Ethel flies into one of her hallmark fits of rage and comes at Grandma with the knife, brutally murdering her. Even so, her cold dead hands refuse to give up the key to the cabinet. Ethel hacks at the hand until the key has been liberated, and celebrates with a snack.
The next morning, Ethel drags Grandma's body into her bedroom and locks the door. Clean-up masterfully exectuted, Ethel calls the local store and orders groceries, promising that she will pay the full $80 owed on their account. However, when the delivery boy shows up with her groceries, Ethel can only produce $4.50. So, she does the next rational thing and hits the delivery boy over the head with a bottle, then stabs him with the broken neck.
Seriously bad timing, though- it's at this exact moment that Ethel's sister Rosalie, hoping to crash at Grandma's again, starts ringing the doorbell. Ethel cleans up as quickly as possible and then lets Rosalie in, claiming that Grandma has gone to visit someone out of town. Rosalie announces she is going to stay for a while, and then steps out for the evening, returning with a man who is obviously her trick.
Ethel tries but fails to dig a hole in the backyard to dispose of her growing body collection. She settles on putting an air freshener in Grandma's room. Meanwhile, Roslie's sleazy, abusive ex, John, worms his way back into her heart and her bed.
When Ethel's doctor comes by to ask why she's missed her electroshock appointments, she kills him, too. Into grandma's room he goes! Life goes on as normal- Ethel eats food, John snorts blow off Grandma's fine china, and Rosalie turns tricks. A policeman shows up asking about the grocery delivery boy, who has been reported missing, but Ethel claims she paid him in full and sent him on his way.
Grandma's room is getting crowded- but Ethel's far from done. When they begin to question the terrible odor coming from Grandma's room, Ethel finally snaps and kills both John and Rosalie with a butcher's cleaver. However, she is kind enough to leave them in Rosalie's room and not force them into Grandma's room.
Ethel wakes the next morning between the corpses of John and Rosalie, laughing maniacally while having visions of blood, destruction, and death. Her reverie is disturbed, however, by the appearance of Rosalie's trick, who demands to see her. Yup, into Grandma's room he goes.
A second visit from the policeman has Ethel sweating a bit, so she beings to foray into corpse disposal, beginning with Grandma. Taking her in a sack down the front steps and into the trunk of the car, Ethel drives out to a coastal turnout which looks appropriately steep and perilous. However, every time Ethel tries to throw Grandma over the cliff, another car approaches and she rushes to conceal the body once again. Finally, a family pulls into the pullout and begins posing for a picture. Defeated, Ethel leaves.
Returning home, Ethel strenuously pulls the sack containing Grandma's body up the front steps while a nosy neighbor observes. Not content to watch from her front steps, the neighbor takes a few steps around Ethel's car and screams upon seeing a human hand lying on the ground. Naturally, the police are called, and the officer who had previously questioned Ethel regarding the delivery boy's disappearance arrives at her house for a third time. He cautiously makes his way upstairs, following the horrible smell, until he reaches Grandma's door. He steps in and sees Ethel, surrounded by bodies, blood smeared on her face, with her grandmother's partially-eaten corpse clutched in her hands.
Of course, central to the story is Ethel's home. It is the opening shot and where nearly all of the action unfolds. The green Victorian sits at 1924 Pine Street between Laguna and Octavia Streets. As you can see, both plant life and human development have expanded over the years, and contemporary apartment buildings now stand in for the vacant lot and gas station across from Ethel's house. One of Ethel's neighbors has since built a garage; another has since torn one down.
As with any post featuring private residences, please be respectful of residents and do not disturb them with your sightseeing!
Authenticity: 10/10- It's hard not to be authentic when you're making a super low-budget film. The streets are your sets and passers-by are your extras.
Nilla wafers: A half-full box, remaining wafers are all stale.
Overall: 5/10- Its saving grace is that it's clearly a labor of love. Well, that and the fact that it's only an hour long.