Honeymoon of Horror (1964) - full transcript
The new bride of a strange sculptor finds that many of her new husband's friends want her dead.
(suspenseful jazz music)
(mild jazz music)
(motor hums)
(mild jazz music)
(car door thuds)
(car door thuds)
(mild jazz music)
- [Lilli Voiceover]
We'd just been married,
and Emile was so sweet and formal.
Even in my dreams,
I hadn't dreamt of it
as wonderful as this.
For me, it was a stairway to heaven,
and Emile's eyes were filled with stars.
(Lilli screams)
- Surprise, surprise, surprise!
Surprise, surprise, surprise, surprise!
(guests chatter)
♪ Here comes the bride, da, da, da, da ♪
- Whose idea was tonight's?
- Helene, she's the mastermind.
- Darling, I thought this would be a
sensational beginning to your new life.
- I was gonna die for you, Emile baby,
but you know the cops.
They ask too many questions.
(men laugh)
- How did you know, I don't understand.
- Emile, we learned about
your marriage this afternoon.
Helene was trailing you or something.
- That's right, darling.
Just leave it to beady-eyed Helene.
- Anyway, Emile, you know news
travels faster than flies.
(Max laughs)
- Come on, everyone.
Let's go outside and start drinking.
We've got a long way to go tonight.
- Everybody down to the booze parlor!
Come on now, follow me!
(guests shout)
Everybody downstairs,
all the way downstairs.
Everybody downstairs. (hums)
(Toulouse mutters)
(guests chatter)
(man claps)
- Everyone, this is my wife, Lilli.
Lilli, these are my lunatic friends.
- Darling, you know formality
is the word around here.
I have a toast to all
prepared for the occasion.
To love and marriage,
almost as outdated as
the horse and carriage.
(guests applaud)
(guests cheer)
- I sent my brother on
a two-weeks vacation
to get him away from women,
and he comes back with a goddess.
- An angel.
- All right, an angel.
You see, Lilli, each
artist interprets things
in their own way.
Now, for me, if I made a statue of you,
you'd become a goddess.
For Emile you'd be an angel.
- Lilli, this is my brother Max.
Max and I are almost like Siamese twins,
but he's the better educated one you see.
He speaks English perfectly.
He was born here while I
was struggling in Europe.
- Hello, Max.
Very happy to meet you.
- Not half as glad I am to meet you.
- [Socki] Emile, Emile!
- [Toulouse] Make way, hot stuff here.
- Let me look at her.
Yes.
Beautiful.
Bone structure is very good.
The nose is perfect.
The hair, yes, yes.
- Lilli, this is my friend
and teacher Socki van Bridge.
The most marvelous sculptor of them all.
- My dear, you must pose
for me sometime soon.
I already can see you in gold.
- Not now, Socki, she just got here.
Man, you know the unions don't allow
any midnight sculpturing, come on.
We'll go back there.
- Come on, Lilli, let's have a drink.
She's as frightened as a kitten in water
with all you mongrels around her.
(man laughs)
(smooth jazz music)
- [Lilli Voiceover] For some
reason I couldn't speak.
Everyone was staring at me, and
suddenly I forgot who I was.
(guests chatter)
(smooth jazz music)
- It's a wild, wild party.
When I cook 'em up, they
take off to the moon.
I'm Helene.
I bet you're from
Idaho.
- Kansas.
- Oh, where the corn is green
and all kinds of things
happen down the valley.
I'm a big city gal myself.
So, you met Emile at the resort?
- Yes, we got there the same time.
- Well, coincidence is
always such a good thing.
It was love at first sight, huh?
- Well, you--
- I know the feeling.
Love at first sight is
always the best way.
When you drag it out too long,
you get tired of each other.
- Are you an old friend of Emile's?
- Yes.
I am an old, old friend.
- [Lilli Voiceover] Looking at Helene,
I wondered if Emile had made
a mistake in marrying me.
(guests chatter)
(vibrant jazz music)
- So this is you.
You grabbed him, and in two weeks at that.
Congratulations.
My name is Myra Amstadt, and yours is?
- Lilli.
- Of course.
Do well by him, will you?
It's hard enough to make
a dollar in this racket
without a wife on your neck.
I told him, "Emile, don't get hooked.
"Your art'll go down the drain."
I've brought him this far on 10%,
and it's been uphill all the way.
And just when it was beginning
to taste good, bingo.
He goes off and gets hooked.
You took the bread right out of my mouth.
Just when it was so good too.
Don't mind me, I'm shocked.
We all love you, we really do.
Here's to you, and to all the little works
of art you'll produce.
(guests chatter)
(vibrant jazz music)
- Presenting the finest
wedding present in creation.
Something a man should have
when he's got everything.
(guests applaud)
(guests coo)
(smooth jazz music)
- See here, that's Nerissa.
- She's beautiful.
- She's gone away.
- Oh, where?
- Nobody knows.
She used to live with me.
Then one day, after Emile
finished the statue,
she left me a note. (giggles)
"I'm going away," it said.
Even her parents don't
even know where she is.
Emile's hard on a woman.
He drives them buggy they say.
- Why is that?
- He wants to draw the life out of them.
For his statues, I guess.
- Well, I guess that's
the meaning of great art.
- Maybe, but it's sure hard
on the models. (laughs)
(smooth jazz music)
(man shouts)
(smooth jazz music)
♪ Tora, la, la, Tora ♪
♪ Tora, la, la, Tora ♪
♪ Tora, la, ta, ta, ta, ta ♪
- Tired?
- A little.
- Your eyes are almost closed.
(soft jazz music)
- Oh, I want to go with you all night.
- I missed you.
- Same here.
I think I'm a little drunk.
I haven't been to many parties.
Not like this one.
- There won't be many more like it.
I'm giving up my old ways.
- I hardly know you, Emile.
- I know you.
Why do you stare?
- Because I'm a simple thing.
- [Emile] No, you're not.
- And you're a complicated thing.
- No, I'm not that either.
- I'll do better.
I promise, I...
- What?
- Oh, I love you.
- I couldn't ask for anything
better than that, could I?
- I hope not.
How well do you know Helene?
- Fairly well.
She lives just down the street.
We all live near each other.
We use my place as a studio,
and everybody has a key.
That's how they could
get in so easily tonight.
We're one big happy family.
- What does she do for a living?
- Oh, spends money mostly.
Her husband died, left her a fortune.
- And those other women?
Nerissa and Michelle.
- You're just full of
questions, aren't you?
- Yes.
Because suddenly I feel all alone.
Well, I'm just one
woman in a sea of women.
- You're the only one now.
What's past is past.
- Oh, Emile, I want to
be everything to you.
- You are, you are.
(smooth jazz music)
- We'll dance on the stars
together, won't we, darling?
- Yes.
Then string them all
together in a golden chain.
And make a necklace just for you.
(phone rings)
(phone rings)
- Hello?
Hello?
Hello, who is it?
(suspenseful music)
Emile?
Emile, where are you?
Emile?
Emile!
Emile, Emile!
Em...
- Did Madame call?
- Who are you?
- Hajmir Dallali.
- Well, what are you doing here?
- I live here.
- You live here?
- Madame is no doubt confused.
I am Hajmir Dallali, servant of the house.
I have been with the
master for six years now.
And you, Madame, who are you?
- Well, I'm Emile's wife.
- 1000 pardons, Madame.
I did not know.
I have been away.
The master was not due
back until tomorrow.
So, I took the opportunity
to enjoy the pleasures of
the American countryside.
- Where is Emile now?
- The master sometimes
goes out at night, Madame.
- Why?
- It is one of his peculiarities.
He becomes inspired at odd times.
And when he does, he must go to his work.
- But where is that?
- Madame must not disturb the
master while he is working.
That is forbidden.
- I'm his wife.
- I must detain you, Madame.
It would not be for your good nor his.
Please to remain here.
- You have no right to tell me what to do.
- [Hajmir] You are correct, Madame.
- When I was upstairs before
I got a telephone call,
and when I answered it, they hung up.
Would you know anything about that?
- No, I know nothing.
- What name do you go by?
- I have many names, Madame.
But I answer best to Hajmir.
- Do you always stand
there like that, Hajmir?
- Yes, Madame.
- [Lilli] All night?
- Yes, Madame.
(dramatic music)
Is Madame awake?
- Do you always walk
in on people like that?
- Forgive me, Madame.
I took the Liberty to prepare your bath.
Oil of pomegranate.
I trust you will find it refreshing.
Also there are perfumes from
Italy, France and the Orient.
Powders from Kashmir and Istanbul.
If Madame would like the incense lighted
to refresh the morning air?
- No, I don't think so.
- As you wish.
I have laid out towels and a robe.
I trust you will find
everything satisfactory.
(suspenseful music)
(Lilli screams)
(suspenseful music)
Is Madame hurt?
- What's happened?
I heard you scream.
- Madame has fallen.
- There was a knife, I saw it!
- Yes, sahib.
It is here, lodged in the keyhole.
- How did this get here?
- It is one of your small
sculpting knives, sahib.
The one you misplaced that
afternoon before you left.
- Of all the places to find it.
- Those people at the party
last night site, sahib,
must have done it as a joke.
Although it seems a little
extreme, even for them.
- No, I think it was an accident.
A crazy accident.
But you are perfectly all right.
Not a scratch on your very beautiful self.
Are you still nervous?
- Yes.
- Come, we'll go for a
swim, it will relax you.
- What a crazy party, Emile.
What a crazy party.
I'm going to another one, see you later!
(water splashes)
- Oh, that Toulouse is
a crazy nut! (laughs)
I see you cleaned everything
bright and early, Hajmir!
But you missed one.
- Yes, sahib.
Before the sun has opened its eye.
- Who is Hajmir?
(water splashes)
- I met him in India on one of my tours.
It seems Hajmir escaped from prison
or the black hole of Calcutta
or something like that.
- What was he there for?
- Murder.
- Murder?
- Don't look so shocked.
Everybody does it there just
to pass the time of day.
- Don't you think he did it then?
- Did what?
- Put the knife in the door.
- Oh no.
He's absolutely faithful.
I trust him with my life.
He's quite intelligent, you know.
That sculpture piece, for
instance, that's his idea.
For Hajmir, a circle represents God,
the one supreme being.
It's part of his Indian
philosophy of life.
- Breakfast is served, sahib.
- Oh, thank you, Hajmir.
(water splashes)
(bird chirps)
- Thank you.
(lips smack)
Oh, you got a call last night.
- Oh, who was it?
- I don't know, they hung up.
- What time?
- It was about three or four.
Do people usually call you at that time?
- Sometimes, but I'd say
it was a wrong number.
- Why?
- What else could it have been?
(soft jazz music)
(car door thuds)
(heels clack)
- Thank you, Hajmir.
This is just what I need.
You never forget, do you?
Good morning, everyone.
Pardon my appearance.
It's not the latest, but it's all I have.
- What happened to you, Helene?
- I look like the cat
and the canary, don't I?
- Were you drunk again?
- Like a fish.
- One of your all night parties?
- No baby, honest.
I was on my way home to brood over you,
maybe even swallow a
couple of silver bullets.
when some character grabbed me
just a little way from here.
Look what he did to me.
- Oh, we should get you to a doctor.
- No, baby, I'm going
home to sleep it off.
- Well, let me see that
you get home all right.
Excuse me a moment.
(heels clack)
(soft jazz music)
Let's not stop here, Helene.
(heels clack)
- If I gotta get half killed every night
to be with you every
morning, it's worth it.
- Are you in any pain?
- Just kiss me, it'll all go away.
Ooh, it hurst, it really does.
- We should get you to see that doctor.
- I'd rather see you.
- Oh, Helene, this is silly.
You shouldn't come here like this.
- I didn't know where to turn.
You know I always think of you first.
Besides, I didn't want to go back
to that sad house all by myself.
- I know, but I don't want to hurt you.
- I know, baby.
- But I'm married now.
- And that's what my two big eyes tell me.
My baby's married away, so nice and sweet.
- So, you see it's impossible.
- I don't believe that
because what there was
between us is still there.
Too many days and too many nights.
Too many sweet words that
water won't wash away.
- Helene, don't be difficult, please.
It's tough enough as it is.
- We're going to get together
again, baby, you'll see.
I'll find a way.
- [Albright] Well,
gentlemen, what do you say?
Is this Nerissa or isn't it?
- Let me see.
It looks like Nerissa,
but I can't be certain
from the photograph.
- What do you say, Emile?
- Well, it's been a few months.
I'd say a very good maybe.
In fact, I think I'd say yes.
- I'd go along with you on that, Emile.
- Ah, good,
Good.
- Are these morgue shots?
- Socki, you're a gas.
These are living, breathing
photographs from Mexico, right?
- That's right.
It's good to know
Nerissa's safe in Mexico.
Her parents will be glad to hear that.
She's been missing for over a month,
so they called me in to
find out what had happened.
- You know like we're always glad
to cooperate with the police,
but you know like that,
like later, later, later.
- Not the police exactly, sir.
Private eye, as they say.
We make our money by nosing around
and coming up with the right answers.
Do you mind if I use your phone?
I have to call my associate.
- Of course.
(phone clicks)
You better get that wire right
off to the girl's parents.
You knew Nerissa, didn't you?
- She modeled for me, that's about it.
- Maybe you had an
occasional drink together?
- Soda pop.
- Dancing?
- I don't dance, only the minuet.
- Charlie, send that telegram.
Affirmative.
The gal's in Mexico.
Right, I'm absolutely positive.
(phone clatters)
Now, Mr. Duvre, one second, please.
- [Emile] Yes.
- This may be a little personal,
but perhaps you won't mind answering.
Your brother, he isn't well, is he?
- What do you mean?
- I mean, I've done a little
research into his life,
and I've come up with some
interesting information.
- What is it?
- I found out that a few years ago
he was committed to an institution.
Brain damage.
Insanity is the better word for it.
- I don't know what you're talking about.
- Don't you?
I think you do because he was
released under your custody.
Wasn't he?
- My brother is completely
cured, Mr. Albright.
- I suppose so, if you say so.
- Mr. Albright, if you're
out to slander my brother
or cause him any harm, I'll
see that you pay for it.
- You've got me wrong, really you have.
This is strictly in the line of business.
- I'll have to ask you to leave.
- Very well, Mr. Duvre, very well.
Good day.
- Good day.
(dramatic music)
- [Lilli Voiceover] I'd
only been there a day,
but it seemed like so much had happened.
No one was around now, and I felt lonely.
I went upstairs to relax for awhile.
(phone rings)
Hello?
Hello?
(suspenseful music)
- May I assist you, Madame?
- Where were you?
- In the hall.
- Well, why didn't you
answer the telephone?
- My feet do not have wings, Madame.
- What took you so long to get here?
- I have my work.
May I leave now, Madame?
- Yes, Hajmir, go ahead.
I didn't know what I was doing.
I wasn't thinking straight, I just wasn't.
I thought I'd started a new life
with all my cares and worries behind me.
Now things were more
complicated than ever.
I was so confused, I hardly
knew what I was doing.
- [Max] Emile!
Emile!
- Who's there?
- [Max] I'm looking for Emile.
- Well, he isn't here right now.
I think he's working.
- Oh, I'm sorry I disturbed you.
Don't bother coming down, I'll come up.
(footsteps patter)
Well, well, now let me
see what you look like.
I was half drunk last night,
I couldn't see a thing.
Oh.
You're perfect, absolutely perfect.
Emile's certainly done it again.
Another beautiful woman.
- Well, what do you mean by that?
- Nothing, I'm joking.
Frankly I'm pretty jealous of Emile
having gotten someone like you.
See, I'm a lone ranger type.
A lot of talk, but no women.
- Oh, why's that?
- I don't know.
So, how are you getting along with Emile?
- Fine.
- Not easy, is it?
- Oh, it's easy as pie.
- But that pie is gonna taste
bitter, you'll find out.
He'll drive you crazy,
he has all the others.
He's temperamental as a bug.
- [Lilli] And you?
- Solid as a rock.
So when worst comes to worse,
I'll be around with a good
shoulder for you to cry on.
- Why doesn't anyone want him to be happy?
- You're taking me seriously again.
Oh.
What this?
- It's a wedding present from Emile.
- It's very fine work.
- Isn't it beautiful?
- Not half so beautiful as you are Lilli.
Oh, don't be afraid of me, I like you.
I like you very much.
I said to myself last night,
"Now there's a woman I
like very, very much."
Your neck is so white, so beautiful.
Like a swan.
Please, Lilli, don't be afraid of me.
If there's anything,
anything you ever want
just feel free to call on me.
- Max.
- Lilli, Emile and I are so close
that I almost feel you belong to me.
- Max, please.
- Sorry.
I don't know what made me do that.
Oh, please forgive me.
Did I hurt you?
- Max, stop it!
Please let go of me!
(suspenseful music)
(suspenseful music)
(body thuds)
- Lilli?
My dear, are you all right?
My dear, are you hurt?
Lilli, are you hurt?
- No, no, I don't think so.
- Here my dear, let me help you.
Oh, yes.
You are a beautiful woman.
I never forget a face, my dear.
- What are you doing here?
- I walk.
I like to look at nature.
It's true, I can't see,
but my sense of touch is miraculous.
Lilli,
you see this leaf?
Each vein's like a
mountain or a valley to me.
This leaf is so delicate, so fragile.
As you, Lilli.
I can transfer my impression
of this small leaf into stone.
As I can transfer my
impression of you into stone.
And there, Lilli,
you can live forever.
- I'm all right now.
Really I am.
I was only stunned.
I must have tripped over
that log back there.
Please, I got gotta get back now.
- Oh no, no, that's much
too far for you, my dear.
You come over to my place.
I live only over there.
There you can rest and we'll talk.
There are so many things we
have to say to each other.
- Well, it's awfully late.
Oh, well, maybe some other time.
- No, no, no, the sun
is just about to set.
I can tell, my dear.
I can feel the night hair coming on.
So, we have plenty of time.
We'll go have a drink and
then we'll start our work.
- Work?
- The statue, of course.
(suspenseful music)
- Emile is young and inexperienced.
Young and impetuous.
But he does not have my hands.
These hands are tempered with age.
With you, I know I can
do my greatest work.
(crow caws)
You have been sent to me in my old age.
Yes, I believe you have.
Father and daughter.
That is a beautiful relationship.
- Well, I'd like to help
you, really I would.
But it's so late, some other time maybe.
Oh please, I don't mean
to hurt your feelings.
But I've gotta get back to my husband now.
(bird caws)
- Yes, my dear.
Love and life, that is
everything, my daughter.
Everything.
(bird caws)
From the cradle, then full circle,
back to the cradle again.
The long circle of life.
The beautiful circle of life.
(suspenseful music)
- [Lilli Voiceover] I
wanted to get back to Emile.
I didn't want to tell
him about Max and Socki.
Why should I worry him?
And I would have to get that locket fixed.
But most of all, I just
wanted to hold him in my arms.
Would he be there, waiting?
(suspenseful music)
(phone rings)
Hello?
Hello?
(suspenseful music)
Hello?
- The circle.
(dramatic music)
The key to it all.
The key to life itself.
The key to madness even.
That's true, gentlemen.
The insane person is
often obsessed by circles.
- That's very interesting, Mr. Albright,
but surely not the topic for
a mid-morning conversation.
- Mr. Duvre, you are all artists,
and surely you must realize that art is
often a manifestation
of a kind of insanity.
In asylums, for instance,
the inmates paint.
It's called therapy.
- Yes, Michelangelo
must've been quite insane
to spend all of that time on his back
as he painted the Sistine Chapel.
- Yes, the old boy was really insane.
- Have you ever seen the paintings
of the famous murderer, Heinrich Rotman?
- I can't say that I have.
- He was obsessed with circles.
All lines became curved and circular,
a unique personal touch that
indicated his special madness.
This is your work, isn't it?
- Yes, I believe it is.
- It too has a tendency
toward circularity.
So you see, gentlemen, this
style exists in many of us.
At the end of his career,
Rotman was taken into a circular room
with circular tables, circular
chairs and circular objects.
He went stark raving mad.
And what was once hidden,
had now become obvious.
He walked out, turned
to his wife and said,
"I'm sorry, my dear, but
I can't go home with you.
"You see, I'm insane."
- Mr. Albright, what's the point?
- The point is there was a
murder last night on the highway,
about half a mile from here.
A woman was found dead
with a large circular gash
in her midsection.
Almost a complete circle.
- What's that got to do with us?
- Frankly, I'm not sure,
but let's start with this.
Nerissa isn't in Mexico.
But yesterday you said she'd been found.
- Well, we were wrong.
Last night, those photos were
identified as someone else.
So we're back where we started from.
And for all we know, Nerissa
might very well be dead.
- Mr. Albright, you have
a fascinating imagination.
But I don't see the connection
between Nerissa and the murdered woman.
And I don't see where any of this
has anything to do with us.
- Ms. Russel,
you reported to the police
the night before last
you were beaten up by someone,
a man who had attacked you
several blocks from your home.
- Yes, but he was just a minor
sex maniac, not a murderer.
- We don't know what he is, now do we?
He might be the same man,
and then again, he might not be.
- Mr. Albright, if you
are so awfully clever,
will you tell me why my
masher friend didn't kill me.
That seems to be his
style with all the others.
- Mr. Albright, you're going too far.
Unless you have some proof
to back these allegations.
- Please, please don't get me wrong.
I'm not accusing anyone.
I'm simply attempting to
tie all the facts together
to let you know what our problem is.
If I offended you, I apologize.
Believe me, no one here is suspected.
But it is my opinion that
we're dealing with a madman,
a man very much like Rotman,
ingenious and obsessed.
- I get such a vivid picture.
I'm almost glad I can't see.
- Ladies and gentlemen,
my lecture is over.
There's no telling who
the murderer might be.
Watch the person next to you.
(suspenseful music)
Good afternoon.
- [Lilli] Mr. Albright!
- Yes.
- Mr. Albright,
do you really suspect anyone
around here of those murders?
- I don't know, Mrs. Duvre.
I really don't know.
I'll be around here almost
every day checking on things.
Here's my card and phone number.
If anything happens, no matter
what time of day or night,
give me a call.
You'll do that, won't you?
- Yes, sir.
- Good day, Mrs. Duvre.
- Thank you.
- Having a difficult time?
I'd like to help.
- I think everything will
be a lot better around
if you wouldn't keep barging in.
- Oh, really, darling?
I'm one of the family.
This is where I've made my
nest for the past four years.
- Well, Ms. Lady Bird,
I'd just appreciate it if
you'll pick up and fly away.
- Well, you've certainly got
the jitters about something.
Why were you talking to that cop?
- None of your business.
Or maybe it is.
- What do you mean by that?
- I mean that someone's been coming in
and calling in the middle of the night,
and then hanging up without saying a word.
And that accident in the
garden yesterday afternoon,
and yesterday morning you
came by so nice and sweet.
Just hoping I'd no longer be alive.
- You're way out on a limb, Lilli.
Way, way out.
- I don't think so.
- It's all Greek to me, believe me.
- Hello, everybody.
Good, good.
Socki, you're still the old master.
- Thank you, my dear, thank you.
- Max, you've got something there.
A little weird perhaps,
but I think it should sell.
- I just had it framed.
I consider it my greatest work.
- Emile, Emile!
Emile!
- Yes.
- Emile.
I want you to meet the Baron von Turko.
He's the famous European art dealer
I've been telling you about.
- Yes, of course.
It's an honor to meet you, baron.
- It's my pleasure, Mr. Duvre.
I've heard much about your work.
You have a reputation
in my country, you know.
A good reputation.
- Oh, I'm glad.
I didn't know you were
familiar with my work.
- Only by reputation, sir.
Only by reputation.
And photographs of your work.
The Sistine Madonna, the Golden Venus.
Ah, I look forward to
seeing the originals.
- Very kind of you, baron.
- Ah, but I know an artist
is always too busy.
- It's perfectly all right.
- I can always wait.
- No, no, no, I want
you to see the statue.
- Ah yes, just what I'd expected.
A masterpiece in every way.
- That's his best work.
- How do you do it?
It almost seems to live.
- That's the secret to Emile's work.
- That's the secret to any masterpiece.
I'll take it.
- That's $20,000.
- Isn't that a little steep?
- It'll be worth twice that in a year.
- Yes, but I am buying it now.
5,000, perhaps 10,000, but not 20,000.
- Emile.
Don't sell it.
- Why not?
- Well, it's worth much
more money than that.
The price is going to go up, I know it.
- You loved Nerissa, didn't you?
- Of course I did.
What's that got to do with it?
- Where is she, Max?
- I don't know.
Mexico, everybody say she's in Mexico.
- You were with her that last night.
You took her out.
You were going to ask her to marry you!
- She said she didn't want me.
And then she, she went somewhere.
- Just like that?
- Just like that.
She got in a taxi and left.
- And where did you go?
- I don't know, I...
Don't cross examine me, Emile.
I don't like it.
- Well, if I don't, somebody else will!
- But Myra, please be reasonable.
- I am being reasonable.
- Well, baron, have you made up your mind?
- Ah, perhaps you can be
more reasonable than Myra.
I like the statue, but not the price.
- She's the boss.
- You people certainly
strike a hard bargain.
All right, I like it.
I'll raise the money somehow.
I'll sell some other things that I have.
Make the arrangements.
- How could you sell that statue?
- That statue is yours, baron.
- You're not gonna sell it, I told you.
You're not selling it!
- Now, Max!
- No, that statue's mine!
- I'll see you tomorrow, Mr. Duvre.
- Yes, things will be much calmer then.
- Thank you for your time.
- Emile, you better sell that statue.
You owe me money, plenty of it.
- Oh, calm down, Myra.
You'll crack your makeup.
(suspenseful music)
You're so beautiful by moonlight.
- What you said before,
that's true for me too, isn't it, Emile?
- What's that?
- What's past is past,
both yours and mine.
Oh, please, that's the way I want it.
We'll start all over again, a blank slate.
- For me, you're a work of art.
Finished and complete.
We have no past, only now.
- That's the way I feel.
Oh, Emile, I want my life to be yours.
You'll never leave me, will you?
- Oh, Lilli.
How could I?
I would be leaving half myself.
(smooth jazz music)
- You're such a sweet talker.
I wish we weren't married,
so you could court me all over again.
- The romance isn't over
yet, I just met you.
It takes me years to get to know someone.
- Good.
- Maybe tomorrow I'll
have you pose for me.
You wouldn't mind that, would you?
- Oh no, not at all.
- I've had a picture of
that statue in my mind
for many, many years.
And when I met you, the
picture was suddenly complete.
So, you see, I've known
you for a long, long time.
(smooth jazz music)
(lips smack)
- I feel like celebrating.
- Of course, why didn't I think of that?
I'll get some champagne.
- Okay.
(smooth jazz music)
(water splashes)
Oh, Emile, the water's wonderful!
- [Emile] Be right with you!
(suspenseful music)
(Lilli screams)
(water splashes)
(Lilli screams)
- [Hajmir] What is the matter, sahib?
- That sculpture piece, it fell.
Help me get her out.
(water splashes)
- Undoubtedly it was
too heavy for the wire.
Madame is all right?
- Yes, I think so.
- Do you think these wires
could have been cut, Hajmir?
- I do not know, it is a possibility.
- It could have been purposely worn away.
- It is difficult to tell, sahib.
- We'll take them to the
police in the morning.
But you're certain you're all right?
- Yes, I was just dazed.
- Well, up to bed with you then.
- No more swimming?
- Not tonight.
- Oh, Emile, I'm so frightened.
- Don't be.
- Everything's gonna
be all right, isn't it?
- Of course it is.
(phone rings)
Hello?
Hello?
Hello?
- It's that person again.
- Who?
- The one who keeps
calling and hanging up.
- They never say anything?
- No.
- I don't know what to make of it.
- Did those other women
get calls like this?
- You mean the murdered women?
- Yes.
- No, I don't think so.
- Can those lines be traced?
- No, not unless we have the police
tap the lines constantly.
I'll check into it tomorrow.
- You really think it's
serious then, don't you?
- Oh, frankly no.
It's probably some practical joker.
- I hope that's what it is, just a joker.
- You know your hair is going
to turn silver from worry.
Oh, Lilli, I worship you.
I want to come to you
like one of those statues.
With a little candle burning.
And then I will kneel at your feet.
Max, I told you not to keep
crawling around here like this.
- But, Emile, you know I always come over
early in the morning to begin my work.
- There've been too many freak
accidents around here lately.
- What's that got to do with me?
- Look at yourself, your
half out of your mind.
You don't know what you're
doing most of the time.
You go off on one of your fits,
and God only knows what you'll do.
- But I've been cured.
You know that Emile.
That's why you were able to
bring me home from the hospital.
- You were never totally cured.
I had a doctor lie through his teeth
to get you out of there.
I said to myself, "He'll get better.
"There's no need to worry."
- Never spoken to me before like this.
- I kept thinking I was wrong.
I kept hoping it would
change, I kept praying.
The Good Lord's helping you, Max.
- What are you telling me,
Emile, that I'm insane?
You're not telling me that, are you?
No, I'm not going back
to that asylum, Emile.
I'm not going back to that asylum!
- Why did you cut those wires
on the circle last night?
- What wires?
- The wires holding the circle!
It fell in the pool and--
- I never touched those wires!
Toulouse is the one who hung
that thing, I only helped him!
- Why are you going back to
that phone calling routine?
- I haven't don't anything, I swear it!
- Calling people in
the middle of the night
for no good reason.
Why are you doing it to Lilli?
- I'm not!
I'm not going, you're not
sending me back to that asylum!
Emile, I'm warning you!
- I'm warning you!
Go all over town, go anywhere you like,
do anything you want, but
don't plague us anymore!
I've helped you for a long time, Max,
but I'm giving up now.
- Emile, please give me a break.
I've been upset lately about Nerissa.
I haven't been thinking straight.
- So, you two are at it again?
The Brothers Grimm at
each other's throats.
You'll cut each other's
hearts out one of these days.
Calm down.
Save your strength, we've
got bigger troubles now.
The Baron von Turco is off to Europe,
and he's taking his money with him.
- Why?
- Well, after that hassle
yesterday he wouldn't come back.
Now, he's at his hotel packing.
You better get over there with that statue
and clinch the deal.
- Not now.
- Listen, lover boy.
You get over there right now.
I'm not busting my back
over you for nothing.
Remember you owe me money.
That's M-O-N-E-Y, and I better get it.
Maybe you've given up art for
sweet loving in the moonlight,
but I still have an investment here.
Do you remember how much you owe me?
- 10,000.
- You bet your sweet bottom dollar you do,
and I'd better get it.
Now you better get over there right now
and square it with Turko.
- Calm down, Myra, I'll go.
- Now, that's the way to talk.
That's money in the bank!
By the way, what's wrong with your phone?
- Why?
- Oh, I called you around
midnight last night.
I dialed, I got three rings.
Someone answered and the phone went dead.
- I don't know what to make of it.
Has it happened before?
- Just last night.
Hajmir, have the phone
checked, first thing!
- I have already inquired
of the phone company, sahib,
as a similar thing happened
to me this morning.
They tell me the phone has been repaired.
(smooth jazz music)
(motor hums)
- Helene, what do you want?
- I'm looking for a way to talk to you.
Please help me.
- I'm sorry.
It's difficult, I don't know what to say.
- Say anything.
Say hello.
Say you still love me.
- I don't love you.
I don't think I ever did.
- Oh, for God's sakes,
you'll be bored with her in two months.
She's not your kind!
- She's everything you've never been.
- Didn't seem to matter
too much at the time.
- I just didn't tell you
everything I thought, that's all.
- I'll tell you a few things
about that angel wife of yours.
She's no different than the rest of us!
- Shut up.
You could turn snow black.
- Emile, these last few months
without you have been hell.
Darling, I can't forget you.
You're the most beautiful
lover I've ever had.
Oh, love me again.
(lips smack)
There, that's almost like it used to be.
- (sighs) You'd better go now, Helene.
- Will you call me later?
- I don't think so.
- Just one time, please.
- No!
- She'll leave you, she
won't be able to take it.
If you've loved her the way you loved me,
you'll treat her like dirt
just the way you're treating me now!
(hand slaps)
(Helene gasps)
(car door slams)
(engine revs)
- [Lilli Voiceover] It
was around eight o'clock
that evening.
It was early and I still wasn't sleepy,
so I laid back to read a book.
Emile had already gone back to his work.
(phone rings)
Hello?
Hello?
Hello?
- [Helene] Hello, Lilli, this is Helene.
- Yes?
- [Helene] I want you
to meet me right away.
- What for?
- [Helene] I have something to tell you.
I think I know who's been calling you.
- Where are you?
- I'm at the airport.
- [Lilli] Airport?
- Yes, I'm leaving town,
my life is in danger!
I'm afraid to go home.
- [Lilli] Well, where should I meet you?
- I'm at the telephone booth
next to the Eastern Airlines counter.
My plane leaves at 9:30.
Please meet me right away.
- I'll leave right now.
- [Helene] I'll be waiting for you.
(tense music)
- [Lilli Voiceover] Helene
had said the telephone booth
next to the Eastern
Airlines ticket counter.
(tense music)
I went to the phone booth and waited.
It was just 8:30, so I
knew I had plenty of time.
- [Announcer] Mrs. Lilli Duvre,
please report to the Eastern
Airlines ticket counter.
Lilli Duvre, please report
to the Eastern Airlines ticket counter.
- I'm Lilli Duvre.
Hello?
- [Helene] This is Helene.
Meet me at Parking Lot Number Three.
It's not safe in the terminal.
Please hurry.
(suspenseful music)
(heels clacking)
(heels clacking)
(shoes scraping)
(shoes scraping)
(horn honks)
(tires screech)
(Lilli screams)
(suspenseful music)
(phone dings)
(phone clicks)
- [Albright] Hello?
- Hello, Mr. Albright.
This is Lilli Duvre, Emile Duvre's wife.
You told me to call in
case of any trouble.
- [Albright] What's wrong, Mrs. Duvre?
- I think someone's trying to kill Helene.
- [Albright] Where are you?
- I'm at the airport.
Can you come right away please?
- [Albright] I'll be right over.
- I'll meet you at the telephone booths
right by the main entrance.
(suspenseful music)
Oh, Mr. Albright,
Helene called me about
eight o'clock tonight,
and she told me to meet
her at the airport.
She was going to leave town.
She said she knew who the killer was.
- She tell you his name?
- No, nothing.
She just said to meet her right here
and that she'd be here.
Well, I came here, she wasn't here.
Then I got a call to meet
her out in the parking lot.
I went outside and a car
tried to run me over.
Well, I fell down and
there, I got that note.
What do you think?
- I think if we want to see
her alive, we'd better go.
- Do you know who it could be?
- We'll soon find out.
(suspenseful music)
This way, Mrs. Duvre.
(suspenseful music)
(frog croaks)
(suspenseful music)
(frog croaks)
(suspenseful music)
(frog croaks)
(suspenseful music)
- [Lilli] Mr. Albright.
Mr. Albright?
(suspenseful music)
(frog croaks)
(suspenseful music)
(phone rings)
- [Man] I thought I told
you to come alone, Lilli.
(suspenseful music)
- Miss, Miss!
- Just a sec, honey.
Got to nurse a bit of this noise box.
Without a little music,
this place is a mower.
- Please, I think someone's following me.
Please help me.
- Oh, lots of creeps in this neighborhood.
Plattsville Creep Corner they call it.
Boy, I'll be glad when I get back to LA.
- But you don't understand,
someone's after me.
I went to the phone booths and then...
- Oh, relax, honey.
Relax, honey, take a load off your feet.
Give me time to run quick,
and I'll make us both a
good cup of hot coffee.
I'm hip, you know.
- You don't understand, would
you please listen to me?
When I went to the airport,
I went outside and someone
tried to run me over in a car.
And I got a note.
Look, I've got a note here.
I can't find it!
I can't find it!
- Hey.
You are upset.
Listen, lady, my
boyfriend's coming over here
in a little while.
He knows all the cops in the neighborhood.
- I don't have time, I can't wait.
I've gotta find Detective Albright!
Everything, it's like a nightmare.
It just happened so suddenly.
I can't think straight!
Would you shut that music
off, I can't stand it!
- Hey, lady!
Lady!
Wait a minute.
(suspenseful jazz music)
Can I help you?
Cup of coffee?
(smooth jazz music)
(woman screams)
(smooth jazz music)
- Emile! (cries)
Emile!
Oh, Emile, thank God you're here.
Oh, Emile.
(mannequin thuds)
(Lilli screams)
Oh!
Oh!
(Lilli screams)
- Madame should not have come here.
(Lilli screams)
- Where is my husband?
- He's not well.
- Well?
- No.
- Please, I gotta see him!
- You will see him soon, Madame.
- You made all those
telephone calls, didn't you?
- No, Madame.
- You killed Helene, didn't you?
Why did you kill Helene?
I tried to tell my husband,
but he wouldn't believe me.
He wouldn't listen to me!
- You must be quiet!
(Lilli screams)
- Emile, oh, Emile! (whimpers)
- Hajmir.
I told you to get her away.
Didn't I tell you that?
- I'm sorry, but she
returned unexpectedly.
There was nothing I could do.
- Emile.
- Please, it's all over.
Helene was so beautiful, so beautiful.
- [Hajmir] The master
should go to bed now.
- Emile, what's the matter, Emile?
- [Hajmir] Madame should leave him alone.
- I tried to call you and warn
you, but you wouldn't listen.
I wanted to save you before they kill you.
I called several times and
listened to your voice,
but I couldn't say a word.
I loved you so much.
- Master should go to bed now.
- Then tonight I was going to tell you,
but Helene got in the way.
I was going to meet you at that old house
and say to you, "He's the guilty one!"
But you wouldn't listen,
and you came with that detective.
You didn't trust me, did you?
Why, why didn't you trust me?
- Emile, were all those calls from you?
- Yes, Madame.
- To warn me against Hajmir.
Has he got you in his power, Emile?
- Not me, Madame.
Warn you against himself.
- No.
- I wanted to try out, get away from him.
Get away from Emile Duvre.
He's a brute and a killer!
But you wouldn't listen.
You only wanted to listen to Helene.
That's why I followed her tonight.
I knew what she was up to.
I knew and I wouldn't let her do it.
That's why I killed her.
- The master should rest now.
- I killed them all.
Nerissa, Michelle.
Yes, you can see everything, Lilli.
That ugly waitress. (mutters indistinctly)
- Emile, you're not well.
Emile, please, Emile!
Emile! (cries)
(suspenseful music)
Emile.
- You see these statues?
They're great works of art, aren't they?
These statues are the
work of a great artist.
Emile Duvre, a man
whose art breathes life.
Who else could say that?
Not Michelangelo.
Not Rodin.
I struggled for their
secret, secret of my art.
How could I give it life?
How could I make it live?
And I found the answer in this circle.
This circle leads from life to death.
The power of life is the power of death.
And I have that power,
to take life from death
and immortalize it forever.
That's why I had to kill her.
To put life into my statues.
To capture the living soul for my work.
To get it from the body
and make it live forever.
(suspenseful music)
See here.
Nerissa is still breathing
after all these months.
And Michelle too is still alive.
And Helene.
Her blood is still wet, but
her soul will live forever.
But you are the most beautiful of all.
More beautiful than all the others.
More beautiful than the
statues of antiquity.
- Emile, please.
- I love you, Lilli.
I wanted you to live.
I don't want to kill you.
- Emile, Emile.
- But I must!
- Master!
- One more statue.
One more beautiful statue,
the most beautiful of all.
- Master, it is Hajmir who speaks.
You are not well, do you hear me?
You do not want to kill
her, she's your wife!
Madame, run quickly, please!
(suspenseful music)
(Lilli whimpers)
- Emile, Emile, please no!
No, no!
- Master!
(Lilli gags)
Master!
(knife whooshes)
(knife thuds)
(body thuds)
(hands thud)
(body thuds)
- I tried to get here as fast as I could,
but he knocked me out back there.
Yes, I suspected Emile
was as insane as his brother, Max.
That kind of madness is hereditary.
But I wasn't so much
testing Max as I was Emile.
Emile killed Nerissa and Michelle
before he met you, Mrs. Duvre.
And married you thinking
it would be an easy way
to add you to his collection of statues.
But he loved you very much
and this created the conflict.
He wanted to kill you.
And then again, he didn't.
He called to warn you,
but he couldn't speak.
So, he had to take it out on others.
It was a classical case
of Jekyll and Hyde.
Two men in the same body
both strangers to each other.
One man sober and artistic,
and the other man a murderer.
And the first man never knew
what the second man was doing.
So, you see, Emile in his calm state
was totally unaware that he was a killer.
- But I loved him so much.
(soft jazz music)
(car doors slam)
(motor hums)
(soft jazz music)
(mild jazz music)
(motor hums)
(mild jazz music)
(car door thuds)
(car door thuds)
(mild jazz music)
- [Lilli Voiceover]
We'd just been married,
and Emile was so sweet and formal.
Even in my dreams,
I hadn't dreamt of it
as wonderful as this.
For me, it was a stairway to heaven,
and Emile's eyes were filled with stars.
(Lilli screams)
- Surprise, surprise, surprise!
Surprise, surprise, surprise, surprise!
(guests chatter)
♪ Here comes the bride, da, da, da, da ♪
- Whose idea was tonight's?
- Helene, she's the mastermind.
- Darling, I thought this would be a
sensational beginning to your new life.
- I was gonna die for you, Emile baby,
but you know the cops.
They ask too many questions.
(men laugh)
- How did you know, I don't understand.
- Emile, we learned about
your marriage this afternoon.
Helene was trailing you or something.
- That's right, darling.
Just leave it to beady-eyed Helene.
- Anyway, Emile, you know news
travels faster than flies.
(Max laughs)
- Come on, everyone.
Let's go outside and start drinking.
We've got a long way to go tonight.
- Everybody down to the booze parlor!
Come on now, follow me!
(guests shout)
Everybody downstairs,
all the way downstairs.
Everybody downstairs. (hums)
(Toulouse mutters)
(guests chatter)
(man claps)
- Everyone, this is my wife, Lilli.
Lilli, these are my lunatic friends.
- Darling, you know formality
is the word around here.
I have a toast to all
prepared for the occasion.
To love and marriage,
almost as outdated as
the horse and carriage.
(guests applaud)
(guests cheer)
- I sent my brother on
a two-weeks vacation
to get him away from women,
and he comes back with a goddess.
- An angel.
- All right, an angel.
You see, Lilli, each
artist interprets things
in their own way.
Now, for me, if I made a statue of you,
you'd become a goddess.
For Emile you'd be an angel.
- Lilli, this is my brother Max.
Max and I are almost like Siamese twins,
but he's the better educated one you see.
He speaks English perfectly.
He was born here while I
was struggling in Europe.
- Hello, Max.
Very happy to meet you.
- Not half as glad I am to meet you.
- [Socki] Emile, Emile!
- [Toulouse] Make way, hot stuff here.
- Let me look at her.
Yes.
Beautiful.
Bone structure is very good.
The nose is perfect.
The hair, yes, yes.
- Lilli, this is my friend
and teacher Socki van Bridge.
The most marvelous sculptor of them all.
- My dear, you must pose
for me sometime soon.
I already can see you in gold.
- Not now, Socki, she just got here.
Man, you know the unions don't allow
any midnight sculpturing, come on.
We'll go back there.
- Come on, Lilli, let's have a drink.
She's as frightened as a kitten in water
with all you mongrels around her.
(man laughs)
(smooth jazz music)
- [Lilli Voiceover] For some
reason I couldn't speak.
Everyone was staring at me, and
suddenly I forgot who I was.
(guests chatter)
(smooth jazz music)
- It's a wild, wild party.
When I cook 'em up, they
take off to the moon.
I'm Helene.
I bet you're from
Idaho.
- Kansas.
- Oh, where the corn is green
and all kinds of things
happen down the valley.
I'm a big city gal myself.
So, you met Emile at the resort?
- Yes, we got there the same time.
- Well, coincidence is
always such a good thing.
It was love at first sight, huh?
- Well, you--
- I know the feeling.
Love at first sight is
always the best way.
When you drag it out too long,
you get tired of each other.
- Are you an old friend of Emile's?
- Yes.
I am an old, old friend.
- [Lilli Voiceover] Looking at Helene,
I wondered if Emile had made
a mistake in marrying me.
(guests chatter)
(vibrant jazz music)
- So this is you.
You grabbed him, and in two weeks at that.
Congratulations.
My name is Myra Amstadt, and yours is?
- Lilli.
- Of course.
Do well by him, will you?
It's hard enough to make
a dollar in this racket
without a wife on your neck.
I told him, "Emile, don't get hooked.
"Your art'll go down the drain."
I've brought him this far on 10%,
and it's been uphill all the way.
And just when it was beginning
to taste good, bingo.
He goes off and gets hooked.
You took the bread right out of my mouth.
Just when it was so good too.
Don't mind me, I'm shocked.
We all love you, we really do.
Here's to you, and to all the little works
of art you'll produce.
(guests chatter)
(vibrant jazz music)
- Presenting the finest
wedding present in creation.
Something a man should have
when he's got everything.
(guests applaud)
(guests coo)
(smooth jazz music)
- See here, that's Nerissa.
- She's beautiful.
- She's gone away.
- Oh, where?
- Nobody knows.
She used to live with me.
Then one day, after Emile
finished the statue,
she left me a note. (giggles)
"I'm going away," it said.
Even her parents don't
even know where she is.
Emile's hard on a woman.
He drives them buggy they say.
- Why is that?
- He wants to draw the life out of them.
For his statues, I guess.
- Well, I guess that's
the meaning of great art.
- Maybe, but it's sure hard
on the models. (laughs)
(smooth jazz music)
(man shouts)
(smooth jazz music)
♪ Tora, la, la, Tora ♪
♪ Tora, la, la, Tora ♪
♪ Tora, la, ta, ta, ta, ta ♪
- Tired?
- A little.
- Your eyes are almost closed.
(soft jazz music)
- Oh, I want to go with you all night.
- I missed you.
- Same here.
I think I'm a little drunk.
I haven't been to many parties.
Not like this one.
- There won't be many more like it.
I'm giving up my old ways.
- I hardly know you, Emile.
- I know you.
Why do you stare?
- Because I'm a simple thing.
- [Emile] No, you're not.
- And you're a complicated thing.
- No, I'm not that either.
- I'll do better.
I promise, I...
- What?
- Oh, I love you.
- I couldn't ask for anything
better than that, could I?
- I hope not.
How well do you know Helene?
- Fairly well.
She lives just down the street.
We all live near each other.
We use my place as a studio,
and everybody has a key.
That's how they could
get in so easily tonight.
We're one big happy family.
- What does she do for a living?
- Oh, spends money mostly.
Her husband died, left her a fortune.
- And those other women?
Nerissa and Michelle.
- You're just full of
questions, aren't you?
- Yes.
Because suddenly I feel all alone.
Well, I'm just one
woman in a sea of women.
- You're the only one now.
What's past is past.
- Oh, Emile, I want to
be everything to you.
- You are, you are.
(smooth jazz music)
- We'll dance on the stars
together, won't we, darling?
- Yes.
Then string them all
together in a golden chain.
And make a necklace just for you.
(phone rings)
(phone rings)
- Hello?
Hello?
Hello, who is it?
(suspenseful music)
Emile?
Emile, where are you?
Emile?
Emile!
Emile, Emile!
Em...
- Did Madame call?
- Who are you?
- Hajmir Dallali.
- Well, what are you doing here?
- I live here.
- You live here?
- Madame is no doubt confused.
I am Hajmir Dallali, servant of the house.
I have been with the
master for six years now.
And you, Madame, who are you?
- Well, I'm Emile's wife.
- 1000 pardons, Madame.
I did not know.
I have been away.
The master was not due
back until tomorrow.
So, I took the opportunity
to enjoy the pleasures of
the American countryside.
- Where is Emile now?
- The master sometimes
goes out at night, Madame.
- Why?
- It is one of his peculiarities.
He becomes inspired at odd times.
And when he does, he must go to his work.
- But where is that?
- Madame must not disturb the
master while he is working.
That is forbidden.
- I'm his wife.
- I must detain you, Madame.
It would not be for your good nor his.
Please to remain here.
- You have no right to tell me what to do.
- [Hajmir] You are correct, Madame.
- When I was upstairs before
I got a telephone call,
and when I answered it, they hung up.
Would you know anything about that?
- No, I know nothing.
- What name do you go by?
- I have many names, Madame.
But I answer best to Hajmir.
- Do you always stand
there like that, Hajmir?
- Yes, Madame.
- [Lilli] All night?
- Yes, Madame.
(dramatic music)
Is Madame awake?
- Do you always walk
in on people like that?
- Forgive me, Madame.
I took the Liberty to prepare your bath.
Oil of pomegranate.
I trust you will find it refreshing.
Also there are perfumes from
Italy, France and the Orient.
Powders from Kashmir and Istanbul.
If Madame would like the incense lighted
to refresh the morning air?
- No, I don't think so.
- As you wish.
I have laid out towels and a robe.
I trust you will find
everything satisfactory.
(suspenseful music)
(Lilli screams)
(suspenseful music)
Is Madame hurt?
- What's happened?
I heard you scream.
- Madame has fallen.
- There was a knife, I saw it!
- Yes, sahib.
It is here, lodged in the keyhole.
- How did this get here?
- It is one of your small
sculpting knives, sahib.
The one you misplaced that
afternoon before you left.
- Of all the places to find it.
- Those people at the party
last night site, sahib,
must have done it as a joke.
Although it seems a little
extreme, even for them.
- No, I think it was an accident.
A crazy accident.
But you are perfectly all right.
Not a scratch on your very beautiful self.
Are you still nervous?
- Yes.
- Come, we'll go for a
swim, it will relax you.
- What a crazy party, Emile.
What a crazy party.
I'm going to another one, see you later!
(water splashes)
- Oh, that Toulouse is
a crazy nut! (laughs)
I see you cleaned everything
bright and early, Hajmir!
But you missed one.
- Yes, sahib.
Before the sun has opened its eye.
- Who is Hajmir?
(water splashes)
- I met him in India on one of my tours.
It seems Hajmir escaped from prison
or the black hole of Calcutta
or something like that.
- What was he there for?
- Murder.
- Murder?
- Don't look so shocked.
Everybody does it there just
to pass the time of day.
- Don't you think he did it then?
- Did what?
- Put the knife in the door.
- Oh no.
He's absolutely faithful.
I trust him with my life.
He's quite intelligent, you know.
That sculpture piece, for
instance, that's his idea.
For Hajmir, a circle represents God,
the one supreme being.
It's part of his Indian
philosophy of life.
- Breakfast is served, sahib.
- Oh, thank you, Hajmir.
(water splashes)
(bird chirps)
- Thank you.
(lips smack)
Oh, you got a call last night.
- Oh, who was it?
- I don't know, they hung up.
- What time?
- It was about three or four.
Do people usually call you at that time?
- Sometimes, but I'd say
it was a wrong number.
- Why?
- What else could it have been?
(soft jazz music)
(car door thuds)
(heels clack)
- Thank you, Hajmir.
This is just what I need.
You never forget, do you?
Good morning, everyone.
Pardon my appearance.
It's not the latest, but it's all I have.
- What happened to you, Helene?
- I look like the cat
and the canary, don't I?
- Were you drunk again?
- Like a fish.
- One of your all night parties?
- No baby, honest.
I was on my way home to brood over you,
maybe even swallow a
couple of silver bullets.
when some character grabbed me
just a little way from here.
Look what he did to me.
- Oh, we should get you to a doctor.
- No, baby, I'm going
home to sleep it off.
- Well, let me see that
you get home all right.
Excuse me a moment.
(heels clack)
(soft jazz music)
Let's not stop here, Helene.
(heels clack)
- If I gotta get half killed every night
to be with you every
morning, it's worth it.
- Are you in any pain?
- Just kiss me, it'll all go away.
Ooh, it hurst, it really does.
- We should get you to see that doctor.
- I'd rather see you.
- Oh, Helene, this is silly.
You shouldn't come here like this.
- I didn't know where to turn.
You know I always think of you first.
Besides, I didn't want to go back
to that sad house all by myself.
- I know, but I don't want to hurt you.
- I know, baby.
- But I'm married now.
- And that's what my two big eyes tell me.
My baby's married away, so nice and sweet.
- So, you see it's impossible.
- I don't believe that
because what there was
between us is still there.
Too many days and too many nights.
Too many sweet words that
water won't wash away.
- Helene, don't be difficult, please.
It's tough enough as it is.
- We're going to get together
again, baby, you'll see.
I'll find a way.
- [Albright] Well,
gentlemen, what do you say?
Is this Nerissa or isn't it?
- Let me see.
It looks like Nerissa,
but I can't be certain
from the photograph.
- What do you say, Emile?
- Well, it's been a few months.
I'd say a very good maybe.
In fact, I think I'd say yes.
- I'd go along with you on that, Emile.
- Ah, good,
Good.
- Are these morgue shots?
- Socki, you're a gas.
These are living, breathing
photographs from Mexico, right?
- That's right.
It's good to know
Nerissa's safe in Mexico.
Her parents will be glad to hear that.
She's been missing for over a month,
so they called me in to
find out what had happened.
- You know like we're always glad
to cooperate with the police,
but you know like that,
like later, later, later.
- Not the police exactly, sir.
Private eye, as they say.
We make our money by nosing around
and coming up with the right answers.
Do you mind if I use your phone?
I have to call my associate.
- Of course.
(phone clicks)
You better get that wire right
off to the girl's parents.
You knew Nerissa, didn't you?
- She modeled for me, that's about it.
- Maybe you had an
occasional drink together?
- Soda pop.
- Dancing?
- I don't dance, only the minuet.
- Charlie, send that telegram.
Affirmative.
The gal's in Mexico.
Right, I'm absolutely positive.
(phone clatters)
Now, Mr. Duvre, one second, please.
- [Emile] Yes.
- This may be a little personal,
but perhaps you won't mind answering.
Your brother, he isn't well, is he?
- What do you mean?
- I mean, I've done a little
research into his life,
and I've come up with some
interesting information.
- What is it?
- I found out that a few years ago
he was committed to an institution.
Brain damage.
Insanity is the better word for it.
- I don't know what you're talking about.
- Don't you?
I think you do because he was
released under your custody.
Wasn't he?
- My brother is completely
cured, Mr. Albright.
- I suppose so, if you say so.
- Mr. Albright, if you're
out to slander my brother
or cause him any harm, I'll
see that you pay for it.
- You've got me wrong, really you have.
This is strictly in the line of business.
- I'll have to ask you to leave.
- Very well, Mr. Duvre, very well.
Good day.
- Good day.
(dramatic music)
- [Lilli Voiceover] I'd
only been there a day,
but it seemed like so much had happened.
No one was around now, and I felt lonely.
I went upstairs to relax for awhile.
(phone rings)
Hello?
Hello?
(suspenseful music)
- May I assist you, Madame?
- Where were you?
- In the hall.
- Well, why didn't you
answer the telephone?
- My feet do not have wings, Madame.
- What took you so long to get here?
- I have my work.
May I leave now, Madame?
- Yes, Hajmir, go ahead.
I didn't know what I was doing.
I wasn't thinking straight, I just wasn't.
I thought I'd started a new life
with all my cares and worries behind me.
Now things were more
complicated than ever.
I was so confused, I hardly
knew what I was doing.
- [Max] Emile!
Emile!
- Who's there?
- [Max] I'm looking for Emile.
- Well, he isn't here right now.
I think he's working.
- Oh, I'm sorry I disturbed you.
Don't bother coming down, I'll come up.
(footsteps patter)
Well, well, now let me
see what you look like.
I was half drunk last night,
I couldn't see a thing.
Oh.
You're perfect, absolutely perfect.
Emile's certainly done it again.
Another beautiful woman.
- Well, what do you mean by that?
- Nothing, I'm joking.
Frankly I'm pretty jealous of Emile
having gotten someone like you.
See, I'm a lone ranger type.
A lot of talk, but no women.
- Oh, why's that?
- I don't know.
So, how are you getting along with Emile?
- Fine.
- Not easy, is it?
- Oh, it's easy as pie.
- But that pie is gonna taste
bitter, you'll find out.
He'll drive you crazy,
he has all the others.
He's temperamental as a bug.
- [Lilli] And you?
- Solid as a rock.
So when worst comes to worse,
I'll be around with a good
shoulder for you to cry on.
- Why doesn't anyone want him to be happy?
- You're taking me seriously again.
Oh.
What this?
- It's a wedding present from Emile.
- It's very fine work.
- Isn't it beautiful?
- Not half so beautiful as you are Lilli.
Oh, don't be afraid of me, I like you.
I like you very much.
I said to myself last night,
"Now there's a woman I
like very, very much."
Your neck is so white, so beautiful.
Like a swan.
Please, Lilli, don't be afraid of me.
If there's anything,
anything you ever want
just feel free to call on me.
- Max.
- Lilli, Emile and I are so close
that I almost feel you belong to me.
- Max, please.
- Sorry.
I don't know what made me do that.
Oh, please forgive me.
Did I hurt you?
- Max, stop it!
Please let go of me!
(suspenseful music)
(suspenseful music)
(body thuds)
- Lilli?
My dear, are you all right?
My dear, are you hurt?
Lilli, are you hurt?
- No, no, I don't think so.
- Here my dear, let me help you.
Oh, yes.
You are a beautiful woman.
I never forget a face, my dear.
- What are you doing here?
- I walk.
I like to look at nature.
It's true, I can't see,
but my sense of touch is miraculous.
Lilli,
you see this leaf?
Each vein's like a
mountain or a valley to me.
This leaf is so delicate, so fragile.
As you, Lilli.
I can transfer my impression
of this small leaf into stone.
As I can transfer my
impression of you into stone.
And there, Lilli,
you can live forever.
- I'm all right now.
Really I am.
I was only stunned.
I must have tripped over
that log back there.
Please, I got gotta get back now.
- Oh no, no, that's much
too far for you, my dear.
You come over to my place.
I live only over there.
There you can rest and we'll talk.
There are so many things we
have to say to each other.
- Well, it's awfully late.
Oh, well, maybe some other time.
- No, no, no, the sun
is just about to set.
I can tell, my dear.
I can feel the night hair coming on.
So, we have plenty of time.
We'll go have a drink and
then we'll start our work.
- Work?
- The statue, of course.
(suspenseful music)
- Emile is young and inexperienced.
Young and impetuous.
But he does not have my hands.
These hands are tempered with age.
With you, I know I can
do my greatest work.
(crow caws)
You have been sent to me in my old age.
Yes, I believe you have.
Father and daughter.
That is a beautiful relationship.
- Well, I'd like to help
you, really I would.
But it's so late, some other time maybe.
Oh please, I don't mean
to hurt your feelings.
But I've gotta get back to my husband now.
(bird caws)
- Yes, my dear.
Love and life, that is
everything, my daughter.
Everything.
(bird caws)
From the cradle, then full circle,
back to the cradle again.
The long circle of life.
The beautiful circle of life.
(suspenseful music)
- [Lilli Voiceover] I
wanted to get back to Emile.
I didn't want to tell
him about Max and Socki.
Why should I worry him?
And I would have to get that locket fixed.
But most of all, I just
wanted to hold him in my arms.
Would he be there, waiting?
(suspenseful music)
(phone rings)
Hello?
Hello?
(suspenseful music)
Hello?
- The circle.
(dramatic music)
The key to it all.
The key to life itself.
The key to madness even.
That's true, gentlemen.
The insane person is
often obsessed by circles.
- That's very interesting, Mr. Albright,
but surely not the topic for
a mid-morning conversation.
- Mr. Duvre, you are all artists,
and surely you must realize that art is
often a manifestation
of a kind of insanity.
In asylums, for instance,
the inmates paint.
It's called therapy.
- Yes, Michelangelo
must've been quite insane
to spend all of that time on his back
as he painted the Sistine Chapel.
- Yes, the old boy was really insane.
- Have you ever seen the paintings
of the famous murderer, Heinrich Rotman?
- I can't say that I have.
- He was obsessed with circles.
All lines became curved and circular,
a unique personal touch that
indicated his special madness.
This is your work, isn't it?
- Yes, I believe it is.
- It too has a tendency
toward circularity.
So you see, gentlemen, this
style exists in many of us.
At the end of his career,
Rotman was taken into a circular room
with circular tables, circular
chairs and circular objects.
He went stark raving mad.
And what was once hidden,
had now become obvious.
He walked out, turned
to his wife and said,
"I'm sorry, my dear, but
I can't go home with you.
"You see, I'm insane."
- Mr. Albright, what's the point?
- The point is there was a
murder last night on the highway,
about half a mile from here.
A woman was found dead
with a large circular gash
in her midsection.
Almost a complete circle.
- What's that got to do with us?
- Frankly, I'm not sure,
but let's start with this.
Nerissa isn't in Mexico.
But yesterday you said she'd been found.
- Well, we were wrong.
Last night, those photos were
identified as someone else.
So we're back where we started from.
And for all we know, Nerissa
might very well be dead.
- Mr. Albright, you have
a fascinating imagination.
But I don't see the connection
between Nerissa and the murdered woman.
And I don't see where any of this
has anything to do with us.
- Ms. Russel,
you reported to the police
the night before last
you were beaten up by someone,
a man who had attacked you
several blocks from your home.
- Yes, but he was just a minor
sex maniac, not a murderer.
- We don't know what he is, now do we?
He might be the same man,
and then again, he might not be.
- Mr. Albright, if you
are so awfully clever,
will you tell me why my
masher friend didn't kill me.
That seems to be his
style with all the others.
- Mr. Albright, you're going too far.
Unless you have some proof
to back these allegations.
- Please, please don't get me wrong.
I'm not accusing anyone.
I'm simply attempting to
tie all the facts together
to let you know what our problem is.
If I offended you, I apologize.
Believe me, no one here is suspected.
But it is my opinion that
we're dealing with a madman,
a man very much like Rotman,
ingenious and obsessed.
- I get such a vivid picture.
I'm almost glad I can't see.
- Ladies and gentlemen,
my lecture is over.
There's no telling who
the murderer might be.
Watch the person next to you.
(suspenseful music)
Good afternoon.
- [Lilli] Mr. Albright!
- Yes.
- Mr. Albright,
do you really suspect anyone
around here of those murders?
- I don't know, Mrs. Duvre.
I really don't know.
I'll be around here almost
every day checking on things.
Here's my card and phone number.
If anything happens, no matter
what time of day or night,
give me a call.
You'll do that, won't you?
- Yes, sir.
- Good day, Mrs. Duvre.
- Thank you.
- Having a difficult time?
I'd like to help.
- I think everything will
be a lot better around
if you wouldn't keep barging in.
- Oh, really, darling?
I'm one of the family.
This is where I've made my
nest for the past four years.
- Well, Ms. Lady Bird,
I'd just appreciate it if
you'll pick up and fly away.
- Well, you've certainly got
the jitters about something.
Why were you talking to that cop?
- None of your business.
Or maybe it is.
- What do you mean by that?
- I mean that someone's been coming in
and calling in the middle of the night,
and then hanging up without saying a word.
And that accident in the
garden yesterday afternoon,
and yesterday morning you
came by so nice and sweet.
Just hoping I'd no longer be alive.
- You're way out on a limb, Lilli.
Way, way out.
- I don't think so.
- It's all Greek to me, believe me.
- Hello, everybody.
Good, good.
Socki, you're still the old master.
- Thank you, my dear, thank you.
- Max, you've got something there.
A little weird perhaps,
but I think it should sell.
- I just had it framed.
I consider it my greatest work.
- Emile, Emile!
Emile!
- Yes.
- Emile.
I want you to meet the Baron von Turko.
He's the famous European art dealer
I've been telling you about.
- Yes, of course.
It's an honor to meet you, baron.
- It's my pleasure, Mr. Duvre.
I've heard much about your work.
You have a reputation
in my country, you know.
A good reputation.
- Oh, I'm glad.
I didn't know you were
familiar with my work.
- Only by reputation, sir.
Only by reputation.
And photographs of your work.
The Sistine Madonna, the Golden Venus.
Ah, I look forward to
seeing the originals.
- Very kind of you, baron.
- Ah, but I know an artist
is always too busy.
- It's perfectly all right.
- I can always wait.
- No, no, no, I want
you to see the statue.
- Ah yes, just what I'd expected.
A masterpiece in every way.
- That's his best work.
- How do you do it?
It almost seems to live.
- That's the secret to Emile's work.
- That's the secret to any masterpiece.
I'll take it.
- That's $20,000.
- Isn't that a little steep?
- It'll be worth twice that in a year.
- Yes, but I am buying it now.
5,000, perhaps 10,000, but not 20,000.
- Emile.
Don't sell it.
- Why not?
- Well, it's worth much
more money than that.
The price is going to go up, I know it.
- You loved Nerissa, didn't you?
- Of course I did.
What's that got to do with it?
- Where is she, Max?
- I don't know.
Mexico, everybody say she's in Mexico.
- You were with her that last night.
You took her out.
You were going to ask her to marry you!
- She said she didn't want me.
And then she, she went somewhere.
- Just like that?
- Just like that.
She got in a taxi and left.
- And where did you go?
- I don't know, I...
Don't cross examine me, Emile.
I don't like it.
- Well, if I don't, somebody else will!
- But Myra, please be reasonable.
- I am being reasonable.
- Well, baron, have you made up your mind?
- Ah, perhaps you can be
more reasonable than Myra.
I like the statue, but not the price.
- She's the boss.
- You people certainly
strike a hard bargain.
All right, I like it.
I'll raise the money somehow.
I'll sell some other things that I have.
Make the arrangements.
- How could you sell that statue?
- That statue is yours, baron.
- You're not gonna sell it, I told you.
You're not selling it!
- Now, Max!
- No, that statue's mine!
- I'll see you tomorrow, Mr. Duvre.
- Yes, things will be much calmer then.
- Thank you for your time.
- Emile, you better sell that statue.
You owe me money, plenty of it.
- Oh, calm down, Myra.
You'll crack your makeup.
(suspenseful music)
You're so beautiful by moonlight.
- What you said before,
that's true for me too, isn't it, Emile?
- What's that?
- What's past is past,
both yours and mine.
Oh, please, that's the way I want it.
We'll start all over again, a blank slate.
- For me, you're a work of art.
Finished and complete.
We have no past, only now.
- That's the way I feel.
Oh, Emile, I want my life to be yours.
You'll never leave me, will you?
- Oh, Lilli.
How could I?
I would be leaving half myself.
(smooth jazz music)
- You're such a sweet talker.
I wish we weren't married,
so you could court me all over again.
- The romance isn't over
yet, I just met you.
It takes me years to get to know someone.
- Good.
- Maybe tomorrow I'll
have you pose for me.
You wouldn't mind that, would you?
- Oh no, not at all.
- I've had a picture of
that statue in my mind
for many, many years.
And when I met you, the
picture was suddenly complete.
So, you see, I've known
you for a long, long time.
(smooth jazz music)
(lips smack)
- I feel like celebrating.
- Of course, why didn't I think of that?
I'll get some champagne.
- Okay.
(smooth jazz music)
(water splashes)
Oh, Emile, the water's wonderful!
- [Emile] Be right with you!
(suspenseful music)
(Lilli screams)
(water splashes)
(Lilli screams)
- [Hajmir] What is the matter, sahib?
- That sculpture piece, it fell.
Help me get her out.
(water splashes)
- Undoubtedly it was
too heavy for the wire.
Madame is all right?
- Yes, I think so.
- Do you think these wires
could have been cut, Hajmir?
- I do not know, it is a possibility.
- It could have been purposely worn away.
- It is difficult to tell, sahib.
- We'll take them to the
police in the morning.
But you're certain you're all right?
- Yes, I was just dazed.
- Well, up to bed with you then.
- No more swimming?
- Not tonight.
- Oh, Emile, I'm so frightened.
- Don't be.
- Everything's gonna
be all right, isn't it?
- Of course it is.
(phone rings)
Hello?
Hello?
Hello?
- It's that person again.
- Who?
- The one who keeps
calling and hanging up.
- They never say anything?
- No.
- I don't know what to make of it.
- Did those other women
get calls like this?
- You mean the murdered women?
- Yes.
- No, I don't think so.
- Can those lines be traced?
- No, not unless we have the police
tap the lines constantly.
I'll check into it tomorrow.
- You really think it's
serious then, don't you?
- Oh, frankly no.
It's probably some practical joker.
- I hope that's what it is, just a joker.
- You know your hair is going
to turn silver from worry.
Oh, Lilli, I worship you.
I want to come to you
like one of those statues.
With a little candle burning.
And then I will kneel at your feet.
Max, I told you not to keep
crawling around here like this.
- But, Emile, you know I always come over
early in the morning to begin my work.
- There've been too many freak
accidents around here lately.
- What's that got to do with me?
- Look at yourself, your
half out of your mind.
You don't know what you're
doing most of the time.
You go off on one of your fits,
and God only knows what you'll do.
- But I've been cured.
You know that Emile.
That's why you were able to
bring me home from the hospital.
- You were never totally cured.
I had a doctor lie through his teeth
to get you out of there.
I said to myself, "He'll get better.
"There's no need to worry."
- Never spoken to me before like this.
- I kept thinking I was wrong.
I kept hoping it would
change, I kept praying.
The Good Lord's helping you, Max.
- What are you telling me,
Emile, that I'm insane?
You're not telling me that, are you?
No, I'm not going back
to that asylum, Emile.
I'm not going back to that asylum!
- Why did you cut those wires
on the circle last night?
- What wires?
- The wires holding the circle!
It fell in the pool and--
- I never touched those wires!
Toulouse is the one who hung
that thing, I only helped him!
- Why are you going back to
that phone calling routine?
- I haven't don't anything, I swear it!
- Calling people in
the middle of the night
for no good reason.
Why are you doing it to Lilli?
- I'm not!
I'm not going, you're not
sending me back to that asylum!
Emile, I'm warning you!
- I'm warning you!
Go all over town, go anywhere you like,
do anything you want, but
don't plague us anymore!
I've helped you for a long time, Max,
but I'm giving up now.
- Emile, please give me a break.
I've been upset lately about Nerissa.
I haven't been thinking straight.
- So, you two are at it again?
The Brothers Grimm at
each other's throats.
You'll cut each other's
hearts out one of these days.
Calm down.
Save your strength, we've
got bigger troubles now.
The Baron von Turco is off to Europe,
and he's taking his money with him.
- Why?
- Well, after that hassle
yesterday he wouldn't come back.
Now, he's at his hotel packing.
You better get over there with that statue
and clinch the deal.
- Not now.
- Listen, lover boy.
You get over there right now.
I'm not busting my back
over you for nothing.
Remember you owe me money.
That's M-O-N-E-Y, and I better get it.
Maybe you've given up art for
sweet loving in the moonlight,
but I still have an investment here.
Do you remember how much you owe me?
- 10,000.
- You bet your sweet bottom dollar you do,
and I'd better get it.
Now you better get over there right now
and square it with Turko.
- Calm down, Myra, I'll go.
- Now, that's the way to talk.
That's money in the bank!
By the way, what's wrong with your phone?
- Why?
- Oh, I called you around
midnight last night.
I dialed, I got three rings.
Someone answered and the phone went dead.
- I don't know what to make of it.
Has it happened before?
- Just last night.
Hajmir, have the phone
checked, first thing!
- I have already inquired
of the phone company, sahib,
as a similar thing happened
to me this morning.
They tell me the phone has been repaired.
(smooth jazz music)
(motor hums)
- Helene, what do you want?
- I'm looking for a way to talk to you.
Please help me.
- I'm sorry.
It's difficult, I don't know what to say.
- Say anything.
Say hello.
Say you still love me.
- I don't love you.
I don't think I ever did.
- Oh, for God's sakes,
you'll be bored with her in two months.
She's not your kind!
- She's everything you've never been.
- Didn't seem to matter
too much at the time.
- I just didn't tell you
everything I thought, that's all.
- I'll tell you a few things
about that angel wife of yours.
She's no different than the rest of us!
- Shut up.
You could turn snow black.
- Emile, these last few months
without you have been hell.
Darling, I can't forget you.
You're the most beautiful
lover I've ever had.
Oh, love me again.
(lips smack)
There, that's almost like it used to be.
- (sighs) You'd better go now, Helene.
- Will you call me later?
- I don't think so.
- Just one time, please.
- No!
- She'll leave you, she
won't be able to take it.
If you've loved her the way you loved me,
you'll treat her like dirt
just the way you're treating me now!
(hand slaps)
(Helene gasps)
(car door slams)
(engine revs)
- [Lilli Voiceover] It
was around eight o'clock
that evening.
It was early and I still wasn't sleepy,
so I laid back to read a book.
Emile had already gone back to his work.
(phone rings)
Hello?
Hello?
Hello?
- [Helene] Hello, Lilli, this is Helene.
- Yes?
- [Helene] I want you
to meet me right away.
- What for?
- [Helene] I have something to tell you.
I think I know who's been calling you.
- Where are you?
- I'm at the airport.
- [Lilli] Airport?
- Yes, I'm leaving town,
my life is in danger!
I'm afraid to go home.
- [Lilli] Well, where should I meet you?
- I'm at the telephone booth
next to the Eastern Airlines counter.
My plane leaves at 9:30.
Please meet me right away.
- I'll leave right now.
- [Helene] I'll be waiting for you.
(tense music)
- [Lilli Voiceover] Helene
had said the telephone booth
next to the Eastern
Airlines ticket counter.
(tense music)
I went to the phone booth and waited.
It was just 8:30, so I
knew I had plenty of time.
- [Announcer] Mrs. Lilli Duvre,
please report to the Eastern
Airlines ticket counter.
Lilli Duvre, please report
to the Eastern Airlines ticket counter.
- I'm Lilli Duvre.
Hello?
- [Helene] This is Helene.
Meet me at Parking Lot Number Three.
It's not safe in the terminal.
Please hurry.
(suspenseful music)
(heels clacking)
(heels clacking)
(shoes scraping)
(shoes scraping)
(horn honks)
(tires screech)
(Lilli screams)
(suspenseful music)
(phone dings)
(phone clicks)
- [Albright] Hello?
- Hello, Mr. Albright.
This is Lilli Duvre, Emile Duvre's wife.
You told me to call in
case of any trouble.
- [Albright] What's wrong, Mrs. Duvre?
- I think someone's trying to kill Helene.
- [Albright] Where are you?
- I'm at the airport.
Can you come right away please?
- [Albright] I'll be right over.
- I'll meet you at the telephone booths
right by the main entrance.
(suspenseful music)
Oh, Mr. Albright,
Helene called me about
eight o'clock tonight,
and she told me to meet
her at the airport.
She was going to leave town.
She said she knew who the killer was.
- She tell you his name?
- No, nothing.
She just said to meet her right here
and that she'd be here.
Well, I came here, she wasn't here.
Then I got a call to meet
her out in the parking lot.
I went outside and a car
tried to run me over.
Well, I fell down and
there, I got that note.
What do you think?
- I think if we want to see
her alive, we'd better go.
- Do you know who it could be?
- We'll soon find out.
(suspenseful music)
This way, Mrs. Duvre.
(suspenseful music)
(frog croaks)
(suspenseful music)
(frog croaks)
(suspenseful music)
(frog croaks)
(suspenseful music)
- [Lilli] Mr. Albright.
Mr. Albright?
(suspenseful music)
(frog croaks)
(suspenseful music)
(phone rings)
- [Man] I thought I told
you to come alone, Lilli.
(suspenseful music)
- Miss, Miss!
- Just a sec, honey.
Got to nurse a bit of this noise box.
Without a little music,
this place is a mower.
- Please, I think someone's following me.
Please help me.
- Oh, lots of creeps in this neighborhood.
Plattsville Creep Corner they call it.
Boy, I'll be glad when I get back to LA.
- But you don't understand,
someone's after me.
I went to the phone booths and then...
- Oh, relax, honey.
Relax, honey, take a load off your feet.
Give me time to run quick,
and I'll make us both a
good cup of hot coffee.
I'm hip, you know.
- You don't understand, would
you please listen to me?
When I went to the airport,
I went outside and someone
tried to run me over in a car.
And I got a note.
Look, I've got a note here.
I can't find it!
I can't find it!
- Hey.
You are upset.
Listen, lady, my
boyfriend's coming over here
in a little while.
He knows all the cops in the neighborhood.
- I don't have time, I can't wait.
I've gotta find Detective Albright!
Everything, it's like a nightmare.
It just happened so suddenly.
I can't think straight!
Would you shut that music
off, I can't stand it!
- Hey, lady!
Lady!
Wait a minute.
(suspenseful jazz music)
Can I help you?
Cup of coffee?
(smooth jazz music)
(woman screams)
(smooth jazz music)
- Emile! (cries)
Emile!
Oh, Emile, thank God you're here.
Oh, Emile.
(mannequin thuds)
(Lilli screams)
Oh!
Oh!
(Lilli screams)
- Madame should not have come here.
(Lilli screams)
- Where is my husband?
- He's not well.
- Well?
- No.
- Please, I gotta see him!
- You will see him soon, Madame.
- You made all those
telephone calls, didn't you?
- No, Madame.
- You killed Helene, didn't you?
Why did you kill Helene?
I tried to tell my husband,
but he wouldn't believe me.
He wouldn't listen to me!
- You must be quiet!
(Lilli screams)
- Emile, oh, Emile! (whimpers)
- Hajmir.
I told you to get her away.
Didn't I tell you that?
- I'm sorry, but she
returned unexpectedly.
There was nothing I could do.
- Emile.
- Please, it's all over.
Helene was so beautiful, so beautiful.
- [Hajmir] The master
should go to bed now.
- Emile, what's the matter, Emile?
- [Hajmir] Madame should leave him alone.
- I tried to call you and warn
you, but you wouldn't listen.
I wanted to save you before they kill you.
I called several times and
listened to your voice,
but I couldn't say a word.
I loved you so much.
- Master should go to bed now.
- Then tonight I was going to tell you,
but Helene got in the way.
I was going to meet you at that old house
and say to you, "He's the guilty one!"
But you wouldn't listen,
and you came with that detective.
You didn't trust me, did you?
Why, why didn't you trust me?
- Emile, were all those calls from you?
- Yes, Madame.
- To warn me against Hajmir.
Has he got you in his power, Emile?
- Not me, Madame.
Warn you against himself.
- No.
- I wanted to try out, get away from him.
Get away from Emile Duvre.
He's a brute and a killer!
But you wouldn't listen.
You only wanted to listen to Helene.
That's why I followed her tonight.
I knew what she was up to.
I knew and I wouldn't let her do it.
That's why I killed her.
- The master should rest now.
- I killed them all.
Nerissa, Michelle.
Yes, you can see everything, Lilli.
That ugly waitress. (mutters indistinctly)
- Emile, you're not well.
Emile, please, Emile!
Emile! (cries)
(suspenseful music)
Emile.
- You see these statues?
They're great works of art, aren't they?
These statues are the
work of a great artist.
Emile Duvre, a man
whose art breathes life.
Who else could say that?
Not Michelangelo.
Not Rodin.
I struggled for their
secret, secret of my art.
How could I give it life?
How could I make it live?
And I found the answer in this circle.
This circle leads from life to death.
The power of life is the power of death.
And I have that power,
to take life from death
and immortalize it forever.
That's why I had to kill her.
To put life into my statues.
To capture the living soul for my work.
To get it from the body
and make it live forever.
(suspenseful music)
See here.
Nerissa is still breathing
after all these months.
And Michelle too is still alive.
And Helene.
Her blood is still wet, but
her soul will live forever.
But you are the most beautiful of all.
More beautiful than all the others.
More beautiful than the
statues of antiquity.
- Emile, please.
- I love you, Lilli.
I wanted you to live.
I don't want to kill you.
- Emile, Emile.
- But I must!
- Master!
- One more statue.
One more beautiful statue,
the most beautiful of all.
- Master, it is Hajmir who speaks.
You are not well, do you hear me?
You do not want to kill
her, she's your wife!
Madame, run quickly, please!
(suspenseful music)
(Lilli whimpers)
- Emile, Emile, please no!
No, no!
- Master!
(Lilli gags)
Master!
(knife whooshes)
(knife thuds)
(body thuds)
(hands thud)
(body thuds)
- I tried to get here as fast as I could,
but he knocked me out back there.
Yes, I suspected Emile
was as insane as his brother, Max.
That kind of madness is hereditary.
But I wasn't so much
testing Max as I was Emile.
Emile killed Nerissa and Michelle
before he met you, Mrs. Duvre.
And married you thinking
it would be an easy way
to add you to his collection of statues.
But he loved you very much
and this created the conflict.
He wanted to kill you.
And then again, he didn't.
He called to warn you,
but he couldn't speak.
So, he had to take it out on others.
It was a classical case
of Jekyll and Hyde.
Two men in the same body
both strangers to each other.
One man sober and artistic,
and the other man a murderer.
And the first man never knew
what the second man was doing.
So, you see, Emile in his calm state
was totally unaware that he was a killer.
- But I loved him so much.
(soft jazz music)
(car doors slam)
(motor hums)
(soft jazz music)