This is the Inner Sanctum.
A strange, fantastic world
controlled by a mass of living, pulsating flesh,
the mind.
It destroys, distorts,
creates monsters,
commits murder.
Yes.
Even you, without knowing,
can commit murder.
GREGOR:You are only receptive to the thought waves of this audience.
Do you hear?
Only thought waves.
- There's a gentleman in the third row. - MAURA: Yes.
He would like me to tell him his Social Security number.
The number is
5-4-6-0-7...
5-0-1-1.
Well, I'll be darned.
Anyone else?
- Can she read your innermost thoughts? - MAURA: Yes, I can.
Provided there are some traces of mental activity.
GREGOR: Anyone else? Just hold up your hand.
Don't you believe it. It's all done with mirrors.
There seems to be a skeptic in the fifth row on our left.
He says that we work with mirrors.
Hey, stupid. He means you.
- Me? - Yeah.
Say, buddy, what's the idea of eavesdropping?
If that skeptical gentleman would care to step up here and try,
I'm sure that I can make him just as telepathic as Maura.
You bet I'll come up.
[SLURRING] It's done with mirrors and I'm going to prove it.
That'll be all now, Maura.
Ladies and gentleman, Gregor the Great is not himself a mentalist.
By hypnotising someone else such as Maura, his beautiful assistant,
he can place that person in a state of telepathic receptivity.
We are now about to see Gregor attempt this remarkable feat
on a member of the audience, a total stranger.
[SLURRING] Just dodging one of them mirrors he uses, folks.
[LAUGHING]
I know. He's part of the act.
Now, all you have to do is relax.
- Not me, brother. You can't mesmerise me. - Of course not.
Unless you are willing to cooperate.
Hey, Mabel! Didn't I tell you this guy is a phony?
How stupid. I could kill him.
Now pay attention. Concentrate.
Gregor is now placing this man, a total stranger, remember,
into a hypnotic trance.
- [PEOPLE GASPING] - WOMAN: Oh, my! Watch out!
There's been a slight mishap, ladies and gentleman.
Nothing serious. So if you'll just bear with us a moment.
Is there a doctor out there?
Yes, I'm a doctor, but are you sure this is not a hoax?
Please hurry, Doctor, this is serious.
He's dead.
This man is dead.
[PEOPLE MURMURING]
Rather tough break for Gregor.
He was almost on the number one radio spot.
With the Gregor family millions behind him,
he should worry about a mind-reading act.
GREGOR: I've made hundreds of appearances.
Nothing has ever happened before.
Suddenly, tonight, I will a man dead. He dies.
Oh, it's very simple, Inspector, I killed that man.
- That's not true, Alex. - Well, sounds like witchcraft to me.
You stick pins in a doll's body
that's supposed to resemble your enemy.
Stick in enough pins, eventually he dies.
Only in this case, you didn't even know the man.
Or did you?
Alex. What happened? What's wrong? I was listening...
Who are you?
Oh, Inspector, this is my business manager, George Keene.
- George, Inspector Brant, Homicide Bureau. - Homicide?
- Yes, your client insists that he killed a man. - What?
Says he put him in a trance, wished him dead and it happened.
Well, that's absurd.
Nevertheless, there's a man dead under hypnosis.
Most extraordinary.
- I think we ought to hold somebody. - Oh, why all this indecision?
It's quite obvious I'm guilty. I murdered that man mentally.
- Come on, Inspector, let's get this over with. - No, not so fast.
I want to telephone someone, if you'll excuse me.
Alex?
Oh, Valerie, I'm so sorry.
I forgot that we were all going to have dinner together tonight.
- You see, I've had a trying evening. - So I've heard.
It's a shame this should happen on the night of your engagement party.
Maura, I think that after what's happened, we should break our engagement.
Oh, please, Alex. Don't talk like that.
Oh, we might as well face it. I am a murderer.
That's what I call utter nonsense.
I hated that man tonight for making me ridiculous.
I had the desire to murder.
I killed him as surely as though I had shot him.
I just talked to the coroner.
That man was a confirmed alcoholic. He had a bad ticker.
Died of perfectly natural causes.
Nothing to hold you for.
Thanks for an interesting evening.
Good night.
Nothing to hold me for.
GREGOR: I killed that man.
Killed him with my eyes. I know I did.
Maura knows. She was there.
I mustn't see her again. I can't face her.
Everywhere I go, I... I see death.
Death, death, death, death,
death, death, death, death...
[RINGING]
Hello. Keene speaking.
Yes, yes, I know, but they can't come up here.
Well, because there's still no statement to make.
Look, don't ask me. I'm only his business manager.
Do what you like.
That's right. Tell them anything. But don't let them come up here.
All right. Okay, do your best.
[DOORBELL BUZZING]
- Oh, Maura. - Hello, George.
- Has Alex come home yet? - No.
[sighs]
I've looked all night, searched everywhere.
- How'd you get past the reporters? - It wasn't easy.
I've done nothing the entire night but answer that telephone.
[PHONE RINGING]
- Well, you see what I mean? - Well, hurry, it might be Alex.
Hello.
Who?
Oh, yes, put him on.
Hello.
Yes. No, certainly, it's not too early for me, but Gregor's still asleep.
Well, yes, it has been quite a night.
Well, I certainly will.
I'll have him call you the minute he wakes up.
No, no. No, not at all. Goodbye.
That was his sponsor again.
- What are we going to do? - I'm sure I don't know.
- I can't hold them off much longer. - What if something happened to him?
- George, what if he... - Now, wait a minute.
Don't you start cracking up on me, too.
Hold it. How about a story? Come on.
[REPORTERS CLAMOURING]
Do you still think you killed that man with your eyes?
Shut up and let me alone, will you?
How do you like that?
We wait up all night and then he gives us the brush.
Did you see his face? He must be drunk.
Or crazy.
[DOOR OPENS]
Alex. Oh, darling.
Well, it's about time. Of all the stupid things to do.
Please, George, not now.
- Get rid of those reporters. - How?
I don't care how you do it, but get rid of them.
Well, now look, Alex...
[PHONE RINGING]
Hello.
Yes, yes, I know, they're still down there.
Okay, I'll be right down.
I don't know what in the world I'm gonna say to them. You...
- Is the coffee fresh? - Oh, yeah. Ijust made it.
No coffee, Maura.
May I ask where you've been?
Walking. Just walking.
- You didn't have to scare us half to... - Go ahead and say it.
I've been saying it over and over with every step.
Death.
Oh, it's no use.
- Well, maybe you ought to get some sleep. - Sleep? How can I?
- Don't you realise I murdered that man? - But you didn't.
The coroner gave you a clean bill of health and the public's all for you.
Public? I have no public. You might as well know it now.
I'm through. Through with everything!
I know how you feel.
- Perhaps you ought to go away. - I've got to.
Then let's go together.
- We'll just slip off and... - No, Maura, I've got to go alone.
- I can't let you tie yourself up to a... - Don't say it.
It's just in your imagination.
- It's more than that. - Alex?
Maura, I'm not going to see you anymore.
But, darling...
That's final.
GREGOR: Poor Maura.
She's not to blame. But it's better this way.
I mustn't burden her with my troubles.
My mind. There 's something wrong.
VALERIE: "George.
"In the event anything should happen to me,
"I want it understood that it is my wish to leave my money
"and personal property to Maura Daniel."
This doesn't sound very much like Gregor. Strange he would write such a note.
He's afraid he's losing his mind.
- Do you think he is? - Well, I'm not sure.
It's possible. He's been acting strangely since that man's death.
It's become an obsession with him.
Then we should do something about it and quickly.
That's why I came to you.
Come, George, you have something on your mind. What is it?
Gregor needs mental relaxation.
I think something to do at your place would be just the thing for him.
Why don't you let him live there a while? You've plenty of room.
I want to help Gregor,
but it's hard to imagine him in that musty old trap.
I don't think he'd accept.
Well, it happens to be an interesting place,
and it's secluded and that's what he needs.
Knowing Gregor... I mean, his condition, I think he would accept.
- What about Maura? - Well, that's off. She's out of his life.
It wouldn't seem so by this note.
Well, this is just a way of easing his conscience, I think.
Then he has made a clean sweep. I'm glad.
Especially about the girl.
Yes, it'll be much easier with her out of the way.
I'll stand by.
Madame Monet?
She must be in the workshop.
- Valerie. - VALERIE: Hello, George.
- Hello. - Alex.
You're early.
Miracles will never cease.
After all this time, you've finally come to see Monet's Wax Museum.
Pardon me, but who's the lady?
You should call her a lady, because she is one.
Lady Macbeth.
- Right, Alex? - Oh, yes, right.
She's going into our Shakespearean group.
Well, you're certainly very clever, Valerie, to do all this.
Rudi models the faces. He's a wizard with wax.
And I do the costumes.
But the lectures for the patrons and the research...
Oh, good heavens, I'm talking nothing but business.
Let's go into the other room.
Sit down. Make yourselves comfortable.
- Nina is fixing something to drink. - Nothing for me, thank you.
Oh, Alex, this is an occasion. At least have some port.
Well, all right.
- Hello, young lady. - Hello, Mr. Keene.
- My niece, Nina Coudreau, and... - And you're Gregor the Great.
Not Gregor the Great, just plain Alex Gregor.
But you're so famous, everyone knows you as Gregor the Great.
Well, what he means is that all of his friends call him Alex.
You're going to be his friend, too, aren't you?
Yes, sir. Of course, sir.
Nina, tell Rudi I'm bringing some people through the museum.
All right, Aunt Val.
You really have to meet Rudi. He's quite a character.
George means he's a little eccentric.
That's putting it mildly. You have to see him.
What is it, Nina?
[GASPING]
- Oh, Nina dear, I'm sorry. - It's all right.
You know I wouldn't want to frighten you, little Nina.
Please.
Madame Monet is bringing Mr. Keene and Mr. Gregor through the museum.
I won't have it. I have work to do in here.
But it's Gregor the Great, the famous mentalist.
Why doesn't he pay his way in like anyone else?
- Why must he come in after hours? - He's very special.
- In fact, he's wonderful. - Who says he's wonderful?
Oh, quiet, Rudi. They might hear you.
If Aunt Val wants me, I'll be up in my room.
RUDI: Cleopatra, you are the Queen of the Nile.
You have got to keep your hair neat.
So, that's better.
Now take Genghis Khan over there.
His hair is mussed, but that's all right.
He is a tough old warrior, fighting battles all day.
Napoleon, you and Josephine better behave.
Don't talk divorce while company is here.
After hours, we keep the temperature of the museum very low
so that the figures won't melt.
- Perhaps you'd better put on coats. - No, we'll be all right, I think.
Thank you.
RUDI: And you, Mr. Beau Brummell,
keep your collar straight and your best foot forward.
You want them to see how handsome you are.
- Rudi. - Yes, Madame Monet.
- Hello, Mr. Keene. - Hello, Rudi.
- This is my old friend, Mr. Gregor. - Yes, yes. I know.
- Gregor the Great. - My name is Alex Gregor.
Rudi, we'd like to show Alex around the place.
All right.
Stone Age Joe.
You weren't so dumb as they think you were.
You took what you wanted, the way you wanted it,
didn't you, Joe?
And here we have some famous executions.
Our tableau on the French Revolution.
RUDI: Marie Antoinette.
And Louis XVI.
[SCREAMING]
- What was that? - VALERIE: Rudi believes in making things realistic.
Yes, too much so. I'm getting goose pimples, and not from this cold room.
And this is Attila the Hun.
The greatest killer of them all.
But he doesn't scare me. I know him too well.
I created him with my own two hands.
See?
- VALERIE: Come, Rudi, let's see the furnace room. - Yes, Madame Monet.
- That's the way they do it. - And very economical.
By melting discarded figures and casting new ones,
I manage to be worth what Madame pays me.
Well, we've seen about everything backstage.
- Shall we go and finish our drinks? - Yes, let's do.
Be careful! Don't upset anything in the museum.
Well, you're certainly right.
To say the least, he is eccentric.
Poor fellow. I'm always so sorry for him.
You know, Rudi was on the verge of becoming
a very famous plastic surgeon at one time.
Dr. Poldan was his name.
I handled his business affairs, as a matter of fact.
That was shortly before he came here with me.
Yes, it was really quite tragic.
He rebuilt a wealthy dowager's face, and as I recall,
she removed the bandages too soon or something and...
Anyway, Rudi was blamed for the result. It ruined him professionally.
He's been very helpful to me.
His realism with wax comes as a result of his great work in plastic surgery.
Well, it's been a wonderful outlet for him.
And with all this help, there's still so much left to be done.
- I don't know where to turn. - Well, perhaps we can work something out.
- Rudi, here's the mold you sent for. - Don't go, Nina.
I have work to do.
Alex and I are doing some research on the new tableau.
Alex. Always Alex.
He's been living here three weeks and you get sillier by the minute.
- He doesn't think I'm silly. - Nina.
Nina, why waste yourself on him?
- Nina... - GREGOR: Leave her alone, Rudi.
I'm tired of you trying to boss everything around here.
What I do is my business. I don't care what you do.
But get this straight, as long as I'm around here
- you're gonna leave this girl alone. - Get out!
Not until you've heard everything I have to say.
Nina, Alex and I are going to attend an auction tonight.
Can you give the evening lecture?
Of course, but the customers would prefer Alex.
It's wonderful, isn't it,
how business picked up since he came here?
[KNOCKING ON DOOR]
Yes, come in.
Oh, Maura.
- Hello, Madame Monet. - Hello.
The Hamlet cloak's all finished. You can put it back on the figure.
I'd ask you to sit down, but I'm trying to get some work finished
- before going out this evening. - I only wanted to see Alex for a moment.
You've just missed him. He left to attend an auction.
Is he feeling better?
Very much so, my dear.
- As a matter of fact, if I were you, I... - GREGOR: Valerie, there's something...
Oh, Maura.
- What are you doing here? - I thought you'd left.
You don't have to be polite, Madame Monet.
- How did you find me? - I wormed it out of George.
What is all this mysterious business?
- My dear, Miss Daniel... - Valerie, if you don't mind, I...
Well, I guess I'd better talk to Maura alone.
Just as you say.
I'm sorry ifl caused you any trouble, darling.
Oh, that's all right.
Are you sorry I came?
I'm not exactly sorry, but you see, you...
I remind you of something you're trying to forget, is that it?
You're right. I shouldn't have come, but...
Well, I thought that
if you had missed me as I have missed you...
Oh, Maura, I have missed you,
but you must understand.
It sounds strange, but down here I've found peace of mind.
I do understand.
I'd be the last person to do anything to hurt you.
Goodbye, Alex.
Maura.
I think Alex would be much better off if you didn't come to see him anymore.
That seems to be something that concerns only Alex and me.
There's no use my trying to bring him back to himself
if you're gonna continue to tear down everything I've done.
Go ahead. Why don't you say what you really mean?
You're afraid I'll take him out of this mausoleum and away from you.
All right. If you must know, I am interested in Alex.
Knowing how he feels about you, I should imagine you wouldn't interfere.
If I thought Alex really wanted it that way, I wouldn't interfere.
But I doubt it.
She hit the nail right on the head.
I don't think he does feel that way about you.
Mind your own business.
He is quite the charmer. Plays the field.
Plays the field? What are you talking about?
First that girl and then you and now little Nina.
Nina?
- That's ridiculous. - Is it?
You should have seen what I saw in the furnace room.
- You're lying. - You'll see.
Nina? Alex?
Aren't you feeling well?
Oh, nothing serious. Just a headache.
NINA: Isn't there something I can do?
No. Thank you, Nina. Now you run along. I'll be all right.
So this is how you repay my kindness?
Oh, Valerie, Maura's gone and she's not coming back.
I don't mean Maura. I'm speaking about my niece!
Nina? What has she got to do with this?
I know what's going on around here. My own niece. My own house.
- How could you dare? - Valerie, are you out of your mind?
I must have been. To take you in, to trust you, to even let myself...
Oh, so that's the way it is. That's what you've been thinking of.
How you must have enjoyed seeing me make a fool of myself.
No, Valerie. You haven't made a fool of yourself, I have.
But believe me, I value your friendship.
You proved that by making love to Nina behind my back.
I'm in no mood to argue with you about it.
The best thing I can do is pack my things and leave.
Now isn't that considerate of you.
- What do you want me to do? - Well, you're a mentalist. Why don't you...
You've read other people's minds.
Why should you find it so difficult to read mine?
Be still!
You are the renowned Gregor the Great.
Be quiet! Do you hear me?
GREGOR:I must give myself up. It's no use.
Tragedy is determined to follow me wherever I go.
[BOAT HORN BLOWING]
Kind of cold out here this hour of the night.
You better keep moving. You're liable to be carried off by pneumonia.
I had no idea where I was until that officer walked up to me.
Then I remembered. I was afraid to go back, so I came home.
Well, I'd like to be able to help you, Alex, but I'm no psychiatrist.
- But you are my friend. - Certainly.
But I'm a practical man, too,
which is better. And what you need is some breakfast.
George.
There's a favour I'd like to ask of you.
I wish that you would go down to the museum and see if...
See if you did kill Valerie Monet? Of course you didn't.
- But I tell you... - Look, Alex.
I've got a confession to make to you.
I never did believe in your so-called hypnotic powers.
That's a strange statement coming from you.
Oh, now, wait. Don't misunderstand me. I think you're terrific.
That is, you put on a wonderful act.
Ijust never asked you how you did it.
But I was born with that power.
Sure. And I was born in Missouri.
I've always suspected you had some clever trick up your sleeve,
- a professional secret. - But there was no secret, I swear it.
All right, just the same. I think you've dreamed all of this up.
And I'll bet you anything you wanna bet, Valerie Monet is still alive and kicking,
- and probably wondering where you are. - I wish I could believe that.
All right. We'll both go down there and see. Come on.
GREGOR: Wait.
There's one thing I forgot to mention.
And what's that?
Valerie's scarf,
I found it in my pocket.
Well, come on.
Come on. We'll settle this once and for all.
Rudi.
- Where is Madame Monet? - You ought to know. You tell us!
Madame Monet has disappeared.
- GREGOR: Inspector Brant. - What are you doing here?
Well, you might say I've taken a fancy to wax museums.
Miss Coudreau has been showing me around.
Alex, I called him when I couldn't find Aunt Val.
Or your good friend, Gregor.
You took quite a walk for yourself last night, didn't you, Gregor?
- Why, yes, I... - He was with me every minute.
It's a corny crack, Mr. Keene, but that ain't the way I hear it.
All right. How did you hear it?
- NINA: But they were the best of friends. - "Were" is exactly the right word.
She was in love with you, wasn't she?
And you didn't return her affection, and she knew it.
She was jealous of every woman who came near you.
Why all of this talk?
You seem to know everything, but I didn't.
Oh, come now. You have a reputation for reading people's minds.
All right. Valerie and I did quarrel.
I tried to keep her from humiliating herself.
- She became upset, and when I was... - And you lost your temper.
Stop it!
I'm just as interested in finding out what's at the bottom of this as you are.
But I don't know what happened to Madame Monet.
Another lapse of memory, Gregor?
[EXCLAIMING]
You're going about this all wrong.
Yes. Unfortunately, I have to find a body. Until I do, I haven't got a case.
- Have you searched the place? - Only the upstairs.
If you don't mind, I'd like to search this floor.
- RUDI: I'll help you, Inspector. - Thank you.
[RUDI SPU'I'I'ERING]
You ought to furnish fur coats for a tour like this.
Oh, I'm sorry, Inspector. I forgot.
I'm so accustomed to the temperature myself.
Skip it.
Alex, I'm sorry.
I didn't know what I was doing when I called the police.
Never mind, Nina. Will you get him a glass of water?
Take it easy, Alex. I still say I'm right.
Well.
It's a ducky little tableau.
- Looks familiar. - RUDI: It's the Simmons murder case.
One of the most famous of modern crimes.
First I did the research from newspapers
and then I visited the actual scene myself.
- In fact, Inspector... - You have every detail perfect.
Just look at the contour of her face.
I don't have to. I solved the case myself.
Well, we have another interesting murder tableau over there.
The Lambert case.
- In that one, as you may recall... - Never mind.
Well, I'm only trying to show you...
I'm not interested in cases that have already been solved.
I'm working on one that hasn't been cracked yet.
The rest of these are pretty much alike. Do you want see the furnace room?
Well, who's that fellow?
Well, that's Genghis Khan, the Tartar chieftain who conquered all Asia.
- And these? - Our Shakespearean classics.
They, too, would probably bore you.
You're wrong, Doctor.
What did you say?
- You are Dr. Poldan, aren't you? - Why, yes.
Romeo and Juliet.
"Sweet, good-night!
"This bud of love, by summer's ripening breath,
"May prove a beauteous flower when next we meet.
"Good-night, good-night!"
Ah, Hamlet.
"To be, or not to be: that is the question,
"Whether 'tis nobler in the mind to suffer
"The slings and arrows of outrageous fortune,
"Or to take arms against a sea of troubles,
"And by opposing end them? To die: to sleep,
"No more, and, by a sleep to say we end
"The heart-aches and all the natural shocks
"The flesh is heir to"
[LAUGHING]
- My quotations correct, Doctor? - RUDI: Yes. Perfect.
- You should have gone on the stage. - Oh, no. I'm only an amateur.
The professional status belongs to you. These figures are interesting.
I think you'll find the furnace room in some ways much more interesting.
Lead on, MacDuff.
- Very interesting place. - Well?
Same old story. No corpus delecti.
You better stay where I can find you, if it becomes necessary.
He will.
And the same goes for all of you charming people.
- Well, surely you don't think that... - I'm not paid to think.
I'm paid to get evidence and make arrests.
I didn't know Madame Monet very well. Her taste in paintings may be okay.
But me, I like them a little snappier.
- Look, if you don't mind... - I'll be seeing you.
- What'd he say in there? - Nothing much.
But he was very interested in our Shakespearean group.
What's that got to do with finding Aunt Val?
I wonder where she is. What could have happened to her?
Well, I told Inspector Brant how eccentric she was.
- But she never did anything like this before. - I can't stay here now.
Nina and I can manage things, can't we, Nina?
BRANT: You still have a good appetite, Maura?
What are you doing here?
Anything tasty?
I'm not accustomed to having people break into my apartment.
I beg your pardon.
You know, I can never understand an artist who'll make a painting of a sparrow
or a flower.
Why don't they paint a good healthy dish of corned beef and cabbage?
Get to the point, Inspector.
Well, ifl could put you under a trance, as Alex Gregor did,
- I might have all the answers. - What answers?
Madame Monet's mysterious disappearance.
- It's been days, you know. - How would I know?
You were one of the last people to see her alive.
You speak as though she were dead.
Dead, disappeared, kidnapped.
It's all just a model.
I don't know a thing.
Only that you and Madame Monet had a cat-and-dog fight over Gregor's affection.
Now, I ask you,
wouldn't that make a better subject than a lot of pansies or whatever they are?
Now, we'll get back to your fight with Madame Monet.
She had another one with Gregor after you left.
- Oh? Over me, I suppose. - Could be.
Perhaps she didn't like the idea of Gregor's making a will,
leaving all his money to you.
I didn't know that.
- Didn't you? - How could I?
I didn't see him after the radio accident,
until I traced him to the museum weeks later.
You traced him all right.
Right after that, Madame Monet vanished into thin air.
I wouldn't know anything about that.
You upset her.
How do I know you didn't finish her off? You had every reason to.
I didn't kill Valerie Monet, if that's what you're trying to insinuate.
- Oh, so you know she's dead? - I only know what you've told me.
You still love Alex Gregor, don't you?
I'll always love him.
Well, what you really mean is you want him back.
You miss the glamour of the big time,
that fat salary you had as his partner.
I love Alex for himself.
But I wouldn't expect a man like you to understand.
You're wrong, Maura.
I'm a very understanding man.
[DOOR CLOSES]
Aunt Val!
[DOOR OPENS]
[GASPS]
You'd better come out.
I mean what I say.
Come out.
NINA: Alex.
Alex. Alex, get help. Call the police.
- What happened? - I found...
Her scarf?
- You've got my aunt's scarf! - Don't look at me like that, Nina.
Alex, you know.
You did it.
Did What?
You know she's there. You put her there.
Put who where? What are you talking about?
You're both in on it. You killed her.
- Nina! - Don't come near me.
Don't touch me!
Oh, Nina, you mustn't think what you're thinking.
You killed her!
Stop it.
GREGOR: I killed her.
Nina saw the scarf and said I was in on it.
In on Valerie's death.
But what can this mean?
Where did she get it?
[NINA SCREAMING]
Nina! Nina!
- What's wrong with her? - I don't know. Where is she?
She went to the workshop, screaming her head off.
GREGOR: Nina.
Nina.
GREGOR: Nina.
- Did you find her? - No, but I did find this.
Belongs to our knife display.
- I wonder where she could be. - Who knows?
I have no time for hysterical women. I'm going to bed.
All right.
[RINGING]
Hello?
Rudi? What's up?
Your friend Gregor just left here in a highly upset condition.
What? Where did he go?
To look for Nina.
Nina? What's happened to her?
Say, what have you been up to?
Don't be worried. Everything is going to be fine.
Just fine.
I'm coming down there right away.
So you throw a knife at him.
You fool, don't you realise we're trying to get him in the insane asylum,
- not in the morgue? - But I told you.
I only meant to stop him from finding Madame Monet.
At the risk of getting us a murder rap.
How's he been acting lately?
- Does he seem mentally upset? - Yes, quite.
And to help his condition, I keep dropping little hints.
I keep reminding him of things I know will worry him.
He's thoroughly convinced he has done away with Madame Monet.
And now with Nina disappearing, too, I'm sure he's ready.
Good. Tomorrow morning, I'll turn him over to the psychopathic court.
When they hear him rave about destroying people with his eyes,
they can't help but Sign the commitment papers.
You've covered all the legal ground?
You've been appointed trustee of his estate and all the other things?
He trusts me with his life.
Well, as a partner, I was just trying to make sure.
As a partner, you let me worry about that.
Now, there's just one other possible hitch.
Nina Coudreau.
Come and see for yourself.
Her heart's as steady as a faithful clock.
She'll make a marvelous Joan of Arc.
- Suppose she shouldn't come out of it? - No danger.
Medical science has used suspended animation
of the freezing process for some time.
People can live in this condition without nourishment for long periods.
- But when she comes out of it, what then? - She'll remember nothing.
It'll be as if she had been in a state of amnesia
and suddenly awakened.
- You sure? - Positive.
It'll be the same as Madame Monet.
If they should ask any embarrassing questions,
we just tell them that Gregor the Great hypnotised them.
Sure. He put them both to sleep, and we saved them.
They won't be able to check with Gregor.
- He'll be shut away in the asylum. - Precisely.
You're sure now you've left nothing to chance?
If you're worried, I'll show you.
Here.
I can't hear anything.
In suspended animation,
the heartbeat is almost too low to detect immediately.
- I still can't hear anything. - It sometimes takes a professional ear.
Is anything wrong?
Well, say something.
Her heart stopped.
Well, you're a doctor. Do something. Give her adrenalin.
I can't. She's dead.
And you were so sure this would work.
She must have had a heart condition I knew nothing about.
You can't alibi murder. And this is murder.
- Yours as well as mine. - No.
- I left the medical stuff to you. - The whole plan was yours.
Shut up!
We've got to get rid of these bodies. Both of them.
Not Nina.
We can't argue. We're in this up to our necks.
We've got to get out of it.
But Nina is still alive.
We've no choice. We've got to get rid of these bodies.
Yes.
Of course.
Well, don't stall. Think.
What will we do?
Maura, can't you understand or don't you want to understand?
I'm trying to, Alex,
but are you sure it isn't the same old obsession?
Of course, it's not an obsession. I tell you, it's the truth.
Nina's gone.
But there's one thing she said that stands out.
She said, "You're both in on it."
Why, that could mean Rudi.
Well, there must be some connection between the scarf and the pendant.
But where would Rudi fit in?
I don't know. But I think I know a way to find out.
Maura, if you're willing to take a chance.
- To help you, of course. - Thanks, darling.
[DOOR CLOSES]
BRANT: Wait there.
Going somewhere?
- Why, yes, and we're in a hurry. - You've lots of time.
You'll have even more after you're locked up.
- Locked up? - Nina Coudreau has disappeared.
Oh, how did you know?
Oh, I know lots of things even ifl can't read minds.
Inspector, you can't stop us now. This may be a matter of life or death.
You're right, it is. We're heading for the station.
But, Inspector, we have a plan. We haven't got a moment to waste.
Save it!
Won't you give us just one hour?
All right, Inspector, if that's the way you feel about it,
why, get in.
Hurry!
GREGOR: George, what are you doing here?
We called your apartment but you weren't in.
Well, I've been looking all over for you.
- Did you know Nina's gone? - Gone? Where?
We don't know. She's disappeared.
But we think we have a plan to find her and Madame Monet, too.
Oh, well, that's fine. Let's go somewhere and talk it over.
No, no. This is the only place that we can do it.
Maura's going to help, and believe me, you can be of assistance.
Oh, no. Look, Alex, let's stay on the safe side.
- Let the police handle it. - Oh, we can't wait.
Maura's agreed to allow me to put her into a trance.
Oh, so that's your plan.
Well, you're forgetting I don't believe in hypnotism.
Well, whether you believe in it or not, you might give me a hand.
Now, all you have to do is, at the proper moment, ask Maura
what happened to Valerie and Nina.
Oh, well, you're wasting your time. But okay, I'll try.
Well, thanks.
Now, Maura, I know this is going to be difficult,
but first you must relax.
Relax.
Now, concentrate.
Think.
What became of Valerie Monet and Nina?
I see Monet.
She has fainted.
A man bends over her.
He is dragging her away.
Ask her what that man's name is.
Who is the man?
I cannot see his face. He is gone.
I see Nina. She's frightened.
She tries to escape.
A man seizes her.
The same man I saw with Monet.
Ask her what is that man's name.
- Who is the man? - A doctor.
He has medical instruments.
He works where it is very cold.
Rudi.
Another man is with him.
His back is turned.
I cannot see his face.
Wait.
Now I can see him.
His name is...
His name is George Keene.
[GRUNTING]
Okay, mastermind. You're under arrest.
You framed it! You had him here all the time.
Sure, sure. Gregor's taking me into his act.
- Darling. - Oh, I'm all right.
Alex, I still remember. Nina, I saw flames.
- Flames? - Yes.
The furnace room.
GREGOR: Rudi!
- Look out! The furnace! - No, Alex!
Stop! You'd better stop!
[NINA LAUGHING]
Oh, I'm so excited. Are you sure you want me to come along?
Why, of course, Nina. We wouldn't go without you.
That's right, Nina.
[M ETALLIC CLAN KING]
Inspector Brant.
What are you doing here?
Well, to tell you the truth, I'm on a spot. I wish you'd help me out.
- Help you out? - Yes. I have a case that I can't crack.
I wonder if you could put me in a trance.
Oh, Inspector, I thought you knew.
It's all done with mirrors.