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00:04:13Él es un poco independiente, ¿no?
00:04:15¿Dónde estamos pagando por sus servicios?
00:04:17No creo que él está interesado en el dinero.
00:04:20Los expertos no importan el dinero.
00:04:23Y así te dicen.
00:04:25Bueno, no olvides que no se olviden de estar disponible
00:04:27para Mr. Heller a 10.30 mañana.
00:04:30¿Y qué más? ¿Qué va a la chica?
00:04:33Perdón, Marc.
00:04:34Perdón.
00:04:35La chica, ella no va a hacer.
00:04:37No, no, no.
00:04:38No, no.
00:04:39No, no, no.
00:04:40Pero nos pecamos más.
00:04:43No, no.
00:04:44Esto no.
00:04:45Nuestro amigo, no, no lo has dado.
00:04:47Es difícil que nos descanara.
00:04:48Sí.
00:04:49¿Qué?
00:04:50Ya.
00:05:10Oh, hello. Can I speak to Marianne, please?
00:05:20Hello. Hello, Marianne?
00:05:24How are you?
00:05:25Yeah. Marianne,
00:05:27how would you like to go to the theater tonight?
00:05:36Ladies and gentlemen,
00:05:37I'm going to suggest to this man
00:05:39that his life is in danger,
00:05:42that he may die at any moment.
00:05:49Mr. Harrison,
00:05:52look into my eyes.
00:05:59Mr. Harrison,
00:06:01you told me that in China
00:06:03you once saw a man executed in the streets.
00:06:06I want you to imagine that you are in his place,
00:06:13that you are on your knees.
00:06:19On your knees.
00:06:22You are about to be executed by a soldier
00:06:39who put a single bullet through the back of your head.
00:06:42You are alone.
00:06:45You look up and see the faces of the crowd.
00:06:48In moments, they will move away,
00:06:50leaving you dead on the pavement.
00:06:52You turn
00:06:54and see the soldiers standing behind you,
00:06:57his face grim,
00:06:59his gun ready for firing.
00:07:01You are moments from death.
00:07:02The weight of the sound of the gun,
00:07:03and the pain of the bullet crashing into your head.
00:07:09You wait for the sound of the gun,
00:07:11and the pain of the bullet smashing into your head.
00:07:14You wait for the sound of the gun,
00:07:15and the pain of the bullet crashing into your head.
00:07:24You wait for the sound of the gun,
00:07:27and the pain of the bullet smashing into your head.
00:07:31They...
00:07:33They...
00:07:56Now ladies and gentlemen,
00:07:57Now, ladies and gentlemen, I should like another volunteer.
00:08:02Anyone?
00:08:08Perhaps the young lady in the seventh row?
00:08:11Anyone at all?
00:08:18Go on.
00:08:19Mark, I really don't think so.
00:08:21Come on, you promised.
00:08:23All right.
00:08:27Well, this is very kind of you.
00:08:48Do you mind telling me your name?
00:08:52Marianne Horne.
00:08:55Are you frightened, Miss Horne?
00:08:56No, I don't think so.
00:09:00Are you by any chance a professional entertainer?
00:09:03No, no.
00:09:04I didn't think so.
00:09:06You seem like a very shy girl.
00:09:09Oh, well, Miss Horne, do you dance?
00:09:13Well, as everyone does.
00:09:16Ballet?
00:09:17Oh, no.
00:09:18Not since a few lessons as a child.
00:09:20I see.
00:09:21Now, Miss Horne, don't be frightened.
00:09:24Just look into my eyes.
00:09:30That's right.
00:09:32Ladies and gentlemen, we have with us tonight an expert on modern dancing.
00:09:38He will dance with Miss Horne, and I guarantee you that she will dance as well as the expert.
00:09:45Miss Horne, in a few moments you'll be hearing some music.
00:09:47When the music begins, you will become a dancer.
00:09:53You will become a dancer.
00:09:55Thank you.
00:09:57When I see a dancer, I hope that you will dance and dance with Miss Horne, and I guarantee you that she will dance as well as the expert.
00:10:03Miss Horne, in a few moments you'll be hearing some music.
00:10:05When the music begins, you will become a dancer.
00:10:08Gracias.
00:10:38Gracias.
00:11:08Gracias.
00:11:38Gracias.
00:11:55You are again Miss Marion Hall.
00:11:58But a magnificent dancer has been lost.
00:12:00Thank you ladies and gentlemen for your very kind attention.
00:12:09Magda, if you please.
00:12:13What happened to you?
00:12:15I don't know.
00:12:16Why did you learn to dance like that?
00:12:18Mark, I don't know.
00:12:23And now ladies and gentlemen, I should like to introduce my esteemed collaborator, Hugo.
00:12:28Now to look at him, you might think he was just another ordinary ventriloquist dummy.
00:12:35Indeed he is, but he has unexpected talents.
00:12:51Well Hugo, what are you going to do to amuse the audience tonight?
00:12:54Anything you say, my dear Varelli.
00:12:57Except that kind of thing.
00:12:59Why, what do you mean by that?
00:13:01Simply that you are laughing while I am talking.
00:13:04What's wrong with that?
00:13:06Oh, it's an old ventriloquist trick.
00:13:09They're all doing it now, it's corny.
00:13:12Perhaps we can show the audience a variation on the theme.
00:13:15Give me some wine. I want some wine.
00:13:20A dummy. Drinking wine. Don't be ridiculous.
00:13:26I want some. Give it to me. I know what wine is.
00:13:30I've had wine before. I want some wine. Why shouldn't I have some wine?
00:13:33You are a dummy, Hugo.
00:13:40Ah, was that so corny? Listen to the audience applaud.
00:13:56They're not applauding you. They're applauding me.
00:14:04Yes, me. Hugo, the dummy.
00:14:11Well, if it's for you, you must go and thank the audience, mustn't you?
00:14:17Go to the footlights and thank them.
00:14:20You must obey me.
00:14:23You must obey me.
00:14:26You go.
00:14:28Walk to the footlights and thank them.
00:14:50Thank you.
00:14:59Thank you.
00:15:06And return to your master.
00:15:20Thank you.
00:15:21Thank you.
00:15:50Do you know who that girl was?
00:15:52The one you were seducing mentally.
00:15:55Miss Horne. Miss Marian Horne.
00:15:58One of the richest girls in all England.
00:16:01Her aunt is giving a charity ball Saturday night.
00:16:04I think I'll just ring up and offer my talents.
00:16:08For charity.
00:16:09For charity.
00:16:18Her aunt.
00:16:21Her aunt.
00:16:23Her aunt.
00:16:25Come to me.
00:16:28What did you say?
00:16:30Hm?
00:16:32Nothing? Why?
00:16:34Oh, I thought I heard you call my name.
00:16:37You must be hearing things.
00:16:39Es que yo tengo que decirlo, Varelli.
00:16:43Mis actos son muy diferente.
00:16:45El hombre es increíble.
00:16:49Me preocupa.
00:16:52Me parece que tiene que ser un poder tan grande.
00:16:56Sí, por lo que uno de los viceversores ha hecho un buen idea en este, Varelli.
00:17:00Creo que es un hombre de gracia, pero es un buen hombre.
00:17:09I'd certainly like to get a chance to examine that dummy
00:17:14There, there, you can help me
00:17:18Oh, can I now?
00:17:21That's just what you think
00:17:22Oh, I've had enough, thank you
00:17:24Come on, please
00:17:25What can I do?
00:17:29Well, as your aunt is holding your annual charity ball
00:17:31All you gotta do is go and see the great Varelli
00:17:33And invite him to come
00:17:34I know he will
00:17:37I saw the way he eyed you when you walked up on that stage
00:17:39Besides, your aunt would love it, you know it
00:17:43Give me a chance to get a good close look at that doll
00:17:47Because you will invite him to stay the night
00:17:51It's the only way I can get a chance to examine it
00:17:54With all the press clippings on Varelli
00:17:57No one's ever like near that doll
00:17:58You won't let anyone see it or touch it unless he's using it
00:18:02How about it?
00:18:06Well, you know he's very attractive
00:18:08I might just be attracted to him
00:18:11Oh, well, I'll take that chance
00:18:14How about it?
00:18:18All right
00:18:19The things I do for you
00:18:21Are you a bitch?
00:18:36Oh, well, we'll do it
00:18:36Oh, well, we'll do it
00:18:38Because you can see it
00:18:40¡Gracias!
00:19:10¡Gracias!
00:19:40Mass hypnosis, Mr. English.
00:19:42It's as real as individual hypnosis.
00:19:44What we saw was a dramatical production.
00:19:48I'm telling you, a succession of theatrical tricks.
00:19:52Keep your voice down.
00:19:54You know how important this is, don't you?
00:19:58And it could be important to you, too.
00:20:02I'm scared of your insane jealousy.
00:20:04If you keep on this way, you know what will happen to you.
00:20:10You may go in now.
00:20:14Thank you.
00:20:26I am very pleased that we meet again, Miss Horne.
00:20:30Oh, I didn't even know if you'd remember me.
00:20:32No.
00:20:34And no, I did not forget you.
00:20:36Thank you.
00:20:38But I came to ask you for a favor.
00:20:42To come to your aunt's charity ball.
00:20:44Yes, but how did you guess?
00:20:46Very prosaic, I'm afraid.
00:20:48I read in the newspaper that your aunt was giving her charity ball.
00:20:54I'm afraid you're right.
00:20:56I'm afraid you're right.
00:21:02Will you join me?
00:21:04What is it?
00:21:06A wine.
00:21:08From Sicily.
00:21:10Rather sweet but very good at this hour.
00:21:12I always have it.
00:21:14It's called Sangue della Virgine.
00:21:18Blood of the Virgin.
00:21:20Smell it.
00:21:22It has a lovely bouquet.
00:21:24It's rather early for a drink.
00:21:26But this is an occasion.
00:21:28To the charity ball.
00:21:32You mean you will come?
00:21:34If you want me.
00:21:36Oh, indeed we do.
00:21:38This is marvellous.
00:21:40I really didn't expect that I could walk in here
00:21:42and you'd accept the invitation just like that.
00:21:44Oh, but you do know it's for charity.
00:21:46Your fee...
00:21:48Will be nothing.
00:21:50My aunt would be so pleased.
00:21:52I don't know how to thank you.
00:21:54I shall be delighted.
00:21:56Oh, but you haven't finished your drink.
00:22:00It's rather sweet.
00:22:02Look into it.
00:22:04It's so deep and rich.
00:22:06And red and warm.
00:22:08Deep... rich... red... and warm.
00:22:24Deep... rich... red... and warm.
00:22:30You will come, then?
00:22:32If you want.
00:22:33Saturday, then.
00:22:34After your performance here, we'll send a car.
00:22:36You will come, then?
00:22:38If you want.
00:22:39Saturday, then.
00:22:40After your performance here, we'll send a car.
00:23:00I'll be right back.
00:23:01I'll be right back.
00:23:02I'll be right back.
00:23:03I'll be right back.
00:23:05I'll be right back.
00:23:06I'll be right back.
00:23:09Aunt Eva, this is your fourth drink.
00:23:11No, dear.
00:23:12It's my fifth...
00:23:13You're quick.
00:23:14There.
00:23:28Enjoying yourself, darling?
00:23:29Oh, mi amor, mi amor, mi amor, mi amor.
00:23:31You're looking lovely.
00:23:33Thank you.
00:23:35Mark.
00:23:37Mark, you're absolutely marvelous.
00:23:39You're doing everything beautifully.
00:23:41You know, we've never had enough publicity.
00:23:45Now, remember...
00:23:47Maria.
00:23:49Maria.
00:23:53She adores it.
00:23:55No worries, I will.
00:23:57You're a pretty pretty handsome.
00:23:59Pretty handsome.
00:24:05Hey.
00:24:07Hmm?
00:24:09Oh, nothing.
00:24:11Daydreaming, I suppose.
00:24:13Mark.
00:24:15I don't like it.
00:24:17Your aunt loves it.
00:24:19She doesn't know what you're really here for.
00:24:21As long as I get the Borelli story, what does it matter?
00:24:23Oh, it's just...
00:24:25I don't know.
00:24:27I wish I'd never seen him.
00:24:33Oh, Mark.
00:24:35When do I introduce Mr. Borelli?
00:24:37Just about time now.
00:24:39Oh, dear.
00:24:45Come on, don't worry. Everything will be all right.
00:24:47Oh, dear.
00:24:49Ladies and gentlemen, we have a great surprise for you tonight.
00:24:51Now, will everybody at the back please come forward.
00:24:55Thank you.
00:24:57Thank you.
00:24:59And then I'd like you to form a semicircle.
00:25:03I have much pleasure in presenting the great Borelli and Hugo.
00:25:11Well, Hugo, I think you should sing a song for the audience.
00:25:15No. I am tired.
00:25:17Well, you're in a surly mood.
00:25:19I'm going to leave you alone.
00:25:21And when you're ready to perform, fine.
00:25:35In the meantime, if you'll excuse me, I would like something to eat.
00:25:37I've just come from the theater and I haven't had time.
00:25:43Oh, ham.
00:25:46I love it.
00:25:47You cannibal.
00:25:49Well, what would you have to eat, Hugo, to make you a cannibal?
00:25:53Sawtust.
00:25:54Don't I get anything to eat?
00:25:56I'm hungry.
00:25:57Who ever heard of a ventriloquist dummy eating?
00:26:01I can eat.
00:26:03I can eat like you can.
00:26:07You are not the only one who likes to eat.
00:26:09Don't be ridiculous.
00:26:11I'm hungry.
00:26:13I want something to eat.
00:26:15Now.
00:26:16You surely don't expect me to wait on you.
00:26:23No.
00:26:24But I do want to eat.
00:26:27Very well, then.
00:26:29Get up and get it yourself.
00:26:59Don't drink too much, Hugo.
00:27:02It might make the sawdust in your stomach swell.
00:27:06You're a dummy, Hugo.
00:27:08A common puppet.
00:27:11Hugo.
00:27:24Put down the knife.
00:27:27I said, put it down.
00:27:30You know you're frightened the ladies.
00:27:43You must apologize.
00:27:45Tell them you're sorry.
00:27:47I am sorry.
00:27:54I am sorry.
00:27:58Ladies and gentlemen.
00:28:01And me.
00:28:08I...
00:28:09Yes, say it.
00:28:10I...
00:28:11am...
00:28:12sorry.
00:28:14Master.
00:28:15Master.
00:28:20Master.
00:28:22Master.
00:28:24He went upstairs ten minutes ago.
00:28:38He should be back by now.
00:28:40When it does come down, I'm going up.
00:28:42I've got to have a look at that dummy.
00:28:44It just isn't possible.
00:28:49You must have someone inside it.
00:28:51Not a small man or a boy.
00:28:53It's the only explanation.
00:28:54Either that or it's mechanical.
00:28:56Darling, it's absolutely thrilling.
00:28:58Perfectly marvelous.
00:28:59Una mirabilia.
00:29:01Have you ever seen anything so marvelous, Mark?
00:29:03No.
00:29:04Never.
00:29:05The echo.
00:29:06The echo.
00:29:07Oh.
00:29:08Oh, excuse me.
00:29:14Mr. Borrelli, you were magnificent.
00:29:16Thank you.
00:29:17Thank you.
00:29:26I think I should like a drink.
00:29:28Would you care to join me?
00:29:29That's all.
00:29:30Thank you.
00:29:31What a wonderful performance.
00:30:01Thank you.
00:30:31Y cuando me llamo, te vas a venir.
00:30:47En cualquier lugar, te vas a venir.
00:30:51Pero hasta que me llamo, te vas a ser tu propio.
00:30:56Tu propio propio, maravilloso.
00:31:01I must leave you now, my dear.
00:31:07Good night, beautiful little Marian.
00:31:31Good night.
00:31:45Good night.
00:31:51Gracias.
00:32:21Come to me, remember, you promised to obey me, you must obey me.
00:32:34Come to me, Marianne, Marianne, now.
00:33:04Come to me, Marianne, come to me, Marianne.
00:33:29You have come, my Marianne, you have obeyed me, but you do not know you're here.
00:33:58Tomorrow you will remember nothing.
00:34:03I will remember nothing.
00:34:07You are very beautiful, my Marianne.
00:34:17You must learn to respond.
00:34:19Are you afraid of me?
00:34:22No.
00:34:23Then why do you resist me?
00:34:26You're not strong enough.
00:34:28My thoughts have already penetrated your mind.
00:34:33You see?
00:34:35I am afraid of me.
00:34:36I have only to think.
00:34:40You are afraid of me.
00:34:42You are afraid of me.
00:34:43I am afraid of me.
00:34:45I am afraid of you.
00:34:47¡Gracias!
00:35:17¡Gracias!
00:35:22¡Gracias!
00:35:26¡Gracias!
00:35:37¡Gracias!
00:35:39Me, en Berlín, 1948.
00:35:48Me, en Berlín.
00:35:53Hugo.
00:36:09Me, en Berlín.
00:36:33Good morning. Coffee, Mr. English.
00:36:35Thanks.
00:36:39And how was your evening?
00:36:42That dummy talked to me last night. He came to my room.
00:36:46He came to your room? The dummy?
00:36:48That's right.
00:36:50And what did he say to you, Mark?
00:36:53I know this is gonna sound crazy, but he asked for help.
00:36:57He mentioned Berlín. Berlín, 1948.
00:37:02When did you start having these nightmares, Mark?
00:37:05Tell Dr. Lee's all about it.
00:37:07It was no nightmare. I saw and heard that dummy.
00:37:10It's as real as...
00:37:12You can't be serious.
00:37:14I am.
00:37:18Hello? That's for you, Mark.
00:37:23Hello.
00:37:24Oh, hello, Mark. Mark, Marianne is not feeling so well.
00:37:28The whole house is in a shambles after last night.
00:37:31I was wondering, I hoped you might come out here.
00:37:35Well, what's happened?
00:37:37Well, you know, Mark, the charity ball, the preparations, the excitement.
00:37:41Well, she's upset. I have to upset anyone.
00:37:44Was she all right?
00:37:46Well, Dr. Keisling, our family doctor, is here.
00:37:48He'd like to have a word with you.
00:37:52Hello? Mr. English?
00:37:54Yes, doctor?
00:37:55Now, there's nothing to be alarmed about, Mr. English,
00:37:57but I think it would be best if you were to see Marianne.
00:38:00Well, what's wrong?
00:38:01Oh, nothing serious, but I just think that you should be here.
00:38:05Well, it'll take me about two hours.
00:38:08Very well. I shall look forward to meeting you.
00:38:11Goodbye.
00:38:13I'm very glad that you were able to come so quickly.
00:38:43Yes.
00:38:50Yes.
00:38:54Yes.
00:38:56Yes.
00:38:58She seems to be in a state of semi-comer,
00:39:00with overtones of delivium.
00:39:05Make him stop, Mark.
00:39:08Marianne, darling.
00:39:13Mm.
00:39:18Make him stop, Mark.
00:39:20Mark, make him stop.
00:39:21Darling, what is it?
00:39:26He's calling me, Mark.
00:39:30Please make him stop.
00:39:32Who?
00:39:33Please.
00:39:36Make him stop.
00:39:38Let her rest.
00:39:40Perhaps if she sleeps, the fever will drop.
00:39:44Don't make him stop.
00:39:45Don't make him stop.
00:40:09Very strange case.
00:40:11No, no, thank you.
00:40:13I was hoping your visit would have helped.
00:40:16Perhaps...
00:40:17She's been hypnotized.
00:40:19Beg your pardon?
00:40:21Varelli.
00:40:23I didn't understand.
00:40:25I'm sorry, Doctor.
00:40:26She's been put in a trance by a professional hypnotist,
00:40:28a man called Varelli.
00:40:30The great Varelli.
00:40:31Mr. Hingrich, in this day and age?
00:40:35But how? For what reason? Why?
00:40:37You said yourself you couldn't understand the symptoms.
00:40:40Your very words were, a strange case.
00:40:42Yes, we still have to make the tests.
00:40:44Possibly some unknown virus.
00:40:47Do you know Dr. Heller, the expert on hypnosis and mesmerism?
00:40:51I once attended one of his lectures at the university.
00:40:55Very interesting theories.
00:40:57I'd like him to see Marianne.
00:40:59Of course, if you feel it would help, I've got no objection.
00:41:02But in the meanwhile, we'll carry on the tests.
00:41:04Thank you, Doctor.
00:41:08You don't believe a word I'm saying, do you?
00:41:11Well, let us say that I will keep what you Americans call an open mind.
00:41:21Yes, just come this way.
00:41:23Thank you.
00:41:34Ah.
00:41:36Would you mind telling me your name?
00:41:38Miss Panton.
00:41:40Miss Panton.
00:41:42And what kind of work do you do, Miss Panton?
00:41:45I play cello in a symphony orchestra.
00:41:48Oh, really? Then you must be a connoisseur of good music.
00:41:52Yes, I think so.
00:41:54And what does music do to you?
00:41:58Well, I feel things.
00:42:00I suppose different kinds of music make you feel different things.
00:42:06Oh, yes, definitely.
00:42:08I see.
00:42:10Now, Miss Panton, don't be frightened.
00:42:13Just...
00:42:15look into my eyes.
00:42:17That's right.
00:42:18That's right.
00:42:25And now, ladies and gentlemen, I shall prove to you that we all have secret desires.
00:42:31Desires that run counter to our upbringing and surroundings.
00:42:35And how music can, indeed, bring them out.
00:42:37Miss Panton, in a few moments you will be hearing a record.
00:42:49When you hear the music begin, you will become a striptease artist.
00:42:54And you will dance for us.
00:43:07Watch the stage.
00:43:12Because of the story that she missed.
00:43:14This does not matter.
00:43:16And you are done.
00:43:18And that woman, this can be done with being a celebrity that is an industrial guide for the night.
00:43:22With her ascent, it may be puzzling as an em growl river at your pharmacy.
00:43:24You may be inviting you to be hidden.
00:43:26With her judgment for how Rough Desired tides, Grandezona and Sunny Island.
00:43:29And that's what you are doing.
00:43:31Newtails, Megения Company.
00:43:32The audience is a best friend of thunder I have received every breaking ever.
00:43:34¡Gracias!
00:44:04¡Gracias!
00:44:34¡Gracias!
00:45:04¡Gracias!
00:45:08¿Te gustaría un café, Marc?
00:45:10¡Gracias!
00:45:18¡Hola, Dr. Heller!
00:45:20¡Hola!
00:45:22¡Hola, Mr. English!
00:45:24¡Oh, doctor!
00:45:26¿Qué es el café?
00:45:28¡Yes, doctor!
00:45:30¡Sit down!
00:45:32¡Thank you!
00:45:34¡I just seen Miss Horn!
00:45:36Oh, how is she?
00:45:38Well, she has slipped back into a semi-comatose state.
00:45:42Oh, by the way, I called Varelli and talked to him.
00:45:46He confirmed my findings that Marianne has a subconscious fear of hypnosis.
00:45:52That's all his fault, isn't it?
00:45:54He can't be blamed. Marianne agreed to be hypnotized.
00:45:58I've already even offered to put her into another state of hypnosis
00:46:02and break the control again.
00:46:04But...
00:46:06It's too dangerous. Much too dangerous.
00:46:08You must find some other solution.
00:46:10But how?
00:46:12I'm not quite certain yet.
00:46:16In any case, it will take time.
00:46:18The mind is fragile.
00:46:20It has to be delicate and patient.
00:46:24If there was something I could do.
00:46:30Let's walk.
00:46:32Let's walk.
00:46:36Let's walk.
00:46:38Let's walk.
00:46:40Hugo, she said that you were ugly.
00:46:44Hugo,
00:46:53she said you were ugly.
00:47:14She said you were ugly.
00:47:44She said you were ugly.
00:48:14She said you were ugly.
00:48:44She said you were ugly.
00:49:14She said you were ugly.
00:49:44She said you were ugly.
00:49:46She said you were ugly.
00:49:51She said you were ugly.
00:49:58We finally got through to Mr. Stanton.
00:50:00Never mind that.
00:50:00Get me Bob Garrett on the phone in Berlin.
00:50:02The elusive Mr. Garrett.
00:50:03Try his hotel.
00:50:04If I know him, that's where he'll be.
00:50:06Hey, Mark boy.
00:50:07What's with the Dawn Patrol?
00:50:09Say, how's the action in England?
00:50:11Action?
00:50:12What action?
00:50:13What are you talking about?
00:50:14Limey broads, man.
00:50:15Limey broads.
00:50:15What else?
00:50:16Never mind that.
00:50:17I got a job for you.
00:50:18You've what?
00:50:20Look, man.
00:50:20I'm sweating my guts out here.
00:50:21I'm at my typewriter this very minute.
00:50:23Working like hell on the Berlin Wall article.
00:50:26Now get a pencil and pad ready.
00:50:27Okay, hold on a minute.
00:50:31Honey, let me have the pad and pencil.
00:50:36Thanks.
00:50:38Okay, Mark boy.
00:50:39Fill me in.
00:50:40Fill me in.
00:50:41A magician.
00:50:41A hypnotist called the Great Borelli.
00:50:43He used to work in Berlin.
00:50:45I want you to find out everything.
00:50:46Repeat everything available on the man.
00:50:48I want you to go way back.
00:50:49As far back as 1947.
00:50:50I want to know who he is, where he came from,
00:50:52and who he worked with.
00:50:53Check the police files, the hospitals,
00:50:55the birth records, and the theaters.
00:50:56You got that?
00:50:56Slow down, Mark boy.
00:50:58Slow down.
00:50:59How do you spell it?
00:51:01D-O-R-E-double-L-I.
00:51:04Okay.
00:51:05Now get your tail out of bed and get to work.
00:51:07Wilco, Wilco.
00:51:08Stay cool and all that jazz boy.
00:51:11Hey, how did you know I was in bed?
00:51:13It figures, boy.
00:51:14It figures.
00:51:15Cop, in the minute you get something.
00:51:17So long, Bobby.
00:51:18Okay.
00:51:24Hmm.
00:51:26Borelli's assistant was found dead.
00:51:29Listen to this.
00:51:30Miss Cardenas was last seen alive by Carla Sante,
00:51:32the stage dresser at 745 last night.
00:51:35He returned to awaken her for the evening performance at 810,
00:51:37and he found her dead.
00:51:39Mr. Jack Walton, the manager of the theater,
00:51:41has stated that Mr. Borelli was in his office,
00:51:43where he was talking with British customs official
00:51:45concerning passport and clearance papers
00:51:47for a pending trip to Spain.
00:51:49The customs official have verified Mr. Walton's statement.
00:51:53They were interrupted by shouts from Carla Sante,
00:51:55who had just found the body.
00:51:56Now here's the gem.
00:51:57Listen.
00:51:58Mr. Borelli said, quote,
00:52:00The poor girl had not an enemy in the world,
00:52:03the most shocking crime.
00:52:04I hope the police will persevere,
00:52:06find the murderer,
00:52:07and see that justice is done.
00:52:09I will miss her very much indeed.
00:52:12The great Borelli with an airtight alibi.
00:52:16You know what I think?
00:52:18I think he killed her.
00:52:21Somehow he killed her.
00:52:25Let's see what Bob Garrett digs up in Berlin.
00:52:27Nothing we've done so far has helped.
00:52:53The new drug from America
00:52:55seems to have a tranquilizing effect.
00:52:57That is something.
00:52:59Mr. Borelli called again today.
00:53:00He seemed very concerned about Mary Ann.
00:53:03Yes, he calls regularly.
00:53:04Very nice chap.
00:53:08Doctor,
00:53:09I think you should come up and see his horn.
00:53:12She's still delirious.
00:53:13I was afraid of that.
00:53:18Thank you.
00:53:19Thank you.
00:53:20Thank you.
00:53:21Thank you.
00:53:22Thank you.
00:53:23Thank you.
00:53:24Thank you.
00:53:27Another injection, nurse.
00:53:50One half cc.
00:53:51One half cc.
00:53:51One half cc.
00:54:20One half cc.
00:54:35A phone call for you, Mark.
00:54:37Your office.
00:54:41How is she?
00:54:41Hola, Luisa. ¿Qué es eso?
00:55:03¿Qué es eso? ¿Qué es eso?
00:55:06¿Es todo lo que te ha dicho?
00:55:07¿Qué es eso?
00:55:09Luisa, get me a ticket on the next plane to Berlin.
00:55:11Call Garrett and have him meet me at the airport.
00:55:13Have him reserve me a room with the Hilton.
00:55:16Now I don't know how long I'll be there.
00:55:22Marianne.
00:55:25Marianne.
00:55:28Yes.
00:55:30Yes, it's coming now.
00:55:37No.
00:55:50Ah, Grace.
00:55:54Grace, you look very pretty.
00:55:56Do you think you know the routine well enough?
00:56:08Yes, sir.
00:56:10Poor Magda.
00:56:12I shall miss her in many ways.
00:56:14You will go on in her place tonight.
00:56:16Yes, sir.
00:56:18Ah, you may go now, Grace.
00:56:20I shall try not to disappoint you, Mr. Forelli.
00:56:22I'm sure you won't, my dear.
00:56:52And don't know how long I'll just talk about it.
00:56:55Well, when do we start?
00:56:58Relax, Mark, relax.
00:57:00I'll tell you all about it.
00:57:03In 1947, Brealli was just breaking into vaudeville.
00:57:05But before that, he was a doctor.
00:57:07A doctor?
00:57:08The way I get it, the I look at, I'm sure I go,
00:57:10it's like my recruiters and my doctor,
00:57:12tell you about it.
00:57:14Germánethas.
00:57:16You can get involved in Maine.
00:57:17And you know what are your favorites,
00:57:19as well as gold�weed.
00:57:19Oh, to my beloved, I have to touch him.
00:57:20¿Qué es el doctor?
00:57:21De modo que me entiendes, después de la doctora de Gutter,
00:57:23él no se practicó.
00:57:25Fue un fanático sobre los misterios de la East,
00:57:27incluso cuando estudiamos.
00:57:28¿Dónde?
00:57:30¿Egypt, India, Burma?
00:57:32Y, por supuesto, un año con los llamas en Tibet,
00:57:35siempre estudiando la misma cosa.
00:57:37¿Ypnosis?
00:57:39No, no exactamente.
00:57:40Es más como que creía que se puede separar un hombre de un alma.
00:57:44Es muy difícil de pinar, Marc.
00:57:46¿Qué de la Vaudavela Acta?
00:57:48En diciembre de 1947, él fue sacada de la Sociedad de la Universidad.
00:57:51No tengo la oportunidad de revisar las razones,
00:57:53pero, por lo tanto, él fue sacada.
00:57:55El siguiente que alguien se ha visto es cuando él apareció en Vaudavela.
00:57:58Él tuvo este acto con la chica y la chica,
00:58:00hypnotismo y todo eso.
00:58:02Él les dejó, y ellos lo hicieron.
00:58:04Uno de los trucos que Varelli hizo fue ponerle un brazo en el niño.
00:58:07Con un amigo de mi,
00:58:09he conseguido encontrar la mujer.
00:58:10Ese es donde estoy llevando ahora.
00:58:12Hmm.
00:58:13Creo que podría ser de la policía de la policía americana,
00:58:16y él está buscando algo.
00:58:18No, no, no, de la policía.
00:58:22¿Qué es, entonces, que quieres?
00:58:24Quiero saber lo que sucedió en 1948 cuando trabajó con él.
00:58:28Fue un accidente, ¿no?
00:58:30Hmm.
00:58:31Sí.
00:58:33Y no me hubiera escuchado.
00:58:36¿Vale?
00:58:37¿Vale?
00:58:38¿Vale?
00:58:39¿Vale?
00:58:40Oh, sí.
00:58:41Hugo.
00:58:42Hugo.
00:58:44Hugo.
00:58:45Tell us about it.
00:58:46It would be better to cut Varelli's throat, hmm?
00:58:52It was a long time ago.
00:58:57I was younger.
00:59:03Varelli hired Hugo Novick and me.
00:59:05We had an act.
00:59:06Hugo and I.
00:59:08Dancers.
00:59:09We made little money,
00:59:12but we were happy.
00:59:15Varelli said we would make more.
00:59:17OK.
00:59:18Let's go on.
00:59:19Varelli.
00:59:20Varelli would hypnotize us.
00:59:23Make us do things.
00:59:25But offstage.
00:59:27We were ourselves.
00:59:30But then Hugo changed.
00:59:34Varelli became his master.
00:59:37Then he got the dummy.
00:59:42Oh, it looks like you.
01:00:12Hugo.
01:00:15Yes, it could resemble me.
01:00:28It will be.
01:00:29It will be.
01:00:31It will be.
01:00:42It will be.
01:00:45It will be.
01:00:46It will be.
01:00:48I was.
01:00:48It will be.
01:00:49It will be.
01:00:50But then Hugo and I will come here.
01:00:51Let's go.
01:00:52You will be right.
01:00:54I will do it.
01:00:55I will come here.
01:00:56I will come here.
01:00:57¡Suscríbete al canal!
01:01:27¡Suscríbete al canal!
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01:01:59¡Suscríbete al canal!
01:02:01¡Suscríbete al canal!
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01:02:11¡Suscríbete al canal!
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01:02:15¡Suscríbete al canal!
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01:02:25¡Suscríbete al canal!
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01:04:25¡Suscríbete al canal!
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01:04:37¡Suscríbete al canal!
01:04:39¡Suscríbete al canal!
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01:04:45¡Suscríbete al canal!
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01:04:55¡Suscríbete al canal!
01:04:57¡Y dé�!
01:04:59¡Suscríbete al canal!
01:05:01¡Suscríbete al canal!
01:05:03¡Suscríbete al canal!
01:05:05¡Suscríbete al canal!
01:05:07Pero lo escuché.
01:05:09Luego, el dedo clungó a Hugo.
01:05:16¡Ah!
01:05:17¡Ah!
01:05:18¡Ah!
01:05:19¡Ah!
01:05:20¡Ah!
01:05:21¡Ah!
01:05:22¡Ah!
01:05:23¡Ah!
01:05:24¡Ah!
01:05:25¡Ah!
01:05:26¡Ah!
01:05:27¡Ah!
01:05:28¡Ah!
01:05:29¡Ah!
01:05:30¡Ah!
01:05:31¡Ah!
01:05:32¡Ah!
01:05:33¡Ah!
01:05:34¡Ah!
01:05:36What was the verdict?
01:05:37He willingly took the risk, accident.
01:05:41He lived for three months after the accident.
01:05:48In the hospital
01:05:49like a better town.
01:05:51He did not move, for three months just lay there and looked at the ceiling.
01:05:58Then he died.
01:06:03He died.
01:06:06Look, gentlemen, I don't want to push you out,
01:06:08but Mercedes has some business to attend to.
01:06:10The customers come here, you know.
01:06:12So if you're through, perhaps you would give us a hundred marks for the information.
01:06:15Well, we lose more than that in time already.
01:06:18Pay him.
01:06:20Bobby, take me right back to that airport.
01:06:25First I thought Morelli had a mechanical doll.
01:06:28Or even a living person inside the dummy.
01:06:30I even sneaked into his room and examined the doll,
01:06:33but it was nothing but a wooden puppet.
01:06:41I never told you this before, Doctor,
01:06:43but the night I examined that doll, it came to my room.
01:06:46It talked to me.
01:06:49You were dreaming.
01:06:50Yeah, I knew you'd say that.
01:06:51At first I thought I was dreaming too.
01:06:53But what that doll told me led me directly to Mercedes in Berlin.
01:06:57I know you'll think I'm mad,
01:07:00but somehow he's put a man's life into that doll.
01:07:04You have a most vivid imagination.
01:07:06But I just don't like it, Doctor.
01:07:08Marianne is bedridden.
01:07:10It's too like Hugo Novick.
01:07:12For three months he lay in a bed helpless.
01:07:14You are magnifying this problem.
01:07:16With Hugo Novick it was catalepsy.
01:07:19Catalepsy?
01:07:20No, there's no question.
01:07:22A perfect case of traumatic shock.
01:07:25Well, that explains it.
01:07:27The dagger.
01:07:29Only instead of telling him it wouldn't hurt,
01:07:31he probably told him he would die.
01:07:33Or all but die.
01:07:41And for three months he lay in a hospital helpless,
01:07:43while Varelli completed his transfer.
01:07:45He put his spirit into that dummy before Hugo died.
01:07:49And all this while,
01:07:51Hugo Novick's soul has been inside a dummy.
01:07:54Ah, this is madness.
01:07:57Besides, Marianne never suffered from any traumatic shocks.
01:08:01Maybe she did, I don't know.
01:08:03The night Varelli performed out at her aunt's house,
01:08:05something happened to her in his room.
01:08:07The next day she was lying helpless in bed.
01:08:09Anyway, Hugo Novick was 15 years ago.
01:08:11His powers may have advanced since then.
01:08:14You are wasting your time, Mark.
01:08:16I tell you, he's robbed this man's soul.
01:08:18I don't know how,
01:08:19and I can't give you any scientific explanations,
01:08:21but I do know that's what's happened.
01:08:23Mark.
01:08:25Now, do you really think we should seriously discuss this?
01:08:29A soul transferred by a vaudeville magician.
01:08:32Varelli is no mere vaudeville magician.
01:08:35Look at Marianne.
01:08:37That's a very highly strong girl.
01:08:41Hers is a case of interrupted hypnosis.
01:08:45This I can understand.
01:08:46Okay, what do you suggest?
01:08:48That you forget all this foolishness.
01:08:50Forget about Varelli.
01:08:52You are tired, overworked,
01:08:54and perhaps even a little bit jealous.
01:08:57And that's all there is to it?
01:08:59You can take my word for it.
01:09:02I wish I could believe you.
01:09:04Dr. Heller here.
01:09:09Oh, yes.
01:09:10Dr. Keisley.
01:09:12Yes?
01:09:13Yes.
01:09:14Oh, good.
01:09:16Marianne is awake.
01:09:19Perfectly normal.
01:09:21Oh, yes, of course.
01:09:23I shall be out there this afternoon.
01:09:25Late.
01:09:26Thank you, doctor.
01:09:27Goodbye.
01:09:29Oh, thank God for that.
01:09:32Now, Mark, take my advice.
01:09:36Forget about Varelli.
01:09:37Forget about dummies.
01:09:39Marianne is much better now.
01:09:41Varelli is not the villain you imagine.
01:10:02Perhaps you shouldn't stay too long.
01:10:19I say, of course.
01:10:21I understand.
01:10:32You will tell your aunt and uncle that you love me.
01:10:51I love you.
01:10:52I love you.
01:10:53I love you.
01:10:54And you will tell Mark that you are going to marry me.
01:10:56I'm going to marry you.
01:10:57I must go now.
01:10:58But when I call you, you will come.
01:10:59Remember.
01:11:00When I call, you will come.
01:11:01My aunt.
01:11:02Remember.
01:11:03When I call, you will come.
01:11:04You will come.
01:11:05Remember.
01:11:06When I call, you will come.
01:11:07My aunt.
01:11:08My aunt.
01:11:09My aunt.
01:11:10My aunt.
01:11:11My aunt.
01:11:12My aunt.
01:11:13Tengo que ir ahora, pero cuando te llamaré, te vayas.
01:11:20Recuerda que cuando te llamaré, te vayas.
01:11:43Recuerda que cuando te llamaré, te vayas.
01:12:13No, no, no, no.
01:12:20No, no, no, no.
01:12:25Hola, ¿cómo estás?
01:12:33Buenas tardes a ver.
01:12:35Me parece mucho mejor.
01:12:36Gracias. La doctora me llevó a la droga.
01:12:40Marc, tengo que hablar con vos.
01:12:46Estoy dejando con Varelli.
01:12:49Estoy en el amor de él.
01:12:51¿Qué?
01:12:52Estoy en el amor de él.
01:12:55No, no, no, no, no, no, no, no, no.
01:12:57I'm sorry, Marc.
01:12:59¿Cómo puedo explicar?
01:13:01Lo pasó el día que estén aquí.
01:13:04No sé qué decirme.
01:13:08No, no, no.
01:14:14Bueno, Hugo.
01:14:16Hoy vamos a ir a España.
01:14:19Y allí, la famosa y hermosa María Horne...
01:14:22será mi maravilla.
01:14:25¡Qué tal!
01:14:28Vamos a dar la última conferencia hoy en día...
01:14:32todos nosotros.
01:14:34Tú, Hugo.
01:14:36Mi maravilla.
01:14:38Mi maravilla.
01:14:42Y luego, después de unos meses...
01:14:45cuando mi transferencia es completo...
01:14:48mi hermosa mujer va a morir...
01:14:50conmigo, conmigo, conmigo, conmigo.
01:14:53Y tú...
01:14:55conmigo, pequeño compañero.
01:14:59Pero...
01:15:01tú también, ¿verdad?
01:15:03Más chau.
01:15:14Un saludo.
01:15:33¡Suscríbete al canal!
01:16:03¡Suscríbete al canal!
01:16:33¡Suscríbete al canal!
01:17:03¡Suscríbete al canal!
01:17:33¡Suscríbete al canal!
01:17:35¡Suscríbete al canal!
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01:17:41¡Suscríbete al canal!
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01:17:45¡Suscríbete al canal!
01:17:47¡Suscríbete al canal!
01:17:49¡Suscríbete al canal!
01:17:51¡Suscríbete al canal!
01:17:53¡Suscríbete al canal!
01:17:55¡Suscríbete al canal!
01:17:59¡Suscríbete al canal!
01:18:01¡Suscríbete al canal!
01:18:03¡Suscríbete al canal!
01:18:05¡Suscríbete al canal!
01:19:56¡No piedad, señor English!
01:19:59Vareli is now in the wooden doll.
01:20:04I am his master.
01:20:07Las tiendas se han convertido.
01:20:11No hay miedo para Mariana.
01:20:13Ella está dormida a la paz.
01:20:16Cuando me wake, ella será su propia propia.
01:20:21Mr. English.
01:20:23Me voy a salir de aquí.
01:20:25Soy el gran Vorelli.
01:20:27No puede hacer esto para mí.
01:20:29Por favor, Mr. English.
01:20:31No lo haré.
01:20:33Me voy a hacer lo que quieras decir.
01:20:35Me voy a salir de aquí.
01:20:37Me voy a hacer lo que quieras decir.
01:20:40Por favor.
01:20:41Soy el gran Vorelli.
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