All language subtitles for The Man Who Could Cheat Death (1959) (UHD)

- Oh dear,
oh dear.

Good night, officer.
- Good night, sir.

(footsteps tapping)

(dramatic music continues)
(man gasps and shouts)

(bright music)

(dramatic music)

(objects rustling)

(metal clinking)

(metal clinking)

(bright music)

(dramatic music)

(metal clinking)

(bright music)

(dramatic music)

(bright music)

(dramatic music)

(water splashes)

(bright music)

(dramatic music)

(bright music)

(dramatic music)

(footsteps tapping)

- Evening, dear.

(bright music)

(footsteps shuffling)

(bright music)

(footsteps shuffling)
(dramatic music)

(bright music)

(dramatic music)

(footsteps tapping)

(bright music)

(bell ringing)

- [Coachman]
Whoa, whoa.

(carriage rattling)
(gentle music)

(footsteps tapping)

(bell dinging)

(bright flute music)

- Thank you.

(background chatter)

- He's so
charming and elegant.

He has such
wonderful taste.

- Yes, he has, when
it comes to models.

- Now I shan't
be seeing you again.

- Of course
you will.

Just because the
statue is finished,

that is not a reason why things
shouldn't stay as they are.

- But I shan't be
posing for you anymore.

- Surely we are
past the stage

where we need
an excuse to meedt.

- We have, but what
about other people?

- Have you...

Are you going to
tell them about us?

- Let's not think
of other people, hm?

Let's think
of ourselves.

(bright music continues)

Excuse me
a moment.

Janine.

Thisis a
surprise, indeed.

- How are
you, Georges?

- I'm fine.

And you
look wonderful.

- Thank you.

Oh, Georges, this is Dr.
Pierre Gerrard. Georges Bonner.

- How do
you do?

- How do
you do?

(soft background chatter)

- Janine, it's
getting late.

- Oh no, we've
plenty of time.

Pierre and I are on
our way to the theater.

I heard you had a
reception here tonight

so I asked him to
bring me along first.

- I'm glad
you did.

I was just about to show a
few friends my latest sculpture.

Please.

- Georges.

This isn't my statue
you're unveiling, is it?

- No.

- Did you
ever start it?

- No, I'm, I'm afraid I
left the sketches in Italy.

Shall we go?

I'm glad Mademoiselle Dubois
brought you along, Doctor.

- No thank you.

I've always wanted to see
the inside of your place, Bonner.

It has quite
a reputation.

- A good
one, I trust.

- Very.

Tell me, how many patients do you find
you can you accommodate at one time?

- Oh, not
more than fifteen.

I have the house
next to this one,

which I use
as the clinic.

There is
room for more,

but I find that
the patients I get

require a great deal
of individual attention.

- Difficult cases?
- Difficult people.

I think their money gives
them an overblown sense

of their own
importance.

- Hmm, yes,
I've met them.

- Yes, I'm
sure you have.

But now I think it
really is time that we...

- Ah-hem.
- Excuse me.

- Well?
- No sign of him, sir.

I waited 'til all the
passengers were gone.

He just
wasn't there.

- What time is
the next train?

- In about
six hours, sir.

- All right. Make
sure you meet it.

- Yes, sir.

(guests chattering softly)
(footsteps tapping)

I am extremely sorry
to have kept you waiting.

I would like to
say at this stage

that any credit due for
what you are about to see,

should be laid at the feet
of my charming young model.

An artist cannot
form a thing of beauty,

unless he has
a thing of beauty

from which to
draw his inspiration.

And now, there is
nothing else for me to do,

except to throw
myself on your mercy.

(guests gasping,
murmuring)

- [Guest] A most
wonderful likeness.

- [Guest]
Yes, isn't it?

- Oh,
Dr. Bonner,

but it's, it's--

- A very fine
piece of work, Bonner.

- [Georges]
Thank you very much.

- It's
extremely beautiful.

You wouldn't be interested
in selling it, I suppose?

- You can see, I
still have to cast it.

Anyway, sculpting is something
I do for my own pleasure.

Having not yet reached
the perfection I seek,

I find it quite impossible to
give up the completed work,

so I'll
keep it.

- Oh? Where?

- Oh, not here.

Somewhere I can go
occasionally to look at it

and be reminded of my
beautiful young model.

- Are you
feeling all right?

- Yes, yes,
of course.

It's just that I think
we ought to go, Pierre.

- Would you mind
getting my cloak?

- Yes, of course.

- Um, a remarkably fine sculptor,
Bonner, don't you think?

- Yes, very fine.

I wanted to buy it,
but he wasn't interested.

Says he always keeps his
stuff when he's finished.

- Really?
- Yes.

I wonder where...

Hello!
What's this?

I thought there'd be
something else here somewhere.

Hmm, a
torso. Oh, yes.

Onh, yes, a very beautiful
woman she must have...

(chuckles)

Terribly sorry.

(clears throat)
Very clumsy of me.

- Your
cloak, Janine.

- Thank you, Pierre.

- You are leaving?

- We are already
late for the theater.

- I hope you have a
very pleasant evening.

Yes?

What is
it, Roger?

- It's half
past six, sir.

- Already?
Are you sure?

- Yes, sir. lI've
checked with two clocks.

- My watch
says ten past.

- It must
be slow, sir.

The time is
definitely half past six.

-l need a
new watch.

I need
absolute accuracy.

Goodbye.

I am afraid I must
ask you to leave now.

You all know that my main
duty is the care of my patients.

Their needs must come
before everything else.

I would like to thank
you all for coming here,

and, and I must
apologize if I seem rude

by bringing
this party to so,

to so
sudden a close.

(horse hooves clopping)
- Strange fellow, Bonner.

- Did you know him well
when you were in ltaly?

- Why?

- Oh, I
don't know.

It was just
that he didn't

seem too anxious
to see you again.

- Yes, it did seem
that way, didn't it?

- Well, apparently it
doesn't worry you very much.

- No.

No, it doesn't.

- Oh, it was
beautiful, Dr. Bonner,

but beautiful.

- Thank you very much.
- Good night, Bonner.

If you change your mind
about selling any of your stuff,

do let
me know.

- Good night. It has been
my pleasure, I assure you.

(door clicking)

(horse hooves clopping)

What
time is it?

- It's a, a quarter
to seven, sir.

- Thank you.

Oh by the way, tell Roger,
if he has any news for me

when he gets back
from meeting the train,

he can come and wake
me, whatever the time is.

- Very good, sir.

- Good night.
- Good night, sir.

(door thuds)

(lock clicks)
(drawer slides)

(objects clattering)
(book thumps)

(book thumps)

(thud)
(drawer slides)

(keys jingling)
(lock clicks)

(lock clicking)

(footsteps tapping)

(Margo gasps)
(Georges starts)

- I thought
you had gone.

- I want to
talk to you.

- Nobody
knows I'm here.

- I'm sorry,
but you must go.

- But I must talk
to you, Georges.

- Not now. Later.

I'm very busy.
- Not later. Now.

I want to know what's going
to happen to us, Georges.

- Look Margo, I'l
talk to you tomorrow.

- It's Janine
Dubois, isn't it?

You're in
love with her.

- Please leave.

- I'm not leaving.

If you think you can just
forget me, you're mistaken.

I won't let
you. You can't!

You know
I love you.

You made me tell it to
you time and time again.

You made me
humiliate myself.

And I'm not
gonna step aside

just because you want
to be with someone else.

(book thuds)

(dramatic music)
- Get out.

Get out!

- Your eyes.

What's the matter
with your eyes?

(intense music)
(lamp shatters)

All right, Georges. We'll
talk about it tomorrow.

Georges?

I'm sorry.

- Too late.

(intense music)

Too late.

(Margo gasps)

(Margo screams)

(dramatic music)

(liquid hissing, bubbling)

(glass clatters)

(mysterious music)

Margo.

I tried to
make you go.

I tried

very hard.

(knocking on door)

Wait a moment.

Yes?

(door clicks)

- Hello, Georges.

I saw the
statue last night.

Why did
you lie to me?

Why didn't you
want me to know

that you'd started
work on it?

Why did you
start work on it?

- I like to finish
what I start.

- Oh, is that why you ran
away from me in ltaly?

Is that what you call
finishing what you start?

- My holiday was over.
I came back to work.

- S0 suddenly?
- Yes, so suddenly.

There
was a case.

It was urgent.

- I waited for you
to come back to me.

I waited for
you to write to me.

Then I realized that if I
ever wanted to see you again,

I had to be the one
to make the first move.

Why? Why are you so
afraid of loving me, Georges?

I, I watched you towards
the end of the holiday in Italy,

and you were like a
man heading towards

something which
he wanted to avoid.

(scoftfs)

I began to think
that I'd won,

and that you were
going to admit to yourself

that you
really loved me.

Was I right?

- All right, Janine.

I did fall in love
with you in Italy.

This could
not be, so I left.

- Why couldn't it be?
- It just couldn't!

- But you knew
how I felt about you?

- Yes, I knew.

- But you still
ran away from it?

I'm not going to give
up so easily, Georges.

Oh, tell me you don't
want me to give up.

- No, I don't...

- Oh, I knew
I was right.

May I see
your statue again?

- Yes.

Yes, of course.

- It's very lovely.

- It's you
who are lovely.

I only copied.

- Is it finished?

- Nearly.

Would you like to
pose for me again?

- When?

- Now.

(footsteps tapping)

- Georges, you still
haven't accepted

that we love
each other.

- Yes, I have.

- But it doesn't
make you happy.

- That's because it
doesn't alter things.

- What things?

- Oh, the, the impossibility
of the situation.

(knocking on door)

Yes, come in.
(door clicks)

- The gentleman'’s
downstairs, sir.

- Ludwig!

Oh, please
excuse me, Janine.

I, I have been waiting so
long for Ludwig to arrive.

You'll understand.

Ludwig!

Ludwig!

Let me
look at you.

Oh, itis so
good to see you.

- That's good.
You look wonderful.

Just the same.
I was worried.

- Worried?

- Because
I am late.

(laughs)
- I, I knew you,

you wouldn't
let me down.

- You have found the
ultimate answer, is that it?

- Oh, we'll talk
about that later, Ludwig.

Aren't you
forgetting something?

- Oh yes, of course,
our little ceremony.

I haven't
been too well.

It has affected
my memory

also, I think.
(Georges laughs)

Ah, you have not
forgotten how to live.

- What is the point
of what one is doing

if you don't enjoy
life, what it offers?

- What is the
point, as you say?

- The, the
usual toast.

Ludwig, your hand.

- Oh yes,
my hand.

- Let me have a look at it.
- No, it's not necessary.

I had a stroke.
(Georges gasps)

That is why I was
not here sooner.

It has left me
with this legacy.

- Why didn't
you let me know?

- I was
frightened to,

and I hoped you would have
found the answer by now.

You have not
found it, Georges?

- No.

No, I haven't
found the answer.

The operation
is still necessary.

- I cannot
do it.

- But, with
your left hand?

- No.

We must find
someone else.

- But that is
not possible.

- Well, try.

We always knew if we didn't
find the ultimate solution,

there would have to be
another surgeon someday.

- The stroke
might have killed me.

- But it didn't.

Three weeks I have been
waiting, Ludwig. Three weeks!

I have been taking this
fluid every six hours now.

- Six!

- It is what
keeps me alive.

So you see, you,
you must operate.

You, you know what
will happen if you don't.

- Yes, I know.
You will die.

- You're old.

You can see death staring
you in the face, but I can't.

I'm not
going to die.

- Then you must
find someone else

to do the
operation.

- But who?
Who can we get?

- We need a young
surgeon, that's all.

Just a surgeon.

We tell him just
enough to satisfy him,

and I'll be with him all the
time he's doing the operation.

That's the best
way, Georges.

For the first time I'll be with
him to show him what to do.

Next time, if you still
need the operation,

I shan't
be here.

I'll be dead.

- Find someone
else? Hah!

It's easy
to say.

There is
so little time!

- You are a doctor. You
must have met other doctors.

Someone
who will do it.

(knocking on door)
(door clicks)

- Mademoiselle
Dubois is leaving, sir.

(footsteps tapping)

- Janine.

Eh, I'm terribly
sorry, Janine.

Let me
introduce you

to my oldest and dearest
friend, Ludwig Weiss.

Ludwig, this is
Mademoiselle Janine Dubois.

- It is delightful to
meet you, my dear.

- How do you
do, Professor?

Georges, I'm
sure that you have

a lot to talk to the professor
about, so I'll say goodbye.

- Goodbye, my dear.

- I'll see
you at dinner.

- Janine, why not bring
Gerrard along this evening?

- Pierre?
- Yes.

Yes, tell him Professor
Weiss of Vienna is here.

I'm sure he
would love to meet him.

(door clicks)

- I thought we were going
to be on our own tonight.

- Ludwig is here
only for a few days.

We'll have so
much time together.

- Oh Georges, you don't
know what it means to me,

fo see
you again.

- It means
everything to me.

(footsteps tapping)

(door thuds)

- This Monsieur
Pierre, is he a doctor?

- Even better,
a surgeon.

(door thuds)

- And, do you
think he'll do it?

- If he's convinced
that you give

the operation your
blessing, then he'll do it.

- Why should he be
influenced by what I do?

- Ludwig, Ludwig,
you're still the same.

You just cannot accept the
fact that you are a great man.

One of the
greatest in your own field.

There is no medical
man in the world

who would miss the
chance of meeting you,

let alone
work with you.

- Half of what makes up this
reputation belongs to you,

more than half.

- You and
I know that.

No one
else does.

- Listen, Georges.

Why not
tell them?

Publish
our findings.

- Please Ludwig, allow me
to decide when to publish.

- Probably
you are right.

You have invested
more in this than I have.

- Yes, indeed.

- Nevertheless, I
probably shan't be here

to see the
consequences.

I am tired,
Georges.

As you
said just now,

[, I can see death
staring me in the face.

- I'm sorry, Ludwig.

Believe me, I, I
didn't mean it that way.

- Strange, getting old.

One suddenly has no
future to look forward to,

and, and is
forced to look back

and survey
the past.

Do you remember
our original toast,

the first time we
knew we had succeeded?

(scoffs)
- Of course I do.

- Say it.

- For humanity.

- That's right.
For humanity.

Not for me, not for
you, Georges, but for all.

- I know
what it means.

- Do you, Georges?

Sometimes I
wonder a little.

You have changed so
much since we have started.

- That is
hardly surprising.

- I'm talking about
our original ideals,

bright, shining ideals,

full of hope for a
brave new world.

What happened
to them?

Where did
they get lost?

- Why, why
do you say

they are lost?

- I think
they are.

The years have brought
me an added insight

that enables me
to see more clearly

the fact--
- Wait a minute, Ludwig.

(gentle music)

You are forgetting
something, aren't you?

- I'm sorry, I
don't understand.

- Do you still
have that photograph?

- Photo, photograph?

- Our photograph.

- Ah yes,
of course.

- Give it to me.
- Mm.

- Look at
it, Ludwig.

And what do
you see there?

- I see the two of us, as
we were at the beginning.

- Exactly.

So remember, when
you talk of this wisdom

and this insight that old
age has brought to you,

remember I, too,

have this wisdom
and this insight.

How old
are you?

- Eighty-nine.

- Eighty-nine.
Have another look.

Let it
remind you,

while you
have the wisdom

that comes with a
life of eighty-nine years,

I have that which
comes with a life of

104.

(dramatic music)

- Yes sir, I know what
you're saying is possible,

but it's
not proven.

(Ludwig chuckles)

- Proven!
(laughs)

If we doctors waited
until something is proven,

before we moved,
there'd be no patients left.

They'd all be dead.
(Ludwig chuckles)

Look, I have seen it done
in three different ways,

none of them
completely effective.

The first is to make
an ingress through--

- Ludwig.
- Oh, just a moment, Georges.

An ingress through--
- Ludwig, why not take

Dr. Gerrard
down to the study?

It will be so much
easier down there.

- Yes, of course.

Come on. Come
on, Dr. Gerrard.

- You'll excuse us?
- Oh, of course they will.

Come on. Come.

I, I'l get
pencil and paper

to show you what
I am talking about.

You know, the, the incision
must be made directly.

(door thumps)

- Pierre seems very interested
in your Professor Weiss.

- Yes, I told you he
would gladly come

once you mentioned
Professor Weiss of Vienna.

- He's a wonderful old man.
Have you known him long?

- All my life.

We used to
work together,

a long
time ago.

- That makes
you sound very old.

- Janine, I can't tell you
how much it means to me

to have
you back.

I missed
you so much.

- You needn't have.
You know that.

- Yes.

Yes, I knew.

- Georges, you
still haven't told me,

why you tried to avoid
falling in love with me.

You started telling me
something this morning,

but you
never finished it.

- Because I
had to go away.

Because I have
to go away again.

- Go away? Where?

- Where is
not important.

What matters is that I shall
have to leave Paris very soon.

- But you'll
come back?

- No.

- Why?

- I can't,
that's all.

- But Georges, you
can't just stand there

and tell me you're going
away and never coming back

without giving
me an explanation.

- My work
makes it necessary.

- [Janine] Because
you're a doctor?

- Yes, partly.

I have to travel where no
one has ever been before.

I want to lift the curtain of
life and see what lies beyond.

To do this, it is necessary
for me to go away.

- Is it necessary
for you to go alone?

- All right, sir,
you've convinced me,

but it's not
something I'd care to try.

- Ah, you lack the spirit
of the pioneer, Dr. Gerrard.

- Being a surgeon is a
practical business, Professor.

It's necessary
to make a living.

It doesn't leave
much time for pioneering.

- But if you
had the opportunity

of becoming
one of the pioneers

by performing
one simple operation,

what would
you say then, huh?

- First I'd say that
no operation is simple.

Then I'd want to know
what this operation involved.

- If it were
impossible to explain it,

if you were asked
to leave it on trust?

- Then I should
have to say no.

- Regardless of who
was talking to you?

- Professor Weiss, when
we started this conversation,

I was under
the impression

that we were
speaking hypothetically.

Are we?

- No.

We are not.

- I see.

I suppose I should be annoyed
at this verbal subterfuge.

I don't know
why I'm not, really.

Look, suppose you tell
me just exactly what it was

you asked
me here for.

- See this?

My right hand,

the one I would have used
if I were going to operate.

I came here for
one single reason:

to save the life
of Georges Bonner.

- What?

- Yes.

By performing
an operation

that only I know
how to perform.

You see?
I can't do it.

Therefore, I am asking
you to take my place.

- This operation,
Dr. Weiss,

what exactly
does it involve?

- In spite of what you said,
this one is really simple.

It involves the removal of
the uter-parathyroid gland.

- I thought you said this
was to save Bonner's life.

- I haven't finished.

To remove the gland and
substitute an alternative.

- An alternative?
Why?

- Is it necessary
to know the reason

just to perform
an operation?

- Physically,
no, but morally,

I think so0.

- Would you be
prepared to leave

the protection of your
morals in my hands?

-1 1, I'm
not sure.

- Look at
it this way:

I am asking you to
perform a very simple,

straightforward
operation,

and I am
guaranteeing to you

there can be
no ill effects.

On the contrary,

unless this
operation is done,

and very soon,

Georges Bonner

will die.

- I agree with you that
the operation is simple,

while I wouldn't exactly
call it straightforward.

It's never
been done before.

- Actually, I've done
it myself many times.

You've done it?
- Mm-hmm.

There are no moral or
legal aspects involved.

- I suppose not, as long
as the patient is willing.

- He is willing.

- You will be there
yourself all the time?

- I will.

- And will you lend
your name to this?

- Mm-hmm.

- Very well,
I'll doit.

- Good.

Now, come on.

I'll show you
what's to be done.

(door clicks)
Thank you.

This is Georges
Bonner's laboratory,

where we will
do the operation.

- Wouldn't it be better
in a proper theater

next door
at the clinic?

- No, no, it's
better here.

We don't want people
to know the doctor is sick.

It's bad for the
morale of the patients.

(Ludwig laughs)

- That is a fine
piece of work, isn't it?

(dramatic music)
- Mm-hmm.

(gentle music)

- Oh Georges, I
love you so much.

- And I
love you.

I tried
not to.

I tried
very hard.

- Is it so bad now you've
given up the struggle?

- I don't think I
could have let you go.

- I'm not going
to let you, ever.

- [Ludwig] Georges,
Dr. Gerrard must go now!

- Yes.
Coming, Ludwig.

It's late.

I think you'd better let
Gerrard take you home.

- Whatever you
say, Georges.

- It's been a very great
honor to meet you, Professor.

My colleagues at the hospital
will be most impressed

when I tell them--
- Please, Dr. Gerrard,

I must ask you not
to mention our meeting.

You see, I
am old and tired,

and if the medical
fraternity knew I was here,

they would request
lectures, addressed meetings.

Oh, you
understand of course.

- As you wish.

I'm sorry about
this, Bonner,

but I have to go
back to the hospital.

- Thank you
for coming.

- Not at all.

- Will you see me
home first, Pierre?

- Yes, of course.

(bell ringing)

(bell ringing)
(footsteps tapping)

(door clicks)

- Dr. Bonner, please.

- Yes”?

- I am Inspector Legris
of the Sareté, Monsieur.

I wonder if I could have a
couple of words with you.

- Of course,
Inspector. Come in.

- Thank you.

- Evening,
Mademoiselle, Messieurs.

- Evening.
- Evening.

- Evening. We
were just on our way.

- I shan't belong, sir.
Don't leave on my account.

- Oh, we can wait a few more
moments, can't we, Pierre?

(door thuds)

- Come into the
study, Inspector.

- Thank you.

- Sit down, please.

- Thank you.

- And what can I
do for you, Inspector?

- Just a couple of
questions, sir. Routine.

- Relating
to, uh, what?

- Relating to the apparent
disappearance of a young lady,

one
Margo Philippe.

- Did you, did
you say Margo?

But, that's impossible!
(chuckle)

- You do know
the young lady, then?

- Oh, yes. Yes,
of course I do.

- When did
you last see her?

- Yesterday.

I had a small
reception here,

and she was
the guest of honor.

You, you met
her here, didn't you?

- Oh, yes, the young
lady you modeled.

- Yes.

- Did you
see her leave?

- I think so.

Why, yes.
Yes, I'm sure I did.

What, what's
happened to her, Inspector?

- Well, we don't know, sir.
She has just disappeared.

It seems the last time
she was seen was here,

at your reception.

- But
that's terrible.

What could
have happened?

- Quite a
number of things

could have
happened, Mademoiselle,

and it's up to me to
find out the one that did.

- This statue you did
of her, could I see it?

- Why?

- I understand it's
an excellent likeness.

As I have never
seen the young lady,

it would help me
in my investigations

if I knew what
she looked like.

-1, uh, I'm
afraid, Inspector,

I, I no longer
have the statue.

- But I just...

- Yes, Monsieur?
You were going to say?

- Nothing,
nothing at all.

It doesn't matter.

- Perhaps you can tell
me who does have it.

- Nobody.

A stupid accident this
morning. It was broken.

I was touching up
a section of the plinth

and I knocked
the whole thing over.

I'm afraid
(sighing)

it was
smashed to pieces.

- I see. Most
unfortunate.

Well, thank you, Monsieur.
That will be all for the moment.

- You will let me know,
Inspector, if there's any news?

- I'll let
you know.

- Thank you.

(door clicks)

- Good
night, Inspector.

- Good night, sir.

(door creaks)

And thank you.

- Not at all.

What could
have happened to her?

- I suppose you know the
statue is in the laboratory?

- Yes.
(laughing)

Yes, I do.

- He only
wanted to look at it.

- He would have wanted
to take it away with him.

- I know how the
police mind works

and, I'm afraid,
I know myself.

It's probably very
silly of me, but I simply,

I simply cannot part
with my sculptures.

- I see
your point.

Well, thank you for
the dinner, Bonner.

- Janine.

- Good night,
Professor.

- Good night, Gerrard.
- Good night.

(door clicks)

- Well?

- He'll do it.

(Georges gasps)

- Oh, good.

- What happened
to the qirl?

(footsteps thump)

- When is he
going to operate?

- It is me, Ludwig,
who is talking to you,

not the
policeman.

What happened
to her?

- What is the
matter with you, Ludwig?

- I will tell you what's
the matter with me.

Ten years ago, when I came
to London to do the operation,

a girl you
modeled

just disappeared, and
was never seen again.

Ten years before that,
another of your models

just disappeared.

Two could be a
coincidence. Three cannot.

What have
you done to her?

(ominous music)

- You're very tired,
Ludwig. So am I.

You should
go to bed.

- I'm not tired,
I'm frightened,

frightened for you, what
you might have done.

- Good night, Ludwig.

When is he
going to operate?

- Tomorrow morning.

(stairs creaking)

(ominous music continues)

(footsteps tapping)

(dramatic music)

(Ludwig sighs)

(dramatic music continues)

(lamp clanks)

Oh.

(dramatic music continues)

(lamp clanks)

(dramatic music)

- I thought I told
you to go to bed.

(door thuds)

- Are you going to take
another dose of the fluid?

- You'd better
go to bed,

unless you want
to see what happens

when the
dose is overdue.

- I have been
examining the gland.

- What about it?

- You tell me.

- What is the
matter with it?

- Oh, don't
distress yourself.

It will do what
is wanted of it.

I am not
referring to that.

- Then what are
you referring to?

- This gland is
not like the others.

It was
taken from a,

from a
living body.

(dramatic music ceases)

(Georges huffs)

- You're talking
nonsense, Ludwig.

- Don't tell
me nonsense.

I am not such
a senile old fool

that I have
forgotten the difference

between a revitalized
and a living organ.

This gland has been
taken from a living body!

- All right, Ludwig.

As you say, it was
taken from a living body.

But it was because of
you that I had to do it.

- Now it's my turn
to say "nonsense".

- You were due
here three weeks ago.

As always, I had a
uter-parathyroid ready.

As always, I had removed
it and revitalized it,

but you
didn't arrive.

I managed to keep that
gland revitalized for four days.

Then another one.

Four separate glands Il've
removed and revitalized,

only to have them die,
and still you didn't arrive.

I just, I just
couldn't get access

to any
more cadavers.

No, oh,
no, this,

this was
the only answer.

- The answer
for whom?

For you?

Or for the poor man
you have murdered?

But I'm sorry. It
was my fault, wasn't it?

You had to do
it because of me?

No, Georges.

I can't see how
this can be justified.

- You would rather
I had not been able

to geta
gland at all.

You would rather
this was the end.

Is that what you
would have liked?!

- Yes.

It is.

- Knowing how it would
happen, you still say that?

- But I'm not
afraid of death.

If I were, I too could
have remained young.

Do you remember
how we talked about it

and you tried
to persuade me?

But what is death that it
should be feared so much?

- You don't know what
you're saying, Ludwig.

- Of course I know
what I am saying.

Why should the death
of the other man be,

be of less importance
than your own death?

By what right can you
decide a thing like this?

This is a thing that
only God can decide.

Have you become
God all of a sudden,

to judge that you
are more important

than the
other man?

- Of course I,
I'm more important.

He was nothing,
nothing at all.

A non-entity.

- He had just as much
right to life as you have,

more perhaps,
because he didn't attempt

to tamper with
the progression of life.

- While you are on this
pedestal of moral indignation,

you seem to have forgotten that
you are as involved as I am.

- No.

I do
not forget.

That is perhaps
because I am so sad.

I am sad
for you, too.

You have
changed so much.

- I'll tell you why
I have changed.

It's
being alone,

SO
utterly alone,

again
and again.

Every few years having
to sever all contacts,

cut all traces,

having to disappear
and start a new life.

- You knew this would be
the case when you set out.

- Knowing something
and living with it are,

are two very
different things.

I often think I
can't bear it any longer.

(Georges breathes heavily)
(hand patting)

- Georges?

We have come to a time
where we must consider

with great care

whether what we are
doing should continue.

No, let me say
what I have to.

No man can live
alone all his life.

It's not natural.

It, it rebels
against human nature.

But as long as you continue,
you must remain alone.

- No. No,
there is an answer.

- Not to
continue?

- No, to
continue,

but not to
continue alone.

- Oof, Georges,

you're not
being serious.

- Of course
I'm serious.

Do you think I've
never thought about it?

This must
be the answer.

- Georges.

What you are
suggesting is monstrous.

- But why?

Why is it
monstrous to want

to be with the person
you love, always?

- Mademoiselle Janine?
It is she you talk about?

- Yes, Janine.

- I will not
hear of it,

and I must ask you
to promise me now

not to
consider it again.

- I cannot
promise that.

- Then you are
truly alone now,

for I will have nothing
more to do with it.

- Ludwig.

(dramatic music)

(watch jingling)

- No, Georges,
you mustn't do it.

- Don't be stupid,
Ludwig. Give me that key.

Ludwig, give me that
key. It is past time already.

- Yes, Georges, it's been
many years past time.

- Ludwig, that
key, quickly.

All right, all right, I promise.
But give me that key!

- You're lying. I can
see it in your eyes.

You are lying
to save yourself.

(Ludwig gasps)

- Give me
that key!

(Georges gasps)
(dramatic music)

- Ludwig.

Look.

Please.

- No.

It is better that it end here
before further damage is done.

This must
be the end.

(dramatic music continues)

(stumbling)
(body thuds)

(lock clicking)

(intense music)

No, you must,
you mustn't do it.

- You fool! This,
this is all I've got!

- Yes, I know, and I know
it will take you two years

to make a
fresh supply.

(intense music)
(glass shatters)

No, no.

No, don't,
don't doit.

(Ludwig screams)

(dramatic music)

(suspenseful music)

(Georges breathes heavy)

(dramatic music)

(knocking on door)
(door clicks)

- Dr. Gerrard, sir.

- Oh, good
morning, Dr. Gerrard.

- Good morning.

Everything is ready,
including the patient.

- [Pierre] Where
is Dr. Weiss?

- Oh, I'm afraid he had
to leave late last night.

He received an urgent message
from his home in Vienna.

He asked me to, to
apologize on his behalf.

- Monsieur Bonner,

without Dr. Weiss I'm afraid
it is out of the question for

me to perform
this operation.

- Last night,
you agreed.

- As I explained to the
doctor, his reputation is such

that under his patronage
I agreed to do it,

but if he is not here,
it's, it's impossible.

- You must,
or I shall die.

- I recommend you
to see another doctor.

- Wait.

- I'll pay
you well.

- That's of no
consequence, Monsieur.

However, if you are
in the critical condition

that you say
you are in,

I advise you to go to a
reputable hospital immediately.

It's possible that they
may be able to do for you

what I
cannot do.

Good day.

(door clicks)

(knocking on door)

- Come in.
(door clicks)

- Inspector Legris
to see you, sir.

- Oh, yes.
Show him in.

- Good
morning, Sir.

- I hope you'll
forgive this intrusion.

- Morning, Inspector.
Please sit down.

- Thank you.

- What can
I do for you?

- Well, this is a
little difficult, sir.

Are you a particular friend
of Monsieur Georges Bonner?

- No, I'm not.

I, I only met him
for the first time

the day
before yesterday.

- Then there's not much
you can tell me about him?

- No.

- When we met last night
I received the impression

that you wanted
to say something.

- Yes, that's quite
correct, Inspector.

Remember that statue
that he said was broken?

- Yes.

- Well, he didn't break
it. It's in his laboratory.

- That's strange.

- I take it you haven't
managed to find the girl yet.

- No, sir,
we haven't.

- And you think Bonner knows
something that will help you?

- I don't know
what to think.

The deeper I
get into this case,

the more complicated and
unreasonable it becomes.

- Unreasonable,
Inspector?

- How old would you say
Monsieur Bonner was?

- Oof,

about
thirty-five.

- Yes, that's what
I would have said.

Why do you ask that?
- Look, sir,

I need
your help.

I don't mind
admitting it.

- To find
this girl?

- No, it goes deeper
than that, far deeper.

I'm going to
tell you something,

and then perhaps
you may be able

to give me the
help that I need.

- Please do.

- Ten years
ago, in London,

a young woman
disappeared,

later presumed to
have been murdered.

That's not very
interesting, you'll say.

It happens
all the time.

Well, exactly ten
years before that,

the same thing
happened in San Francisco,

and ten years before
that, in Bern, Switzerland.

Three completely
isolated cases.

Then, two
years ago,

the international files at the
Sdreté were being tabulated.

A fact
was noticed

that tied these three
disappearances together

and pointed
towards them

all having been
perpetrated by one man.

In each case,
the girl in question

had been posing for a statue
prior to her disappearance.

In each case, the
sculptor was a doctor.

And in each case the doctor
disappeared shortly after.

All this is carrying
coincidence too far.

You see what I'm
getting at, don't you, sir?

- Yes.

I see what you're
trying to get at.

But if Bonner is the
man you suspect, sir,

he'd be over
sixty by now.

- Yes.

That's where the whole
thing becomes unreasonable.

You said yourself that
he was about thirty-five,

certainly not more than
thirty-eight, and I agree with you.

- I assume you haven't said
anything to Bonner about this?

- What's the point?

- These statues of the
women who disappeared,

were they
ever found?

- No.

And that's
another peculiarity.

The statues were
seen by a small number

of close friends
of the sculptor,

and remarkably fine
pieces of work they were, too,

by all accounts, and then
they were never seen again.

- How can I
help you, Inspector?

- Well, as you've
met Monsieur Bonner,

I had hoped that you might
be able to give me a lead.

I have checked his
background thoroughly.

His movements seem
all perfectly normal

as far as I
can trace back,

and then I reach a
complete dead end.

- How far back before
you reach this dead end?

- Ten years.

- Look, Inspector,
I think I may be able

to give you
some sort of lead.

It may not mean anything,
but it's worth a try.

See what you can find out
about Professor Ludwig Weiss.

You've heard
of him, of course?

- Weiss?
Vaguely.

He's a
doctor, isn't he?

- He was one of
the very greatest.

He was at Bonner's house
last night. You saw him there.

Try to find out if
he was in London,

San Francisco
and Bern,

at the time that
those girls disappeared.

- You don't think
Professor Weiss

could have
been responsible?

- No, I don't,
not directly.

But you
will try?

- Dr. Gerrard,
I'll try anything.

Needless to say, you
won't say a word about this

to anyone,
will you?

- Naturally not, Inspector,
if that is your wish.

- Thank you.

- I don't know your
reasons you have

for wanting me to do
this, Monsieur Dumont,

but whatever they
are, I must decline.

I'm sorry.

(dramatic music)

- But you're not
making sense, Pierre.

- You come
here with a story

which you admit
is mostly guesswork,

and you expect
me to believe it.

- All I'm trying to
do is to warn you

against
Georges Bonner.

- I gathered that,

but you still
haven't explained why.

- I can't give
you all the details

until I am sure
of them myself.

But the
man's abnormal.

- Oh, for heaven's sake,
Pierre, try to talk sense.

- Look, Janine,
last night,

Professor Weiss asked me to
perform an operation on Bonner.

I agreed, and today,
Weiss isn't there anymore.

- Well? What's so
mysterious about that?

- By itself, nothing.

But added to other
things that I've discovered--

- Oh, not that idiotic story
about those statues again.

Really, I've never
heard anyone talk

such nonsense
in all my life.

- I admit it does
sound far-fetched.

And that is why
I want you to wait

until I can get
more information.

- Spy on him, that's
what you mean, don't you?

You came here intending to
make an impression upon me

with your story
about Georges.

Well, you've done that,
but it was about you

and not Georges that
you made the impression.

You're
jealous of him.

You're jealous of
his work and about me.

Well, I
love him,

and I'm going
to marry him.

- It's unusual,
Monsieur Dumont,

(man blowing nose)

you will
grant me that.

- So is the fee
I am offering you.

- Yes, that's true.
(chuckling)

Very well, then.
When is it to be?

I, uh,

I think I could
manage next Tuesday.

- It is to be now,
tonight, and at my place.

- Very well, then. ['ll
put my things together.

One needs many
instruments for an operation.

(instruments clinking)

- What's this?
(man chuckles)

- This is a scalpel,
Monsieur Dumont.

You couldn't be expected
to know what that is,

but to us doctors, it is
the principal instrument,

like a spade is to
a farmer, you know.

- And just
about as filthy, too.

Leave all this. I have all
the equipment you need.

- You have?
Very well.

- I always have a small
one before I operate.

- My hand is not as
steady as it was, you know.

(door clattering)

Now,
wait for me.

(dramatic music)

(Georges pounding fist)

- Oh, oh, Janine.

- Oh, Georges, I'm sorry
to have kept you waiting.

- I hope you don't mind
my coming here like this.

- No, of course not. I was
looking for you all afternoon.

The clinic didn't
know where you were.

- As I have
been busy.

Janine, there is
something I must tell you.

I...

(dramatic music continues)

- Georges,
are you ill?

- No, no, of
course not. Why?

- Oh, it's
just that, well,

Pierre was here
earlier this afternoon.

He said something
about an operation.

He's got some
fantastic story

in his mind about you
and Professor Weiss.

- What
sort of story?

- Oh, it's too
ridiculous for words.

Something to do
with glands and statues.

I really didn't know
what he was talking about.

Darling, are you
sure you're not ill?

- No, of
course not.

(Georges chuckles)

Just tired.

Yes, just tired.

- I was so worried
about you this afternoon,

thinking you were ill and
not knowing where you were.

- Janine.

- Yes”?

- Would you do
something for me?

- Anything
in the world.

- Then
come with me.

(dramatic music)

- Georges, what a
strange place. Is it yours?

- Yes.

- There's my statue.
What's it doing here?

I II...

I'll explain
in a minute.

I love you.

(footsteps stomping)

(bright music)

- Oh, this is
wonderful.

S0 many
beautiful things.

It must have
taken years to do.

- Yes, yes,
a long time.

Wait, I'll, 1"
show you something.

(gentle music)

- This is the, the very
first thing I ever did.

- I was twelve.

- It's charming.

(dramatic music)

17987 Oh, Georges, you've
got the wrong date on this.

If you modeled this
when you were twelve,

then this
date makes you

104.

(Janine chuckles)
(dramatic music)

Georges?

(door clicking)

Georges!

- Yes, I heard
what you said.

104.

I don't
believe it.

- Whether you believe it
or not is of no importance.

It is important that
you do this operation.

- My answer is the same
as before, Bonner. No.

- Wait a
minute, Gerrard.

Listen to
me once more.

Then we'll see if you
feel the same afterwards.

Weiss and I
were fellow students.

I was his senior
by fifteen years.

- His senior?

- Yes, his senior.

- I met him when I
returned to university

for a refresher
course on surgery.

- Quite by accident,
we discovered

we were interested in
the same line of research.

And then

finally, we discovered
the secret of immortal life,

but we had to prove what up
'til then had been only theory.

So

I volunteered to be
the first guinea pig.

(dramatic music)

Since I embarked
on this experiment,

I have never beenIll,
(dramatic music)

never had a
blemish on my skin.

Sickness and disease
have passed me by.

So you see, not
only did we discover

the secret of
perpetual life,

but of perpetual
health as well.

- Then why didn't you
publish your findings?

(Georges laughs)

- We haven't
published

because to do so
would bring disaster.

The balance
of nature is such

that the population of
the world is kept at a level

where the world
can adequately provide

food and living
space for her people.

If it were
suddenly made possible

for people to remain alive
and healthy indefinitely,

the whole
structure of nature

would collapse.

Within
one generation,

the population of the
earth would be doubled,

then quadrupled.

There would be famine on a
scale never before dreamed of.

This is one reason
we haven't published.

- One reason?

- Yes.

- There
is another.

Every ten years,
it is necessary

to have the
uter-parathyroid replaced.

In order to
replace an organ,

you must first
find a replacement.

With no one dying, there
would be no replacement.

- You told me
earlier on about a fluid

that you have to
take to keep alive.

- Only in the latter stages
of each ten-year cycle.

If, for any reason,
the operation is delayed,

it is possible to remain
alive for four weeks

by taking
this fluid.

Not desirable,

for it has an unpredictable
effect on the mental balance.

- And you have
none of this fluid left?

- Enough to keep me
alive for another six hours.

I shall become the
inheritor of all my 104 years,

of all the sickness
I've never had,

of every pain,
blemish, disease,

a lifetime
of illness,

in one
moment.

That is why you must
perform this operation.

- I'm sorry, Bonner,
but I still can't do it.

- Why not?
Tell me why not.

- Because you are
asking me to participate

in an offense
against nature.

You said so yourself,
an offense against God.

That's my last
word on the subject.

Nothing you can say will
make me change my mind.

- You're in love with
Janine, aren't you?

- Yes, I am.

- You wouldn't like
anything to happen to her?

- What do
you mean?

- At this moment, Janine
is somewhere only I know.

If you perform this operation
and perform it successfully,

I shall
release her.

If you don't
perform this operation,

or if anything should happen
to me while you are operating,

Janine will not be seen by
you or anyone else again.

You have two
hours to verify the facts.

Then I shall expect
you at my house.

Two hours.

Remember.

(bright accordion music)

(man groans, coughs)

- Here you are,
dearie. Drink it up.

(groans)
- What's the hurry?

- No hurry,
no hurry at all,

but I'm a working
girl, remember.

Time is
money, after all.

- You'll get paid,
so stop nagging.

(man coughs)
(door thuds)

- Cognac.

(accordion music continues)

- I'm sick of
waiting here

for you to fill your
great fat stomach.

- I'm going.

- What are you
doing? What about the--

- What do
you think I am,

a girl who can be
bought for money?

I've never been so insulted.
- You said fifty francs.

- It isn't safe for
a respectable girl

to be around
on her own.

- My escort's
here now, anyway.

(man coughs)

(gentle music)

(footsteps tapping)

(cat screeching)

Mind the
dustbins, dear.

(woman screams)
(door slams)

(liquid splashes)

(objects clattering)

(footsteps tapping)

(door thuds)

(bell rings)

(door clicks)

- Oh, never mind,
Roger. You go to bed.

- Yes, sir.

(door clicks)

- Good evening.

Everything is
ready. Please.

(footsteps thump)

(door clicks)

(door thuds)

- You agree that if I
perform this operation

you will release
Janine immediately?

- I give
you my word.

(cap scrapes)

(cap squeaking)

(cap clinks)

It will be
extremely unfortunate

if I don't survive
this operation.

(train chugging faintly)

(footsteps tapping)

(woman laughing)

(dramatic music)

(woman laughing)

(hay swishing)

(woman laughing)

(clicking)

- No!

(Margo groaning)

(gentle music)

- Drink this.

- I am very
grateful, Doctor.

- You can show
your gratitude best

by taking me
to Janine Dubois.

- Of course.

- You'll be strong enough to
do that by the time I'm ready.

(footsteps tapping)

- It means
nothing to you

that you saved me from
an extremely horrible death?

- Nothing.

Try getting up and
moving around a little.

How
does it feel?

I said, how
does it feel?

(bell rings faintly)
(dramatic music)

(suspenseful music)

Did you see Mr.
Bonner go out?

- No, sir, I
heard him, though.

- Well, have you any idea
where he may've gone?

- No, sir,
I haven'i.

- Find Inspector Legris of
the Sdreté and bring him here.

- Yes, sir.
- And hurry.

It's
desperately urgent.

(train chugging)
(footsteps tapping)

(footsteps thump)

(door rattles)

(Margo groaning)

- Where have you been?
- Later. Come on.

(door squeaks, thuds)

- What?
(Janine gasps)

- You said you wanted
to be with me, always.

Is that
still true?

- Yes. Yes.

- Whatever
it may mean?

- Whatever it
may mean, yes.

- Janine,

I'm going to tell
you about myself.

It all started
seventy years ago.

(papers rustling)

- Excuse
me, Sir,

those are Monsieur
Bonner's private papers.

- Never mind that.
You leave this to me.

Now then, sir.
What's the matter?

- Bonner has
abducted Janine Dubois.

He's hidden her
away somewhere.

- Wait a
minute, sir.

Please will you
start at the beginning?

- Earlier this evening,
Bonner came to see me.

- Yes”?

- He asked me to perform
an operation on him.

- Yes”?

- This has
been my existence,

not life.

Existence.

Until I
met you.

Now you're going to
come with me, Janine.

(Janine gasps)
But first, you must

become
exactly as I am.

Think of it.

Never to grow old,
always to stay as we are,

dS we dre now,
never to be ill,

to stay as beautiful
as you are now.

- No.
- Always.

Through all time.

- And this fluid, whatever
it was, affected his reason?

- For the few moments between
his having to take the fluid

and his actually taking it, he
became without reason at all.

Homicidal,
completely mad.

That's when he
Killed those three women

whose deaths
you've been investigating.

- And at other times?
- At other times,

rational, sane,

charming, intelligent.

Here's a
carrier's receipt.

"Unspecified crate, 3x2x2,
collect at this address,

deliver to Railway
Arches, Gare Du Nord."

Today's date.

The statue.

It was here
yesterday. It's gone now.

- We must try it. It's
the only clue we've got.

If what you
say is correct,

and he's all right and
he doesn't need the fluid,

then he
must be all right

now that you've
performed the operation.

- I made the incision, but I
did not perform the operation.

- It will be all
right, I promise you.

- No, no!
- Janine!

(dramatic music)
- No!

- He, he didn't,

he didn't do
the operation.

He didn't do
the operation!

(intense music)
(Georges gasping)

(Georges shouting)

(Margo laughing)

(Georges gasping)

I am
going to die.

[, I am
going to die.

(Janine screams)

(Margo laughing)

(door rattling)

- Janine!

She's in there.
- What?

- Break that
door down, quickly.

(lever thuds)

(Margo groans)

(lamp shatters)

(flames whooshing)
(Janine screams)

(Margo laughing)

(Georges screaming)

(Margo laughing)

(Janine screams)

(Georges screams)

- Get out
of here!

(flames crackling)
(Georges screaming)

(Margo laughing continues)

(flames roar)

(Margo screams)

(Georges screams)

(statue thuds)

(Georges screams)

(fire crackling continues)
(dramatic music continues)

(dramatic music)