Torture Garden (1967) - full transcript

(FAIRGROUND ORGAN)

(SCREAMING IN PLEASURE)

Yes, ladies and gentlemen, it's more
than an entertainment. It's a panacea.

Well, a tonic.
That's it, ladies and gents.

A tonic: for jangled nerves
and tired blood.

There's nothing like a good fright
for toning up the circulation.

And that's what you've got in here.
Yes, ladies and gentlemen, it's in here.

You'll shriek, you'll shudder,
you'll shiver,

but it's all in fun
and no harm done.

So come along, ladies and gents,
get your tickets now.

Only half a crown. Half a crown!



For the greatest thrill
you've ever had in your life.

Come along to
the Torture Garden of Dr Diabolo.

Dr Diabolo's Torture Garden.

(CREAKING)

Yes, my friends. There is no end

to man's inhumanity to man.

You have seen torture.

Now I'm going to show you death.

The electric chair.

It's used

for the execution of condemned
criminals in the United States.

The man in that chair has
committed a crime. It's murder.

He's gonna pay for it.

Strapped and helpless
in that little chair,



the creature awaits his doom.

Perhaps you feel sympathy,
compassion for him, eh?

Well, not me.

Not me,

for reasons of my own.

And soon, thousands of volts
of electricity

will sear every nerve

and every cell of his body.

A very civilised method of revenge,

that I approve of.

You'll notice the bits of sponge
here and there,

where the electrodes
touch the flesh.

That is to prevent the gentleman

from being burnt to a cinder
before your eyes. But, nevertheless,

he will burn inside.

Inside.

Inside.

Inside.

You picture yourself in his place.

Yes, try that.

Now, in his final moment,

his last breath,

his last sweet second of life.

And now, my friend,

in full payment
for what has passed,

I am going to pull the switch.

(LOUD CRACKLING)

And that, ladies and gentlemen,
concludes our regular performance.

(AUDIENCE MURMURING)

But wait.

There's more to come.

Oh, yes.

What you have seen

are imaginary horrors.

But now,

I can let you experience
real ones.

Yes, ladies and gentlemen,
I do have a private exhibit.

It is for the true connoisseurs.

Right behind the curtain there
you will find

the real Torture Garden.

It is not for the faint of heart.

For what you find there will be
more terrifying, more horrendous,

than your deepest,
darkest dreams.

Now, then,
who has the courage to try it?

- How much does it cost?
- Well, since this exhibit

is limited to a special few,
five pounds.

- Five pounds? You got a nerve.
- And what about you?

Have you the nerve to face the thing
that lies waiting inside there, eh?

It's a thrill of a lifetime,
I guarantee it.

If you don't agree with me afterwards,
I'll cheerfully refund your money.

Well, come on.
Are you all cowards?

It is a lot of money,

but I'd like to see.

What about you, mate?

I think he's a fake.

Still, let's have a go.

One moment.

There are others here who may find
this exhibit of special interest.

These two ladies.

Come on, I dare you.

Yes, thank you.
Now step right inside, if you don't mind.

Don't be afraid.
I'll join you in a moment.

Is this all there is?

- It's not much to look at, is it?
- Not for a fiver, it isn't.

- You're American, aren't you?
- Yes.

- Where you from?
- Hollywood.

- You in films?
- Yes, my cousin's visiting me on holiday.

I'm afraid she must
find it rather dull here.

Yes or no?

(SATISFIED CHUCKLE)

Where is he?

Oh, it's just a wamvorks.

A dummy?

- If you ask me, we're the dummies.
- It isn't quite what I expected.

- What did you expect?
- Well, I don't know, but...

Where is he, this...?
What's he call himself?

Diabolo. You call me?

- Who's your friend?
- That's a good question.

This is a figure from ancient legend.

Atropos, Goddess of Destiny.

In the left hand, the skein of life.
In the right, the shears of fate.

Each coloured thread
represents a human life.

And the shears
have the power to cut it short.

Oh, come on.

It's just one of those mechanical figures
that tells your fortune for a penny.

Yes, she can tell your fortune,
of course.

That's the least of it. No, no, no.

See, I promised you horror.
And I intend to keep that promise.

This sibyl here
has a very strange magic,

a very strange power.
For she is able to reveal

to each and every one of you
the ultimate horror.

Which is, of course,

the horror that you have
hidden away inside yourself.

The secret, in fact,

of your own evil.

A very old-fashioned word
nowadays, "evil".

You'd prefer I say:

"The primordial monstrosities that
lurk beneath the surface of the mind."

But I prefer "evil".

Just a minute.

- Is this all you've got to show us?
- No, there is this also.

That if you can gain a knowledge
of your inner evil,

why, then you will have been
forewarned, and perhaps,

that is, perhaps,

you can escape the monstrous act

and the hideous consequences.

Are you trying to tell us that this
thing can really foretell the future?

I'm simply trying to say
that what she foretells

need not come to pass.

Not if you heed what you've learned.

Not if you shun the evil
that lies deep in your nature.

I didn't pay five pounds to
listen to you preach a sermon.

- I think you've lost your money, friend.
- Come here, young man.

Come here.

What, are you afraid?

You seem to doubt my word.

How would you like
to be the first to learn

what fate has in store for you?

What do I do, ask it questions?

That won't be necessary.
Just stand where you are.

The figure will communicate
with you.

- How?
- Through your mind.

Just look at the figure.
Look at the figure.

It can't hurt you.
Now look at the shears.

Look deeply. Deeply, deeply.

Deeply, deeply,

into the shears of fate.

- Hello, I'm Colin Williams.
- I'm Nurse Parker.

Yes, your uncle said
you might be coming for a visit.

- How is he?
- His heart is very weak.

The doctor says it could be
any time now.

- I'll try not to tire him.
- Good.

I'll be off.
Oh, if there's any change,

get in touch with Dr Silversmith
in the village. All right?

- I will. Thank you. Goodbye.
- Goodbye.

Well, Colin, it's been a long time.

- Yes. Three years, isn't it?
- It must be all of that.

You're looking fit.

- And you.
- My time on earth is short, and

-since you're my sole living relative...
- Yes, I realise that.

- And frankly, I'm very grateful.
- Are you, now?

Yeah. It just so happens that

right now I'm in a bit
of a fix, financially.

I didn't invite you here
to discuss money.

Sit down.

- Here, let me...
- No.

What I have to say is

of far greater importance.

This may be the last time
we shall ever meet.

Once and for all, I want to urge
you again to mend your ways.

You can't expect
to go on like this forever.

You must find a job, settle down,
make something of your life.

If you could only understand this,
if you could see the light,

that would be the greatest legacy
I could give you.

You're absolutely right.

These last three years
haven't been easy.

Believe me, I've learned my lesson.

Good.

- You have a job?
- I've got one promised,

as soon as I've cleared up
my obligations.

Oh, it's not all that bad,
it's just a matter of a

few thousand pounds.

Out of the question,
absolutely out of the question.

- Uncle Roger.
- I don't have the money.

And what about your fortune?
My inheritance.

- There is no fortune.
- Rubbish!

Everyone knows you've got money.

You've lived here
on your own, what?

Thirty years?

You've never worked.

- How do you pay for it all?
- That's none of your business.

That's where you're wrong.
It is my business.

I've been asking questions.

They say in the village that
everything you buy is paid for in cash.

No, no, not just ordinary cash.

But coins. Old gold coins.

Please, I don't want to talk about it.

All right.

We'll talk about something else.

This cottage, for instance.

Very old, isn't it?

They say in the village
it was deserted for years,

before you moved in
and renovated it.

There's talk about it
belonging to a witch.

- Local gossip, superstition.
- Is it?

Surely you don't believe
in witchcraft.

This cottage was owned by
a harmless old woman, an eccentric.

You mean a miser, don't you?

A miser with a hidden hoard of gold.
And you discovered it.

- That's the truth!
- Stop.

Can't you see
what you're doing to me?

- Let me alone.
- Not until you tell me

where that money's hidden.

(GASPING)

Colin, my medicine.

There, on the mantelpiece.

Quickly.

Half a glass.

Huff)'-

(UNCLE ROGER
BREATHING WITH DIFFICULTY)

- The money.
- Please.

I'll tell you later.

NOW!

Colin.

Oh, God.

Damn.

I was handing him his medicine
when he had this final spasm.

They go like that sometimes.
One's seen it before.

Seven o'clock, you said?

What? Oh, about that.

I really didn't check the exact time.

Oh, seven's near enough.
It's just a formality for the record.

I'll complete this in the morning.

Oh, thank you, doctor.

- You're stopping for the funeral, I take it?
- Certainly.

You don't mind spending the night
here alone?

No. No, of course not.

Well, look after yourself.

(TICKING CLOCK)

(SOUND OF SEARCHING)

(CLATTERING)

Yes.

(GRUNTING)

(MIAOWING)

(LID SLAMMING)

(MIAOWING)

(MIAOWING)

Yes.

I can hear you.

Your name

is Balthazar.

You've come to stay with me.

To serve me,

as you served my uncle.

You will

reward me

as you rewarded him

in return

for things I must do for you.

My uncle

was ungrateful.

He buried

you away in the darkness.

But now you are free,

and hungry.

Hung“!-

(DOOR OPENING ITSELF)

(SOFT MIAOWING)

(LOUDER MIAOWING)

No.

No!

(DISTORTED WHIRRING SOUND)

(SCREAMING)

Dream.

(SIGH OF RELIEF)

(MIAOWING)

COLIN'S VOICE:
You've come

to stay with me,

serve me,

as you served my uncle.

You will reward me

as you rewarded him.

(MIAOWING)

(MOUTHING SILENTLY)

(FAINT MIAOWING)

(DISTORTED WHIRRING SOUND)

No.

No, not her.

(GASPS IN PAIN)

All right, I'll do it. I'll do it.

(WHIRRING STOPS)

(KNOCKING)

NURSE PARKER:
Mr Williams?

Mr Williams.

(SCREAMING)

Mr Williams. Mr Williams.

There's... there's a man
out there with his head all...

No! No!

(HEAVY THUD)

(DOG BARKING OUTSIDE)

VOICE:
Good evening, sir.

Not leaving us now, are you, sir?

I've got my living to earn, you know.

Well, I won't keep you. But I thought you
might be able to give me information.

There's been some talk of a tramp
reported in this area.

Harmless old chap apparently,
but we're on the lookout for him.

You don't happen
to have seen him, have you, sir?

No. I've seen no one all day.

Now, if you'll excuse me.

Oh, let me give you
a hand with this, sir.

Why did you do it, Colin?

What made you kill them?

- Balthazar.
- Balthazar? Who's he?

I don't know.

He takes the form of a cat.

But he's not a cat. He's inside me.

He's in... he's inside my head.

I see. He's inside your head.

Oh, yeah. I know how it sounds.

But it's true.

Balthazar is real.

How long has he been with you?

Since last night,

when I found a skeleton
in the cellar.

- In your uncle's house?
- The witch's house.

Don't you see? Balthazar must
have been the witch's familiar spirit.

He made my uncle rich
with the witch's gold.

In return for murdering, huh?

But my uncle tricked him.

He buried him away
in the darkness.

Balthazar said he was ungrateful.

Anyway,

I freed him.

And then he...

He wanted to have
the same agreement with me.

Now, you don't know
what it's like, doctor

to have a creature

whispering inside your head,

giving you commands.

And you've got to obey.

You've got to obey or...

Or he starts

scratching and clawing inside.

He forced me to kill the tramp
and Nurse Parker.

We found the bodies in your trunk.

But there's one more thing
you must tell us, Colin.

What happened to their heads?

- Why did you...?
- Not me.

Balthazar.

That's what he feeds on
when he's hungry.

You mustn't let him
come back to me.

- Please don't go.
- I'll be back in the morning.

No, you can't leave me
here alone, not all night.

Balthazar will be hungry again,
and if he isn't fed...

Don't you understand?
He'll be hungry.

Come back!

Come back! Please.

Please don't leave me!

Let me out!

Get me away from him!
Get me away from him!

Let me out! He's here! He's hungry!

- Now, what's your problem?
- Look.

There's nothing there. Now you
calm down and get some sleep.

No, don't go away.

He'll come back for me!

He'll come back!

- Don't let it get at me! Help!
-(AGONISED SCREAMING)

(DOOR OPENING)

(MIAOWING)

(DISTORTED WHIRRING)

Are you all right?

You seemed to be in a trance.

Just standing there
and staring into space for a minute.

Only a minute?

It seemed like days.

I can't explain.

I can.

There is a theory.

The past, the present and the future
are merely different aspects

of the same moment
in time and space.

Do you understand that theory?

Then perhaps you can understand
that since a drowning man

can view his entire past
in a few seconds

he can also view his future

by the same rule.

COLIN:
Particularly if he's hypnotised, hmm?

That's all it was. Hypnosis.
It's a trick.

- No trick.
- What, then?

A warning.

What exactly did you see?

- I'd rather not talk about it.
- Well,

was there anything about it
that was true?

It's true I have an uncle
who lives in the country.

And I was going to see him to ask...

- But how did you know?
- I never saw you before.

I know nothing about you.
You are merely a customer.

Who comes next?

Who is the next to meet Atropos,
the Goddess of Destiny?

What about you, young lady?

Surely an innocent young woman
like yourself

has no deep, dark secrets
in her mind.

Why don't you? After all,
it was your idea to come in here.

It will show you nothing
but what is in your own heart.

Now,

look at the shears.

Look closely at the shears.

Your eyes are fixed on the shears,
they can't look away.

Look deeply, deeply, deeply.

Deeply into the shears of fate.

- What time is it?
- Seven-twenty.

Oh, no. He'll be here in ten minutes.
I'll never get this done in time.

So let him wait a while.

- Who is it?
- Mike Charles.

And he's not the kind
you keep waiting.

This dinner date
could be important.

You know what it can mean.

Going to the right places,
meeting the right people.

I know. It's the only way
for a girl to get ahead in this town.

Look at these wrinkles.
And I haven't even had my shower yet!

Go on, go take your shower.
Let me iron the dress.

Oh, would you?
Carla, gee, thanks. You're an angel.

What are roommates for?

(russme)

(russme)

(LOUDER HISSING)

- Finished?
- Oh, Millie, it's that darned material.

The iron was too hot.

- Oh, no!
- I'm sorry, Millie.

- No!
- You can wear something else, maybe.

You know I haven't got
any wardrobe.

I went without lunches
a whole month to buy this dress.

I'd let you have one of mine,
only I've only got one good one.

- And I'm wearing that tonight.
-(DOOR BUZZER)

Oh, no, he's here.
Oh, Carla, please do something.

- Make some excuse.
- Listen, don't worry. I'll handle it.

MAN'S VOICE:
Hello. I'm Mike Charles.

Hello, I'm Carla Hayes,
Millie's roommate.

- CARLA: Won't you come in?
- MIKE: Thanks.

- Millie almost ready?
- Millie can't go out tonight.

She's in bed with the flu.

- Well, can I just say hello?
- I don't think you should.

That flu's kind of catching.

Yeah, yeah, maybe
I better not go in there.

- Gee, I'm sorry your evening's ruined.
- Yeah, it is kind of rough.

Could have been
a real swinging scene.

- Table for two at Danny's.
- Danny's?

(SLOW JAZZ PLAYING)

- Like it?
- Love it. All these people.

-Isn't that Bruce Benton over there?
- Where?

- At the table in the corner.
- Yeah, and Eddie Storm.

- He's a producer, isn't he?
- The biggest.

Oh, no. Mike Charles, of all people.

With any luck, he'll be too interested
in his new friend to notice us.

Come on, let's say hello.

- Eddie! How's it going?
- Why, Mike.

- Bruce. Mike Charles, remember?
- Yes. Yes, of course.

Oh, Carla Hayes, Eddie Storm.
I guess you know who this is.

- Won't you join us?
- Really, we don't want to intrude.

Oh, go ahead and sit down.

Eddie and I got some business
to talk over.

You go ahead and order.
I'm buying Eddie a little drink.

I can't believe it. Imagine me
having dinner with Bruce Benton.

You know, I've had a thing about you
ever since I was...

Ever since you were a little girl.
Go ahead and say it. I don't mind.

- It just doesn't seem possible.
- What?

Your having dinner with me?

Or because I've been around
solong?

Now you're embarrassing me.

You'll feel better
after you've had a drink.

(SNAPS FINGERS)

What's with you? I've been trying to
get you on the phone for two weeks.

I'm lining up production
on his new picture.

- You know how these things are.
- Don't give me that.

You've been freezing me.
Look, I've been knocking around

this industry for 25 years. I figure
I'm entitled to a little consideration.

I realise that.

You know how important
this business is to me.

- When do I get the word?
- Now, if you like.

Great. Eddie, baby,
I knew you wouldn't let me down.

You talked to them?
Well, what did they say?

- Nothing doing.
- What do you mean, nothing doing?

You know the pictures I've made.
I've got a right to belong.

- You were voted down.
- But I'd do anything, really I would.

- Talk to them again.
- I'm sorry, you know the rules.

Don't take it so hard.
Have another drink.

- Where are you going?
- Don't worry about me.

I'll have another drink, lots of drinks.
And you tell your fink friends from me

they don't have to worry about Mike Charles.
He knows how to take care of himself.

But maybe they oughta worry,

because Mike Charles
is just liable to take care of them.

That's wonderful.
Would you really do that for me?

Anybody who knows the titles of all
the pictures I've made since 1950

deserves a break.

EDDIE:
Sorry to keep you waiting.

- Where's Mr Charles?
- He asked to be excused.

Another engagement.
I hope you don't mind.

That's quite all right.

Bruce and I were just having
a very interesting discussion.

I was just suggesting to Miss Hayes that
she come down to the studio on Monday

and make a test for that part
we have open.

You mean the sister?

What do you think?

Well, I don't know.
It's the second lead.

- What have you done?
- Television, mostly.

Bruce was just telling me
about the part. It sounds fascinating.

I'm sure I could handle it.

Why don't we shoot some film
and see?

All right, let's do that.

MIKE:
Finks, the whole lot of them. Finks.

You better believe me.
Finks, that's what they are.

- Them and their "top ten".
- What top ten?

Stars.

Directors.

Producers. The big ones.

The ones who stay on top
year after year after year.

Who never seem to grow old.
Never slow down.

Brother, I could tell you
something about that top ten.

And don't think I won't tell it
in the right places.

I've had it. Up to here.

Eddie Storm and all the rest of them.

- Eddie Storm, the producer?
- Producer? Ha!

Listen.

If you only knew the real story
behind that character.

I could tell it.

Here.

On the house.

You make yourself at home.
I gotta go out back for a minute.

You're not eating.

I start filming next week, remember?

Now you know how I keep
my boyish figure.

- And you?
- I'm on a diet.

WAITER: Excuse me, Mr Storm.
There's a call for you.

I'll take it over there.

- Will you excuse me?
- Yes.

Boy, I never thought
when I went out tonight

that all this would be happening.

Meeting you, get a chance
to be in a film with you.

I thought you'd wanna know.

Sure.

Sure, I understand.

Don't worry. I'll handle it.

Nothing important.
It's just a little problem.

It's all been taken care of.

- Where are we?
- Home. In your own garage.

Oh, you're a real pal. Thanks.

Hey!

(MUFFLED GROANING)

(ENGINE STILL RUNNING)

Carla, did you see this?

Mike Charles is dead.

He was overcome by exhaust fumes
in his garage.

It happened last night.

- Didn't he take you home?
- No.

He left the restaurant
almost as soon as we got there.

The paper says it was an accident.
He'd been drinking.

How could he take you
to an expensive restaurant

-and then just walk out?
- Look, Millie, I hardly knew the man.

He was your date.

Let's talk about something
more pleasant.

Hey, I made a good contact
last night.

Eddie Storm's testing me on Monday
for a part in a new Bruce Benton film.

A good part.

Look, I know it sounds
cold-blooded,

but if a girl wants
to get ahead in this town,

she's gotta take her chances
when she gets them.

And not worry about what happens
to anybody else.

I wouldn't want to get there
that way.

Millie, dear, I'm going to get there.

Any WHY-

Another day, another dollar.

- Tomorrow's call, Mr Benton.
- Thanks, Fred.

Well,

I see they've written
an extra scene for you.

- You looked great in the shots today.
- I'd never have been in those shots

if it wasn't for you.

I got you something to show you
how much I appreciate it.

- You can't afford a present like this.
- But I want you to have it.

Put it on, okay?

Thanks.

It was quite a day today.

I'm really beat.
Where do you get all your energy?

Clean living.

It certainly doesn't come
from overeating.

You didn't even touch
your lunch this noon.

- I'll make up for it tonight.
- Where are we going?

Not "we". Me.

I thought you said something
about going out tonight.

I'm sorry about the hang-up.
Not tonight. Tomorrow night.

Well, what kind of hang-up is it,
blonde or brunette?

Two brunets.

Your agents?

In a way.

I'll see you in the morning.
Good night.

- EDDIE: Where's Bruce?
- You just missed him.

But you didn't?

Bruce and I were rehearsing
our lines for tomorrow.

- That's all right, isn't it?
- Of course.

Rehearsals never hurt anybody.

That's why I have them every day.
On the set.

What's the matter, Mr Storm?
You have some reason for disliking me?

I didn't say that. You I like.

You and Bruce Benton together,
that's a bad scene.

Take my advice and lay off.
He's not for you.

There he is now. Bruce!

Bruce! Wait!

Where did he say he was going?

He didn't. He just said he had
a business appointment.

Business appointment?
With two of the worst hoods in town?

(GUNSHOT)

Don't panic. He's all right.

Leo, help me get him
up to the car. Hurry!

- Where you taking him?
- The sanatorium.

Sunset Crest Sanatorium.

- What happened?
- The 0perati0n's over.

Dr Heim says he'll be all right.

That's impossible.

Oh, no. It's true.

Dr Heim.

My dear young lady, let me assure
you, there is no cause for alarm.

- Only for silence.
- He's right.

We can't have any publicity.
Bad for the picture.

How can there be a picture
with Bruce...?

The bullet has been removed.
He's resting comfortably.

But I saw him. He was dead.

- He's alive.
- Dr Heim's a great surgeon.

He has his own techniques.

Believe me, dear lady,
your friend is quite safe.

- When can I see him?
- Monday.

He will be back on the set Monday.

Cut it!

-(BELL RINGING)
- DIRECTOR: Great, Bruce, great. Okay, boys.

Something wrong?

- I can't believe it.
- Dr Heim told you he'd be here.

Looks good, doesn't he?

- I've gotta talk to you.
- DIRECTOR: Want you in five minutes, Carla.

Let's go inside.

DIRECTOR:
Okay, now take it in a fraction. Right, that's it.

Somebody fix that backing there!

When are you going
to tell me the truth?

All right. You would find out
sooner or later anyway.

The man we saw in the car
the other night was Bruce's double.

His double?
Look, I know his stand-in.

I said, double.

Let's face it, Bruce is getting along.

He needs somebody
to share the load.

After all, how do you imagine

he's kept going as a top star
for over thirty years?

Now you know the secret.

But you still haven't told me
what happened.

Just what you saw.
Bruce's double owed gambling debts.

He was taken for a ride and killed.

Then Dr Heim didn't operate.

No. He merely disposed of the body.

Who is Dr Heim?

No more secrets.
You know too much already.

Perhaps I know more than you think.

What are you talking about?

I did a little reading over the weekend.
At the newspaper office.

Some old clippings.
They keep a file there, you know.

Called a morgue.

- It's very appropriate, don't you think?
- What are you getting at?

I thought I was getting at the truth
about Dr Heim,

but instead I found out
something else.

About you.

On April 5th, 1944,

...there was a speedboat accident
in the harbour off Newport Beach.

You were thrown from the boat.

When they took you to the hospital,
they thought you were dying.

According to the story,

you were rushed from that hospital
to a private clinic:

Sunset Crest Sanatorium.

The man who operated on you
there was a refugee physician.

A Dr Heim.

-(KNOCKING)
- ASSISTANT: Two minutes, Miss Hayes.

Yes, it's true. He saved me.

- A wonderful plastic surgeon.
- He must have been.

According to that newspaper story,
your entire skull and chest

had been crushed beyond repair.

I don't see any scars, Mr Storm.

- I've had enough of this.
- Well, I haven't.

I'm gonna see Bruce tonight,
and he'll tell me the truth.

- Have you seen Mr Benton?
- I haven't seen him leave yet.

Thank you.

(DOOR CLOSES LOUDLY)

EDDIE:
Main gate?

As soon as Dr Heim gets here,
send him to Stage G.

It doesn't concern you.

Don't you see?
I have to know the truth.

- There's nothing to tell you.
- Oh yes there is.

Carla, please.

You were the one who was shot.

You were the one that we took
to the sanatorium.

You'd better get out.
I'm not gonna talk about it.

But you've gotta talk about it.

Bruce, don't you understand?

- I'm in love with you.
- No, you can't be in love with me.

Bruce, what happened?
What is it about Dr Heim?

-(TEARING SOUND)
-(BRUCE GASPING)

It's metal.

All right.

Look at it. Take a good look.

You wanted to know
the secret of the top ten.

The box-office stars who seem
to go on forever and ever.

The ones who never age.
The immortals of the screen.

Well, now you know the secret.
They are immortal.

- It's Dr Heim.
- Yes. Dr Heim.

He found a way of preserving
the brain and its abilities

-(METALLIC TAPPING)
-in a synthetic body.

He did that to you and Eddie Storm?

Yes. There are a few of us,
but only a few.

And you don't have
to have an accident.

But you must be
a very special person,

with a very special hunger.

Not for food, or drink,

or love.
You can't have any of those.

You must live to feed only
on the applause and the fame.

For some of us, it's enough.

I'd rather be dead.

So,

we are in time.

You told her?

Then we have no choice.

- What are you gonna do?
- Mike Charles knew the secret.

He wanted to be one of us.

When we refused,
he threatened to talk.

We couldn't risk that with him
and we can't risk it with you.

Wait.

There is another way.

You once told me
about your ambitions,

that you'd do anything
for fame and stardom.

You can have your wish.

No.

- How soon can you operate?
- Immediately.

- No!
- Nurse!

And here are the stars
of this production:

Bruce Benton
and the lovely Carla Hayes.

Miss Hayes, I understand that
your performance in this picture

indicates that you'll soon be in
the top ten in filmdom.

- Look, there's Carla Hayes!
-Isn't she a doll!

A living doll!

There, there, that's all right.

Now, don't be afraid.
That's all in your mind.

That was a warning
sounding in your mind.

It's a warning of things
that can be, of course.

For now, they are without
substance, they're images.

They're the kind of things
that dreams are made of.

Oh, the mind is a strange animal,
isn't it?

It can turn on you like a panther.

But, of course, like a panther,
it can be tamed

by certain people. And that's a kind
of a blessing, don't you agree?

I don't know why we came here.

For the mystery and the excitement.

But you have obtained more
than you bargained for.

- You've obtained knowledge.
- You're quite a philosopher.

Yes, I try to be.

Now, who is next?
Who wants to meet the Goddess

and take this fascinating journey?
You?

- Dorothy, don't.
- Don't worry. I'm not afraid.

Ah.

Look at the shears.
Look at the shears.

Deeply, deeply, deeply

you gaze at the shears.

Look at the shears of fate.

(PIANO PLAYING "FUR ELISE")

(LOCK CLICKS OPEN)

(BUZZER)

Miss Endicott? I'm Maxine Chambers.

Leo Winston's manager.

I saw from his diary
he was expecting you today.

I thought you were interviewing
him yesterday.

Yes, but he had to rush off to a concert,
as you know,

so we thought
we'd continue today.

I see.

I'm afraid he won't be able
to spare you very much time.

- He has to rehearse this evening.
- Thank you.

(MUSIC STOPS)

- Milk and sugar?
- No, thank you.

I really hate to stop.

There's so much more
I'd like to know about you.

If I gave your readers any more
material, they'd complain of eyestrain.

I wasn't thinking of my readers,
Mr Winston.

You're very flattering.

You really do love music, don't you?

Yes, I do.

In that case, perhaps
you'd better meet Euterpe.

Who?

Come in here, and I'll show you.

Oh, Euterpe, the goddess of music.

Yes.

Yes, it was a present from my mother
before she died.

Euterpe and I have been together
for years now.

Shall we play something
for the lady?

(MUSIC: SCHUMANN'S "REVERIE")

I'm sorry.
I'm afraid that wasn't very good.

Oh, I shouldn't have let you.

You must be tired
after last night's concert.

No.

No, it's not that.

It's just that
Euterpe isn't used to you yet.

Please accept my apologies for her.

Perhaps she doesn't like me.

I do.

I was just thinking.

You're quite a lonely person,
aren't you?

What makes you say that?

This habit you have
of talking to yourself.

I couldn't help noticing
this afternoon.

I was talking to Euterpe.

You mean I'm going
to have a piano for a rival?

No, it's...

It's just that I haven't had time to...

Believe me, Dorothy,
you have no rivals.

(DISSONANT CHORDS)

It's no good.
I'm making too many mistakes.

- Why?
- I don't know.

Don't you?

- How many hours a day do you practice?
- Quite enough.

Until what time
are you out every night?

I can't see what possible
difference that makes.

Leo, I'm sorry
if I'm speaking out of turn,

but I'm your friend,
I'm not just your manager.

And I can't stand by
and watch that girl

take over your life,
ruin your career.

You sound exactly like my mother.

Whenever I used to bring a girl home,
all she would ever say to me was

that it was going
to ruin my career.

You're in love with her.

Yes.

And I think she loves me too.

Well, in that case,

you're just going to have to try
and make her understand.

She just can't go on
being so demanding.

Look, Maxine,

you're a good manager
and a good friend.

But you don't have to worry
about me in either capacity.

Dorothy hasn't ruined my life.

For the first time in years,
I feel really happy.

(RESOUNDING THUD)

(BUZZER)

Leg?

Leg?

Leg?

What's the matter?

Are you all right?

Yes, of course.

I was just working something out
for my next concert.

I shouldn't have interrupted you,
but I've got something for you,

and I couldn't wait
to give it to you.

And we're invited
to the Harcourts' tonight.

- Do you like it?
- Yes.

Yes, it's lovely.

Dorothy,

-about tonight...
- Yes. Pick me up at eight o'clock.

Yes, of course.

Let's go and have a drink.

(LID SLAMS LOUDLY)

Leo, what's the matter?

Nothing.

When I came in there,
you were sitting

as if you were in a trance.

I was just tired.

There's no need to worry about me.

Tell me the truth.

Oh, very well. I suppose
you've got to know sooner or later.

It's Euterpe. She resents you.

You see,

I've been trying
to communicate with her.

She thinks you're hurting me
and preventing me from working.

- She wants to protect me.
- Is this some sort of joke?

- Pretending that a piano is a...?
-(LOUD SCRUNCHING NOISE)

DOROTHY: No, I haven't come here
to talk about myself.

But you've got to do
something about Leo.

You've got to cancel his tour,
he's in no condition for it.

If we don't do something,
he'll have a breakdown.

Yes, I know.

If Leo isn't well, it's because
you're smothering him.

You're smothering him
with your demands on his time,

yOUF DOSSGSSiVGHGSS.

You just aren't the sort of person
Leo needs, believe me.

- I love him.
- Do you?

Or do you just love the idea of being
the wife of a world-famous pianist?

Is your love real?

- Or just selfish?
- Oh, you're the selfish one.

All you're interested in is making
money out of Leo's career.

First his mother and now you,

and this ridiculous story
about Euterpe.

- Euterpe?
- Don't pretend you don't know about it.

You probably encourage it.
But it won't work. I won't let it.

Leo belongs to me now.

(VIGOROUS PIANO PLAYING)

(BUZZER)

Leg?

(KNOCKING)

Leg?

Leg?

Leo! Leo!

Leo!

Dorothy?

I heard the piano playing.

- And then you answered the door.
- Yes.

But that's not possible. You...

You couldn't have come from
the piano to the door so quickly.

I wasn't playing, it was Euterpe.

(FAINT TICKING)

(LOUDER TICKING)

- Leo, come here.
- It's only a metronome.

Yes,

and this is only a piano.

There's nothing here
but wood and metal and ivory.

It's got no life of its own.

And it can't interfere with ours.

You're tired.
We'll go away together.

- Away from...
- What about my concert tour?

Oh, I spoke to Maxine today.
I told her she'd have to postpone it.

Well, what did she say?

She'll come round.

(DISSONANT CHORD)

You're not angry with me, are you?

No, of course not.

I know I'm tired. It's just that
I've never missed a tour before.

Leo, you'd better
make up your mind.

Either we go away together,
or I'll go by myself.

- You really mean that, don't you?
- Yes.

In that case, I have no choice.

When do you want to leave?

Well, we could go tonight.

We could ring Maxine from
wherever we are in the morning.

You go and pack,
and then I'll pick up my things.

(DOOR OPENS AND CLOSES)

(PIANO PLAYING
CHOPIN'S FUNERAL MARCH)

Leg?

Leg?

Leo? Leo?

Leo!

Leo.

(FUNERAL MARCH CONTINUES)

(CRASHING SOUND)

(RUMBLING WHEELS)

No.

No!

No! No!

No! No! No!

(AGONISED SCREAMING)

(BREAKING GLASS)

(RAPID FOOTSTEPS)

(PIANO PLAYING LYRICAL PASSAGE
FROM THE FUNERAL MARCH)

Look what he's done.
He's frightened you.

- No, I'm all right.
- What did you see?

- Just an illusion.
- DR DIABOLO: An illusion?

That's very good!

Call it whatever you want.
An illusion, a fantasy, a memory.

Now, that's very good too.
A memory,

but a memory of the future.

A memory of the shape
of things to come.

Now then,

which of you two gentlemen

will be next to take this plunge
into the river of time?

Oh, not you, eh?

Afraid. Are you afraid?

YOU?

No.

As a matter of fact,
I've always wanted to, er,

sample your wares.

Very well.

Very well, then. Look at the shears.

Look at the shears, sir.

Look at the shears.
Deeper and deeper and deeper.

Look at the shears.

Look at the shears of fate.

(CHATTERING)

First edition, isn't it?

A great rarity to the collector
of Edgar Allan Poe.

Yes, I know.
Might I ask where you obtained it?

It isn't mine.
This gentleman owns the collection.

Lancelot Canning,
this is Mr Ronald Wyatt.

I was just admiring your collection.

Does this volume
happen to be for sale?

Oh, I'm afraid not.
As you probably know,

only six of these
are known to exist.

- Yes, I'm well aware of that.
- You are interested in Poe?

Mr Canning is probably the world's
greatest collector of Poe memorabilia.

I'm prepared to pay
a very good price.

I'm sorry. My collection
must remain complete.

Mr Canning has many other things
besides these books.

More than you
can possibly imagine.

AI Aaraaf.

- And Tamerlane.
- Yes. And Collected Poems, 1829.

- Boston edition.
- Yes. Cost you $15,000 at least

at S0theby's last year.

Prose Romance, 1843,
sold in that year for 12 cents.

Value now $50,000.

We have much in common.

If you should ever come
to the States,

perhaps you might care
to see my collection.

You live in America?

My whole life is centered around
Edgar Allan Poe in every respect.

Well, I will most certainly
take advantage

of your invitation
when I'm in Maryland.

- I shall look forward to seeing you.
- Yes, thank you.

Excuse me.

CANNING:
Mr Wyatt?

I'm sorry to have kept you waiting.

I must admit, didn't expect to
see you again quite so soon.

It's interesting, very interesting.

My grandfather's idea.

He built this house
when he started his Poe collection.

My father and I merely
followed in his footsteps.

That's Poe's cravat. He wore it in
Baltimore during his last lecture appearance.

You have other items
from his wardrobe as well?

My collection is very complete.

Did you know
that he played the flute?

No. Did he really?

There. Oh, I'm sorry,
I should've asked you before.

- Would you care for a drink?
- Yes, thank you.

- Whisky?
- Yes.

- Or sherry?
- Oh, yes, thank you.

Oh, this is lovely.

Yes.

- To your health.
- And to your collection.

There speaks the true collector.

My father was like that.
And so was his.

Today they'd both be called fanatics.

It's true. Collecting can become
a kind of mania.

What a strange man he was.

What a fascination he exerted over
the minds of those who loved fantasy.

Or do you think
it's because people

are fascinated
by the mystery of death?

No one will ever equal
his knowledge

of the secrets
that lie beyond the grave.

Let us drink to the immortal

Edgar Allan Poe.

(TAPPING)

Oh, no. No, thank you,
I've had enough.

I go on drinking like this,
you'll think I'm Poe himself.

Thank you.

Now, then.
Do you want to see downstairs?

- Why? What's down there?
- The rest of my treasures.

That's why you encouraged me
to drink, wasn't it?

- You wanted me to show you more.
- Oh, really...

Oh, it doesn't matter.
I was going to show you anyway.

(CANNING SINGS TO HIMSELF)

Come along.

There's one thing you must
promise me first.

What I'm going to show you now
will remain a secret between us?

Oh, yes, of course.

Good. Good man.

(UNLOCKS GATE)

You're a very privileged man,
Mr Wyatt.

Not a living soul has been
down here since my father died.

It's fabulous.

Absolutely fabulous.

Here are my real treasures.

Poe's original manuscript?
Yes, but...

I thought they were all
in university collections.

See for yourself.

You saw his letters upstairs.
You recognise his handwriting.

- This is the same.
- Yes, but,

I don't recognise the title,
The House of the Worm.

Is this an unpublished work?

All these are unpublished.

I've read everything
ever written about Poe.

I never read any mention
of unpublished stories.

Nobody else knows. But you can
see for yourself, this is genuine.

I suppose you wouldn't be
interested in, er,

parting with any of this, huh?

That's right. I wouldn't.

Well, what part did this box
play in the life of Poe?

Oh, nothing.

Well, why is it here?

I'll tell you about it
when we get upstairs.

It's getting late.

Please, please. No, please...
No, l...

Oh, I must see more.

No.

The Further Adventures of

Arthur Gordon Pym.

Look at that paper, look.
Look at...

This paper is...

Why, it's almost new.

Oh, yes. Yes, look at...

Look at the watermark.
"Weber and Sons, 19-"

1966.

Well, that's impossible.
A mistake.

- It's just a trick of the light.
- Oh, it's a trick, all right.

And I want to know the truth.

- We must go upstairs now.
- No.

No, you're going to tell me.
You're going to tell me, or I'll...

I'll break my promise of silence.
Now, what's the secret?

Oh, yes.

You wrote these stories, didn't you?

Didn't you?
You wrote them, didn't you?

- No, I didn't write them.
- Then who did?

Who did?

- This box.
- You told me it had nothing to do

-with the life of Poe.
- That's right.

It had nothing to do with his life.

But it had to do with his death.

My grandfather

made money by selling cadavers
to medical students.

Robbing graves?

One of the graves he opened
was the last resting place

of Edgar Allan Poe.

The body, of course,
had crumbled to dust.

But he gathered that dust
and kept it.

In this box.

So you see, he really was
the greatest collector.

He even collected
Edgar Allan Poe himself.

You're lying! We both can see
the box is empty.

But... and this is the real secret.

My grandfather was more
than a grave robber.

He was a student of the occult.

Did you know that there are ways
to raise the dead?

To reanimate the dust?

Now, those stories by Poe,

filled with nameless terrors,

are written on modern paper

because Poe has been
brought back to us.

He's still alive.

You expect me to believe that?

(LID SNAPS SHUT)

You can believe what you like.

Now, you put those
manuscripts back.

We're going upstairs.

WYATT:
There's a third key here.

Is it for that door?

No.

No.

Then what's it for?

- Give me those keys.
- No.

No. You're hiding more treasures
from me, aren't you?

I want to see if you've been
telling me the truth. I want to see!

- You give me those keys.
- No, I won't!

No!

(CANNING GROANING)

(LOUD THUD)

(CREAKING DOOR)

(DOOR SHUT AND LOCKED)

(CREAKING)

Mr Poe. I am

Ronald Wyatt.

I want to help you to...

To release all these new works.

Now, with your knowledge
of the unknown,

of death itself,

Knowledge of death?

I pray to die.

To die? Again?

I sought and found the unknown.

Made a deal with the devil.

Eternal life.

To preserve the works
of Edgar Allan Poe for the world

is the work of God,
not the devil.

To condemn a man to a living hell
is the work of the devil.

And one's soul
can only be released

if a living soul replaces his

in the devil's domain.

Is there no other way
to release you?

There is another way. By fire.

I have the means.

Here.

But, in return,

you must tell me more
about the unknown.

POE:
Yes. Yes, I will.

If you liberate one who has made
a pact with the devil,

you yourself become
the devil's slave.

You are trapped, my friend.

Trapped. Is that not a good ending

for the last story
of Edgar Allan Poe?

(ECHOING LAUGHTER)

You are trapped.

Trapped!

No, it can't be.

What did you see?

I can't believe it.

What is it that you cannot believe,
my friend?

You.

It really is.

What do you mean?

You know what he saw?

Who are you?

Me?

My name is Diabolo, my friend.

Dr Diabolo.

I'm very well known
for my excursions

into the unexplored regions
of the mind.

Now let's see who's next.
Who is...?

- Why, you are, of course, aren't you?
- No, not me.

Oh, yes. You've paid your money.
You're gonna receive full value, sir.

No. I came in hereto see...

There's something going on
I don't wanna know anything about.

I don't care whether you
want to know about it!

You are going to face that sibyl
and look into the future.

- I won't!
- You are going to do what I tell you.

- You are going to do...
- It's you. You're mad.

Mad!

But you're not gonna
get away with it.

Because I'm going to kill you.

I'm gonna kill you!

(DIABOLO GASPS)

(SCREAMING)

Come on, let's get out of here.

(WHISTLING NONCHALANTLY)

(CHUCKLING)

You were great tonight.

We gave them a good show
for their money.

WYATT: A show that money
couldn't buy, Doctor.

Well, I've gotta get outside.

Gotta get ready
for the next performance.

So you decided to wait,
eh, Mr Wyatt?

I was interested in, er...

Making a deal with me too?

Oh, yes.

Yes, I think so.

At the right time.

Do you have a light?

Of course, I lose one or two
along the line this way,

but it's great for the sport.

And it's only fair, you know,

to give them a chance
to escape my domain.

But will you?

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