All language subtitles for Attack.Of.The.Puppet.People.1958.1080p.BluRay.x264.AAC-[YTS.MX]

(dramatic music)

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- Sir?

Can you please tell me where
I can find Dolls Incorporated?

- Room 502, first door on your left.

- Thank you.

These are the Brownies from
the Valley High School.

- The girls are here to
visit the factory, Mr. Franz.

Yes, Mr. Franz.

He'll be with you in a moment.

I'm sure the girls would
like to see the doll display

while they're waiting.

- Well, fine.

Thank you.

- [Girl] I like the one
over there next to you.

It's beautiful.

- [Girl] I like the one over there.

- [Girl] They've got so
many beautiful dresses.

I like the one over there best.

There are so many, I don't
know which one I want.

- Don't let Mr. Franz catch you.

He's very particular about these dolls.

Nobody's allowed to touch them.

Come on, let's look at the other dolls.

(dramatic music)

- Young lady, do you like my dolls?

- Oh, I think they're lovely.

- Do you really?

You must meet some of them.

My dolls are fashioned
from all walks of life.

Here's a bride.

Isn't she lovely?

And over here, now let me see.

Here's a housewife going shopping.

And here, oh my, yes.

She's very important.

This is my nurse.

She helps to keep my little people well.

Wouldn't do for anything to
happen to them, would it, nurse?

- You treat them like real people.

- But of course.

They're my friends.

My name is Franz.

What's yours, my dear?

- Sally Reynolds.

You came about my ad, I suppose.

- Yes. But I don't think
I'm the girl for the job.

- Wait, please.

Let me be the judge, huh?

How much experience have you had?

- Very little.

I worked a year in a college
bookstore, that's all.

- Married?

- No.

- Live with your family?

- I haven't any family.

I'm on my own.

I'm sure there's somebody
else that's better qualified.

- You're exactly the one
I want, Miss Reynolds.

I'd like you to start right away.

- I don't know what I'm supposed to do.

- Just answer the phone,
take care of my accounts

and my correspondence.

As you can see, I'm no good at paperwork.

- I'm sorry, Mr. Franz.

I couldn't.

(phone ringing)

- I have no one to help me with my dolls.

I work alone.

I need someone in the office.

Whatever you do, your work
will be satisfactory, my dear.

I pay the usual wages,
but if that isn't enough,

I could manage a little more.

Won't you please try it?

Just for a day or two?

(phone ringing)

- Dolls Incorporated.

One moment, please.

A Mr. Grant for you.

- I'll take it in the back room.

Yes, Mr. Grant.

- [Grant] I understand you had
a secretary named Janet Hall?

- Yes, Miss Hall used to work for me.

- [Grant] Do you have any
idea where I can reach her?

- Well, she left last week.

She was going to take a
better position with Pathay.

You might try to reach her there.

- [Grant] This is Pathay.

She never showed up.

- If you see her, will you
have her get in touch with me?

- I'd be glad to, Mr. Grant.

I'll make a note of it right away.

- [Grant] Thank you, goodbye.

- Goodbye.

(knocking)

Who is it?

- It's Sally.

Mr. Franz, if I'm to work for you,

I'll need the cash ledger.

Can you tell me where it is?

- I'm afraid I don't know.

Janet took such good care of things.

I'll be right out and
help you look for it.

(dramatic music)

- Well, hello!

Who are you?

- My name is Sally.

I work for Mr. Franz.

- Since when?

- Six weeks ago.

Do you have business with Mr. Franz?

- I sure do.

I'm Bob Westley, the best
salesman in St. Louis.

- Well, he can't be disturbed right now.

You may wait or perhaps come back later.

- [Bob] The least you can
do is tell him I'm here.

- But I'm sorry, he
just can't be disturbed.

- He's not in the factory.

Now, are you gonna tell me where he is?

- Please, don't get me into trouble.

Mr. Franz is in the back room.

And when he's in that room, he
never wants to be disturbed.

- All right, all right, don't get excited.

But can't you send up some
smoke signals or something?

Call him on the phone.

- He'd be furious.

- Mr. Franz, furious?

They don't come any milder than him.

Say, are you afraid of him?

- Please, I've got work to do.

If you'll excuse me,
I'll be able to do it.

- Look.

- Let's start all over again.

I apologize.

I don't want to get you into any trouble,

and I want to be friends.

Okay?

- Okay.

- All right, now that we're
friends, tell me the truth.

Are you afraid of your boss?

- No, I'm not afraid of him.

Maybe just a little.

He does get a little peculiar at times.

- What times?

- When he talks to them.

He's so serious.

It's almost as if he
expected them to talk back.

- Who?

- Why, the dolls, of course.

- The dolls? (laughs)

- Wait, just a minute.

- Good morning, Sally.

Been dreaming up anything
new about the boss?

- Dolls Incorporated?

- It's on the fifth floor.

- Second floor!

- Well, I can take the letter.

I work there.

- Are you Miss Hall?

- No.

- Well, it's registered.

Someone will have to sign for it.

- Maybe you better see Mr. Franz about it.

- Third floor!

- Are you another new man?

Seems we just got one lately.

- I'm special delivery.

- Fourth floor!

- Whatever happened to
that friendly fellow

who brought the mail
around here for so long?

- You mean Old Ernie?

Funny thing, two days
before he was to retire

and get a pension, he disappeared.

Yes sir, started out one
morning with his mail sack

and never came back.

(phone ringing)

- Yes, Miss Reynolds.

I'll be right out and sign for it.

Bob.

Good morning.

- Morning.

- I'm sorry I don't know
Miss Hall's new address,

but I expect her to
stop by in a day or two.

I'll see she gets this.

- [Delivery Man] Thank you.

Come on in, Bob.

- Sorry if I hurt your feelings.

- I'll be right with you, Bob.

(mysterious music)

- [Sally] How beautiful!

- Yes, very nice.

The price doesn't seem too out of line.

I'll take four gross of that.

What do you like, my dear?

- This one here.

- The white organdy with the blue ribbons.

- Ah, It's a pity you
can't model it for us.

I can see it would be
very becoming on you.

Yes.

- Well, two gross of
the strapless organdy,

and two of the negligee.

- How about lingerie to go with it?

- Yes, you can put that in, too.

When can you deliver them?

- [Salesman] Ten days.

Is that all right?

- Yes.

- Will that be all, Mr. Franz?

- Do you mind if I keep
this strapless organdy?

You can charge it to my order.

- I think that'll be all right.

Thank you, Mr. Franz.

Thank you, Miss.

- Here, let me get rid of
some of this stuff for you.

- Miss Reynolds, I don't know
what I'd ever do without you.

(dramatic music)

(phone ringing)

- Yes, Miss Reynolds.

Who?

No!

By all means, tell him
I'll be right there.

An old friend out of the
past is here to see me.

Shall we call it a day?

I'd have to stop soon
anyway to mix more plastic.

So, you'll forgive me, won't you?

- Certainly, sir.

- Hey!
- My dear friend, how are you?

- [Franz] Emil, what a surprise.

I didn't even know you were
in this part of the world.

- I arrived yesterday.

- With your puppets?

- Why of course, of course.

My puppets open their show next Monday.

And listen, Franz, I
should like you very much

to come to the theater and meet them.

- Of course, I should be happy to.

- Good.

- How did you ever find me?

- Well, I thought I'd need the services

of a marionette-maker while I was here.

So, I opened the directory
and there was your name.

(laughing)

It's been a long time, Franz.

No more show business, huh?

- No, no, I gave that up.

I just have dolls now.

- Dolls, eh?

- Many, many dolls, as you can see.

- As long as you enjoy it.

- Tell me, how's your dear Emma?

- Emma, Emma.

- Emma, the girl with the
beautiful golden hair, your wife.

- I have tried so long
to forget that name,

I sometimes almost succeed.

She left me.

- When did this happen?

My marionettes were playing in Luxembourg.

And she ran away with
someone she liked better.

An acrobat.

- Acro, oh, how that must've hurt.

How that must've hurt, Franz.

- But I'm happy now at any
rate, and that's what counts.

Emil, let me take you to dinner.

- [Emil] Why not, why not?

- And we'll have time
to stop at the theater

and visit your marionettes.

- That's an excellent idea, Franz.

- So, let us go.

- And wait till you
meet my little puppets.

(upbeat music)

- (applauding) Bravo, bravo, bravo!

Excellent, Franz, excellent.

You know, I haven't seen a
performance like that in ages.

Well, well, well.

This is like the good old
days again, huh, Franz?

You were once the best in our profession.

You still could be, if you wanted to.

Well, you see, things
have been getting too much

for me lately and I've
been thinking of a partner.

What about joining me, huh?

- It doesn't interest me.

- Why not?

Because my marionettes are
getting old and need attention?

- Oh, I don't mind repairing
them, it isn't that.

- What is it, then?

- I'm content in my doll factory.

Isn't it time we ate?

- Do you know what's
wrong with you, my friend?

- Why must someone who's
content with things

the way they are always have
something wrong with him?

- Contentment is unnatural.

Emma's leaving must've done you

a great deal of harm, my boy.

- You think so?

You've run away from life.

You've surrounded yourself
with all shapes of people,

with their faces, their legs, their arms.

Even little mannequins of them.

But not their spirit.

You're afraid of that.

- Well, I've found peace, anyhow.

- Will it last?

- I have no fear it won't.

I love my dolls and I'm quite
sure they'll never leave me.

Let's forget about the past, Emil,

and have a good time, huh?

Living in the present is
the only important thing.

And then after dinner, we'll
go back to my shop, huh?

- Excellent idea.

- How about that?

(tense music)

- Happy?

- Mmhm.

Did you pick this show
for any particular reason?

- I get tired of the
same things all the time.

Don't you?

- Yes, I do.

Such as what?

- Dolls.

- Why don't you ask me what
it feels like to be a freak?

- Please sir, I--

- This is how it feels to be
so big you can stick your fist

through a circus top!

Like a clown!

- Mr. Franz said you were going
back to St. Louis tomorrow.

- Maybe.

- [Colossal Man] It's ingestible,

I can grow to be 100 feet tall!

And I don't need a change of wardrobe.

- How would you like to come with me?

- What would I do in St. Louis?

- Live in a pretty little house.

Become Mrs. Bob Westley.

- Man lives through plutonium blast.

That's a great joke, isn't
it, sergeant? (laughs)

- Why do you think I've been
hanging around all these weeks?

What do you say?

- I don't know what to say.

- Don't say anything.

- Do you want to go back to your quarters

and tell your friends about the monster,

about the circus freak?

That's right, sergeant.

I'm a circus freak.

Have a tent, will travel.

Why don't you make a sign saying:

see the amazing colossal man?

- Say, I got a terrific idea.

What do you say we fly
to Las Vegas tomorrow

and get married?

- I couldn't leave without
telling Mr. Franz I'm going.

- Well, let me tell him.

I'll see him first thing in the morning.

You get packed and be ready
and I'll pick you up at 10:00.

How's that?

- Wonderful.

- [Colossal Man] I'm not
growing, you're shrinking!

(phone ringing)

- Hello?

- Miss Reynolds.

Is anything the matter?

When you didn't come to
the office this morning,

I began to worry.

- Well, hasn't Mr.
Westley been to see you?

- Yes, he was here earlier, but he's left.

- [Sally] Where did he go?

- Back to St. Louis, I believe.

Miss Reynolds, Miss Reynolds?

Are you all right?

- Yes.

- Can I expect you at
the office this morning?

- Yes. I'll be there.

- All right.

Ah, there you are.

Now things are as they should be.

By the way, I left the bill
for those St. Louis shipments

on your desk.

- I'll see to them right away.

Mr. Franz, did Bob go by air?

- No, by train.

I believe he had his ticket all ready.

- It was very sudden.

- Well, he'd been neglecting
his business lately.

It probably caught up with him.

- Didn't he tell you anything about me?

- Yes, of course, he did.

He told me that he'd
asked you to marry him,

and that you had consented.

When's it to be?

- He didn't...

I mean, we haven't set the date.

- Bob gave me to understand
that you wouldn't

have worked for me after you were married.

I begged him not to take you away.

I told him how sad it is when people go.

(sobs)

Oh, my dear.

I didn't mean to make you unhappy.

Is it because he didn't
come and say goodbye?

That wasn't very thoughtful of him.

Will you listen to an old friend?

Perhaps it would be better
if you tried to forget him.

- I don't know what to think.

That's not true, I do know.

Bob wouldn't treat me this
way if he could help it.

Something's happened to him.

- When did you make this, Mr. Franz?

While Bob was here.

- It could be him, almost.

- Well, thank you for the compliment.

The aim of every composer
is to fit the world

within the limits of his symphony.

A writer wants to put all of life

between the covers of his book.

If I can make my dolls in the image

of those I know and love,

I'm satisfied.

Oh, it's a small talent, I know,

but I have to make the most of it.

It's the only one I have.

I'll be out of the office for
an hour or so, Miss Reynolds.

(dramatic music)

Will you lock up, my dear?

I have my own key.

(dramatic music)

- Pardon me.

Can you tell me where
Sergeant Paterson is?

Thank you.

Sergeant Paterson?

- Yes.

- I'm Sally Reynolds.

The man at the desk sent me to you.

- Oh, yes.

Sit down, Miss Reynolds.

Here it is.

You say in this report you made downstairs

that your fiance disappeared mysteriously.

Just what does that mean?

- Something Mr. Franz did to him.

- Such as?

- Well, Mr. Franz did something to him.

- You said that.

- Well, I don't know how else to put it.

- Did he hit him?

Did he shoot him?

Did he strangle him?

- No, he...

You won't believe me.

- Well, that's my business.

Now tell me, just what did he do?

- He made Bob into a doll.

- He made your fiance into a doll.

I see.

Well, we'll let you know

if we learn anything, Miss Reynolds.

I knew you wouldn't believe me.

Suppose there were some other people

that disappeared the same way?

Would you do something then?

- That all depends.

Who were they?

- Janet Hall.

- Anyone else?

- A mailman named Ernie.

- Ernie Larson.

Go on.

- Well, isn't that enough?

I guess it is.

- Okay, let's go and see this Mr. Franz.

- He's taken Bob down.

He must have him inside.

- Is this the man?

- Yes.

- The lady says you've been making people

disappear mysteriously,
turning them into dolls.

- Why, Miss Reynolds, what
made you say such a thing?

That's perfectly ridiculous.

- Is that Westley?

How come it looks just like her boyfriend?

- I model all my dolls after
people I know and like.

People I like to have near me.

There's nothing wrong with that, is there?

- May I see it, please?

- Certainly.

- It's lifelike, all right.

- Well, I should hope so.

But I assure you, it's only a doll.

Watch.

(dramatic music)

What did you expect, my dear?

They're only made of plastic.

You see, here's a whole case full of them.

- Well, looks like your boyfriend

kind of took a powder, doesn't it?

Okay, I'll put through
a tracer on him, anyway.

Be seeing you.

- Feel free to drop in anytime, Sergeant.

- Thank you.

(dramatic music)

- Oh, you weren't thinking
of going too, were you, dear?

- Of course.

- Please, don't.

It would make me so unhappy.

- Do you really expect me to
work for you after all this?

- I think of your pretty
eyes and your lovely voice,

and the beautiful flowers on
your desk, and I ask myself,

how could I ever bear to let you go?

- But it's impossible.

- Now why do you say that, my dear?

- Because I can't stand being
in this place another minute.

It's locked!

Open the door, it's locked!

No, no!

(screams)

(dramatic music)

(screams)

- Be careful, my dear.

You aren't afraid of me, are you?

Why, I'm your friend.

You mustn't feel bad, Miss Reynolds.

It's time for you to
put on your new clothes.

You don't want to meet your fiance

dressed in nothing but a napkin, do you?

Here they are.

First your toilet articles.

And your stockings.

And the dress.

Oh, it's very pretty.

You remember you selected this yourself?

You want to make yourself
look nice, I'm sure.

You're going to meet Bob.

Shall I help you?

That's better.

He's only asleep, Miss Reynolds.

What you might call a state
of suspended animation.

- Bob, Bob!

- Oh, be patient, he'll
be with you in a minute.

This fresh air will revive him in no time.

You don't know how much I
enjoy these little reunions.

(grunting)

You funny little people.

I wonder why it is you
always hate me so at first.

I haven't really harmed you.

You get the best of care.

I never let you get too warm or cold,

too hungry or too tired.

You should be grateful.

Think.

No daily grind, no budget
problems, no taxes or debts

or family to support.

I see to everything.

And it's never dull.

You sleep away the long
boring hours in your jars,

and when I take you out to wake you,

it's only to have fun.

To enjoy some new treat
I've thought up for you.

Don't you see how fortunate you are?

You have nothing to do all the rest

of your little lives but be happy.

- That's what you think!

Change us back the way we were!

- I like you better the way you are.

- Are you going to keep us this size?

- Always.

- What have you done to us?

- Would you really like to know?

It's my secret, but I don't
think you'll give me away.

It's a very simple principle, really.

Notice how this slide projector
throws a visual image.

I can make it any size I choose.

When I push it closer to the wall,

the picture becomes smaller.

Being of an inquiring mind,
I asked myself one day

if I couldn't do the
same with living things.

I reasoned that if I could
pass them through a device

similar in principle
to this slide projector

then I would be able to
project these living things

to any size that I would choose.

This is the answer I found.

Here, Tommy.

Tommy, Tommy, Tommy!

To project a complex molecular structure,

such as a man or say a cat,

it's only necessary to change
them into energy first.

Much as the light in that slide projector.

I soon found out that
the most practical way

of causing this change was

to break down the molecular structure

by means of high-frequency vibration.

Now, with this tuning fork, I
will set up a sonic vibration.

(glass shattering)

Just as the glass disintegrated

through the resonant frequency

sent out by this tuning fork,

so will a living thing disintegrate

to its resonant frequency.

Of course, it's a much higher frequency.

Oh, there you are, Tommy.

Now, watch this.

All right, kitty, I
have something for you.

(electrical whirring)

Now, watch the cat.

You remember Tommy, Miss Reynolds.

He always liked you.

(cat mewls)

Take him.

Being so small, he may
feel strange at first.

Pet him.

I must get some of the other
little people who live with me.

I want them to meet you.

- Hello, big boy.

Who's your friend?

- [Franz] Miss Reynolds,
may I introduce Miss Lane?

- Call me Georgia.

They all do.

Glad to meet you, Sally.

Welcome to the toy department.

- [Laurie] Hi, kids!

- This is Laurie.

She's a swell kid.

Laurie, meet Bob and Sally.

- How are you?

- Hello.

- Gosh, I'm awfully sleepy.

How long did he put me away this time?

- For a couple of months, anyhow.

Say, you missed a lot of fun,

we had a picnic in a
flower box, two dances,

and a moonlight swimming
party in the sink.

And all because I wouldn't sing for him.

- Hi, Laurie, long time no see.

Hi, everybody.

- Well hi Stan.

Say hello to Bob and Sally.

And if it isn't Mac,
pride of the Marine Corps.

Mac, meet Bob and Sally.

- Well, welcome, stranger.

Hey, the old Franz is learning

how to pick 'em better all the time.

- Hey, when are we gonna
get this party rolling?

- Yeah, let's go!

What are we waiting for, big boy?

We got a new arrival here to celebrate!

- I have some refreshments
for our little party.

A petit four.

A knife to cut it with.

Some tiny little cups and saucers.

And a miniature bottle of champagne.

Please help yourselves.

I'm afraid I'm a little too
clumsy to serve my guests

when they're as small as you.

(group chattering)

- [Georgia] Oh, boy.

This is great!

(group talking over each other)

- A toast to the new members
of the family, Sally and Bob.

- Are you two engaged?

Say, when's the wedding going to be?

- You'd better ask him.

- Poor Bob and Sally.

There's no one your
size who can marry you.

I'll have to see what I
can do about it, sometime.

- Stop! All of you stop!

How can you be so calm?

Call for help, run, do
something, anything but this!

- Say, what's the matter with her, anyway?

I got used to this size
in about 10 minutes.

And believe me, brother,
I kind of like it.

I ain't never had it so easy in my life.

- Look at it this way, Sally.

We're in a jam, and there's nothing to do

but make the best of it,

for the time being anyway.

- I know how she feels.

I took it pretty hard, too.

But we sometimes have to
do things we don't want to

just to have some freedom like this.

- Listen, he drops a capsule in your jars

to put you to sleep.

Don't breathe any of it--

- Pipe down, everybody, he's coming back.

(upbeat rock and roll music)

- Come on, baby, let's go.

- [Mac] Rock it, rock it!

- Now, Laurie, you must sing for us.

- No, I don't want to sing.

- [Franz] But you will, my dear,

or back in the bottle you go.

(upbeat pop music)

♫ You're a dolly

♫ You're a dolly

♫ You're so cute and
lovely, dearest little doll

♫ Say you want me to be near you

♫ To be yours forever more, my little doll

♫ You're so precious, you're so darling

♫ You're all that I
could want, a living doll

♫ Never leave me, don't deceive me

♫ Stay with me forever
more, my living doll

♫ Never leave me

(door chimes)

♫ Don't deceive me

♫ Stay with me forever
more, my living doll

(knocking)

(upbeat jazz music)

- Yes?

- I was passing by and saw
the light in your window.

I thought you might be
lonesome, so I dropped in.

You mind?

- That was kind of you, Emil.

Tell me, how did your opening night go?

- Franz, wonderful, wonderful.

Come and sit down and I'll
tell you all about it.

- Let me put things away, huh?

- Ah, but it will only take one minute.

- You must hear what happened last night.

Come, sit down, will you?

First of all, everybody was there.

But everybody!

- He's got somebody outside.

- The telephone.

The police.

Does anybody know their number?

- I should remember.

I called them just yesterday.

(dial tone humming)

- Come on, come on, hurry up!

(buzzing)

- Police department.

Police department!

- We're at Dolls Incorporated!

Fifth floor of the Tilford building!

Please hurry!

- Police department!

Anybody on this line?

- Oh, he can't hear me.

It's the music.

- But if we stop it, Franz
is sure to come back.

- Tilford building!

Fifth floor!

Dolls Incorporated!

- [Switchboard Operator]
Anybody on this line?

- [All] Help! Help!

Help! Help!

- Oh, what's the use?

Nobody can hear little people like us.

- It's awful when you think

there are people all around us,

and we can't even get through to them.

- And then, right after the first act,

who do you suppose--

- Emil, I simply have to go now.

- Now wait a minute, Franz, wait.

You don't know who came
backstage to congratulate me.

- Just a minute.

I have to take care of the record player.

- There, you see.

The record player takes care of itself.

Now come on, let me finish it.

- Franz, listen.

I tell you, it was like the
good old days in Brussels.

Now, will you guess the name

of the party who came backstage?

Come on, try, try.

- I can't guess.

You tell me.

- The machine.

I was wondering if we could
go through it the other way

and come out our right size again.

He said it works like a projector.

I'll bet I could figure out the controls.

- It may not be a good
idea to fool with it.

You might get killed.

- I don't care.

I'm willing to risk it.

- I am, too.

Who wouldn't be?

- Well, one's enough.

It only takes one of us to go for help.

Shall we try it?

- [All] Yeah.

- No no no, hold it, you living dolls,

but I was one of his first puppets.

So I deserve the right to
be the guinea pig, okay?

- All right, Mac.

If that's the way you want it.

You know what can happen
if I make a mistake.

- Come on, let's go.

- Well if it does work, you're
going to need some clothes,

now I'm pretty sure he keeps
our old ones in that closet.

- That's right.

I saw him hang mine up over there.

- Well, come on, let's go.

You three girls better stay up here.

I'll work the controls.

Stan, you go to the door and
keep an eye out for Franz.

- Just a minute.

(upbeat jazz music)

- There you go.

Okay, Mac.

Come on, let's go!

(upbeat jazz music)

(electronic whirring)

(upbeat jazz music)

(electronic whirring intensifies)

- How splendid for you.

- So, I said to myself, I said,

at last I'm being appreciated.

I could have wept for happiness, Franz.

- And I am happy for you.

May I go now?

- Well, I shouldn't detain
you like this, should I?

You go on and--

- You see, I have to be alone

in this kind of work, I'm doing.

You understand?

- [Stan] Hold it!

- Why don't you go and
do what you have to do,

and I'll talk to you while you work?

- No, no.

I'd rather give you my
undivided attention, old friend.

So tell me, what happened then?

- Okay.

(electronic whirring intensifies)

- We'd better get back.

- What about a nightcap with me, huh?

- Oh, I only wish I could.

- Oh, lunch tomorrow then, huh?

- Certainly.

I'll call for you about noon.

- Excellent, excellent.

- Well, I suppose there's nothing more

for us to say but goodnight, huh?

- Let's be bold and get it over with.

Goodnight.

- [Emil] Goodnight.

- [Mac] Come on, Stan.

- You've had enough fun for tonight.

Come to bed quickly now.

It's time.

(group sighs)

(doorbell chiming)

Come in.

- Ah, Sergeant, how are you?

- Fine, Mr. Franz.

- You don't mind if I go
on with my work, do you?

I'm shorthanded and
I've fallen way behind.

- I notice you're advertising
for another secretary.

- Yes, it's quite a problem
keeping help these days.

- How'd you happen to lose Sally Reynolds?

- She went to St. Louis, I believe.

Her fiance lives there, you know.

- Well, I could have saved her the trip.

- Why have you news of him?

- Well, he didn't show up at home,

and we've been asked to do more some more

checking on him here.

- How strange.

What do you suppose
could have become of him?

- Well, that's what I came to ask you.

(doorbell chimes)

- Mister, can you fix my dolly?

- Will you excuse me?

- Go ahead, take care of your customer.

I'll just look around.

- Well, let's see what we can do for you.

Tell me, what's your dolly's name?

- Susie.

She got run over.

- Oh, dear, dear, dear.

How did that happen?

- She ran out in the street
while I wasn't looking.

- (clicks tongue) That
wasn't nice of her, was it?

- She's a bad dolly.

- You know, you ought to
spank her when she disobeys.

- I do, but it doesn't
seem to do any good.

(Franz laughs)

Are your dollies like that?

- They do get rather headstrong sometimes.

- Mr. Franz?

What's in here?

- [Franz] Oh, just a workroom.

- Well, may see it, please?

- There's nothing there that
would interest you, Sergeant.

I go there whenever I'm lonely.

- I would like to see it.

May I have the key, please?

Thank you.

- You have so many dollies.

They must give you a lot of trouble.

- Yes, but they're nice.

I never get lonely and
that makes up for it.

(cat mewls)

- Oh look!

Isn't that cute?

Can I have it?

No, dear, no, no.

- Please, why not?

- Well, everybody would want
to know where you got it.

You know, grownups ask so
many awkward questions.

Now you better give it to me.

- Don't take it away from me, I want it.

- What do you call this thing in here?

- You can play with it until I get back.

- Oh, that?

Well, what's it look like to you?

- You've got me.

- You know what a photographic
enlarger is, don't you?

- Well, this works just the opposite.

I use it to make models of people.

Wouldn't you like to see how it works?

- Some other time.

I've got to be running along.

We'll, what you got there, little girl?

Let's see.

(cheerful music)

A tape recording inside.

You like it?

- [Girl] Uh-huh.

Can I have it?

- No. But you can come and
play with it anytime you like.

- And the cat?

- Yes. That, too.

- About those missing people,

I'll be checking with you later.

- I do hope you find them soon, Sergeant.

- Thank you.

Bye, honey.

- [Girl] Bye.

- Now, to fix your dolly.

(chuckles) This is one of the best puppets

you ever had, Emil.

- It's one of the best Jekyll
and Hydes there ever was.

It was made by Schwartz,

back in the good old days in Prague.

But a funny thing, every
time the cue comes for Jekyll

to change into Hyde, nothing happens.

- Did you bring me back
here at this late hour

because your star puppet
was a little temperamental?

- Please, Franz.

Please understand my predicament.

- There are only three people in the world

I trust to cure him.

Mariani, who's in Milan.

Auriac, but he's in Paris, and you.

- You know perfectly well I
never could resist flattery.

- How much time can I have to work on him?

- Well, you see, we have a
matinee tomorrow at 2:00.

It would be tragic to return
all that money for the tickets.

Can you have him ready that soon?

- I'll try it, even if
it takes me all night.

- Good, and, one more thing,
how much is this gonna cost?

- Oh nothing.

That's the least I can
do for an old friend.

- Thank you, thank you.

- May a dear old friend ask you something

of a personal nature?

- Certainly.

- What are you up to that
brings the police over

to ask me all sorts of questions?

- When was this?

- This afternoon.

A police sergeant named Paterson.

He comes to my hotel room,
and it sounds fantastic,

He asked me if you were in the habit

of making people disappear.

- I suppose you told him
I do it all the time?

- Ah but seriously, it's bad
business to have police prying

into your affairs.

- Emil, I'm quite serious.

If I thought I was being watched

I would find life intolerable.

Now, be a good fellow, will
you, and tell the night doorman

to let me in the theater later on.

I'll have to give Mr. Hyde
a tryout when he's finished.

- I'll run along now.

I'll do it on my way home.

I don't suppose I have to tell you

how grateful I am to you, Franz.

- Oh, nonsense!

Good night, Emil.

And goodbye.

(dramatic music)

Oh.

Sorry you're awake, Miss Reynolds.

Makes everything much more difficult.

- What are you going to do?

- The police have been asking
my friend, Emil, questions.

They're getting uncomfortably close.

That leaves me only one course.

- You'll free us, won't you?

You'll make us our right size again?

- And be deprived of your company?

Oh no, I couldn't let that happen.

Can't you see?

It's better that we all bow out together.

Oh please, don't be frightened.

Can't you see?

It's much better that we
all meet death together

than for any one of us to be left alone.

There's nothing worse than loneliness.

Wait, wait, I have a splendid idea.

Yes, we'll have a going-away party

for all of us.

A celebration.

My friend Emil asked me to fix his puppet

and leave it at the theater.

We'll have our party
there, a theater party.

Now, let's all get ready.

(Georgia humming)

- Say, what's the matter
with being a bottle baby?

Look at the service we get.

Oh, the old boy is really letting go.

He's been giving us parties
like they're going out of style.

And tonight, a theater party no less.

- You better enjoy it,
Georgia, as it may be our last.

- What are you talking about?

- Sally!

Tell her.

- He said that tonight.

He said tonight he was to
kill us all, himself too.

- You'd better hurry up and dress.

We'll tell the boys.

(grunting)

- Bob, Bob, he said he's going to--

- Yeah, I know.

We heard you tell Georgia.

- Oh, if I was just my
old size for five minutes.

- Hey, let's try the telephone again.

There's no music now.

Maybe they'll hear us.

- Yeah sure.

So would Franz.

He's just outside the door.

Hey, the window.

It's slightly open.

Maybe we could signal somebody.

- Sure we can.

We're only five stories up.

- Hey, here's some paper.

Somebody get something to write with.

Laurie, keep an eye out for Franz.

- Here's an old paintbrush.

It's all dried up.

- Say, how about using
some of this lipstick?

- [Stan] Hey, here's a pencil.

- [Bob] Hey, that's great.

Bring it on over.

Let's see now.

I'll write, help, send police!

- Come on, hurry up.

Aim it good.

- Now, shall we take
a taxi to the theater?

I think that'd be a nice treat.

Of course, you won't be
able to see out the window,

but I don't think you'll mind
that little inconvenience.

At least, you'll be able to hear

what the city sounds like at night

because this time, I
shan't put you to sleep.

You've been very good.

This is your reward.

(sad, dramatic music)

- You all right, Mr. Franz?

- Yes, yes, fine.

- [Doorman] Kind of lonesome in a theater

with nobody around.

- Not to me.

I have my puppets to keep me company.

- But you've been at it all night.

I thought maybe I'd get
you some more coffee.

- No, no more coffee.

I still have plenty.

Don't come on the stage!

- All right, all right.

No more coffee.

- I've got one of those capsules

he uses to put us to sleep.

We could slip it in his coffee.

It may not put him to sleep,

but it'd probably slow him down some.

- Where'd you get it?

- The last time he put us away.

- Now then, I think our
puppet friend Dr. Jekyll

is ready for a trial.

Good evening, ladies and gentlemen,

I am Dr. Jekyll.

I have discovered a strange drug

that is able to free my evil
nature from what is good in me.

Then I become the sinister
monster, Mr. Hyde.

With the assistance of a
few members of our audience,

I'd like to put on one of the
scenes from our little play.

Which one of you will volunteer?

Come now, we mustn't
keep Dr. Jekyll waiting.

Miss Reynolds, you will play
the good doctor's fiance.

Georgia, you will be his victim.

And, now let me see, for
Dr. Jekyll's best friend...

Yes Bob, you should be
very good in the part.

The rest of you just sit
back and enjoy yourselves.

All right, you're on now, Miss Reynolds.

I'll prompt you on what to do.

- Go ahead, darling.

Keep his eyes off the coffee cup.

- Tell him he's been strange lately

and ask him what's the matter.

- You've been strange lately.

Tell me what's the matter.

- Nothing, my dear.

Nothing at all.

It's only your imagination.

You must play up to him, Miss Reynolds.

Remember, you love him.

Say so.

Tell him he can trust you.

- You know I love you.

Why can't you be kind to me?

- No. More convincing, dear.

Try it again.

- You know I love you.

Why can't you be kind to me?

- That's it, my dear, that's it.

Things are different now.

They can never be changed back again.

Perhaps it would be best if
we stopped seeing one another.

There is danger here for
you and I wouldn't want

anything to happen to you.

Ask him to confide in you.

- Why won't you tell me what's wrong?

- [Franz] I have traveled
the road of no return.

There is no going back.

Only death can free me from the curse

I have put upon myself.

(Sally screams)

- Why you're more of a
fiend than I thought!

If you're gonna kill us, get it over with!

Cut out this cat-and-mouse game!

- Bob, don't ruin our last act.

- Look at this puppet down here, Franz.

Look at it closely!

It's a monster all right, but
not half the monster you are!

(dramatic music)

- Oh, stop it, Bob!

The puppet!

You're destroying the puppet!

Stop it, I tell you!

Stop it!

(Sally screams)

Who's there?

Me again.

Don't come on the stage!

I thought I told you I
don't want to be disturbed.

- Well, I heard you
shouting and I thought--

- You thought what?

- Maybe you want some more coffee.

- No, no, your coffee's
fine and still have plenty.

- Bob!

Miss Reynolds!

Where have you run to?

Where are you hiding?

Where are you?

Don't run away from me!

(dramatic music)

(rat squeaking)

(cat screeching)

Come, it's time for us to go!

- Who are you talking to, anyway?

- Haven't you heard a
ventriloquist practice

throwing his voice?

- Help! We're here!
- Come over here, help!

- [Doorman] Oh, I've heard about enough.

- There must be somebody nearby!

- It's 5:30 in the morning.

Most people are in bed now.

- Oh, it's hopeless!

- Let's try to get back to
Franz's place and the machine.

If we make it, we can
come back for the others.

- It's this way.

- Second and main.

And we have to go to Seventh and Hill.

- How far is it?

About a mile, I think.

- When we're our size, that's
the equivalent of six miles.

- How can we ever make it, Bob?

- We're not gonna make it standing here.

Come on.

- Who are you looking for?

- [Franz] Did you see them leave?

- Them? Who?

- Never mind.

- Are you sure it's this way?

- I think so.

I was almost sure that it was.

(tires screeching)

- Wait, Bob, look, it's the factory.

Come on, let's hurry.

- No wait, we have to
go to the fifth floor.

The elevator operator won't
be on for at least an hour.

We can't operate it ourselves.

Hey, what about freight?

- What do you mean?

- Well, there must be a
freight elevator around back.

When do they make deliveries?

- I don't know.

Shipments usually come
in before I get to work.

- Come on.

Hey, wait!

Oh, it's all right.

He'll be back for
another load in a minute.

- Bob, look!

(dramatic music)

(dog barking)

Bob, look, the label!

It's for Mr. Franz.

(dog barking)

- Go on, get out!

Get out of here!

- Hey, we're in luck.

He left the doors open.

- Mr. Franz!

Mr. Franz!

- What's the matter, honey?

Isn't Mr. Franz in?

Let me try.

- Well, it looks like we
both missed him, doesn't it?

You like him, don't you?

Because he makes dollies?

- [Girl] And people, too.

- People?

- Little people.

- He makes little people, does he?

How?

- Out of big ones with a machine.

- Real little people?

People that walk and talk and everything?

How do you know?

- Mr. Franz showed me.

He said, sometimes when I'm good

I can play with them.

- [Paterson] So he isn't here
to let you play with them,

and that's why you're unhappy, huh?

- [Girl] He said I could
play with his kitty.

- [Paterson] Oh, a kitty?

- [Girl] A little, tiny kitty.

Mr. Franz keeps it in a matchbox.

He made it in his machine.

- I see.

Isn't it time you were going to school?

Well, come on.

I'm going to take you there.

Little people.

Cat in a matchbox, huh?

Come on.

(tense music)

(electronic whirring)

- Get away from that door.

Come on, Sally.

We'll call the police.

- Don't leave me.

Please don't leave me.

Don't leave me!

I'll be alone.

(dramatic orchestral music)