("Night on Bald Mountain" by Modest Mussorgsky)
(can engine rumbling)
(ominous music)
- In here.
The doctor's expecting you.
- Thank you.
- Ah, Dr. Martin.
- Yes.
- You'll forgive me for not rising.
- An accident?
- Might call it that.
Carelessness, actually.
Never turn your back on a patient.
They teach you that at school, don't they?
- Yes they do, Dr. Starr.
- Dr. Rutherford.
Lionel Rutherford.
- Ah.
I understood that Dr. Starr was head of this institution.
- I'm Dr. Starr's associate.
Sit down. Sit down.
- You advertised for a senior houseman.
I sent along my credentials
and Dr. Starr asked me to come along for an interview.
- I've read your report.
It doesn't tell me what I need to know.
Your background qualifies you to set up
a fashionable psychiatric practice
to hold wealthy old ladies by the hand
while they tell you about their horrible husbands.
But we're along way from Harley Street out here.
This is a...
an asylum
for the incurably insane.
You want to know the most useful thing here?
This.
Controls to the door upstairs.
No keys.
Just an electrical device.
The door can't be opened from either side
unless I press that button.
- If you're trying to warn me that some of the inmates
are potentially dangerous, you needn't worry.
I've dealt with disturbed patients during my training.
- By what methods?
- Kindness, understanding,
insight.
- Exactly my ways, 20 years ago.
Now I'm not so sure.
Those poor devils up there can't be cured,
they can only be confined
and kept from being dangerous.
- Is that Dr. Starr's outlook too?
- Dr. Starr is upstairs now.
- What? With a patient?
- Dr. Starr is a patient.
Dr. Starr attacked me a few days ago,
suddenly, without warning.
That's how I injured my leg.
- Yes.
Working with the mentally disturbed
can lead to a breakdown.
- The nurse and orderly managed to transfer Dr. Starr
upstairs with the other patients.
I can't go there.
The orderly gives me reports.
He says the doctor is perfectly rational now.
Except for one thing.
A new personality seems to have taken over.
With its own name and its own life story.
- These terrible feud.
- Meaningless labor, don't you think?
- It describes something that exists.
From time to time, a man disappears
and his discovered much later living in a different town,
under a different name, following a different occupation
because something happened in his earlier life
that made it completely intolerable.
- You believe you could recognize such a case?
- I'm certain of it.
- Very well.
We'll call it a test.
There are several patients upstairs
with the sort of condition you describe.
Go up there.
Talk to them.
If you can recognize who is or was Dr. Starr
then I'll consider you qualified for the position.
- I will recognize him.
- Him?
How do you know the doc is a man?
Reynolds?
- [Reynolds] Yes, doctor?
- Reynolds,
I'm sending a young man upstairs.
Martin.
Dr. Martin.
Now listen to me carefully.
(menacing music)
(door buzzing)
- Dr. Martin'?
I'm Max Reynolds, the orderly.
- I'm pleased to meet you.
- Come this way.
It keeps out the draft,
as Dr. Starr used to say.
- You know why I'm here?
- Dr. Rutherford gave me full instructions.
- What can you tell me about the doctor?
- Who? Rutherford?
- Starr.
- Nothing.
You are to be given full cooperation but no clues.
- [Martin] Are all these rooms occupied?
- Yes.
We keep them locked, of course.
A security measure.
- This one isn't. - [Reynolds] It's my office.
- Are the patients free to move around at all?
- They're not to badly off.
You'll see for yourself.
- First patient.
- Mhmm.
- Name'?
- She calls herself Bonnie.
- B. Starr.
- That's a question for you to decide.
(keys clanking)
J1 We're having
J1 Tea in the afternoon J1
(knocking)
(door opening)
- Hello, Bonnie.
Bonnie?
Come along.
Here's Dr. Martin to see you.
- Leave me alone.
- I was hoping I could talk to you.
- Talk?
(giggling)
That's all you people ever do is talk.
Nobody listens.
- I listen too.
- You wouldn't believe me.
- Perhaps not, but I am willing to listen.
(birds chirping)
- Well,
if it makes any difference.
(birds chirping)
- [Man] I hope to God we get to the airport on time.
- For the last time Walter,
there's nothing to worry about.
Did it arrive?
- Yes it did.
They finished installing it about an hour ago.
- [Bonnie] There's nothing to worry about.
- It's easy enough for you to say, Bonnie,
but supposing something goes wrong?
- It can't go wrong, not if you follow the plan.
- I'll follow it.
If only I could see you first.
- You'll see me soon enough.
I'll be waiting for you once it's over.
- [Walter] I'll ring you.
(door thudding)
- Walter?
You're home early.
- I didn't get into town today.
- But you did get into the brandy.
- This happens to be my first drink.
- Not your last, I'm sure.
- May I fix you one?
- Yes, please.
- How did your class go?
- It's not a class.
Professor Kalanga is a spiritual leader.
- Professor.
Back in Africa he'd be just another witch doctor.
- What do you know about it?
Don't forget, I lived there for years.
- After all, my father was--
- Governor General of the colony.
It's a good thing he can't see his daughter now.
The poor old boy would turn in his grave.
Taking voodoo lessons from a black charlatan.
- It is not voodoo.
There are natural forces which are stronger
than life or death.
Forces which modern, civilized man has forgotten.
- I wish you'd forget all of this mumbo-jumbo.
What's that?
- It's called a wanga.
- I think it's revolting.
- It's not supposed to be pretty.
The serpent is a symbol of the life force
and the teeth are to protect one from evil.
- There's no evil in your life.
- Oh, but there is.
- What do you mean?
- Bonnie.
- That's all over and done with, I swear it.
- Only last month you came and asked me for a divorce.
- I haven't seen her since.
You have my word on that.
- I'm glad you haven't
because I told you then and I'm telling you now,
there won't be any divorce.
Oh, I know you, Walter.
You're a weak, vein, selfish opportunist.
You're content to live off my money,
but you are mine
and I will never let you go.
Never.
Now you do understand that, don't you?
- Perfectly.
(Ruth chuckling)
Darling,
I've got a present for you.
" Oh?
What is it?
- You'll see.
Come along with me.
- I don't see anything.
- Downstairs.
- In the basement?
- After you.
Careful now, mind the steps.
- Well?
What is it?
Oh, darling.
It's a freezer.
- Do you like it?
- Oh, you know I've always wanted one.
What a lovely surprise.
- I have another one for you.
- What is it?
- This.
(screaming)
(freezer buzzing)
(ominous music)
(thudding)
(paper rustling)
(water sloshing)
(bucket clunking)
(doorbell ringing)
(doorknob jiggling)
(paper rustling)
(freezer buzzing)
(bracelet jingling)
Rest in pieces.
(phone ringing)
" Yes?
- [Walter] It's finished.
- Good.
Are you all right?
- Yeah. How soon can you get here?
- I'm just packing.
I should be there within the hour.
- I'll be ready.
- One more thing, Walter.
We'll have to take her along.
- Why? There's no need for that.
No one's gonna check up while we're away.
- I'll be safer if there's nothing left behind.
They may still suspect, but they'll have no proof.
We'll dispose of the evidence on the way to the airport.
- We can't talk about it on the phone.
We'll talk when you're here.
For God sake, don't let anyone see you.
- I'll bring my car around to the back
and I'll keep the kitchen door unlocked
so I won't have to knock.
- All right but hurry.
The sooner we're out of here, the better.
- [Bonnie] Be right there.
- I'll be waiting.
(locks clicking)
(thudding)
(paper rustling)
(glass shattering)
(water dripping)
(ominous music)
(door squeaking)
(freezer buzzing)
(intense music)
(gagging)
(car engine rumbling)
(car door slamming)
- Walter?
Walter'?
(door clicking)
(door squealing)
(eerie music)
(door squealing)
Walter'?
(ominous music)
Walter'?
(eerie music)
(gasping)
(ominous music)
(door squealing)
(screaming)
(breathing)
(rustling)
(unsettling music)
(gasping)
(ominous music)
(jiggling)
(intense music)
(thudding)
(intense music)
(ominous music)
(screaming)
They found me lying there the next morning.
They said I'd strangled Walter.
I tried to tell them about Ruth
and the hand.
But it was gone.
Everything was gone.
But the hand was on my face.
I chopped
and chopped
and chopped at it.
(giggling)
(eerie music)
Now do you believe me?
No?
(giggling)
(humming tune)
- Paranoid psychosis.
How did she come to the asylum?
- She could have come as a doctor.
- And the wife?
- You'll learn the real cases when you've made your choice.
That's the service lift from the kitchen.
- The next patient?
- His name is Bruno.
Bruno?
This is Dr. Martin.
- What are you making?
- Whatever you like.
- Could it be a surgical gown?
- I can make whatever you wish.
It could be
a surgical gown...
or a shroud.
I'm a tailor.
- Doctors can sew.
Stitch.
- Always been a tailor.
Always.
(steam hissing)
(thudding)
(entry bell ringing)
- Oh, Mr. Stebbins.
Good evening.
- It's the first of the month.
The rent is due.
Mr. Stebbins, I've got a wonderful idea.
- Have you got the rent?
- Every month you come here
and always you are wearing the same suit.
- Nothing wrong with my suit.
Gives me good wear.
- Wear, yes.
But style, no.
Now listen.
For one month's rent, I could make for you such a suit.
- I don't need a suit.
And if I did, I wouldn't get it from you.
- I haven't got it.
- Now see here--
- No, no, no.
You see here.
You see this shop.
Fine people used to come here
for fine tailoring.
Now a little dressing, a little mending.
It's all I get.
I will pay the rent,
but you must give me a little more time.
- I'll tell you what,
today's Monday, right?
I'll be back here on Saturday morning.
- Saturday morning?
- Bright and early.
And if you haven't got the rent,
you can start packing.
(bell ringing)
No tricks now.
- No tricks.
(bell ringing)
- [Woman] Your supper, it's ready.
- I'm not hungry.
- Something is wrong?
- Not something, Anna,
everything.
Mr. Stebbins was here.
He's giving us one week.
A man works hard all his life
and then, in one week...
Where can we go?
(entry bell ringing)
(ominous music)
- Good evening.
Is the proprietor in?
- I am the proprietor.
(bell ringing)
Go have your supper.
Now,
what can I do for you, Mister...
- Smith.
Am I correct in assuming
that you can tailor a garment from any material
of my own selection?
- You want I should make you a suit?
(chuckling)
- Exactly.
- I have a fine stock of woolens here.
- That will not be necessary.
(clicking)
I brought my own material.
- I see.
You will be wanting something special.
- Correct.
Something very special.
There's enough here for a suit, I believe.
- Unusual.
- Special.
- It will be difficult to work from such a fabric,
but I can promise you a suit.
Now if you will just slip off your coat
so I can make measure.
- The suit is not for me.
It is for my son.
- Oh.
When will he come in for a fitting?
- It's to be a surprise.
- Oh, a present.
- You might call it that.
I've written down all the measurements.
Made various diagrams of the style.
(foreboding music)
- Expensive.
- Then you'll have to charge me accordingly.
Shall we say, 200 pounds?
- 200?
I will begin immediately.
- No.
This schedule.
It is of the greatest importance
that you work on the suit
only during the hours listed here.
(clock chiming)
- But these times,
they're all past midnight.
- I happen to believe in astrology.
- The stars?
- I take it you are not a believer?
No matter.
All that concerns you
is following these instructions to the letter.
There must be no mistake.
Is that clear?
No mistake.
- Everything will be as you wish.
I swear.
- You'll find my address written
on the top of the first sheet.
When may I have delivery?
- Um.
Today is Monday.
If I start tonight I'll...
Yeah.
I can bring you the suit on Friday.
- Excellent.
I shall expect you the moment it is finished.
(bell ringing)
Remember,
my instructions.
- Oh, I promise.
- Goodnight.
(bell ringing)
- Who was that man?
- Customer.
He ordered a suit.
200 pounds he will pay.
- Now I'm afraid.
There is something not right in all of this.
Something that will make you trouble.
- I must do it.
(ominous music)
(clock chiming)
(clock ticking)
(clock chiming)
(sighing)
(groaning)
- What is it?
- Ugh.
The instructions said to work to five o'clock.
I tried to work a little longer.
(eerie music)
(clock ticking)
- It is finished?
- I'm the one who's finished.
Four nights.
Nothing but work.
Midnight to just before dawn.
Now it's done.
- May I see it?
(gasping)
- It is strange.
You're going to press it'?
- No, no.
Mr. Smith doesn't want it pressed.
- Then what will you do?
- Deliver it,
just as he said.
Right now.
(ominous music)
(car engine puttering)
(eerie music)
(bell ringing)
(door locks jiggling)
- At last.
Did you bring it?
Ah, good!
Come in! Come in!
(eerie music)
This way.
Another two steps down.
In here.
My study.
The suit is completed?
- Oh yes.
It was difficult working with such material
and at night, no less.
- But you followed the instructions?
- Just as you ordered.
- Splendid.
You have no idea how much this means to me
and to my son.
- Your son.
Where is he?
- Nevermind.
Now if I may see the suit.
- Um.
- Yes, of course, your fee.
Just send me your account and I'll take care of it.
- I must have the money first.
I have bills to pay.
You wouldn't understand.
You're rich.
- On the contrary.
I understand the situation only too well.
It so happens, at the moment,
I'm in the same financial position as yourself.
" You?
- Don't misunderstand.
In a very short while, I shall be in funds again.
Just as soon as my son returns.
- Your diamond.
- This?
It's a fake.
It was real once,
but I had to dispose of it
in order to continue my work.
My studies.
This book.
It's very old.
Very rare.
The only one of its kind left in the world.
Cost me my fortune.
- You gave all your money for a book?
_ Every penny.
I needed it because of my son.
I sold everything to buy it.
- You're lying.
- See for yourself.
There is nothing left.
- What is in that room?
- That room is empty too.
There is nothing in there, I tell you!
Please!
(foreboding music)
- So that's it.
You're a murderer.
- No.
I'm no murderer.
He died a natural death.
I knew a long time ago
that it was inevitable.
Can't you see?
This is my son.
- Your son?
- He was the one I was working for,
planning for.
The book told me what to do.
That's why I had you make the suit.
It is for him.
Give it to me.
- No.
First, the money.
(gasping)
- You can't stop me now.
No one can stop me now.
Give me that suit.
(intense music)
(thudding)
(gunshot booming)
(entry bell ringing)
(door slamming)
- You sold the suit?
- No.
- Mr. Stebbins phoned just after you left.
He said to remind you he's coming for his rent
in the morning.
I told him is was all right.
You were collecting money from a customer tonight.
- You told him!
Anna, I asked you not to say a word about this to anyone!
Burn! Burn! Burn it!
Put it in the stew and burn it!
Forget about the suit.
Forget I ever made the suit.
Forget about Mr. Smith.
Forget everything!
- But--
- Burn it!
(ominous music)
A fortune, he said.
(metal clinking)
(eerie music)
(foreboding music)
No fire.
- I don't know what we will do now.
Once they see how you look
perhaps they will come in.
(ominous music)
- I told you to burn the suit.
- I put it on Otto.
- Otto?
- I made a name for him.
I talk to him often, when I am alone.
- Anna, please,
burn the suit.
- I thought--
- No one must ever know it existed.
- Mr. Smith knows.
- Mr. Smith is dead.
- Dead?
- I killed him.
It was an accident, but no one will believe that.
- What is that book?
- Mr. Smith had it.
It is a book of magic.
There's a spell for making the suit.
The book, too, must be burned.
- No.
- What do you mean?
- Don't you see?
If you have the book you can show it to the police.
Tell them what happened.
Then they will believe you speak the truth.
- What do you know from the police?
- Bruno, please, for my sake, tell them what happened.
" No!
- Then I'll tell them!
We can not live with murder on our souls!
- Anna! No!
No!
No, Anna!
(Anna screaming)
(menacing music)
- Let go of me, Bruno!
(intense music)
- No, Anna!
" No!
(screaming)
Otto!
- Oh God!
(gagging)
You must find him.
Somewhere in the city, he is alive.
I tell you, he is alive!
(keys jingling)
(Bruno sobbing)
(lock clicking)
- How did it happen?
- You know I can't tell you.
Not yet.
- Not until I've made my choice.
- Dr. Rutherford's orders.
- All right.
Who's next?
- A strange case.
A very strange case.
Her name is Barbara.
(knocking)
- How good of you to come.
You're the lawyer, aren't you?
- No, I'm sorry. I'm afraid not.
- But I asked to see a lawyer.
I told you to send for one.
- This is Dr. Martin.
- Another doctor?
But I'm not ill, you can see that.
A lawyer would know it wasn't my fault.
- I haven't accused you of anything.
- All doctors are alike.
- How can you be so sure about that?
- I happen to know a great deal
about the medical profession.
- That's interesting.
Did you study medicine yourself?
- You ask too many questions.
- It's only because I want to help you.
- Then get me out of here.
It wasn't my fault.
You've got to understand that.
I had nothing to do with it.
It was Lucy.
- Tell me about it.
- All right.
All right.
(ominous music)
(pleasant music)
- How do you feel, Barbara?
You look marvelous.
- I feel fine.
George, if you only know how wonderful it is
to be coming home again.
- Listen, I hope you are going to be very, very happy.
- Of course I will.
Don't worry, it's not going to be like the last time.
That's all over with now.
I'm sure of it.
- Good.
Nearly there now.
(somber music)
(birds chirping)
(ominous music)
What's the matter?
- I don't know.
I could swear I saw someone looking out of the window.
I thought for a moment it might be Lucy.
- Now remember what you promised at the hospital.
You are not to mention her name again.
- Yes, I know, I'm sorry.
But there is someone inside, isn't there?
- Yes.
- Who is it?
- You'll soon see.
- Who is it?
- Ah, Nurse Higgins.
This is my sister, Barbara.
- Hello.
I've heard so much about you.
- Nurse? I don't need a nurse.
- Now it's only temporary until you get settled in again.
The doctor suggested--
- Here, I'll take that, sir.
Shall we go upstairs now'?
- Upstairs?
- You can pop right into bed.
- Bed?
In the middle of the afternoon?
- Well, you've had quite a long trip.
You must rest.
- But I'm not in the least bit tired.
- Now, Barbara, you promised me, remember?
You are to follow the doctor's instructions.
- This is my home.
- Our home!
And I hope that we'll be together here, always.
You don't want to go back into hospital, do you?
- No.
You wouldn't.
- I sincerely hope it won't be necessary.
- Come along, dear.
- Aren't you going to come up?
- Later.
- I still think it's ridiculous going to bed at this hour.
- Doctor says you need a nap every day before tea
to keep your strength up.
- But I'll never sleep.
- Here, you're to drink this.
- What is it?
- Only a sedative, dear, to calm your nerves.
- I am calm.
Perfectly calm.
If I could just have one of my pills.
- Now we're not to have any more of those things.
That's better.
Now, in we go.
All comfy.
Try to sleep now
and I'll look in on you a little later on.
Tonight, after dinner, we'll have a nice chat.
- You'll be staying here in the evenings too?
- Of course I will.
And your brother's given me the room right next to yours.
(phone ringing)
- Hello?
Yes, would you hold on a minute please?
Nurse Higgins, it's for you.
- Thank you.
Hello, yes?
Yes, speaking.
Oh no.
Where did you say?
Train Cross Hospital?
No danger?
She's 78.
I'll come at once, as soon as I can.
- Nurse Higgins, is anything the matter?
- It's my mother.
I'm afraid she's had an accident.
I must go to her.
- What about my sister?
- I put her to bed under sedation.
She'll sleep for hours.
- Look, there's a train in 20 minutes.
I'll run you to the station.
- Thank you.
I'll get my b39-
(ominous music)
(care engine starting)
(somber music)
(ominous music)
(eerie music)
- Hello, love.
. Lucy-
How did you get in here?
- It wasn't easy.
I've been waiting ever since you came home.
- Where?
- In the garage.
That's where I phoned in from.
- Phoned'?
- To get them out of the house.
I knew he'd be gentlemen enough to drive her to the station.
Well?
Aren't you glad to see me?
- Of course I am.
What if he finds you here?
- I know.
That's why we have to work quickly.
- I don't understand.
- Obviously.
What's the matter?
- Nothing, I just feel a little faint.
- Have you been taking those pills again?
" No!
No, that's all over with.
- He doesn't trust you, does he?
Shutting you up like this in a darkened room.
Bringing in a nurse.
She's not your nurse, you know.
She's your guard.
Your keeper.
- But George wouldn't do a thing like that.
- Oh wouldn't he?
Who owns this house?
- Why, I do.
When father died he let everything to me.
- And if something happened to you?
Suppose George has you put away for good?
- He wouldn't.
He couldn't.
- All he has to do is to tell the doctors
that you are too difficult to control at home.
That nurse will back him up.
- But you know that's not true.
- And what good does that do?
George won't listen to me.
He doesn't even like you to see me.
That's so, isn't it?
Isn't it'?!
- What're we going to do?
- I've got to get you away from here
and we haven't got much time.
- But if I stay with you,
he'll find me.
Where could we go?
- I've thought of that.
We could take a room somewhere.
- Do you have any money?
- No, but you do.
A hundred pounds.
You put away for a new dress.
- How did you know that?
- You told me.
Don't you remember?
(ominous music)
- I'll get it.
- No hurry.
You can't go now.
Not in broad daylight.
Somebody's bound to notice.
Besides, we'll need a car.
Tonight,
when George is asleep.
(ominous music)
Don't you worry.
Just leave everything to me.
(somber music)
(ominous music)
(knocking)
- Barbara?
(somber music)
(phone ringing)
Hello'?
Yes, Nurse Higgins.
She wasn't'?
That's very strange.
But you will be back tonight.
Good.
Now there's a late train getting in at 10 o'clock.
Take a taxi from the station.
Splendid.
I'll expect you then.
Good bye.
(ominous music)
(foreboding music)
- Come on, love.
Wake up.
Hurry up. Get dressed.
It's time to go.
- Quiet, not so loud.
He'll hear you.
- George?
I got some of that sedative they had for you.
Put it in his tea.
- Will he sleep?
- He didn't even feel it when I took his car keys.
- And Miss Higgins?
- By the time she gets here we'll be gone.
Come on now.
There.
You go and get dressed.
Are you okay, love?
- Yes.
Yes, just a touch of nerves.
I guess I'm not used to so much excitement.
- Oh, I love excitement.
Here we are.
Just the thing.
- What do you want with those?
- To cut the phone cord, silly.
We don't want old Miss Higgins giving alarm,
now do we?
- You do think of everything.
(Lucy giggling)
- I try to.
Now you hurry and get dressed
and I'll go down the hall and...
(scissors snipping)
Remember, I expect to find you dressed when I get back.
L s8)”
- What?
- It is a laugh, isn't it'?
Just like old times.
(ominous music)
(dramatic music)
(foreboding music)
What are you doing?
Give them to me.
- I can't.
I need them.
- Give them to me!
- Please Lucy, one more.
- I am not going to watch you ruin yourself.
- Just one more, Lucy, then I promise.
- I thought you said you weren't taking them.
- I can't help it.
- You mean you don't want to help it.
You always had a choice.
George or the pills.
Me or the pills and the pills always win.
Deep down inside you hate George.
You hate me.
- No.
No Lucy, you're my best friend!
- These are your friends.
Your only friends.
Oh, I'm goo enough for you when you're in trouble,
but I've never been good enough for George
or anyone else you know.
Now I can't even win over a hand full of these.
- No.
- What I have done for you today
you'll never know
and it isn't enough.
I'm getting out.
NOW!
- No, Lucy!
- You want these?
Here.
Take them!
(dramatic music)
. Lucy-
Lucy?
(ominous music)
Lucy!
(car engine starting)
Lucy, come back!
- Barbara, what are you doing out of--
- I've got to go out.
- At this time of night?
- Yes! You don't understand.
It's Lucy.
- Lucy?
- Yes, she just left.
I heard the car pull away.
- That was the car I came in.
There's no one out here.
No one.
- Then she's still here.
- Where's your brother?
- In the study I suppose.
George?
(ominous music)
(screaming)
(menacing music)
- Barbara?
Barbara?
(intense music)
(gasping)
- There, Barbara.
Now you're free.
Free of all of them.
- Now do you understand why I must see a lawyer?
They said I killed them.
They say my fingerprints are on the shears.
But it was Lucy.
Lucy who did it.
- What does Lucy have to say about that?
- Why don't you ask her yourself?
She's here with us now.
- Where?
- There she is.
Don't you see her?
(laughing)
- Was there a George and a Miss Higgins murdered?
- There may have been.
- But no Lucy?
- There may not have even been a Barbara.
- Meaning she might be Dr. Starr?
No, I don't think so.
I don't think I've met Dr. Starr yet.
Maybe there is no such person.
Perhaps your Dr. Rutherford is just playing a game.
- Dr. Rutherford never plays games.
- How many more are there for me to see?
- Just one.
- And then my choice?
- Then the choice.
- Tell me about this one.
- He calls himself Byron.
Dr. Byron.
BWOn?
- Gentlemen.
- I brought Dr. Martin to see you.
- It's always a pleasure to meet a colleague.
- You're a doctor?
- Indeed I am, sir.
Physician,
neurosurgeon and orthopedic specialist.
And, lately I found still another vocation.
Even more fascinating.
Do you care to see some of my recent work?
- Yes, I'd be happy to.
- If you'd be good enough to step over here.
- Hmm.
Who are the subjects?
- Former colleagues of mine.
Of course, I had to model their faces from memory.
- Quite a hobby.
- Oh, it's more than a hobby.
Much more.
These are not ordinary figures.
The eyes were made to see.
Inside each skull is a perfectly proportioned brain,
perfectly capable of functioning.
- You talk about them as though they were alive.
- Hmm.
That's the final step.
From play things to creations.
Living creations.
I know it sounds a bit...
(chuckling)
But you see, the bible tells us that the Lord God
formed the man from the dust of the ground
and he breathed into his nostrils the breath of life.
Thus, the man became the living creature.
Do you believe that, doctor?
- I'm afraid I put my belief in science.
- So do I.
If I could breathe my...
consciousness into one of these figures,
that figure will come alive.
Want to see what I'm working on now?
Call it my final creation.
- [Martin] That's your face.
- Mhmm.
My face and inside, my body,
correct to the smallest detail.
I can turn it in and you can say,
"Oh yes, it operates on batteries."
But how do you know what it is inside?
- What is it?
- It's me.
I mean, not yet.
But it will be.
Through the power of concentration
I'll shall will my mind to enter its body
and it will be me.
Rutherford wouldn't believe I could do it.
He locked me up,
but he let me keep my dolls.
Occupational therapy he called it.
He'll soon find out what they are.
That's right, go.
Run away and hide from the truth like that idiot downstairs.
But it won't do any good you know.
You can tell Rutherford for me.
Tell him the truth will find him out!
Tell him!
(lock clicking)
- Well?
Which is it?
- Would you mind stepping into your office
and telling the doctor that I'm ready to come down?
- No need.
I'll use the intercom.
What do you want me to tell him?
- Just tell him I'm coming to see him.
- Dr. Martin is ready to come down, sir.
(door lock buzzing)
- Thank you for your help.
- Don't mention it.
It was a pleasure.
Doctor?
Good luck.
- So?
You've seen the patients.
Well, what do you think?
- I think it's a disgrace.
This institution, the way it's run,
everything about it.
Those patients, locked away by themselves,
lost in their own fantasies
and no attempt made to bring them back to reality.
- You forget, they're incurable.
Take a man like Byron.
You think you could rid him of his delusions?
- I'd be willing to try!
- And you'd fail.
Byron is hopelessly insane.
(ominous music)
There's only one way to remove Byron's hallucinations.
With this.
- Prefrontal lobotomy?
- Exactly.
- Do you believe that surgery
is a substitute for psychiatry?
- It's affective.
- Yes, it's affective,
in turning intelligent human beings into vegetables.
(menacing music)
(elevator lift buzzing)
(menacing music)
And now,
your choice.
- You'd still give me the job in spite of our differences?
- If you choose correctly.
Might do some good here.
Your choice?
- Your tea, doctor.
- Thank you, nurse.
Sugar?
- Nothing.
I'm going back to London.
- You won't choose'?
- No
(ominous music)
- [Rutherford] I'm disappointed in you, Martin.
- [Martin] Why?
Because I refuse to play games with you?
- Because you admit defeat.
- Defeat?
- You can't identify Dr. Starr,
that's why you're leaving, isn't it?
Because you failed the test.
- [Martin] Test?
I'm not a school boy.
I'm a qualified doctor.
- Obviously you're not qualified to practice here.
- [Martin] These patients are badly in need
of proper therapy.
You won't help them.
You won't even let them help themselves.
- On the contrary.
I give them every opportunity to work out their fantasies.
That's wrongly.
Take Byron, for example.
- His work is remarkable.
- Also dangerous.
- Dangerous?
- [Rutherford] To himself.
Perhaps it's time I put an end to it
and destroy his figures.
- That may make him even worse.
- Or cure him.
(ominous music)
Yes, I think the time has come
to take Byron's toys away from him.
(gasping)
(yelling)
(glass shattering)
(ominous music)
(intense music)
(thudding)
(yelling)
(foreboding music)
(intense music)
_ Byron!
- I was in my office
when he cried out.
By the time I go to his room
it was too late.
- He's dead.
- His body was...
crushed.
- So let's see our good Byron Starr.
- You recognized him then, sir?
- It was obvious.
- Where are you going?
- To call the police.
Is there a phone in your office?
- Don't go in there sir!
No.
(menacing music)
- He's been strangled.
- Two days ago.
There was no opportunity to dispose of it.
- Dispose of it?
Who is he?
- His name was Max...
Reynolds.
- The orderly?
(ominous music)
- Yes.
I'm afraid your guess was wrong.
I am Dr. Starr.
(intense music)
(gagging)
(giggling)
(maniacal laughing)
(dramatic music)
(ominous music)
- Good afternoon.
I've come about the appointment.
- Yes, I was expecting you.
Do come in.
- Thank you.
- Better keep the door closed and keep out the drafts,
as Dr. Starr used to say.
("Night on Bald Mountain“ by Modest Mussorgsky)