An evil hyponotist/ventriloquist plots to gain a heiress' millions.
Source: IMDB
Source: IMDB
Category
🎥
Short filmTranscript
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00:03:20And you sympathize.
00:03:45Of all the newsworthy stories around London,
00:03:47I got to get stuck with a great Varelli.
00:03:50He must have something.
00:03:52Yeah, well, we'll soon find out.
00:03:55You got that expert on mesmerism all set, that Dr., uh, Heller?
00:03:59Oh, I spoke to him earlier.
00:04:01He said he'd find his own way through theatre tonight.
00:04:03He doesn't want to see you.
00:04:05He said he couldn't bear to meet a journalist in the evening.
00:04:08But, uh, he'll call by the office tomorrow morning at 10.30
00:04:10to give you his opinion of Mr. Varelli.
00:04:13He's a bit independent, isn't he?
00:04:14Does he know we're paying him for his services?
00:04:16I don't think he's the least bit interested in the money.
00:04:18Yeah, these retired experts, they don't care about the money,
00:04:21and so they tell you.
00:04:23Well, make a note so I won't forget to be available
00:04:26for Mr. Heller at 10.30 tomorrow.
00:04:29And what else?
00:04:30What about the girl who's going to volunteer?
00:04:32I'm sorry, Mark, I forgot to tell you.
00:04:34The one we picked, she won't do it.
00:04:36She's afraid.
00:04:37Afraid of what?
00:04:38She's afraid of Varelli doing things to our mind.
00:04:43Well, get someone else.
00:04:45It'll be difficult once they don't notice.
00:04:49Yeah.
00:05:09Oh, hello. Can I speak to Marianne, please?
00:05:16Hello. Hello, Marianne?
00:05:20How are you?
00:05:21Yeah.
00:05:22Marianne, how would you like to go to the theater tonight?
00:05:32Ladies and gentlemen, I'm going to suggest to this man
00:05:36that his life is in danger,
00:05:38that he may die at any moment.
00:05:42Mr. Harrison, look into my eyes.
00:05:53Mr. Harrison, you told me that in China
00:05:57you once saw a man executed in the streets.
00:06:03I want you to imagine that you are in his hands.
00:06:08I want you to imagine that you are in his place.
00:06:13That you are on your knees.
00:06:18On your knees.
00:06:21On your knees.
00:06:37You're about to be executed by a soldier
00:06:40who put a single bullet through the back of your head.
00:06:45You are alone.
00:06:47You look up and see the faces of the crowd.
00:06:50In moments, they will move away,
00:06:52leaving you dead on the pavement.
00:06:56You turn and see the soldier standing behind you,
00:07:00his face grim, his gun ready for firing.
00:07:07You are moments from death.
00:07:10The weight of the sound of the gun
00:07:14and the pain of the bullet crashing into your head.
00:07:21You wait for the sound of the gun
00:07:25and the pain of the bullet smashing into your head.
00:07:50Now, ladies and gentlemen, I should like another volunteer.
00:07:53Anyone?
00:07:59Perhaps the young lady in the seventh row?
00:08:03Anyone at all?
00:08:10Go on.
00:08:11Mark, I really don't... I don't think so.
00:08:13Come on, you're putting on an act.
00:08:16Go on.
00:08:17Mark, I really don't... I don't think so.
00:08:19Come on, you promised.
00:08:21All right.
00:08:45Well, this is very kind of you.
00:08:47But do you mind telling me your name?
00:08:50Marianne Horne.
00:08:53Are you frightened, Miss Horne?
00:08:55No, I don't think so.
00:08:58Are you by any chance a professional entertainer?
00:09:01No, no.
00:09:02I didn't think so.
00:09:04You seem like a very shy girl.
00:09:07Oh, well, Miss Horne, do you dance?
00:09:11Well, as everyone does.
00:09:14Ballet?
00:09:15Oh, no. Not since a few lessons as a child.
00:09:18I see.
00:09:19Now, Miss Horne,
00:09:21don't be frightened.
00:09:23Just look into my eyes.
00:09:29That's right.
00:09:46Ladies and gentlemen,
00:09:47we have with us tonight an expert on modern dancing.
00:09:50He will dance with Miss Horne,
00:09:52and I guarantee you that she will dance as well as the expert.
00:09:57Miss Horne,
00:09:59in a few moments you'll be hearing some music.
00:10:02When the music begins,
00:10:04you will become a dancer.
00:11:51You are again Miss Marianne Horne.
00:11:54But a magnificent dancer has been lost.
00:12:03Thank you, ladies and gentlemen,
00:12:04for your very kind attention.
00:12:06Magda, if you please.
00:12:10What happened to you?
00:12:12I don't know.
00:12:13Why did you learn to dance like that?
00:12:15Mark, I don't know.
00:12:17And now, ladies and gentlemen,
00:12:19I should like to introduce my esteemed collaborator,
00:12:22Hugo.
00:12:24Now, to look at him,
00:12:25you might think he was just another ordinary ventriloquist dummy.
00:12:29Indeed he is.
00:12:31But he has unexpected talents.
00:12:48Well, Hugo,
00:12:50what are you going to do to amuse the audience tonight?
00:12:52Anything you say, my dear Vareli.
00:12:55Except that kind of thing.
00:12:57Why? What do you mean by that?
00:12:59Simply that you are laughing while I am talking.
00:13:02Well, what's wrong with that?
00:13:04Oh, it's an old ventriloquist trick.
00:13:07They're all doing it now. It's corny.
00:13:10Perhaps we can show the audience a variation on the theme.
00:13:15Give me some wine. I want some wine.
00:13:18A dummy? Drinking wine?
00:13:21Don't be ridiculous.
00:13:24I want some. Give it to me.
00:13:26I know what wine is. I've had wine before.
00:13:29I want some wine. Why shouldn't I have some wine?
00:13:34You are a dummy, Hugo.
00:13:45Oh, was that so corny?
00:13:48Listen to the audience applaud.
00:13:54They're not applauding you. They're applauding me.
00:13:58Yes, me, Hugo, the dummy.
00:14:05Well, if it's for you,
00:14:07you must go and thank the audience.
00:14:10Well, if it's for you,
00:14:12you must go and thank the audience, mustn't you?
00:14:16Go to the footlights and thank them.
00:14:22You must obey me.
00:14:25Hugo, walk to the footlights and thank them.
00:15:06Return to your master.
00:15:50Do you know who that girl was?
00:15:52The one you were seducing mentally.
00:15:54Miss Horne. Miss Marion Horne.
00:15:58One of the richest girls in all England.
00:16:01Her aunt is giving a charity ball Saturday night.
00:16:04I think I'll just ring up and offer my talents for charity.
00:16:27What did you say?
00:16:31Nothing. Why?
00:16:32Oh, I thought I heard you call my name.
00:16:36You must be hearing things.
00:16:39You know, I gotta hand it to that Varelli.
00:16:41His act's certainly different.
00:16:43That dummy is fascinating.
00:16:48He frightens me.
00:16:50He really does seem to have some unusual powers.
00:16:54Yeah, for once head office came up with a good idea on this Varelli.
00:16:58I still think he's a phony, but he's a damn good one.
00:17:10I'd certainly like to get a chance to examine that dummy.
00:17:14There, there, you can help me.
00:17:17Oh, can I now?
00:17:19That's just what you think.
00:17:21Oh, I've had enough, thank you.
00:17:23Come on, please.
00:17:25What can I do?
00:17:27Well, as your aunt is holding her annual charity ball,
00:17:29all you gotta do is go and see the great Varelli and invite him to come.
00:17:34I know he will. I saw the way he eyed you when you walked up on that stage.
00:17:39Besides, your aunt would love it, you know it.
00:17:42Give me a chance to get a good close look at that doll.
00:17:47Because you will invite him to stay the night.
00:17:50It's the only way I can get a chance to examine it.
00:17:53With all the press clippings on Varelli, no one's ever near that doll.
00:17:57He won't let anyone see it or touch it unless he's using it.
00:18:00How about it?
00:18:04Well, you know he's very attractive.
00:18:07I might just be attracted to him.
00:18:10Well, I'll take that chance.
00:18:13How about it?
00:18:16All right.
00:18:18The things I do for you.
00:18:33The things I do for you.
00:19:03Yeah, he's too good.
00:19:06That Varelli is just too good.
00:19:09He must have some kind of gimmick.
00:19:11It's the work of a highly trained hypnotist.
00:19:14The art of hypnosis has advanced a great deal since the days of Mesmer.
00:19:18How do you account for that dummy walking?
00:19:20Well, I think if you were to examine the dummy,
00:19:23you would find it a bag of mechanical tricks.
00:19:25The tension between Varelli and that dummy.
00:19:28It was there, everywhere.
00:19:30The tension between Varelli and that dummy.
00:19:32It was there, everybody felt it.
00:19:34Mass hypnosis, Mr. English.
00:19:36It's as real as individual hypnosis.
00:19:38What we saw was a dramatical production.
00:19:41I'm telling you, a succession of theatrical tricks.
00:19:49You know how important this is to you.
00:19:52It could be important to you, too.
00:19:55It's like discrepancy and jealousy.
00:19:58If you keep on this way, you know what will happen to you.
00:20:07You may go in now.
00:20:19I am very pleased that we meet again, Miss Hall.
00:20:22Oh, I didn't even know if you'd remember me.
00:20:26No, and no, I did not forget you.
00:20:32But I came to ask you for a favor.
00:20:35To come to your aunt's charity ball.
00:20:37Yes, but how did you guess?
00:20:40Very prosaic, I'm afraid.
00:20:42I read in the newspaper that your aunt was giving a charity ball.
00:20:47I'm afraid you're right.
00:20:56Will you join me?
00:20:57What is it?
00:20:59A wine.
00:21:01From Sicily.
00:21:03Rather sweet, but very good at this hour.
00:21:06I always have it.
00:21:08It's called Sangue de la Virgine.
00:21:12Blood of the Virgin.
00:21:16Smell it.
00:21:17It has a lovely bouquet.
00:21:21It's rather early for a drink.
00:21:23But this is an occasion to the charity ball.
00:21:29You mean you will come?
00:21:31If you want me.
00:21:32Oh, indeed we do.
00:21:34This is marvelous.
00:21:36I really didn't expect that I could walk in here and you'd accept the invitation just like that.
00:21:42Oh, but you do know it's for charity.
00:21:45Your fee...
00:21:46Will be nothing.
00:21:48My aunt will be so pleased.
00:21:50I don't know how to thank you.
00:21:52I shall be delighted.
00:21:54Oh, but you haven't finished your drink.
00:22:02It's rather sweet.
00:22:07Look into it.
00:22:10So deep and rich.
00:22:13And red and warm.
00:22:16Deep, rich, red.
00:22:22Warm.
00:22:30You will come, then?
00:22:31If you want me.
00:22:33Saturday, then.
00:22:34After your performance here, we'll send a car.
00:22:52Huh?
00:23:02Aunt Eva, this is your fourth drink.
00:23:05No, dear, it's my fifth.
00:23:10What?
00:23:22Enjoying yourself, darling?
00:23:24You're looking lovely.
00:23:28Mark.
00:23:29Hello.
00:23:30Mark, you're absolutely marvelous.
00:23:33You're doing everything beautifully.
00:23:36You know, we've never had enough publicity.
00:23:39Now, remember...
00:23:40Maria.
00:23:43Maria.
00:23:46She adores it.
00:23:48Don't worry, I will.
00:23:49Oh, dear, I must go and drink that drink for Lady Hampton.
00:23:59Hey.
00:24:00Hmm?
00:24:02Oh, nothing.
00:24:04Daydreaming, I suppose.
00:24:07Mark.
00:24:08I don't like it.
00:24:09No?
00:24:10Your aunt loves it.
00:24:11Hmm, she doesn't know what you're really here for.
00:24:14As long as I get the Borrelli story, what does it matter?
00:24:16Oh, it's just...
00:24:18I don't know.
00:24:20I wish I'd never seen him.
00:24:27Oh, Mark.
00:24:28When do I introduce Mr. Borrelli?
00:24:31Just about time now.
00:24:33Oh, dear.
00:24:38Come on, don't worry.
00:24:39Everything will be all right.
00:24:42Ladies and gentlemen, we have a great surprise for you tonight.
00:24:46Now, will everybody at the back please come forward.
00:24:52And then I'd like you to form a semicircle.
00:24:56I have much pleasure in presenting the great Borrelli and Hugo.
00:25:05Well, Hugo, I think you should sing a song for the audience.
00:25:08No.
00:25:09I am tired.
00:25:11Well, you're in a surly mood.
00:25:13I'm going to leave you alone.
00:25:15And when you're ready to perform, fine.
00:25:26In the meantime, if you'll excuse me, I would like something to eat.
00:25:30I've just come from the theater and I haven't had time.
00:25:35Oh, ham.
00:25:38I love it.
00:25:39You cannibal.
00:25:42Well, what would you have to eat, Hugo, to make you a cannibal?
00:25:45Sawdust.
00:25:46Don't I get anything to eat?
00:25:48I'm hungry.
00:25:50Whoever heard of a ventriloquist dummy eating?
00:25:53I can eat.
00:25:55I can eat like you can.
00:25:58You are not the only one who likes to eat.
00:26:00Don't be ridiculous.
00:26:03I'm hungry.
00:26:04I want something to eat.
00:26:06Now.
00:26:07You surely don't expect me to wait on you.
00:26:14No.
00:26:15But I do want to eat.
00:26:18Very well, then.
00:26:20Get up and get it yourself.
00:26:51Don't drink too much, Hugo.
00:26:54It might make the sawdust in your stomach swell.
00:26:58You're a dummy, Hugo.
00:27:00A common puppet.
00:27:13Hugo.
00:27:15Put down the knife.
00:27:18Put down the knife.
00:27:21I said, put it down.
00:27:34You know you frightened the ladies.
00:27:37You must apologize.
00:27:39Tell them you're sorry.
00:27:47I am sorry.
00:27:51Ladies and gentlemen.
00:27:54And me?
00:28:01I...
00:28:04Yes, say it.
00:28:07I am sorry.
00:28:12Must.
00:28:17Master.
00:28:31He went upstairs ten minutes ago.
00:28:33He should be back by now.
00:28:35When it does come down, I'm going up.
00:28:37I've got to have a look at that deli.
00:28:40It just isn't possible.
00:28:43It must have someone inside it.
00:28:45Not a small man or a boy.
00:28:47That's the only explanation.
00:28:49Other than that, it's mechanical.
00:28:50Darling, it's absolutely thrilling.
00:28:52Perfectly marvellous.
00:28:54Una meraviglia.
00:28:55Have you ever seen anything so marvellous, Monk?
00:28:58No, never.
00:29:02Excuse me.
00:29:04Congratulations.
00:29:08Mr. Borrelli, you were magnificent.
00:29:12What's your name, my dear?
00:29:15How do you do?
00:29:17It's a mystery to me, Countess.
00:29:20I think I should like a drink.
00:29:22Would you care to join me?
00:29:28What a wonderful performance.
00:30:12And when I call, you will come.
00:30:40Wherever you are, you will come.
00:30:44But until I call, you will be yourself.
00:30:50Your usual charming self.
00:30:55I must leave you now, my dear.
00:30:59Good night, beautiful little Marianne.
00:31:10Good night.
00:31:40Good night.
00:32:11Come to me.
00:32:14Remember.
00:32:16You promised to obey me.
00:32:20You must obey me.
00:32:41Come to me.
00:32:45Marianne.
00:32:48Marianne.
00:32:51Now.
00:33:01Marianne.
00:33:10Come to me.
00:33:15Marianne.
00:33:41You have come, my Marianne.
00:33:43You have obeyed me.
00:33:45But you do not know you are here.
00:33:48Tomorrow, you will remember nothing.
00:33:54I will remember nothing.
00:34:03You are very beautiful, my Marianne.
00:34:07You are very beautiful, my Marianne.
00:34:10You must learn to respond.
00:34:13Are you afraid of me?
00:34:15No.
00:34:17Then why do you resist me?
00:34:20You are not strong enough.
00:34:22My thoughts have already penetrated your mind.
00:34:27You see?
00:34:29I have only to think.
00:34:36I have only to think.
00:35:07Marianne.
00:35:28Help me.
00:35:31Find me.
00:35:33In Berlin.
00:35:361948.
00:35:41Find me.
00:35:44In Berlin.
00:35:46You go.
00:36:03You go.
00:36:27Good morning, Miss Gingrich.
00:36:31And how was your evening?
00:36:34That dummy talked to me last night.
00:36:36He came to my room.
00:36:39He came to your room? The dummy?
00:36:41That's right.
00:36:43And what did he say to you, Mark?
00:36:45I know, this is going to sound crazy.
00:36:47But he asked for help.
00:36:49He mentioned Berlin.
00:36:51Berlin, 1948.
00:36:54When did you start having these nightmares, Mark?
00:36:57Tell Dr. Lewis everything about it.
00:36:59It was not a nightmare.
00:37:00I saw and heard that dummy.
00:37:02It was as real as...
00:37:04You can't be serious.
00:37:06I am.
00:37:09Hello?
00:37:11That's for you, Mark.
00:37:14Hello.
00:37:15Oh, hello, Mark.
00:37:17Mark, Marianne is not feeling so well.
00:37:20The whole house is in a shambles after last night.
00:37:23I was wondering...
00:37:24I was wondering...
00:37:25I hoped you might come out here.
00:37:28What's happened?
00:37:30You know, Mark, the charity ball, the preparations, the excitement.
00:37:34Well, she's upset.
00:37:36I have to upset anyone.
00:37:38Is she all right?
00:37:39Well, Dr. Keisling, our family doctor, is here.
00:37:42He'd like to have a word with you.
00:37:45Hello?
00:37:47Mr. English?
00:37:48Yes, Doctor.
00:37:49There's nothing to be alarmed about, Mr. English.
00:37:51But I think it would be best if you were to see Marianne.
00:37:53Oh, what's wrong?
00:37:54Oh, nothing serious, but...
00:37:56I just think that you should be here.
00:37:59Well, it'll take me about two hours.
00:38:02Very well.
00:38:03I shall look forward to meeting you.
00:38:05Goodbye.
00:38:17I'm very glad that you were able to come so quickly.
00:38:23Goodbye.
00:38:44Yes.
00:38:48Yes.
00:38:50Yes.
00:38:51He seems to be in a state of semi-coma.
00:38:53With overtones of delirium.
00:38:58Make him stop, Mark.
00:39:01Marianne, darling.
00:39:11Make him stop, Mark.
00:39:13You can't make him stop.
00:39:15Darling, what is it?
00:39:17Yes.
00:39:19He's calling me, Mark.
00:39:23Please make him stop.
00:39:25Who?
00:39:26Please.
00:39:29Make him stop.
00:39:31You'd better rest.
00:39:33Perhaps if she sleeps, the fever will go.
00:39:37Make him stop.
00:39:47Mark.
00:40:01A very strange case.
00:40:04No, thank you.
00:40:06I was hoping your visit would have helped.
00:40:09Perhaps you've been hypnotized.
00:40:11I beg your pardon.
00:40:14Vareli.
00:40:16I don't understand.
00:40:18I'm sorry, Doctor.
00:40:19She's been put in a trance by a professional hypnotist.
00:40:21A man called Vareli.
00:40:23The great Vareli.
00:40:24Mr. Hinckley.
00:40:25In this day and age?
00:40:28But how? For what reason? Why?
00:40:30You said yourself you couldn't understand the symptoms.
00:40:33Your very words were, a strange case.
00:40:35Yes, we still have to make tests.
00:40:37Possibly some unknown virus.
00:40:41Do you know Dr. Heller, the expert on hypnosis and mesmerism?
00:40:45I once attended one of his lectures at the university.
00:40:48Very interesting theories.
00:40:50I'd like him to see, Marianne.
00:40:52Of course, if you feel it would help, I've got no objection.
00:40:55But in the meanwhile, we'll carry on the tests.
00:40:58Thank you, Doctor.
00:41:01You don't believe a word I'm saying, do you?
00:41:04Well, let us say that I will keep what you Americans call an open mind.
00:41:29You wanted to see me?
00:41:32It was a fine exhibition you put on out there tonight.
00:41:35I wasn't feeling well.
00:41:37I succeeded in ruining my entire performance.
00:41:40I couldn't help it. I'm not perfect.
00:41:43Perhaps the work is becoming too hard for you, Magda.
00:41:46You're not as young as you used to be.
00:41:48No, not as young as that little bitch who shakes her hips at you.
00:41:51Oh, don't talk nonsense.
00:41:53You went to her house.
00:41:55Did you have her?
00:41:57I suppose the stripper girl thinks she's in love with you now.
00:42:00You've always been a fool.
00:42:03Well, you did stay out with her all night, didn't you?
00:42:05Did you succeed?
00:42:07Tell me.
00:42:08Did she respond?
00:42:10Stop worrying. You worry about nothing.
00:42:13You told me it was just her money, but you won't fool me again.
00:42:17Oh, I know that look in your eyes.
00:42:19Money is very important.
00:42:22Look, I was with you when you had nothing, when I gave you money to eat.
00:42:26You've had it back with interest.
00:42:30Oh, if you think that you can just throw me away like that...
00:42:35Well, you're wrong.
00:42:36You imagine things, Magda.
00:42:38You must relax, be calm, be quiet.
00:42:42Oh, I know all about you.
00:42:44And if you think that you can get rid of me, just try.
00:42:47Because then I'll go and see your precious little Marion Hall and tell her a few things.
00:42:52Maybe even better, the police.
00:43:06And what will you tell her?
00:43:08That I love you?
00:43:10Oh, don't give me that.
00:43:12You're a foolish girl.
00:43:14We're both upset.
00:43:16I've told you many times that I loved you.
00:43:18You say anything.
00:43:20And how many times have I had my arms around you?
00:43:23And now you're getting tired of it.
00:43:25You're a woman.
00:43:27And very, very beautiful.
00:43:29Come.
00:43:31I think you need a little rest.
00:43:33No, I can't.
00:43:35I have some work to do.
00:43:38It will wait.
00:43:40Come.
00:44:03Come.
00:44:34Do you like a cup of coffee, Mark?
00:44:36Yeah, thanks.
00:44:44Hello, Dr. Heller.
00:44:45Hello.
00:44:49Hello, Miss D'English.
00:44:51Dr. D'English.
00:44:53Hello, Dr. D'English.
00:44:55Hello, Dr. D'English.
00:44:57Hello, Dr. D'English.
00:44:59Hello, Dr. D'English.
00:45:01Hello, Miss D'English.
00:45:03Oh, come in, Doctor.
00:45:04Louisa, how about that coffee?
00:45:06Yes, that'll be...
00:45:10Sit down.
00:45:13I've just seen Miss Huang.
00:45:15How is she?
00:45:16Well...
00:45:18She has slipped back into a semi-comatose state.
00:45:21Oh, by the way...
00:45:23I called Borrelli and talked to him.
00:45:25He confirmed my findings that Marianne has a subconscious fear of hypnosis.
00:45:31That's all his fault, isn't it?
00:45:33He can't be blamed.
00:45:35Marianne agreed to be hypnotized.
00:45:37Borrelli even offered to put her into another state of hypnosis and break the control again.
00:45:42But...
00:45:43It's too dangerous. Much too dangerous.
00:45:47We must find some other solution.
00:45:49But how?
00:45:52I'm not quite certain yet.
00:45:54In any case, it will take time.
00:45:57The mind is fragile.
00:46:00It has to be delicate...
00:46:02and patient.
00:46:05If there was something I could do...
00:46:07What should I do?
00:46:29Hugo...
00:46:31She said you were ugly.
00:46:37I'm sorry.
00:47:37I love you.
00:47:40I love you.
00:47:45I love you.
00:47:48I love you.
00:47:52I love you.
00:47:55I love you.
00:47:58I love you.
00:48:01I love you.
00:48:04I love you.
00:48:08I love you.
00:48:11I love you.
00:48:14I love you.
00:48:17I love you.
00:48:20I love you.
00:48:23I love you.
00:48:26I love you.
00:48:37I love you.
00:48:40I love you.
00:48:43I love you.
00:48:46I love you.
00:48:49I love you.
00:48:52I love you.
00:49:07I love you.
00:49:33Good morning, Mr. English.
00:49:35Let me go through to Mr. Stanton...
00:49:36Never mind that.
00:49:37Get me Bob Garrett on the phone in Berlin.
00:49:38The elusive Mr. Garrett.
00:49:40Try his hotel.
00:49:41If I know him, that's where he'll be.
00:49:43Hey, Mark.
00:49:44What's with the dawn patrol?
00:49:46Say, how's the action in England?
00:49:48Action?
00:49:49What action?
00:49:50What are you talking about?
00:49:51Limey broads, man.
00:49:52Limey broads.
00:49:53What else?
00:49:54Never mind that.
00:49:55I got a job for you.
00:49:56A what?
00:49:57Look, man, I'm sweating my guts out here.
00:49:59I'm at the typewriter right now...
00:50:00working like hell on the Berlin Wall article.
00:50:03Get the pencil and pad ready.
00:50:05Hold on a minute.
00:50:06Honey, let me have the pad and pencil.
00:50:13Thanks.
00:50:14Okay, Mark.
00:50:15Fill me in, fill me in.
00:50:17Magician.
00:50:18A hypnotist.
00:50:19By the name of the great Virelli.
00:50:20He used to work in Berlin.
00:50:21I want you to find out everything.
00:50:22Repeat, everything available on him.
00:50:24I want you to go way back.
00:50:26As far back as 1947.
00:50:27Want to know who he is, where he came from...
00:50:29and who he worked with.
00:50:30Check the police files, the hospitals...
00:50:32the birth records and the theaters.
00:50:34You got that?
00:50:35Slow down, Mark boy, slow down.
00:50:37How do you spell that?
00:50:39V-O-R-E-L-L-I.
00:50:42Virelli.
00:50:43Okay.
00:50:44Now get your tail out of bed and get to work.
00:50:46Wilco, Wilco.
00:50:48Stay cool and all that jazz.
00:50:50Hey, how did you know I was in bed?
00:50:52It figures, boy, it figures.
00:50:54Call me the moment you get something.
00:50:56Okay?
00:50:57So long, Bobby.
00:50:58Okay, you...
00:51:03Virelli's assistant was found dead.
00:51:05Listen to this.
00:51:06Miss Cardenas was last seen alive by Carlos Santi...
00:51:09the stage dresser at 745 last night.
00:51:11He returned to Awakener for the evening performance at 810...
00:51:14and he found her dead.
00:51:15Mr. Jack Walton, the manager of the theater...
00:51:17has stated that Mr. Virelli was in his office...
00:51:20where he was talking with British customs officials...
00:51:22concerning passport and clearance papers...
00:51:24for a pending trip to Spain.
00:51:26The customs officials have verified Mr. Walton's statement.
00:51:29They were interrupted by shouts from Carlos Santi...
00:51:31who had just found the body.
00:51:33Now, here's the gem. Listen.
00:51:35Mr. Virelli said, quote...
00:51:37The poor girl had not an enemy in the world...
00:51:39the most shocking crime.
00:51:41I hope the police will persevere, find the murderer...
00:51:43and see that justice is done.
00:51:45I will miss her very much indeed.
00:51:49Great Virelli with an airtight alibi.
00:51:52You know what I think?
00:51:55I think he killed her.
00:51:57Somehow he killed her.
00:52:01Let's see what Bob Garrett digs up in Berlin.
00:52:27Nothing we've done so far has helped.
00:52:30The new drug from America seems to have a tranquilizing effect.
00:52:34That is something.
00:52:35Mr. Virelli called again today.
00:52:37He seemed very concerned about Mary Ann.
00:52:39Yes, he calls regularly.
00:52:41Very nice chap.
00:52:45Doctor, I think you should come up and see Miss Hall.
00:52:48She's still delirious.
00:52:50I was afraid of that.
00:53:26Another injection, nurse.
00:53:59Phone call for you, Mark. Your office.
00:54:04How is she?
00:54:28Hello, Louisa. Yes, what is it?
00:54:33He's on to something. What does that mean?
00:54:37Is that all he told you?
00:54:41Louisa, get me a ticket on the next plane to Berlin.
00:54:43Call Garrett and have him meet me at the airport.
00:54:45Have him reserve me a room with the Hilton.
00:54:48Now I don't know how long I'll be there.
00:54:51Mary Ann.
00:54:53Mary Ann.
00:54:56Yes.
00:54:58Yes, it's coming now.
00:55:22Oh, Grace.
00:55:26Grace, you look very pretty.
00:55:38Do you think you know the routine well enough?
00:55:41Yes, sir.
00:55:43Poor Max.
00:55:45I shall miss her in many ways.
00:55:48Poor Max.
00:55:50I shall miss her in many ways.
00:55:52You will go on in her place tonight.
00:55:54Thank you, sir.
00:55:56You may go now, Grace.
00:55:58I shall try not to disappoint you, Mr. Faraday.
00:56:01I'm sure you won't, my dear.
00:56:18I'm sure you won't, my dear.
00:56:45Well, where do we start?
00:56:47Relax, Mark. Relax.
00:56:49I'll tell you all about it.
00:56:51In 1947, Borrelli was just breaking into vaudeville.
00:56:54But before that, he was a doctor.
00:56:56A doctor?
00:56:58The way I get it, after he got his degree, he refused to practice.
00:57:01He became a fanatic on the mysteries of the East,
00:57:03even when out there to study.
00:57:05Where?
00:57:06Egypt, India, Burma.
00:57:08And we suspect an entire year with the lamas in Tibet,
00:57:11always studying the same thing.
00:57:13Hypnosis?
00:57:15No, not exactly.
00:57:17It's more like he believed that you could separate man from his soul.
00:57:21It's really hard to pin down, Mark.
00:57:23What about the vaudeville act?
00:57:25In December 1947, he was kicked out of the medical society.
00:57:28I haven't had a chance to check up on the reasons yet,
00:57:30but anyway, he was kicked out.
00:57:32The next anybody saw of him is when he showed up in vaudeville.
00:57:35He had this act with a boy and girl,
00:57:37hypnotism and all that jazz.
00:57:39He'd put them under, and they'd do things.
00:57:41One of the tricks Raleigh did was to stick a dagger into the boy.
00:57:45Through a friend of mine, I've been able to locate the woman.
00:57:47That's where I'm taking you now.
00:57:49Hmm.
00:57:51I think you might be from the American police,
00:57:53looking for something.
00:57:55No, we are not from the police.
00:57:59What is it, then, you want?
00:58:01I want to know what happened in 1948,
00:58:03when you worked with him.
00:58:05It was an accident, wasn't there?
00:58:07Hmm. Yeah.
00:58:09And they would not listen to me.
00:58:13Your partner, a boy, part of the act?
00:58:16Oh, yes.
00:58:18Hugo.
00:58:21Hugo? Tell us about it.
00:58:24It would be better to...
00:58:27cut for Raleigh's throat, hmm?
00:58:32It was a long time ago.
00:58:35I was younger.
00:58:39Raleigh hired Hugo Norvig and me.
00:58:41We had an act.
00:58:43Hugo and I.
00:58:45Dancers.
00:58:47We made little money, but...
00:58:50we were happy.
00:58:52Raleigh said we would make more, okay?
00:58:55Let's go on.
00:58:57Raleigh would hypnotize us.
00:59:00Make us do things.
00:59:02But offstage.
00:59:05We were ourselves.
00:59:08But then...
00:59:10Hugo changed.
00:59:12For Raleigh became his master.
00:59:16Then...
00:59:18he got the dummy.
00:59:38Oh.
00:59:40It looks like Hugo.
00:59:45Yes, it could resemble me.
00:59:59It will be.
01:00:01It will be.
01:00:03It will be.
01:00:06It will be.
01:00:08It will be.
01:00:35It will be.
01:00:53Get out.
01:00:55And don't come back until I call for you.
01:00:59You will not believe this.
01:01:02The police did not believe, but I saw.
01:01:08One night...
01:01:11I come into the dressing room.
01:01:14It is a dress rehearsal.
01:01:18Like...
01:01:20taking the soul of Hugo.
01:01:25Giving it...
01:01:27to the dummy.
01:01:30I tell you.
01:01:32I saw.
01:01:34I believe you, Mercedes.
01:01:36Then you are the first.
01:01:38And I am not alone.
01:01:40There is another who knows.
01:01:43Well, go on. What happened next?
01:01:45I told you.
01:01:47Raleigh would hypnotize us.
01:01:50Make me do foolish things.
01:01:53He made Hugo lift incredible weights.
01:01:57Stick a dagger into his breast.
01:02:01Then...
01:02:03one night...
01:02:06This time, Hugo...
01:02:09you're going to die.
01:02:28He is my slave.
01:02:31He will feel...
01:02:33nothing.
01:02:35That is the power of hypnotism.
01:02:42Behold.
01:02:57Hugo...
01:02:59Hugo...
01:03:01Hugo...
01:03:03Hugo...
01:03:05Hugo...
01:03:07Hugo...
01:03:09Hugo...
01:03:11Hugo...
01:03:13Hugo...
01:03:15Hugo...
01:03:17Hugo...
01:03:19Hugo...
01:03:21Hugo...
01:03:23Hugo...
01:03:25Hugo...
01:03:31Never before had he felt it.
01:03:34But this time...
01:03:36every time, many times before...
01:03:38Hugo felt nothing.
01:03:40But this time...
01:03:42Hugo felt the blood come.
01:03:46A little hard to believe.
01:03:49Nobody believes.
01:03:53The police.
01:03:55Nobody.
01:04:01Hans, come here.
01:04:06They could not believe Hans either.
01:04:14Do you want me, Mercedes?
01:04:16Hans, here he is.
01:04:18He will tell you.
01:04:20These are reporters.
01:04:21They want to know about Vorelli.
01:04:24Tell them.
01:04:25Go on.
01:04:27Tell them about the dummy.
01:04:30Well, there isn't much I can say.
01:04:33I was a cleaner at the time.
01:04:35I was not even on the stage when it happened.
01:04:38I was in Vorelli's room.
01:04:40Everybody was out so I could clean up the room.
01:04:43I did not see.
01:04:45But I heard.
01:04:47Then the dagger glanced into Hugo.
01:04:52Vorelli!
01:04:55I saw the puppet.
01:04:58I ran.
01:05:00Then the police.
01:05:02Confusion.
01:05:04A hearing.
01:05:05Did you both testify at the hearing?
01:05:07Yes, they asked questions.
01:05:09I told them they laughed, called me crazy.
01:05:12What was the verdict?
01:05:14He willingly took the risk.
01:05:17Accident.
01:05:19He lived for three months after the accident.
01:05:24In a hospital, like a vegetable.
01:05:27He did not move for three months.
01:05:30Just lay there and looked at the ceiling.
01:05:35Then he died.
01:05:39He died.
01:05:42Look, gentlemen, I don't want to push you out,
01:05:45but Mercedes has some business to attend to.
01:05:47Customers come here, you know.
01:05:49So if you're through, perhaps you would give us 100 marks for the information.
01:05:53We lose more than that in time already.
01:05:56Hey, Bobby, take me right back to that airport.
01:06:02First I thought Vorelli had a mechanical doll.
01:06:05Or even a living person inside the dummy.
01:06:09I even sneaked into his room and examined the doll,
01:06:11but it was nothing but a wooden puppet.
01:06:18I never told you this before, doctor,
01:06:20but the night I examined that doll, it came to my room.
01:06:23It talked to me.
01:06:25You were dreaming.
01:06:27Yeah, I knew you'd say that.
01:06:29And first I thought I was dreaming too.
01:06:31But what that doll told me led me directly to Mercedes in Berlin.
01:06:35I know you'll think I'm mad,
01:06:37but somehow he's put a man's life into that doll.
01:06:40You have a most vivid imagination.
01:06:43But I just don't like it, doctor.
01:06:45Marianne is bedridden.
01:06:47It's too like Hugo Novik.
01:06:49For three months, he lay in a bed helpless.
01:06:51You are magnifying this problem.
01:06:54With Hugo Novik, it was catalepsy.
01:06:57Catalepsy?
01:06:58There's no question.
01:06:59A perfect case of traumatic shock.
01:07:02Well, that explains it.
01:07:04A dagger.
01:07:06Instead of telling him it wouldn't hurt,
01:07:08he probably told him he would die.
01:07:10Or all but die.
01:07:12Yeah.
01:07:19And for three months, he lay in a hospital helpless,
01:07:22while Vareli completed his transfer.
01:07:24He put his spirit into that dummy before Hugo died.
01:07:28And all this while,
01:07:29Hugo Novik's soul has been inside the dummy.
01:07:33This is madness.
01:07:36Besides, Marianne never suffered from any traumatic shocks.
01:07:39Maybe she did. I don't know.
01:07:41The night Vareli performed out at her aunt's house,
01:07:43something happened to her in his room.
01:07:45The next day, she was lying helpless in bed.
01:07:47Anyway, Hugo Novik was 15 years ago.
01:07:50His powers may have advanced since then.
01:07:52You are wasting your time, Mark.
01:07:54I tell you, he's robbed this man's soul.
01:07:56I don't know how,
01:07:57and I can't give you any scientific explanations,
01:07:59but I do know that's what's happened.
01:08:01Mark.
01:08:03Now, do you really think we should seriously discuss this?
01:08:07A soul transferred by a Baudrillard magician.
01:08:10Vareli is no mere vaudeville magician.
01:08:13Look at Marianne.
01:08:16A very highly strong girl, is it?
01:08:19Hers is a case of interrupted hypnosis.
01:08:22This I can understand.
01:08:24Okay, what do you suggest?
01:08:25That you forget all this foolishness.
01:08:27Forget about Vareli.
01:08:29You are tired, overworked,
01:08:31and perhaps even a little bit jealous.
01:08:35And that's all there is to it?
01:08:38You can take my word for it.
01:08:40I wish I could believe you.
01:08:45Dr. Heller here.
01:08:47Oh, yes, Dr. Keisler.
01:08:50Yes?
01:08:52Yes.
01:08:53Oh, good.
01:08:55Marianne is awake.
01:08:58Perfectly normal.
01:09:00Oh, yes, of course.
01:09:01I shall be out there this afternoon.
01:09:03Late.
01:09:04Thank you, doctor.
01:09:05Goodbye.
01:09:08Oh, thank God for that.
01:09:11Now, Mark, take my advice.
01:09:14Forget about Vareli.
01:09:15Forget about dummies.
01:09:17Marianne is much better now.
01:09:19Vareli is not the villain you imagine.
01:09:35Good night.
01:09:55Perhaps you shouldn't stay too long.
01:09:58I see.
01:09:59Of course.
01:10:00I understand.
01:10:05Good night.
01:10:35Tell aunt and uncle that you love me.
01:10:40I love you.
01:10:42I love you.
01:10:44And you will tell Mark that you are going to marry me.
01:10:49I'm going to marry you.
01:10:52I must go now.
01:10:54But when I call you, you will come.
01:10:58Remember, when I call, you will come.
01:11:04Marianne!
01:11:34Marianne!
01:12:05Hello.
01:12:06Hi.
01:12:07How are you?
01:12:08It's good to see you.
01:12:09You're looking much better.
01:12:11The doctor took me off the drugs.
01:12:14Mark, I've got to talk to you.
01:12:19I'm going away with Vareli.
01:12:22I'm in love with him.
01:12:24You're what?
01:12:26I'm in love with him.
01:12:30I'm sorry, Mark.
01:12:33I'm sorry, Mark.
01:12:35How can I explain?
01:12:37It happened the night he stayed here.
01:12:40I...
01:12:42I just don't know what to say.
01:12:45I'm sorry.
01:13:02I'm sorry.
01:13:32Well, Hugo, tonight we fly to Spain.
01:13:55And there, the very wealthy and beautiful Miss Marianne Horn will become my bride.
01:14:02What a delicious thought.
01:14:05We'll give our last performance tonight and be on our way.
01:14:09All four of us.
01:14:11You, Hugo, my bride-to-be, and my ugly little wooden lady.
01:14:19And then, after a few months, when my transfer is complete,
01:14:24my beautiful young wife will die, leaving me all her money.
01:14:30And you, an ugly little wooden companion.
01:14:36But then, you're ugly too, aren't you?
01:14:48Anyway.
01:14:51Don't say it again.
01:14:54Don't say it again.
01:15:20I'm a bloody fool.
01:15:23I've succumbed to a lot of unnecessary expense for an article about a charlatan.
01:15:28A third-rate phony.
01:15:31The only woman I ever cared about falls in love with him.
01:15:35They'll fire me after this fiasco. They're as crazy as I am.
01:15:46Sleep, my Marianne.
01:15:49Deep, deep sleep.
01:16:19I'll wake my lovely Marianne after the performance tonight.
01:16:24Hugo, you must behave when we give our last performance.
01:16:29You've been getting out of control much too often.
01:16:37You've been in your little wooden body so long you've become an individual again.
01:16:44I think I must teach you a little lesson.
01:16:49Ah, dear Grace, I'm very busy.
01:16:52I thought you wanted me, you know.
01:16:55Not now.
01:16:58I've got to go.
01:17:01I've got to go.
01:17:04I've got to go.
01:17:07I've got to go.
01:17:10I've got to go.
01:17:13I've got to go.
01:17:16I thought you wanted me, you know.
01:17:18Not now, dear.
01:17:20I have a few things to clear up with the manager before I leave.
01:17:24I shall come to your room.
01:17:26Don't be long.
01:17:27As soon as I'm through with him.
01:17:36Hugo, I'm your master.
01:17:41Get back in your cage or I will destroy you.
01:18:11Get back in your cage.
01:18:41Get back in your cage.
01:19:11Get back in your cage.
01:19:35Don't be alarmed, Mr. English.
01:19:38He's now in the wooden doll.
01:19:41I am his master.
01:19:44The tables are turned.
01:19:47You need have no fear for Marianne.
01:19:50She is sleeping peacefully.
01:19:53When I wake her, she will be her normal self.
01:19:58Mr. English, get me out of here.
01:20:02I am the great Varelli.
01:20:04He can't do this to me.
01:20:06Please, Mr. English.
01:20:08Don't let him do it.
01:20:10I'll do anything you say.
01:20:12Get me out of here.
01:20:14I'll do anything you say.
01:20:16Please.
01:20:17I am the great Varelli.
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