Original subtitles

- Oh dear, oh dear.

Good night, officer. - Good night, sir.

(footsteps tapping)

(dramatic music continues) (man gasps and shouts)

(bright music)

(dramatic music)

(objects rustling)

(metal clinking)

(metal clinking)

(bright music)

(dramatic music)

(metal clinking)

(bright music)

(dramatic music)

(bright music)

(dramatic music)

(water splashes)

(bright music)

(dramatic music)

(bright music)

(dramatic music)

(footsteps tapping)

- Evening, dear.

(bright music)

(footsteps shuffling)

(bright music)

(footsteps shuffling) (dramatic music)

(bright music)

(dramatic music)

(footsteps tapping)

(bright music)

(bell ringing)

- [Coachman] Whoa, whoa.

(carriage rattling) (gentle music)

(footsteps tapping)

(bell dinging)

(bright flute music)

- Thank you.

(background chatter)

- He's so charming and elegant.

He has such wonderful taste.

- Yes, he has, when it comes to models.

- Now I shan't be seeing you again.

- Of course you will.

Just because the statue is finished,

that is not a reason why things shouldn't stay as they are.

- But I shan't be posing for you anymore.

- Surely we are past the stage

where we need an excuse to meedt.

- We have, but what about other people?

- Have you...

Are you going to tell them about us?

- Let's not think of other people, hm?

Let's think of ourselves.

(bright music continues)

Excuse me a moment.

Janine.

Thisis a surprise, indeed.

- How are you, Georges?

- I'm fine.

And you look wonderful.

- Thank you.

Oh, Georges, this is Dr. Pierre Gerrard. Georges Bonner.

- How do you do?

- How do you do?

(soft background chatter)

- Janine, it's getting late.

- Oh no, we've plenty of time.

Pierre and I are on our way to the theater.

I heard you had a reception here tonight

so I asked him to bring me along first.

- I'm glad you did.

I was just about to show a few friends my latest sculpture.

Please.

- Georges.

This isn't my statue you're unveiling, is it?

- No.

- Did you ever start it?

- No, I'm, I'm afraid I left the sketches in Italy.

Shall we go?

I'm glad Mademoiselle Dubois brought you along, Doctor.

- No thank you.

I've always wanted to see the inside of your place, Bonner.

It has quite a reputation.

- A good one, I trust.

- Very.

Tell me, how many patients do you find you can you accommodate at one time?

- Oh, not more than fifteen.

I have the house next to this one,

which I use as the clinic.

There is room for more,

but I find that the patients I get

require a great deal of individual attention.

- Difficult cases? - Difficult people.

I think their money gives them an overblown sense

of their own importance.

- Hmm, yes, I've met them.

- Yes, I'm sure you have.

But now I think it really is time that we...

- Ah-hem. - Excuse me.

- Well? - No sign of him, sir.

I waited 'til all the passengers were gone.

He just wasn't there.

- What time is the next train?

- In about six hours, sir.

- All right. Make sure you meet it.

- Yes, sir.

(guests chattering softly) (footsteps tapping)

I am extremely sorry to have kept you waiting.

I would like to say at this stage

that any credit due for what you are about to see,

should be laid at the feet of my charming young model.

An artist cannot form a thing of beauty,

unless he has a thing of beauty

from which to draw his inspiration.

And now, there is nothing else for me to do,

except to throw myself on your mercy.

(guests gasping, murmuring)

- [Guest] A most wonderful likeness.

- [Guest] Yes, isn't it?

- Oh, Dr. Bonner,

but it's, it's--

- A very fine piece of work, Bonner.

- [Georges] Thank you very much.

- It's extremely beautiful.

You wouldn't be interested in selling it, I suppose?

- You can see, I still have to cast it.

Anyway, sculpting is something I do for my own pleasure.

Having not yet reached the perfection I seek,

I find it quite impossible to give up the completed work,

so I'll keep it.

- Oh? Where?

- Oh, not here.

Somewhere I can go occasionally to look at it

and be reminded of my beautiful young model.

- Are you feeling all right?

- Yes, yes, of course.

It's just that I think we ought to go, Pierre.

- Would you mind getting my cloak?

- Yes, of course.

- Um, a remarkably fine sculptor, Bonner, don't you think?

- Yes, very fine.

I wanted to buy it, but he wasn't interested.

Says he always keeps his stuff when he's finished.

- Really? - Yes.

I wonder where...

Hello! What's this?

I thought there'd be something else here somewhere.

Hmm, a torso. Oh, yes.

Onh, yes, a very beautiful woman she must have...

(chuckles)

Terribly sorry.

(clears throat) Very clumsy of me.

- Your cloak, Janine.

- Thank you, Pierre.

- You are leaving?

- We are already late for the theater.

- I hope you have a very pleasant evening.

Yes?

What is it, Roger?

- It's half past six, sir.

- Already? Are you sure?

- Yes, sir. lI've checked with two clocks.

- My watch says ten past.

- It must be slow, sir.

The time is definitely half past six.

-l need a new watch.

I need absolute accuracy.

Goodbye.

I am afraid I must ask you to leave now.

You all know that my main duty is the care of my patients.

Their needs must come before everything else.

I would like to thank you all for coming here,

and, and I must apologize if I seem rude

by bringing this party to so,

to so sudden a close.

(horse hooves clopping) - Strange fellow, Bonner.

- Did you know him well when you were in ltaly?

- Why?

- Oh, I don't know.

It was just that he didn't

seem too anxious to see you again.

- Yes, it did seem that way, didn't it?

- Well, apparently it doesn't worry you very much.

- No.

No, it doesn't.

- Oh, it was beautiful, Dr. Bonner,

but beautiful.

- Thank you very much. - Good night, Bonner.

If you change your mind about selling any of your stuff,

do let me know.

- Good night. It has been my pleasure, I assure you.

(door clicking)

(horse hooves clopping)

What time is it?

- It's a, a quarter to seven, sir.

- Thank you.

Oh by the way, tell Roger, if he has any news for me

when he gets back from meeting the train,

he can come and wake me, whatever the time is.

- Very good, sir.

- Good night. - Good night, sir.

(door thuds)

(lock clicks) (drawer slides)

(objects clattering) (book thumps)

(book thumps)

(thud) (drawer slides)

(keys jingling) (lock clicks)

(lock clicking)

(footsteps tapping)

(Margo gasps) (Georges starts)

- I thought you had gone.

- I want to talk to you.

- Nobody knows I'm here.

- I'm sorry, but you must go.

- But I must talk to you, Georges.

- Not now. Later.

I'm very busy. - Not later. Now.

I want to know what's going to happen to us, Georges.

- Look Margo, I'l talk to you tomorrow.

- It's Janine Dubois, isn't it?

You're in love with her.

- Please leave.

- I'm not leaving.

If you think you can just forget me, you're mistaken.

I won't let you. You can't!

You know I love you.

You made me tell it to you time and time again.

You made me humiliate myself.

And I'm not gonna step aside

just because you want to be with someone else.

(book thuds)

(dramatic music) - Get out.

Get out!

- Your eyes.

What's the matter with your eyes?

(intense music) (lamp shatters)

All right, Georges. We'll talk about it tomorrow.

Georges?

I'm sorry.

- Too late.

(intense music)

Too late.

(Margo gasps)

(Margo screams)

(dramatic music)

(liquid hissing, bubbling)

(glass clatters)

(mysterious music)

Margo.

I tried to make you go.

I tried

very hard.

(knocking on door)

Wait a moment.

Yes?

(door clicks)

- Hello, Georges.

I saw the statue last night.

Why did you lie to me?

Why didn't you want me to know

that you'd started work on it?

Why did you start work on it?

- I like to finish what I start.

- Oh, is that why you ran away from me in ltaly?

Is that what you call finishing what you start?

- My holiday was over. I came back to work.

- S0 suddenly? - Yes, so suddenly.

There was a case.

It was urgent.

- I waited for you to come back to me.

I waited for you to write to me.

Then I realized that if I ever wanted to see you again,

I had to be the one to make the first move.

Why? Why are you so afraid of loving me, Georges?

I, I watched you towards the end of the holiday in Italy,

and you were like a man heading towards

something which he wanted to avoid.

(scoftfs)

I began to think that I'd won,

and that you were going to admit to yourself

that you really loved me.

Was I right?

- All right, Janine.

I did fall in love with you in Italy.

This could not be, so I left.

- Why couldn't it be? - It just couldn't!

- But you knew how I felt about you?

- Yes, I knew.

- But you still ran away from it?

I'm not going to give up so easily, Georges.

Oh, tell me you don't want me to give up.

- No, I don't...

- Oh, I knew I was right.

May I see your statue again?

- Yes.

Yes, of course.

- It's very lovely.

- It's you who are lovely.

I only copied.

- Is it finished?

- Nearly.

Would you like to pose for me again?

- When?

- Now.

(footsteps tapping)

- Georges, you still haven't accepted

that we love each other.

- Yes, I have.

- But it doesn't make you happy.

- That's because it doesn't alter things.

- What things?

- Oh, the, the impossibility of the situation.

(knocking on door)

Yes, come in. (door clicks)

- The gentleman'’s downstairs, sir.

- Ludwig!

Oh, please excuse me, Janine.

I, I have been waiting so long for Ludwig to arrive.

You'll understand.

Ludwig!

Ludwig!

Let me look at you.

Oh, itis so good to see you.

- That's good. You look wonderful.

Just the same. I was worried.

- Worried?

- Because I am late.

(laughs) - I, I knew you,

you wouldn't let me down.

- You have found the ultimate answer, is that it?

- Oh, we'll talk about that later, Ludwig.

Aren't you forgetting something?

- Oh yes, of course, our little ceremony.

I haven't been too well.

It has affected my memory

also, I think. (Georges laughs)

Ah, you have not forgotten how to live.

- What is the point of what one is doing

if you don't enjoy life, what it offers?

- What is the point, as you say?

- The, the usual toast.

Ludwig, your hand.

- Oh yes, my hand.

- Let me have a look at it. - No, it's not necessary.

I had a stroke. (Georges gasps)

That is why I was not here sooner.

It has left me with this legacy.

- Why didn't you let me know?

- I was frightened to,

and I hoped you would have found the answer by now.

You have not found it, Georges?

- No.

No, I haven't found the answer.

The operation is still necessary.

- I cannot do it.

- But, with your left hand?

- No.

We must find someone else.

- But that is not possible.

- Well, try.

We always knew if we didn't find the ultimate solution,

there would have to be another surgeon someday.

- The stroke might have killed me.

- But it didn't.

Three weeks I have been waiting, Ludwig. Three weeks!

I have been taking this fluid every six hours now.

- Six!

- It is what keeps me alive.

So you see, you, you must operate.

You, you know what will happen if you don't.

- Yes, I know. You will die.

- You're old.

You can see death staring you in the face, but I can't.

I'm not going to die.

- Then you must find someone else

to do the operation.

- But who? Who can we get?

- We need a young surgeon, that's all.

Just a surgeon.

We tell him just enough to satisfy him,

and I'll be with him all the time he's doing the operation.

That's the best way, Georges.

For the first time I'll be with him to show him what to do.

Next time, if you still need the operation,

I shan't be here.

I'll be dead.

- Find someone else? Hah!

It's easy to say.

There is so little time!

- You are a doctor. You must have met other doctors.

Someone who will do it.

(knocking on door) (door clicks)

- Mademoiselle Dubois is leaving, sir.

(footsteps tapping)

- Janine.

Eh, I'm terribly sorry, Janine.

Let me introduce you

to my oldest and dearest friend, Ludwig Weiss.

Ludwig, this is Mademoiselle Janine Dubois.

- It is delightful to meet you, my dear.

- How do you do, Professor?

Georges, I'm sure that you have

a lot to talk to the professor about, so I'll say goodbye.

- Goodbye, my dear.

- I'll see you at dinner.

- Janine, why not bring Gerrard along this evening?

- Pierre? - Yes.

Yes, tell him Professor Weiss of Vienna is here.

I'm sure he would love to meet him.

(door clicks)

- I thought we were going to be on our own tonight.

- Ludwig is here only for a few days.

We'll have so much time together.

- Oh Georges, you don't know what it means to me,

fo see you again.

- It means everything to me.

(footsteps tapping)

(door thuds)

- This Monsieur Pierre, is he a doctor?

- Even better, a surgeon.

(door thuds)

- And, do you think he'll do it?

- If he's convinced that you give

the operation your blessing, then he'll do it.

- Why should he be influenced by what I do?

- Ludwig, Ludwig, you're still the same.

You just cannot accept the fact that you are a great man.

One of the greatest in your own field.

There is no medical man in the world

who would miss the chance of meeting you,

let alone work with you.

- Half of what makes up this reputation belongs to you,

more than half.

- You and I know that.

No one else does.

- Listen, Georges.

Why not tell them?

Publish our findings.

- Please Ludwig, allow me to decide when to publish.

- Probably you are right.

You have invested more in this than I have.

- Yes, indeed.

- Nevertheless, I probably shan't be here

to see the consequences.

I am tired, Georges.

As you said just now,

[, I can see death staring me in the face.

- I'm sorry, Ludwig.

Believe me, I, I didn't mean it that way.

- Strange, getting old.

One suddenly has no future to look forward to,

and, and is forced to look back

and survey the past.

Do you remember our original toast,

the first time we knew we had succeeded?

(scoffs) - Of course I do.

- Say it.

- For humanity.

- That's right. For humanity.

Not for me, not for you, Georges, but for all.

- I know what it means.

- Do you, Georges?

Sometimes I wonder a little.

You have changed so much since we have started.

- That is hardly surprising.

- I'm talking about our original ideals,

bright, shining ideals,

full of hope for a brave new world.

What happened to them?

Where did they get lost?

- Why, why do you say

they are lost?

- I think they are.

The years have brought me an added insight

that enables me to see more clearly

the fact-- - Wait a minute, Ludwig.

(gentle music)

You are forgetting something, aren't you?

- I'm sorry, I don't understand.

- Do you still have that photograph?

- Photo, photograph?

- Our photograph.

- Ah yes, of course.

- Give it to me. - Mm.

- Look at it, Ludwig.

And what do you see there?

- I see the two of us, as we were at the beginning.

- Exactly.

So remember, when you talk of this wisdom

and this insight that old age has brought to you,

remember I, too,

have this wisdom and this insight.

How old are you?

- Eighty-nine.

- Eighty-nine. Have another look.

Let it remind you,

while you have the wisdom

that comes with a life of eighty-nine years,

I have that which comes with a life of

104.

(dramatic music)

- Yes sir, I know what you're saying is possible,

but it's not proven.

(Ludwig chuckles)

- Proven! (laughs)

If we doctors waited until something is proven,

before we moved, there'd be no patients left.

They'd all be dead. (Ludwig chuckles)

Look, I have seen it done in three different ways,

none of them completely effective.

The first is to make an ingress through--

- Ludwig. - Oh, just a moment, Georges.

An ingress through-- - Ludwig, why not take

Dr. Gerrard down to the study?

It will be so much easier down there.

- Yes, of course.

Come on. Come on, Dr. Gerrard.

- You'll excuse us? - Oh, of course they will.

Come on. Come.

I, I'l get pencil and paper

to show you what I am talking about.

You know, the, the incision must be made directly.

(door thumps)

- Pierre seems very interested in your Professor Weiss.

- Yes, I told you he would gladly come

once you mentioned Professor Weiss of Vienna.

- He's a wonderful old man. Have you known him long?

- All my life.

We used to work together,

a long time ago.

- That makes you sound very old.

- Janine, I can't tell you how much it means to me

to have you back.

I missed you so much.

- You needn't have. You know that.

- Yes.

Yes, I knew.

- Georges, you still haven't told me,

why you tried to avoid falling in love with me.

You started telling me something this morning,

but you never finished it.

- Because I had to go away.

Because I have to go away again.

- Go away? Where?

- Where is not important.

What matters is that I shall have to leave Paris very soon.

- But you'll come back?

- No.

- Why?

- I can't, that's all.

- But Georges, you can't just stand there

and tell me you're going away and never coming back

without giving me an explanation.

- My work makes it necessary.

- [Janine] Because you're a doctor?

- Yes, partly.

I have to travel where no one has ever been before.

I want to lift the curtain of life and see what lies beyond.

To do this, it is necessary for me to go away.

- Is it necessary for you to go alone?

- All right, sir, you've convinced me,

but it's not something I'd care to try.

- Ah, you lack the spirit of the pioneer, Dr. Gerrard.

- Being a surgeon is a practical business, Professor.

It's necessary to make a living.

It doesn't leave much time for pioneering.

- But if you had the opportunity

of becoming one of the pioneers

by performing one simple operation,

what would you say then, huh?

- First I'd say that no operation is simple.

Then I'd want to know what this operation involved.

- If it were impossible to explain it,

if you were asked to leave it on trust?

- Then I should have to say no.

- Regardless of who was talking to you?

- Professor Weiss, when we started this conversation,

I was under the impression

that we were speaking hypothetically.

Are we?

- No.

We are not.

- I see.

I suppose I should be annoyed at this verbal subterfuge.

I don't know why I'm not, really.

Look, suppose you tell me just exactly what it was

you asked me here for.

- See this?

My right hand,

the one I would have used if I were going to operate.

I came here for one single reason:

to save the life of Georges Bonner.

- What?

- Yes.

By performing an operation

that only I know how to perform.

You see? I can't do it.

Therefore, I am asking you to take my place.

- This operation, Dr. Weiss,

what exactly does it involve?

- In spite of what you said, this one is really simple.

It involves the removal of the uter-parathyroid gland.

- I thought you said this was to save Bonner's life.

- I haven't finished.

To remove the gland and substitute an alternative.

- An alternative? Why?

- Is it necessary to know the reason

just to perform an operation?

- Physically, no, but morally,

I think so0.

- Would you be prepared to leave

the protection of your morals in my hands?

-1 1, I'm not sure.

- Look at it this way:

I am asking you to perform a very simple,

straightforward operation,

and I am guaranteeing to you

there can be no ill effects.

On the contrary,

unless this operation is done,

and very soon,

Georges Bonner

will die.

- I agree with you that the operation is simple,

while I wouldn't exactly call it straightforward.

It's never been done before.

- Actually, I've done it myself many times.

You've done it? - Mm-hmm.

There are no moral or legal aspects involved.

- I suppose not, as long as the patient is willing.

- He is willing.

- You will be there yourself all the time?

- I will.

- And will you lend your name to this?

- Mm-hmm.

- Very well, I'll doit.

- Good.

Now, come on.

I'll show you what's to be done.

(door clicks) Thank you.

This is Georges Bonner's laboratory,

where we will do the operation.

- Wouldn't it be better in a proper theater

next door at the clinic?

- No, no, it's better here.

We don't want people to know the doctor is sick.

It's bad for the morale of the patients.

(Ludwig laughs)

- That is a fine piece of work, isn't it?

(dramatic music) - Mm-hmm.

(gentle music)

- Oh Georges, I love you so much.

- And I love you.

I tried not to.

I tried very hard.

- Is it so bad now you've given up the struggle?

- I don't think I could have let you go.

- I'm not going to let you, ever.

- [Ludwig] Georges, Dr. Gerrard must go now!

- Yes. Coming, Ludwig.

It's late.

I think you'd better let Gerrard take you home.

- Whatever you say, Georges.

- It's been a very great honor to meet you, Professor.

My colleagues at the hospital will be most impressed

when I tell them-- - Please, Dr. Gerrard,

I must ask you not to mention our meeting.

You see, I am old and tired,

and if the medical fraternity knew I was here,

they would request lectures, addressed meetings.

Oh, you understand of course.

- As you wish.

I'm sorry about this, Bonner,

but I have to go back to the hospital.

- Thank you for coming.

- Not at all.

- Will you see me home first, Pierre?

- Yes, of course.

(bell ringing)

(bell ringing) (footsteps tapping)

(door clicks)

- Dr. Bonner, please.

- Yes”?

- I am Inspector Legris of the Sareté, Monsieur.

I wonder if I could have a couple of words with you.

- Of course, Inspector. Come in.

- Thank you.

- Evening, Mademoiselle, Messieurs.

- Evening. - Evening.

- Evening. We were just on our way.

- I shan't belong, sir. Don't leave on my account.

- Oh, we can wait a few more moments, can't we, Pierre?

(door thuds)

- Come into the study, Inspector.

- Thank you.

- Sit down, please.

- Thank you.

- And what can I do for you, Inspector?

- Just a couple of questions, sir. Routine.

- Relating to, uh, what?

- Relating to the apparent disappearance of a young lady,

one Margo Philippe.

- Did you, did you say Margo?

But, that's impossible! (chuckle)

- You do know the young lady, then?

- Oh, yes. Yes, of course I do.

- When did you last see her?

- Yesterday.

I had a small reception here,

and she was the guest of honor.

You, you met her here, didn't you?

- Oh, yes, the young lady you modeled.

- Yes.

- Did you see her leave?

- I think so.

Why, yes. Yes, I'm sure I did.

What, what's happened to her, Inspector?

- Well, we don't know, sir. She has just disappeared.

It seems the last time she was seen was here,

at your reception.

- But that's terrible.

What could have happened?

- Quite a number of things

could have happened, Mademoiselle,

and it's up to me to find out the one that did.

- This statue you did of her, could I see it?

- Why?

- I understand it's an excellent likeness.

As I have never seen the young lady,

it would help me in my investigations

if I knew what she looked like.

-1, uh, I'm afraid, Inspector,

I, I no longer have the statue.

- But I just...

- Yes, Monsieur? You were going to say?

- Nothing, nothing at all.

It doesn't matter.

- Perhaps you can tell me who does have it.

- Nobody.

A stupid accident this morning. It was broken.

I was touching up a section of the plinth

and I knocked the whole thing over.

I'm afraid (sighing)

it was smashed to pieces.

- I see. Most unfortunate.

Well, thank you, Monsieur. That will be all for the moment.

- You will let me know, Inspector, if there's any news?

- I'll let you know.

- Thank you.

(door clicks)

- Good night, Inspector.

- Good night, sir.

(door creaks)

And thank you.

- Not at all.

What could have happened to her?

- I suppose you know the statue is in the laboratory?

- Yes. (laughing)

Yes, I do.

- He only wanted to look at it.

- He would have wanted to take it away with him.

- I know how the police mind works

and, I'm afraid, I know myself.

It's probably very silly of me, but I simply,

I simply cannot part with my sculptures.

- I see your point.

Well, thank you for the dinner, Bonner.

- Janine.

- Good night, Professor.

- Good night, Gerrard. - Good night.

(door clicks)

- Well?

- He'll do it.

(Georges gasps)

- Oh, good.

- What happened to the qirl?

(footsteps thump)

- When is he going to operate?

- It is me, Ludwig, who is talking to you,

not the policeman.

What happened to her?

- What is the matter with you, Ludwig?

- I will tell you what's the matter with me.

Ten years ago, when I came to London to do the operation,

a girl you modeled

just disappeared, and was never seen again.

Ten years before that, another of your models

just disappeared.

Two could be a coincidence. Three cannot.

What have you done to her?

(ominous music)

- You're very tired, Ludwig. So am I.

You should go to bed.

- I'm not tired, I'm frightened,

frightened for you, what you might have done.

- Good night, Ludwig.

When is he going to operate?

- Tomorrow morning.

(stairs creaking)

(ominous music continues)

(footsteps tapping)

(dramatic music)

(Ludwig sighs)

(dramatic music continues)

(lamp clanks)

Oh.

(dramatic music continues)

(lamp clanks)

(dramatic music)

- I thought I told you to go to bed.

(door thuds)

- Are you going to take another dose of the fluid?

- You'd better go to bed,

unless you want to see what happens

when the dose is overdue.

- I have been examining the gland.

- What about it?

- You tell me.

- What is the matter with it?

- Oh, don't distress yourself.

It will do what is wanted of it.

I am not referring to that.

- Then what are you referring to?

- This gland is not like the others.

It was taken from a,

from a living body.

(dramatic music ceases)

(Georges huffs)

- You're talking nonsense, Ludwig.

- Don't tell me nonsense.

I am not such a senile old fool

that I have forgotten the difference

between a revitalized and a living organ.

This gland has been taken from a living body!

- All right, Ludwig.

As you say, it was taken from a living body.

But it was because of you that I had to do it.

- Now it's my turn to say "nonsense".

- You were due here three weeks ago.

As always, I had a uter-parathyroid ready.

As always, I had removed it and revitalized it,

but you didn't arrive.

I managed to keep that gland revitalized for four days.

Then another one.

Four separate glands Il've removed and revitalized,

only to have them die, and still you didn't arrive.

I just, I just couldn't get access

to any more cadavers.

No, oh, no, this,

this was the only answer.

- The answer for whom?

For you?

Or for the poor man you have murdered?

But I'm sorry. It was my fault, wasn't it?

You had to do it because of me?

No, Georges.

I can't see how this can be justified.

- You would rather I had not been able

to geta gland at all.

You would rather this was the end.

Is that what you would have liked?!

- Yes.

It is.

- Knowing how it would happen, you still say that?

- But I'm not afraid of death.

If I were, I too could have remained young.

Do you remember how we talked about it

and you tried to persuade me?

But what is death that it should be feared so much?

- You don't know what you're saying, Ludwig.

- Of course I know what I am saying.

Why should the death of the other man be,

be of less importance than your own death?

By what right can you decide a thing like this?

This is a thing that only God can decide.

Have you become God all of a sudden,

to judge that you are more important

than the other man?

- Of course I, I'm more important.

He was nothing, nothing at all.

A non-entity.

- He had just as much right to life as you have,

more perhaps, because he didn't attempt

to tamper with the progression of life.

- While you are on this pedestal of moral indignation,

you seem to have forgotten that you are as involved as I am.

- No.

I do not forget.

That is perhaps because I am so sad.

I am sad for you, too.

You have changed so much.

- I'll tell you why I have changed.

It's being alone,

SO utterly alone,

again and again.

Every few years having to sever all contacts,

cut all traces,

having to disappear and start a new life.

- You knew this would be the case when you set out.

- Knowing something and living with it are,

are two very different things.

I often think I can't bear it any longer.

(Georges breathes heavily) (hand patting)

- Georges?

We have come to a time where we must consider

with great care

whether what we are doing should continue.

No, let me say what I have to.

No man can live alone all his life.

It's not natural.

It, it rebels against human nature.

But as long as you continue, you must remain alone.

- No. No, there is an answer.

- Not to continue?

- No, to continue,

but not to continue alone.

- Oof, Georges,

you're not being serious.

- Of course I'm serious.

Do you think I've never thought about it?

This must be the answer.

- Georges.

What you are suggesting is monstrous.

- But why?

Why is it monstrous to want

to be with the person you love, always?

- Mademoiselle Janine? It is she you talk about?

- Yes, Janine.

- I will not hear of it,

and I must ask you to promise me now

not to consider it again.

- I cannot promise that.

- Then you are truly alone now,

for I will have nothing more to do with it.

- Ludwig.

(dramatic music)

(watch jingling)

- No, Georges, you mustn't do it.

- Don't be stupid, Ludwig. Give me that key.

Ludwig, give me that key. It is past time already.

- Yes, Georges, it's been many years past time.

- Ludwig, that key, quickly.

All right, all right, I promise. But give me that key!

- You're lying. I can see it in your eyes.

You are lying to save yourself.

(Ludwig gasps)

- Give me that key!

(Georges gasps) (dramatic music)

- Ludwig.

Look.

Please.

- No.

It is better that it end here before further damage is done.

This must be the end.

(dramatic music continues)

(stumbling) (body thuds)

(lock clicking)

(intense music)

No, you must, you mustn't do it.

- You fool! This, this is all I've got!

- Yes, I know, and I know it will take you two years

to make a fresh supply.

(intense music) (glass shatters)

No, no.

No, don't, don't doit.

(Ludwig screams)

(dramatic music)

(suspenseful music)

(Georges breathes heavy)

(dramatic music)

(knocking on door) (door clicks)

- Dr. Gerrard, sir.

- Oh, good morning, Dr. Gerrard.

- Good morning.

Everything is ready, including the patient.

- [Pierre] Where is Dr. Weiss?

- Oh, I'm afraid he had to leave late last night.

He received an urgent message from his home in Vienna.

He asked me to, to apologize on his behalf.

- Monsieur Bonner,

without Dr. Weiss I'm afraid it is out of the question for

me to perform this operation.

- Last night, you agreed.

- As I explained to the doctor, his reputation is such

that under his patronage I agreed to do it,

but if he is not here, it's, it's impossible.

- You must, or I shall die.

- I recommend you to see another doctor.

- Wait.

- I'll pay you well.

- That's of no consequence, Monsieur.

However, if you are in the critical condition

that you say you are in,

I advise you to go to a reputable hospital immediately.

It's possible that they may be able to do for you

what I cannot do.

Good day.

(door clicks)

(knocking on door)

- Come in. (door clicks)

- Inspector Legris to see you, sir.

- Oh, yes. Show him in.

- Good morning, Sir.

- I hope you'll forgive this intrusion.

- Morning, Inspector. Please sit down.

- Thank you.

- What can I do for you?

- Well, this is a little difficult, sir.

Are you a particular friend of Monsieur Georges Bonner?

- No, I'm not.

I, I only met him for the first time

the day before yesterday.

- Then there's not much you can tell me about him?

- No.

- When we met last night I received the impression

that you wanted to say something.

- Yes, that's quite correct, Inspector.

Remember that statue that he said was broken?

- Yes.

- Well, he didn't break it. It's in his laboratory.

- That's strange.

- I take it you haven't managed to find the girl yet.

- No, sir, we haven't.

- And you think Bonner knows something that will help you?

- I don't know what to think.

The deeper I get into this case,

the more complicated and unreasonable it becomes.

- Unreasonable, Inspector?

- How old would you say Monsieur Bonner was?

- Oof,

about thirty-five.

- Yes, that's what I would have said.

Why do you ask that? - Look, sir,

I need your help.

I don't mind admitting it.

- To find this girl?

- No, it goes deeper than that, far deeper.

I'm going to tell you something,

and then perhaps you may be able

to give me the help that I need.

- Please do.

- Ten years ago, in London,

a young woman disappeared,

later presumed to have been murdered.

That's not very interesting, you'll say.

It happens all the time.

Well, exactly ten years before that,

the same thing happened in San Francisco,

and ten years before that, in Bern, Switzerland.

Three completely isolated cases.

Then, two years ago,

the international files at the Sdreté were being tabulated.

A fact was noticed

that tied these three disappearances together

and pointed towards them

all having been perpetrated by one man.

In each case, the girl in question

had been posing for a statue prior to her disappearance.

In each case, the sculptor was a doctor.

And in each case the doctor disappeared shortly after.

All this is carrying coincidence too far.

You see what I'm getting at, don't you, sir?

- Yes.

I see what you're trying to get at.

But if Bonner is the man you suspect, sir,

he'd be over sixty by now.

- Yes.

That's where the whole thing becomes unreasonable.

You said yourself that he was about thirty-five,

certainly not more than thirty-eight, and I agree with you.

- I assume you haven't said anything to Bonner about this?

- What's the point?

- These statues of the women who disappeared,

were they ever found?

- No.

And that's another peculiarity.

The statues were seen by a small number

of close friends of the sculptor,

and remarkably fine pieces of work they were, too,

by all accounts, and then they were never seen again.

- How can I help you, Inspector?

- Well, as you've met Monsieur Bonner,

I had hoped that you might be able to give me a lead.

I have checked his background thoroughly.

His movements seem all perfectly normal

as far as I can trace back,

and then I reach a complete dead end.

- How far back before you reach this dead end?

- Ten years.

- Look, Inspector, I think I may be able

to give you some sort of lead.

It may not mean anything, but it's worth a try.

See what you can find out about Professor Ludwig Weiss.

You've heard of him, of course?

- Weiss? Vaguely.

He's a doctor, isn't he?

- He was one of the very greatest.

He was at Bonner's house last night. You saw him there.

Try to find out if he was in London,

San Francisco and Bern,

at the time that those girls disappeared.

- You don't think Professor Weiss

could have been responsible?

- No, I don't, not directly.

But you will try?

- Dr. Gerrard, I'll try anything.

Needless to say, you won't say a word about this

to anyone, will you?

- Naturally not, Inspector, if that is your wish.

- Thank you.

- I don't know your reasons you have

for wanting me to do this, Monsieur Dumont,

but whatever they are, I must decline.

I'm sorry.

(dramatic music)

- But you're not making sense, Pierre.

- You come here with a story

which you admit is mostly guesswork,

and you expect me to believe it.

- All I'm trying to do is to warn you

against Georges Bonner.

- I gathered that,

but you still haven't explained why.

- I can't give you all the details

until I am sure of them myself.

But the man's abnormal.

- Oh, for heaven's sake, Pierre, try to talk sense.

- Look, Janine, last night,

Professor Weiss asked me to perform an operation on Bonner.

I agreed, and today, Weiss isn't there anymore.

- Well? What's so mysterious about that?

- By itself, nothing.

But added to other things that I've discovered--

- Oh, not that idiotic story about those statues again.

Really, I've never heard anyone talk

such nonsense in all my life.

- I admit it does sound far-fetched.

And that is why I want you to wait

until I can get more information.

- Spy on him, that's what you mean, don't you?

You came here intending to make an impression upon me

with your story about Georges.

Well, you've done that, but it was about you

and not Georges that you made the impression.

You're jealous of him.

You're jealous of his work and about me.

Well, I love him,

and I'm going to marry him.

- It's unusual, Monsieur Dumont,

(man blowing nose)

you will grant me that.

- So is the fee I am offering you.

- Yes, that's true. (chuckling)

Very well, then. When is it to be?

I, uh,

I think I could manage next Tuesday.

- It is to be now, tonight, and at my place.

- Very well, then. ['ll put my things together.

One needs many instruments for an operation.

(instruments clinking)

- What's this? (man chuckles)

- This is a scalpel, Monsieur Dumont.

You couldn't be expected to know what that is,

but to us doctors, it is the principal instrument,

like a spade is to a farmer, you know.

- And just about as filthy, too.

Leave all this. I have all the equipment you need.

- You have? Very well.

- I always have a small one before I operate.

- My hand is not as steady as it was, you know.

(door clattering)

Now, wait for me.

(dramatic music)

(Georges pounding fist)

- Oh, oh, Janine.

- Oh, Georges, I'm sorry to have kept you waiting.

- I hope you don't mind my coming here like this.

- No, of course not. I was looking for you all afternoon.

The clinic didn't know where you were.

- As I have been busy.

Janine, there is something I must tell you.

I...

(dramatic music continues)

- Georges, are you ill?

- No, no, of course not. Why?

- Oh, it's just that, well,

Pierre was here earlier this afternoon.

He said something about an operation.

He's got some fantastic story

in his mind about you and Professor Weiss.

- What sort of story?

- Oh, it's too ridiculous for words.

Something to do with glands and statues.

I really didn't know what he was talking about.

Darling, are you sure you're not ill?

- No, of course not.

(Georges chuckles)

Just tired.

Yes, just tired.

- I was so worried about you this afternoon,

thinking you were ill and not knowing where you were.

- Janine.

- Yes”?

- Would you do something for me?

- Anything in the world.

- Then come with me.

(dramatic music)

- Georges, what a strange place. Is it yours?

- Yes.

- There's my statue. What's it doing here?

I II...

I'll explain in a minute.

I love you.

(footsteps stomping)

(bright music)

- Oh, this is wonderful.

S0 many beautiful things.

It must have taken years to do.

- Yes, yes, a long time.

Wait, I'll, 1" show you something.

(gentle music)

- This is the, the very first thing I ever did.

- I was twelve.

- It's charming.

(dramatic music)

17987 Oh, Georges, you've got the wrong date on this.

If you modeled this when you were twelve,

then this date makes you

104.

(Janine chuckles) (dramatic music)

Georges?

(door clicking)

Georges!

- Yes, I heard what you said.

104.

I don't believe it.

- Whether you believe it or not is of no importance.

It is important that you do this operation.

- My answer is the same as before, Bonner. No.

- Wait a minute, Gerrard.

Listen to me once more.

Then we'll see if you feel the same afterwards.

Weiss and I were fellow students.

I was his senior by fifteen years.

- His senior?

- Yes, his senior.

- I met him when I returned to university

for a refresher course on surgery.

- Quite by accident, we discovered

we were interested in the same line of research.

And then

finally, we discovered the secret of immortal life,

but we had to prove what up 'til then had been only theory.

So

I volunteered to be the first guinea pig.

(dramatic music)

Since I embarked on this experiment,

I have never beenIll, (dramatic music)

never had a blemish on my skin.

Sickness and disease have passed me by.

So you see, not only did we discover

the secret of perpetual life,

but of perpetual health as well.

- Then why didn't you publish your findings?

(Georges laughs)

- We haven't published

because to do so would bring disaster.

The balance of nature is such

that the population of the world is kept at a level

where the world can adequately provide

food and living space for her people.

If it were suddenly made possible

for people to remain alive and healthy indefinitely,

the whole structure of nature

would collapse.

Within one generation,

the population of the earth would be doubled,

then quadrupled.

There would be famine on a scale never before dreamed of.

This is one reason we haven't published.

- One reason?

- Yes.

- There is another.

Every ten years, it is necessary

to have the uter-parathyroid replaced.

In order to replace an organ,

you must first find a replacement.

With no one dying, there would be no replacement.

- You told me earlier on about a fluid

that you have to take to keep alive.

- Only in the latter stages of each ten-year cycle.

If, for any reason, the operation is delayed,

it is possible to remain alive for four weeks

by taking this fluid.

Not desirable,

for it has an unpredictable effect on the mental balance.

- And you have none of this fluid left?

- Enough to keep me alive for another six hours.

I shall become the inheritor of all my 104 years,

of all the sickness I've never had,

of every pain, blemish, disease,

a lifetime of illness,

in one moment.

That is why you must perform this operation.

- I'm sorry, Bonner, but I still can't do it.

- Why not? Tell me why not.

- Because you are asking me to participate

in an offense against nature.

You said so yourself, an offense against God.

That's my last word on the subject.

Nothing you can say will make me change my mind.

- You're in love with Janine, aren't you?

- Yes, I am.

- You wouldn't like anything to happen to her?

- What do you mean?

- At this moment, Janine is somewhere only I know.

If you perform this operation and perform it successfully,

I shall release her.

If you don't perform this operation,

or if anything should happen to me while you are operating,

Janine will not be seen by you or anyone else again.

You have two hours to verify the facts.

Then I shall expect you at my house.

Two hours.

Remember.

(bright accordion music)

(man groans, coughs)

- Here you are, dearie. Drink it up.

(groans) - What's the hurry?

- No hurry, no hurry at all,

but I'm a working girl, remember.

Time is money, after all.

- You'll get paid, so stop nagging.

(man coughs) (door thuds)

- Cognac.

(accordion music continues)

- I'm sick of waiting here

for you to fill your great fat stomach.

- I'm going.

- What are you doing? What about the--

- What do you think I am,

a girl who can be bought for money?

I've never been so insulted. - You said fifty francs.

- It isn't safe for a respectable girl

to be around on her own.

- My escort's here now, anyway.

(man coughs)

(gentle music)

(footsteps tapping)

(cat screeching)

Mind the dustbins, dear.

(woman screams) (door slams)

(liquid splashes)

(objects clattering)

(footsteps tapping)

(door thuds)

(bell rings)

(door clicks)

- Oh, never mind, Roger. You go to bed.

- Yes, sir.

(door clicks)

- Good evening.

Everything is ready. Please.

(footsteps thump)

(door clicks)

(door thuds)

- You agree that if I perform this operation

you will release Janine immediately?

- I give you my word.

(cap scrapes)

(cap squeaking)

(cap clinks)

It will be extremely unfortunate

if I don't survive this operation.

(train chugging faintly)

(footsteps tapping)

(woman laughing)

(dramatic music)

(woman laughing)

(hay swishing)

(woman laughing)

(clicking)

- No!

(Margo groaning)

(gentle music)

- Drink this.

- I am very grateful, Doctor.

- You can show your gratitude best

by taking me to Janine Dubois.

- Of course.

- You'll be strong enough to do that by the time I'm ready.

(footsteps tapping)

- It means nothing to you

that you saved me from an extremely horrible death?

- Nothing.

Try getting up and moving around a little.

How does it feel?

I said, how does it feel?

(bell rings faintly) (dramatic music)

(suspenseful music)

Did you see Mr. Bonner go out?

- No, sir, I heard him, though.

- Well, have you any idea where he may've gone?

- No, sir, I haven'i.

- Find Inspector Legris of the Sdreté and bring him here.

- Yes, sir. - And hurry.

It's desperately urgent.

(train chugging) (footsteps tapping)

(footsteps thump)

(door rattles)

(Margo groaning)

- Where have you been? - Later. Come on.

(door squeaks, thuds)

- What? (Janine gasps)

- You said you wanted to be with me, always.

Is that still true?

- Yes. Yes.

- Whatever it may mean?

- Whatever it may mean, yes.

- Janine,

I'm going to tell you about myself.

It all started seventy years ago.

(papers rustling)

- Excuse me, Sir,

those are Monsieur Bonner's private papers.

- Never mind that. You leave this to me.

Now then, sir. What's the matter?

- Bonner has abducted Janine Dubois.

He's hidden her away somewhere.

- Wait a minute, sir.

Please will you start at the beginning?

- Earlier this evening, Bonner came to see me.

- Yes”?

- He asked me to perform an operation on him.

- Yes”?

- This has been my existence,

not life.

Existence.

Until I met you.

Now you're going to come with me, Janine.

(Janine gasps) But first, you must

become exactly as I am.

Think of it.

Never to grow old, always to stay as we are,

dS we dre now, never to be ill,

to stay as beautiful as you are now.

- No. - Always.

Through all time.

- And this fluid, whatever it was, affected his reason?

- For the few moments between his having to take the fluid

and his actually taking it, he became without reason at all.

Homicidal, completely mad.

That's when he Killed those three women

whose deaths you've been investigating.

- And at other times? - At other times,

rational, sane,

charming, intelligent.

Here's a carrier's receipt.

"Unspecified crate, 3x2x2, collect at this address,

deliver to Railway Arches, Gare Du Nord."

Today's date.

The statue.

It was here yesterday. It's gone now.

- We must try it. It's the only clue we've got.

If what you say is correct,

and he's all right and he doesn't need the fluid,

then he must be all right

now that you've performed the operation.

- I made the incision, but I did not perform the operation.

- It will be all right, I promise you.

- No, no! - Janine!

(dramatic music) - No!

- He, he didn't,

he didn't do the operation.

He didn't do the operation!

(intense music) (Georges gasping)

(Georges shouting)

(Margo laughing)

(Georges gasping)

I am going to die.

[, I am going to die.

(Janine screams)

(Margo laughing)

(door rattling)

- Janine!

She's in there. - What?

- Break that door down, quickly.

(lever thuds)

(Margo groans)

(lamp shatters)

(flames whooshing) (Janine screams)

(Margo laughing)

(Georges screaming)

(Margo laughing)

(Janine screams)

(Georges screams)

- Get out of here!

(flames crackling) (Georges screaming)

(Margo laughing continues)

(flames roar)

(Margo screams)

(Georges screams)

(statue thuds)

(Georges screams)

(fire crackling continues) (dramatic music continues)

(dramatic music)