorama.

Whether you're a brand-new listener, whether you're a regular returning listener, thank you for being here. Thank you for choosing to listen to this podcast.

I'm sorry I don't sound anything like Tony Todd, unfortunately, but I am happy to have you here for the history and legacy of Candyman. And as always, if you are a regular returning listener, thank you so much to you for continuing to listen and support this podcast.

It means so much to me to have you return back to this podcast. And with it being October, it was the traditional spooky season.

And whilst this episode was originally supposed to be coming out in September, it moved to October because I was a little bit poorly. And actually it feels like it fits October really well because this is a horror film, but it's not your typical horror film.

suggest that we all watch the: 1992

Basically telling you exactly how I feel up front. I love this movie. I think it's great. And really, this was just yet another evolution of the traditional slasher.

In the 70s, of course, we'd had Michael Myers in the 80s, Jason Voorhees and Freddy Krueger. And in the 90s, saying one word four times was enough to send a chill down your spine. Never, ever say it for the fifth time.

When I was young, I remember being with my friend, standing in front of a mirror and saying, Candyman. And we never, ever got to the fifth time because we were so genuinely scared that Candyman was real. And who knows, maybe Candyman is real.

But I'm never gonna find out because I'm never gonna say it in a mirror five times. Unfortunately, I'm gonna have to say Candyman more than five times during this episode.

I don't think the urban legend states that if you say it on a podcast, anything's gonna happen. But I guess we'll see at the end of this episode.

Candyman is a movie that if you're not certain what white privilege looks like, Helen Lyle is here to show us. Here's the trailer for Candyman. Have you ever heard of Candyman? If you look in the mirror, you say his name five times.

Em: 00:07:28

Helen Lyle, a graduate student at the University of Illinois at Chicago, is researching urban legends for her thesis.

She becomes fascinated by the legend of Candyman, a supernatural killer with a hook for a hand who appears when his name is said five times in a mirror. Helen's investigation leads her to Chicago's Cabrini Green housing project, where residents believe Candyman is responsible for a recent murder.

Despite warnings from locals, Helen continues her research, even going so far as to say Candyman's name five times. In a mirror herself.

Candyman begins appearing to Helen, claiming she has disrupted his legend by proving he doesn't exist and demanding that she become his victim to restore fear in his name. As bodies pile up around her, Helen is framed for the murders. Let's read the cast of this movie.

We have Virginia Madsen as Helen Lyle, Tony Todd as Candyman, Xander Berkley as Trevor Lyle, Vanessa Williams as Anne Marie McCoy, Casey Lemons as Bernadette Walsh, Dewan Guy as Jake and Gilbert Lewis as Detective Frank Valento. Candyman was written and directed by Bernard Rose and based on the Forbidden by Clive Barker. Now I want to start this episode with a disclaimer.

This is a movie very much rooted in the experience of black people, specifically black Americans. I am not black and unlike Helen, I understand the level of white privilege I have.

And so it's really important to me that this episode and its subject matter is treated with respect. So as a very white, very British person, I'm going to try my very best.

series Books of Blood between: 1984

sed, came out a year later in: 1986

The story follows Helen Buchanan, a university researcher studying graffiti and urban decay who becomes fascinated by the legends surrounding a particular housing development. Like in the film, she discovers stories about a supernatural figure who can be summoned by saying his name multiple times in mirror.

Now there are plenty of real world urban legends about beings that appear when you repeat their name.

Bloody Mary is probably the most famous, but this cinematic Candyman's origins are rooted in racial injustice, where the legend of Candyman serves as a reminder of the pain and suffering endured by generations of book Americans, and the council estate in Liverpool is moved to the Chicago suburbs of Cabrini Green.

But while a supernatural antagonist with a hook for a hand and a chest cavity full of bees might be stretching the realms of possibility, there is much to Candyman that is based on true stories, starting with the murder of 52 year old Ruthie Mae McCoy. Ruthie May didn't live in Cabrini Green. She lived at Grace Abbott, part of the Abla Homes development on the west side of Chicago.

April: 1987

The 911 operator contacted the police, summarizing the situation as a disturbance with a neighbor. But as Ruthie May had a history of mental illness, they ignored her pleas.

The police didn't arrive until two more 911 calls came through between 8:50 and 9:04pm about screaming and gunshots coming from her apartment. They tried to get into the property using the attendant's key, but it didn't work, so the police officers left.

The next Evening, neighbors called 911 asking for a welfare check on Ruthie May. But once again, officers couldn't get into the property and were advised not to break down the door the following evening.

So two nights after Ruthie May's first call, a Chicago Housing Authority official arrived with a carpenter who drilled the knockoff. Ruthie Mae McCoy was found dead, lying face down on her bedroom floor, shot four times. Ruthie Mae McCoy wasn't hallucinating and she wasn't crazy.

There were people coming through her bathroom wall.

The narrow passages between apartments allowed maintenance workers easy access, but they also became a popular way for burglars to break in by pushing the bathroom cabinet out of the wall. And just like Anne Marie mentions in the movie, not many people actually cared about Ruthie May. Only two newspapers ran the story.

One hypothesizing that she must have known her attackers as her door wasn't broken in, and the other focusing on the bathroom cabinet.

It wasn't until journalist Steve Bulgaria wrote a piece for the Reader, a free Chicago weekly called they Came in through the Bathroom Mirror, A Murder in the project that Ruthie May's story became more mainstream. It was Bagheera that uncovered the unfortified piece of wall between the apartment bathrooms was common knowledge among residents.

when they were built between: 1942

And they were offered to hardworking African American families who had migrated to Chicago for work and to escape the Jim Crow South.

With the African American population of Chicago growing half a million during that 20 year period in the second wave of the Great Migration, Cabrini Green wasn't the worst public authority housing estate in Chicago.

rs peaked at Cabrini Green in: 1992

But the problem was the vast majority of Chicago Housing Authority, in fact, probably all of it, let's be honest, was white. And racism fueled the neglect of Cabrini Green.

And while neighboring areas became prosperous and just like in Candyman, eventually gentrified, the Cabrini Green apartments started to get run down, covered in graffiti, with things like lights and lifts rarely in working order, and basic utilities often completely breaking down. The area became rife with crime, poverty, gangs and drugs.

Another of Candyman's crucial plot points, which is also true, is the history of violence against black men who form relationships with white women. His name isn't mentioned until the next movie, the sequel.

But Daniel Robitaille, the man who became Candyman, was a talented painter who was commissioned to paint the daughter of a wealthy white man.

They began a love affair, but upon discovering his daughter was pregnant by a black man, her father hires a gun to beat him, saw off his hand, replace it with a hook, cover him in hoodie, and let him die a painful death from repeated bee stings.

by a white mob in Chicago in: 1911

It wasn't until the: 1967

aptation of which came out in: 1987

ernard Rose, who had directed: 1988

And Barker gave Rose his blessing to make a movie based on the forbidden and also moved the story from a Liverpool council estate to Chicago.

Propaganda films, who were making Twin Peaks bought the idea on the spot and Rose pitched Chicago to set it in quite randomly, simply because it was A place he'd heard of, but he visited, and he saw firsthand the social deprivation of some of the areas of the city. He asked the Illinois Film Commission where the worst public housing estate in the city was, and they said without pausing, Cabrini Green.

The film commission would even refuse to visit the area without an armed police escort.

Their fear made Rose even more convinced that Chicago, specifically Cabrini Green, was the right location for his movie, and it would also be filmed partially on location, too, but more on that later. Babka originally described Candyman in the Forbidden as quote, he was bright to the point of goudiness.

His flesh was a waxy yellow, his thin lips are pale blue, his wild eyes are glittering as if their oluses are set within rubies. His jacket was patchwork and his trousers are the same.

It was Rose who pushed for an African American Candyman, a change from the yellow skinned character from Barker's story, believing that the story was more about belief and myth than race.

The civil rights organization NAACP was consulted as to the race of the character, and they expressed concerns over a movie with a black man that was to be feared.

But Rose argued that many people identify with horror villains and Candyman was never about killing for sport or fun, that he was a tragic hero with a tragic backstory, and that he had more in common with Dracula or Phantom of the Opera than Freddy Krueger.

Candyman has been both criticized and praised for its depictions of race, but Bernard Rose would at least earnestly attempt, despite being a white director, to do as much research as possible to ensure the movie's authenticity. He would regularly consult with the black actors in the cast to try not to impose racial stereotypes and make people well rounded.

Rhodes would credit professor and folklore scholar Jan Harald Brunvan's book the Vanishing Hitchhiker as a major inspiration to his script.

Brunvan's book explored the origins of several notable urban legends and has been widely credited with igniting America's obsession with the phenomenon.

Urban legends hadn't really been addressed in film at that point, and having someone studying the myths not from a sociological point of view, but from a semiotics point of view, not because it was in any way supernatural, but as a graduate student, someone like Helen Lyell would be curious enough to get involved, but also naive enough to think she was above the myth. Bernard Rose was taken to the real Cabrini Green for the first time in the company of full police escort.

But subsequent times he went alone and ended up befriending local resident Henrietta Thompson.

She lived in Cabrini Green with her two daughters, and she became the inspiration for the character of Anne Marie McCoy, a young single mother with an infant son who reluctantly helps Helen with her investigation, is wary of her, and then finds her baby boy has been kidnapped.

Thompson is credited on the movie as Consultant Chicago, and her involvement was important to show, via the character of Anne Marie, that good people do live in places like Cabrini Green. They are just regular people trying to be good providers and upright citizens, but who struggle against the odds to do so.

Through these meetings, Rose discovered the stories of the murders that had happened in the area and came upon the story of Ruthie Mae McCoy. Some of these articles ended up featuring in the film for Real during the scene where Helen begins researching the Candyman myth.

Another element that rang true to Lois was the fact that nearby Sandberg Village, the gentrified area Helen Lyle lives in, was architecturally identical to Cabrini Green, with the only difference being that the former was turned into condos while the latter became public housing, separated only by a Rhode. Rhodes wanted to make the film grounded in reality, and the whole racial subtext of the film came out of that.

Barker's original story was about politics and class differences. The racial element was added to it by the specificity of the location change to Chicago.

It was an edge to the story that could never have been tackled by keeping the story set in Barker's native Liverpool. And to Barker's credit, he agreed with that. Virginia Madsen was born and grew up in Chicago.

She studied at the Ted Lis Acting School in the city, so she was all too aware of Cabrini Green growing up. She never ventured into Cabrini Green and acknowledged the terrible history of the area.

She was mostly known for playing femme fatales in the 80s, and she was good friends with Bernard Rose and his wife and originally was cast in the role of Bernadette, with the main role of Helen going to the director's wife, Alexandra Pigg. Then Rose rewrote the role of Bernadette to make her a black woman.

So Madsen lost the part shortly after, Alexandra Pig became pregnant and could no longer play Helen. And so Madsen was contacted to offer her the role of Helen with the blessing of her friend.

Apparently Sandra Bullock also auditioned for the role of Madsen, almost didn't take it due to the bees and being allergic, but steps were put in place to ensure her safety and I am going to come back to the bees later.

o on to direct eve's bayou in: 1997

This was debunked in an interview with Bernard Rose, who stated that if Eddie Murphy wanted to be Candyman, he would have been Candyman because he was Eddie Murphy at the height of his career. Rose has always suggested that Tony Todd was the first and only choice for the role.

y just recently at the end of: 2024

Todd would embody Candyman, and in a vast career with over 200 appearances, including in horror franchises like Wishmaster and Final Destination, Candyman would be the one he was most fondly and vividly remembered for. And with his 6 foot 5 frame, he was physically imposing, but apparently one of the loveliest, kindest men in the industry.

And Bernard Rose would take cues from the Orson Welles classic the Third man in intentionally holding back on the introduction of Tony Todd's Candyman.

Virginia Madsen and Tony Todd, they obviously became very good friends and they were fully involved in researching their roles, building backstories for their characters connection, and that included taking a trip to Cabrini Green with the support of plainclothes police officers. Originally, the Candyman was going to be more supernatural with a machine controlled fake arm, but the movements of the arm were too strict.

It was special makeup effects artist Bob Kinion who came up with the idea for Candyman to have a hook. Tony Todd was encouraged to create his own backstory for the character.

ion of a rich Black family in: 1870

Granville demands that Helen pose in the nude as Venus, and her shock soon turns to love. Their forbidden interracial affair brings the city's wrath down on Granville, cutting his right painting hand off with a rusty blade.

The lynch knob then covers his naked body with honey, cheering as he's stunned to death by bees. This is not the canonical backstory of the character. The canonical backstory is covered instead in the sequel.

But this is quite interesting because this is Tony Todd fully immersed in the character and Trying to bring that history and that love for the character of Helen to the forefront. And as I mentioned, this was a movie that was filmed partially on location.

And in order to film at Cabrini Green, a deal had to be made with the ruling gang members to ensure the cast and crew's safety. And many of these gang members would end up as background extras in the movie.

They filmed in the area for about a week, with all the apartment exteriors, hallway, stairway and outdoor sequences filmed at Cabrini Green, with other scenes shot at the University of Illinois Penn Central freight yards and Helen's apartment building at North Sandburg Terrace. The rest of the movie was shot at Occidental Studios in Los Angeles. And yes, they used real bees, thousands of upon thousands of them.

And for that we thank Norman Gary, who had previously been the bee wrangler on the Savage Bees, My Girl and Fried Green Tomatoes at the Whistlestop Cafe. He had developed a synthesized queen bee pheromone and supplied More than 200,000 honeybees for the movie.

Bees tend to sting, though, especially if they feel threatened. Most of the crew wore protected bodysuits during the bee filming scene. But everyone still got stung at least once.

Tony Todd cleverly negotiated a bonus of $1,000 for every bee sting he received. $23,000 seems like decent enough compensation for 23 bee stings.

To achieve the effect of a toilet bowl filled with bees, a queen bee scent was applied by Norman Gary to the inside of the bowl.

The bees were released from the hive into the toilet and and Vaseline was applied to the upper inside of the bowl to prevent the bees crawling up out of the lid.

After the scene was filmed, the bees were collected with a soft, gentle vacuum and returned to the hive for a scene in which bees fill Candyman's chest cavity. The bees were placed in a special body appliance which was filled off stage and then strapped to Tony Todd.

And of course, the utmost care was taken to always be gentle with the bees, placing them properly and then collecting them afterwards. But of course, everyone remembers this movie for one thing, really, and that is the climax where Candyman has bees in his mouth.

Tony Todd really had bees in his mouth and used a dental dam to avoid stings and the bees going down his throat. These bees were very special. They were freshly hatched, non stinging and non flying bees. They were baby bees.

There were 500 of them that transferred from Tony Todd's face to Virginia Madsen's face, who, as I mentioned, was allergic to bees.

She would go through a period of hypnosis before filming the key Candyman scene to appear almost trance like rather than the traditional screaming horror girl. It would take half an hour for all the bees to transfer into Tony Todd's mouth, which was used with the synthesized queen bee pheromone.

Before filming even started, Todd went to see the bees in their hive, in their trainer, because, of course, the bees had their own trainer and met them and found the experience reassuring. Toby Todd, to me, has always come across as the absolute gentleman in the true sense of the word, a gentle man.

Virginia Madsen would say working with him was incredible, that he was protective, poetic, handsome and gentle giant. And I believe all of the things that people say about him.

Candyman scared the bejesus out of me when I was a kid, but I fully believe that Tony Todd was the complete opposite. But anyway, he had to transfer these bees onto Virginia Madsen and she had to have tests to find out the extent of her allergies.

And it turned out she was more allergic to wasps than bees. But paramedics were on hand just in case, and she had to lie there and let Todd transfer the bees onto her.

It would take 45 minutes after the scene stopped filming for the bees to be collected and put back into their hive.

demolition site and involved: 1500

The largest section was 70ft wide and 30ft high, and Todd and Madsen shot the interior scenes off the fire themselves with stunt doubles doing the most dangerous stuff. It was done under a special structure that could deal with the intense heat and not cave in.

But speaking of hotness, it's time for the obligatory Keanu reference of this episode.

And if you don't know what that is, it's where I try and link the movie that I'm featuring with Keanu Reeves for no reason other than he is still the best of men, even though he very recently got married. Still the best of men, and I wish him and his new wife all the best.

I'm only a little bit jealous that he didn't marry me, but I'm sure that Alexandra is his absolute queen. And so, despite him now being a married man, I'm still going to continue with the obligature Keanu references.

ne because Keanu starred in a: 2001

So it was shot on a public housing project, one of the ABLA Housing Authority projects on the near west side of Chicago. Almost half of the film was shot on location on the housing project.

I quickly want to talk about the music of Candyman because the music is so important to the general atmosphere of this movie and it's such an understated score, but I think it works so well because it's so understated. And Bernard Rose was a huge fan of Koya Nitsqatsi, which I probably just butchered the pronunciation of. And who did the score for that movie?

A guy called Philip Glass. So Bernard Rose hired Philip Glass, based on his score for that movie for him to write the score for Candyman.

And he wrote a suite for the movie with just an organ, a choir and a piano.

After seeing an early cut, Bernard Rose then cut the film to the suite and the music has become such a classic that Glass still sees residuals every year from copies of the score.

th of September: 1992

October: 1992

Just three days before Candyman's release, seven year old Dantrell Davis was walking to school with his mother in Cabrini Green and was killed by a stray bullet. The shooter was identified as local gang member Anthony Garrett, who intended to kill a rival gang member.

Garrett was convicted of first degree murder for Davis's death and received a 100 year sentence. And Dantrell Davis' death led to the first street gang truce in Cabrini Green, which lasted for three years on its $8 million budget.

Which by the way, can we just say that all $8 million is right there on screen? Candyman grossed $25.8 million. Enough for a couple of sequels, you could say. Unlocking tomatoes.

Candyman has a rating of 79% with a consensus reading.

Though it ultimately sacrifices some mystery in the name of gory thrills, Candyman is a nuanced, effectively chilling tale that benefits from an interesting premise and some fine performances.

But as I mentioned, it has been praised, but it also has been criticized and several black directors expressed their own issues with the movie's central themes of race. Reginald Hoodlig, who directed Boomerang and House Party, he would go on to work on Django Unchained, called it worrisome.

Carl Franklin said the decision to make Candyman black and move the story to Cabrini Green was, quote, irresponsible and racist for casting a black man in the role of a killer. Candyman was nominated for six Fangoria Chainsaw Awards winning Best Actress for Virginia Madsen.

It was also nominated for four Saturn Awards with Virginia Madsen winning Best Actress yet again.

Bernard Rose's original idea for a sequel to Candyman was more of a prequel around the love story between Candyman and Helen, and this was turned down by the studio due to the interracial relationship at the core.

lone sequels were released in: 1995

as Anne Marie McCoy. Candyman: 2021

I haven't seen it, but I want to, mostly because the idea of this story and this character in the films of a black producer and director written by Jordan Peele, Nia DaCosta and Wynne Rosenfeld seems to me to be the ideal way to tell this story in a more direct and thoughtful manner. But I've not seen it.

le I do believe that Candyman: 1992

And no disrespect to Bernard Rose who took this material and rather than whitewash, it actually did attempt to make a thoughtful and interesting story about the black experience in America. We do need to hear black stories told by black writers and black directors and black actors and black creators.

Bernard Rose wanted to set this story in America. He wanted to change Candyman's race.

He wanted to talk about the social segregation and degradation of inner city America, even filming the titles over the very roads that separated the white wealthy neighborhoods from the poorer black neighborhoods.

And we have to give credit where credit's due to Bernard Rose for trying to tell this story, at the very least, really, this film lives and dies, no pun intended, on its central relationship and the portrayals of Candyman and Helen. Tony Todd's voice is remarkable. There's so much fear, so much pain, so much respect, and let's be honest, it's dripping with sex.

Candyman was intended to be a romantic villain, and in so many ways he is. Tony Todd deeply wanted to create something important. Not a caricature, but a character deeply rooted in the history of slavery in America.

A free man who is murdered for simply loving the wrong woman. Todd trusted Bernard Rose and Rose trusted Tony Todd to bring the character to life.

Todd would say he considered this movie a direct descendant of jazz and blues from the slavery fields of the Mississippi Delta. Anyone who saw Sinners is immediately taken back to a time when being black and free didn't mean you were safe and able to live a free life.

I can't say enough great things about Tony Todd. He knew how important this character was and would be.

And while not everyone agrees with the legacy of this movie, I think we can all agree that we're better off with it than without it. Virginia Madsen holds this movie together. Helen is, in many ways an abhorrent character.

Only a white woman would smirk at the idea of how much the black community fears the Candyman. Only a white woman would say the name five times and genuinely believe she was safe.

No black person, including her best friend Bernadette, is willing to do the things Helen does.

Helen goes to Cabrini Green, takes photos of an apartment a woman died in, damages the bathroom of an adjoining apartment, to go in and take more photos. Like a tourist at the Eiffel Tower, she barges her way into Ann Marie's apartment.

A young woman who lives in fear and just wants to raise her son in a safe environment. This is a movie that addresses the racial divide in so many ways, but none so much.

When Helen is attacked in a bathroom by a man claiming to be Candyman, she identifies him in a lineup and he finally gets put behind bars. She says, and I'm paraphrasing, stuff's been happening to the community for years, and no one cared till a white woman showed up and got attacked.

This movie wears its white privilege loud and proud, and all the black characters know it. Bernadette knows it, Anne Marie knows it. Even young Jake knows it. Helen wants to be the white savior, but she actually just makes everything worse.

The only time she doesn't is when she saves baby Anthony. In that moment, dying with Candyman could have been the easy way out. But she had to save the baby.

And this then added to her story and her mythology and her legend, because this is all about myths and legend. They may have killed the Candyman, but Helen now has her own vengeance to reenact. This movie has its flaws.

Most of Candyman's victims were black people, and Helen. And Lyle is an almost stereotypical wannabe white savior who could be insufferable. But Virginia Madsen gives her a degree of warmth and sincerity.

It's Helen's denial of Candyman's existence that draws him out. Urban legends are no longer legends if they're forgotten.

But this is an often beautiful movie with stunning cinematography, beautiful lighting, especially around Virginia Madsen's face and eyes. And the graffiti becoming a character in its own right.

limax. It's just so great. In: 1992

And even rarer for such a film to draw its power from the real life historical horrors of slavery and lynching. Horror, especially slasher horror, has always been a traditionally white dominated genre.

Candyman gave us one of the few black horror icons in popular culture. Not a black horror villain, because he's way more complex than that, a black horror icon.

There's also the reading of this movie that Candyman was just a figment of Helen's imagination and that she went mad and committed all those murders, stole the baby and then had a change of heart at the end. It was always you, Helen. Could be Candyman claiming his love for her was eternal, but it could also be read as it was always you, Helen.

It was always Helen committing these murders. The mirrors throughout are just reflecting her instinct back at her. Because of course, mirrors are everywhere in this movie.

Candyman is America's racist past coming back to haunted. But it also comments on America's racist present and future.

This movie came out mere months after the Rodney King riots where four NAPD officers were acquitted of brutally beating Rodney King. A test screening of Candyman during that time was cancelled due to those riots. Candyman is a perpetrator and a victim, monstrous and sympathetic.

But fundamentally, he was a product of his own treatment.

A black man whose only crime was loving a white woman and was killed by a gang of white men who scattered his ashes across the site that would become Cabrini Green. And so his legend curses the area. Great horror isn't just blood and guts. Great horror is reflecting the horrors of reality back at us.

We are responsible for the monsters we create through intolerance and hatred. Sweets to the sweet. Thank you for listening.

As always, I would love to hear your thoughts on Candyman and thank you for your continued support of this podcast. If you want to get involved and you want to help this podcast grow and reach more people, that would be amazing easy ways to do that.

You could tell your friends and family about this podcast or about this episode. You can leave a rating or review wherever you found this podcast.

You can find me and follow me @VerbalDiorama across social media where you can like post, comment on posts, share posts, DM me, whatever you want to do. It all helps with visibility. And you're getting in touch with me too. Yay. If you like this episode of Candyman, be my victim.

And also listen to the episode that I did on Hellraiser, which as I mentioned is episode 228 of this podcast. I really love Hellraiser. They would be a great double pairing, especially if you are planning to watch some horror over Halloween.

Maybe a little bit of Candyman, maybe a little bit of Hellraiser.

ally went meta with Scream in: 1996

It features a very different version of Freddy Krueger that was appearing in the Elm street sequels at the time. This was intentional, but I think it's quite underrated actually in the Nightmare on Elm street canon.

So please join me next episode for Wes Craven's New Nightmare.

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Em: 00:47:57

Bye.