All language subtitles for The Strangler (1964).en

(drums beating)

(dramatic music)

(tense music)

(phone ringing)

(woman screams)

(dramatic music)

- [Jack] Hello. Helen.

Helen, you all right?

(tense music)

(eerie music)

(music swells)

(calm music)

(sirens blaring)

- Is the one who reported this here?

- Yes.

- You Rosten? You called in?

- Yes.

- Can you identify her?

- She's Helen Lawson.

- How do you know that?

- We're gonna be married.

- What are you doing here
this time of the night?

- She was expecting me to call.

She picked up the phone.

I thought she screamed.
I couldn't be sure.

- Why not?

- Because it sounded
like the phone dropped.

I tried to call back again.

The line was busy.

- So you decided to come over
here on your own. Is that it?

- Yeah, I guess so.

- Get this on paper, Mack.

(camera clicks)

- Lieutenant.

The lab sent this over.

- Find anything?

- No. Same as the others.

- Yeah, that's par for the course.

- What'd you expect, fingerprints?

- No, but I just wish once
they'd find something.

Lint, blood, fingernail.

- You wanna hold onto this?

- No. Send it back to the lab.

- Here's the first autopsy report.

- Sanford didn't waste any time.

(horn honks)

Must be the milk truck.

- Yeah, right on time.
The usual lieutenant?

- Thanks, Mack.

- Frank.

- MO card?

- Identical routine.

- I didn't need an IBM
machine to tell me this.

Helen Lawson, nurse, 25
garrotted by her own stocking.

That makes number eight for the strangler.

- Yeah, it looks that way.

- The medical examiner sent over

the preliminary autopsy report.

Girl wasn't raped.

There was no evidence of
maltreatment after death.

- Well, what the hell
does he get outta killing?

- Room service.

- I'll give you a recommendation.

- Is it sour?

- No, but my stomach is.

(phone ringing)

- All the men's reports are in here.

I typed them up in a summary.

As usual, the murder took
place in an apartment house.

No one saw any strange
characters, heard any commotion.

There was no indication of
forced access to the apartment.

Nothing was stolen.

Helen Lawson was a
respectable girl, no tramp.

- Where'd she work?

- The Kramer Poly Clinic Hospital.

Before that, a few others.

- These things are supposed
to help keep you awake.

A little sleep wouldn't be bad either.

All right.

Helen Lawson had to be seen
at some time by her killer.

Probably where she worked.

- Well, we checked out the hospitals,

clinics, and sanitariums the other time.

Beefing, Mack.

There's nearly a million
people around here,

and we've only checked
4000 of them so far.

- What makes you think

it's gonna be any different this time?

- I don't think it's gonna be
any different. I just hope.

- Diagnosis just called.

They wanted to know if
we'd run off those tests.

- I haven't had time.

- Well, they're waiting.

- I'll get to them.

- All right. Oh, I meant to tell you.

You're supposed to report to
the administration office.

- Why?

- Dr. Morgan's orders.

All male employees are supposed to go.

I guess the police are here again.

- All right.

- And all the while, they
say nothing's getting done.

And don't stay too long. I
can't finish these tests myself.

(door shuts)

- All right, send the next one in, please.

These two detectives want to
ask some questions, Mr. Kroll.

Sit down.

I've assured them that everyone
at Tilton will cooperate.

- Do you have much contact

with the other departments
in the hospital, Mr. Kroll?

- Not much. Most of my
work is done in the lab.

- Where do you live?

- I have an apartment in the plaza area.

- Are you married?

- No.

- You live alone?

- My father's dead. My mother's living.

- Are you familiar with
Kramer Poly Clinic Hospital?

- Naturally, I know of it.

- Have you ever been there?

- No.

- [Frank] Do you know
anybody that works there,

or has worked there?

- No.

- Do you know a girl by
the name of Helen Lawson?

- Nope.

- She was a nurse who worked
at Kramer Poly Clinic Hospital.

She was strangled last night.

- I know. I read about
her in the morning paper.

- She also worked here at Tilton General

about six months ago for a short time.

Did you know her then?

- I said I didn't know her.

I might have seen her at a distance.

If I did, I didn't know who she was.

- Where were you last night, Mr. Kroll,

between nine and midnight?

- I was home.

- Was your mother home too?

- My mother's a cripple.
She can't go anywhere.

- Any other questions, Mel?

- No.

- [Frank] That'll be all.

- [Administrator] Thank you
Mr. Kroll for your cooperation.

- I wish I could have been more helpful.

- All right, next.

(tense music)

(phone ringing)

- Hello?

- [Clara] Is this Mr. Kroll?

- I'm Leo Kroll.

- Oh, this is Clara Thomas,
your mother's nurse.

She wants to talk to you.

- You're coming to see me tonight, Leo?

I've been waiting and waiting.

- Yes, Mom. I know.

But I just got home.

I had to work late at
the hospital tonight.

- Oh, please Leo, please.

- No, Mom. I'm tired. I'm
going straight to bed.

- Oh, Leo, it's not asking too much.

- Mom, I said I'm tired. I'm going to bed.

I'll see you tomorrow night.

- Leo.
- Goodbye, Mama.

- Leo!

(contemplative music)

(calm music)

(upbeat jazz music)

- Well, look who's here,
old Dead Eye himself.

Boy, could the Giants ever use you.

- Hello there. We haven't
seen you around lately.

- Oh, just going by. Thought I'd stop.

Been a couple of weeks.

- One week, two weeks. What
difference does it make?

Every time you come by,
there goes another prize.

- It's just luck.

- I'm glad you win.

We like to keep our customers happy.

- Well, not too happy, Tally
or we'd be out of business.

- Well, look at Las Vegas.

When somebody wins there,
it's good advertising.

- Tally's the business brains around here.

I'm just a relief girl.

Every time somebody wins, I
take it as a personal insult.

- Barbara just wants to keep her job.

- You are not leaving, are you?

I thought I'd take a couple of chances.

- Oh boy. Here we go again.

- You want me to stay
around and watch you win?

All right, but just for you.

- Thanks.

- Boy, look at that man go.

- You know you're awfully good at this.

- You live around a ballpark or something?

- I don't live anywhere in particular.

I travel all over the country.

I only get through here
once or twice a month.

- It's a good thing you don't
live here. We'd go broke.

- I think it's wonderful
to do things well.

- It's not important. It's only a game.

- Oh, game or not, a
lot of people go through

their whole lives and never
do anything really well.

- When I was little, I
had a horseshoe game,

rubber horseshoes.

I used to practice with it all the time.

- I'll bet you with a neighborhood champ.

- Nope.

- What's the matter?
Couldn't beat your dad?

- I only played against my mother.

- Against your mother?

- It was very important to
me to be better than she was.

- I don't understand.
Why was it so important?

- Because whenever I
wanted to do something,

she'd do it for me, or she'd.

It's not worth trying to explain.

- She sure would be proud
of you now. You won.

So be our guest.

- I'll take a doll.

- Which one?

- That one.

- Well, at least you don't
take the most expensive prizes.

- Just dolls.

You must have a regular
collection of them by now, huh?

- I give them away. I have lots of nieces.

- I better take my break now.

Come back and see us the
next time you're in town.

- I'll do that.

- Bye-Bye.

- Goodbye, Tally.

- You married?

- It's getting late, Mrs. Kroll.

Better get you up and ready.

Here you are.

- I don't want a jacket. He
can take me the way I am.

- Oh, come now, Mrs. Kroll.

You wanna look nice for your son.

- Leo doesn't care what
happens to me, or what I wear.

- He does care.

He told me he comes to
visit you every night.

- He does not come every night.

Sometimes he misses
several nights a month.

- Most sons wouldn't come that often.

- Well, he better.

He doesn't have anything
more important to do.

Ooh, he's ungrateful.

Clara, I tell you,

I've been a mother and
a father to that boy.

- Everyone has to grow up, Mrs. Kroll.

Even your son.

- Oh, don't talk to me about growing up.

I'm old and I know it.

But I used to be pretty.

When Leo was a little boy,
he thought I was beautiful.

- You're still very pretty, Mrs. Kroll.

- Oh, he knows he's
supposed to be here at 7:30.

Now, what time is it?

- Almost eight.

Now don't upset yourself, Mrs. Kroll.

You'll have to go to bed.

Remember what happened yesterday?

- I'm gonna give him a piece
of my mind just the same.

(calm music)

You're late. Where have you been?

- I stopped to get these.

- You haven't kissed me yet.

- I know, Mama.

- That's no way to kiss your mother.

- Yes, I know, Mama.
- Oh stop it.

Yes, I know, Mama. You
sound like a parrot.

- I'm sorry, Mother-

- Oh, you're the most
aggravating I don't know what.

Don't you love your mother??

- Of course I do.

I'll put these in water.

- That's my boy.

You love me, and I love you.

- Now, let's roll me
out into the corridor,

and we'll have a nice talk.

- All right, Mama.

What do we have to talk about that's new?

- You didn't come to see me last night.

Where were you, Leo?

- I had to work late, Mama.

- Oh, well then you see?

Then you don't know what happened to me,

so we do have something to talk about.

- What happened?

- You don't really want to know.

Oh, Leo. You're smoking too much.

You're just like your
father, always overdoing.

He died from alcohol.

- What were you going to tell me?

- About what dear?

- Whatever it was you
thought was so important.

It happened last night.

- Yes.

Leo, your mother nearly died.

My heart, Leo. It nearly gave out.

And you didn't come.

- What happened?

- I don't know, dear.

They won't tell you what really happened.

I fainted, and it was like
there was a knife in my heart.

That's all I remember.

And if Clara hadn't found me
right away and given me a hypo,

I would've died, Leo, right then.

- You're very lucky, Mama.

- I was lucky. But next time
I might not be so lucky.

Oh, Clara. Clara, this is my son Leo.

I was just telling him about you.

Leo, this is Miss Thomas.

He wants to thank you for saving
his poor old mother's life.

I've heard a lot about you,
Mr. Kroll, from your mother.

- I haven't seen you before.

- I was on the day shift until yesterday.

Now I'm four until midnight.

So I'll still be around
to keep an eye on you.

She kept me from dying, Leo.

If anything happened to Clara,
I don't know what I would do.

I'd just die. She saved my life, Leo.

- I won't forget.

(tense music)

(door buzzer buzzes)

(knocking on door)

- Yes?

- Miss Thomas, may I see you please?

- [Clara] Who is it?

- I'm Leo Kroll.

Please, it's urgent.

- Is something wrong with your mother?

Wait just a minute.

Did something happened to Mrs. Kroll?

She was sleeping when
I left the sanitarium.

- I wanted to talk to you about her.

Is it true, she's very ill?

- Really, Mr. Kroll,

you ought to discuss that with her doctor.

- But you saved her life, didn't you?

- Possibly.

But we can talk about
that some other time.

Mr. Kroll, I know you're
worried about your mother.

But as long as I'm there,
I'll take good care of her.

- If it weren't for
you, she'd be dead now.

- It sounds as if you,

you'd like to have your mother dead.

- No.

No.

No!

(dramatic music)

- [Doll] Mama. Mama.

(dramatic music continues)

- [Doll] Mama. Mama.

(porcelain cracking)

(tense music)

- What do you make of it, Frank?

- I don't know.

Perhaps it means something, perhaps not.

- That doll is the only thing in this room

that's been moved or broken.

- That doll was deliberately

thrown against the wall and smashed.

- Well, who threw it? The
strangler or Clara Thomas?

- The girl could have thrown it

at the strangler in self defense.

But that mark's pretty deep. I doubt it.

- Well, could it be someone else?

- Who? Why?

I don't think so, Mack.

The last two people in this room

were Clara Thomas and the strangler.

I'm going down to the car to phone.

As soon as they finish dusting this,

have them put the parts
together and take it to the lab.

Try to trace down where it was sold.

- And who bought it?

- That's right, Mack. Who bought it?

- [Reception] Call for
Detective Posner on line 61.

- Posner.

- [Frank] Well, he's at it again.

- That makes number
nine for the strangler.

But it's been less than a week

since the last one, Lieutenant.

- You're telling me.

This one's name was Clara Thomas,

a nurse at Park Sanitarium.

I want you to run out
there and run down everyone

who works there, or has worked
out there in the past year.

You got that?

- Got it.

- [Frank] Also, check the
patients, relatives, visitors,

anyone who would've
access to the hospital.

- Yes, sir. Do I get any help?

- [Frank] Take all the
available men in the office

to help you with the interrogation.

Mack Clyde will meet you
out at the sanitarium.

I want you to make a master
list of all of the names.

And I want it quick.

- Mean to say you didn't
hear it on the newscast?

How could you have missed it?

- I never listen to newscasts.

- Well, maybe you're not
interested. You're a man.

He never kills men.

- May I have more slides please?

- I'm a woman, a nurse.

- You are not a nurse.

- Well, how would he know the difference?

I work in a hospital.

He always kills nurses, and I'm scared.

Do you know what I do?

You're not listening.
Do you know what I do?

- What?

- I carry a hat pin.

Look at me.

If he ever tried to touch me,

I'd let him have it right in the eyes.

- That's nice.

- I have a girlfriend, Norma.

She carries a little tear gas thing.

Looks something like a, like a test tube.

Do you know what they
told me at my drug store?

They told me that a lot of
the women in the neighborhood

have been buying bottles of
acid to carry in their purses.

- That's interesting.

- There's a lady in my building
that builds booby traps

with milk bottles, all
around the windows and doors.

If he ever tried to get in
there, he'd make an awful racket.

- Now that's stupid.

- And why is that so stupid?

- Do you think he'd try to get in

to a strange apartment
without looking first?

- Well, he can't see in
the dark, like a cat.

- Can you be sure, Thelma?

I'm going to lunch. I'm hungry.

- I've checked it thoroughly, Frank.

The MO appears much the same.

Death and suffocation, strangling.

But it seems to me there
are some differences.

- What differences?

- Take a look at these, these
photos of some of the victims.

That one you're looking
at is the fifth victim.

Eyes closed, almost relaxed.

Stocking tied around her
neck. No marks or bruises.

That's number three. It's the same.

Now you're looking at number
eight, Helen Lawson a week ago.

Still the stocking. Still
no signs of violence.

Well, there's no need to
look through all of them.

They're the same, except
for our last ones.

Clara Thomas, take a look.

- No stocking.

Why he would he use his hands this time?

- Right. You put your finger
on an important point.

It seems as if he was infuriated with her.

- The other victims, he left no marks.

He arranged the body in
a fairly normal position,

even closed the eyes, and
composed the features.

- So why did it change?

Does it mean anything?

Could he have had anything
personal against Clara Thomas?

- That's the same setup.

She wasn't mistreated after death.

She could have fought the
killer a little harder,

but that doesn't make sense either.

She wasn't as a large a
woman as some of the others,

and certainly not as strong.

- Apparently not.

I don't think it was the case

of her resisting the killer, anyway.

I can offer an opinion about that.

Would you care to hear it?

- What's that?

- Want some milk?

- Yeah, thanks.

- Well, after strangling her,

the killer would've been
compelled, emotionally,

to follow his usual pattern,

repeat the grizzly ritual he's worked out.

But. Well, let me put it this way.

His heart wasn't in it.

Well now that's a miserable
expression to you, as I know.

But it describes what I mean.

- What do you mean?

- Well, maybe he didn't kill Clara Thomas

for the same twisted reasons
that he killed the other women.

And after she was dead,
something happened,

something to make him
change his mind completely.

And so he left, and probably in a hurry.

- All right. So far so good.

What about the doll in her apartment?

- That broken toy?

Could be more than a toy.

Could be a fetish.

- Fetish?

- It's not uncommon,

transference of emotion
from one thing to another.

Fetish can be anything,

any non-sexual object that
incites erotic feelings,

whether it sticks,
stones, piece of clothing.

In this case, a doll.

- Why a doll?

- I can't tell you that.

- Doc, you're a psychiatrist.

You're supposed to know the reason.

- Well, sure. But I don't
have a crystal ball.

Have you?

- No.

Maybe I better get one.

(knocking on door)

- Mr. Kroll? We're police officers.

- Come in.

- We'd like to have you
come down the station.

- I haven't done anything.

- Well, we're not
accusing you of anything.

We just want to ask you some questions.

- Well I have to go to work.

You have a warrant?

- No, but this officer can wait here

until I come back with one.

- We might as well get it over with.

It would be nice not having
to go to work for once.

Do you mind if I get my jacket?

- No, go right ahead.

Oh, excuse me.

These rubber gloves belong to you?

- Certainly. Who do you
think they belong to?

- Use them in your work?

- All the time. Acids, reagents.

Sometimes I stuff a pair in my pocket

when I'm washing up by mistake.

Can I have them back?

- Sure.

- They're charged against me, you know.

- [Eggerton] And how many times

did you say you had met Clara Thomas?

- Just once.

- And how many times did you
meet her outside the hospital?

I never saw her outside.

- Seems to be doing
pretty well for himself.

- He asked for it.

- Didn't you talk to Clara
Thomas the night she died?

- Nope.

- You saw her at the sanitarium

that night before she died?

- Nope. I didn't visit
my mother that night.

- Why didn't you?

- I worked late. I felt
like I was catching a cold.

I went home and straight to bed.

- [Eggerton] Didn't you get up later,

get dressed and go out?

- Nope.

- He ought to be about finished by now.

He's been in there over an hour.

- And that was the same night

that you brought home the rubber gloves?

- I don't know. I bring a pair
home every once in a while.

- [Eggerton] Don't you
need them at the lab?

- Yes, but I have several
other pair at the hospital.

- Didn't you go to Clara Thomas's
apartment around midnight?

- Nope. I have no idea where she lives.

- Didn't you believe that you
had a good reason to kill her?

- Nope.

- Didn't you in fact kill her?

- Nope.

- That'll be all, Mr. Kroll.

- Keep Kroll in there.

- Okay.

- Well, what do you think?

- Frankly, I don't see
any marked reactions.

I'd like a chance to
study his graph though.

- Well, can't you give me an
opinion? Is he lying or not?

- Can't you give me a few
minutes to try to decide?

- Sorry.

Few questions I'd like
to ask Kroll myself.

Mel.

Mel, let me have your notebook.

It says here that after
the death of Helen Lawson,

you were questioned at the
Tilton General Hospital.

- Yes, along with all the others.

- You were questioned by Sergeant Clyde.

And a detective named Posner was along

to take down these notes.

Do you remember them?

- Vaguely.

- Well, they're the same two
men who brought you here today.

- I didn't know their names.

- That's Sergeant Clyde seated there.

Do you remember what
you told him last week?

- What do you want me to
remember? I talked to many things.

- I'm going to read what was
said regarding Helen Lawson.

Where were you last night, Mr. Kroll,

between nine and midnight?

You said you were at home.

- Yes.

- Earlier you said that
your mother was alive,

but your father was dead.

- That is correct.

- Then you were asked if you lived alone.

You inferred that you were
living with your mother.

- No, I'm sorry. I did not.

- But you didn't say that
your mother had been living at

the Park Sanitarium
for two years, did you?

- I guess not, but Sergeant
Clyde didn't ask me that either.

- When Sergeant Clyde did ask you, quote,

"Where were you last night Mr. Kroll,

between nine and midnight?"

You replied, and again, I quote.

"My mother is a cripple Mr.
Clyde, she can't go anywhere."”

Is that what you said?

- If you say so.

- And did you want
Sergeant Clyde to believe

that you'd been with
your mother all night?

- No, I did not.

What I meant was that I spend

nearly every evening with my mother.

If Mr. Clyde got the
wrong idea, I'm sorry.

I meant at the hospital, not at home.

- What it means is, you
don't have an alibi.

- If I were guilty, I'd arrange
to have an iron clad alibi.

- It says here you went to
college for two and a half years.

- I couldn't afford to
complete my medical education.

But I have sufficient
training to be a policeman.

- Lieutenant, I know you wanted this fast.

All I can say is

there are no pronounced
disturbances in Kroll's graph.

Evidently he wasn't disturbed
by any of the questions.

I'm sorry, but there's
not enough evidence here

to indicate to me, or you,

or anybody else that the man is lying.

- All right.

Clyde, stay here with Kroll.

I want to talk to Dr. Sanford.

- Doc? Are you Clarence Sanford?

- Yes.

- I have read many of your
books in abnormal psychology.

It helps in my work, you know.

- I'm flattered, Mr. Kroll.

- Eggerton said the
test was not conclusive.

- I gathered that.

- There he is now.

You're sure you read that right?

- I was just dead filing it.

Maybe the doc can read
more into it than I can.

- Well, I wouldn't put too much faith

in the polygraph test anyway, Frank.

- He volunteered to take that test, Doc.

- Well, whoever your killer
is, he's a man to whom

a lie detector test
probably means very little.

- What do you mean?

- Well, in my opinion, your
killer is a schizophrenic,

with a personality split
right down the middle.

Consequently, he's able to lie

a lie detector blue in the face,

because he has absolutely
no sense of guilt.

- Trouble is, we don't
know what he looks like,

not on the outside anyway.

If you can tell me what he
looks like on the inside.

- I can try, but only in generalities.

A few facts are fairly obvious.

As I said before, your
strangler's a schizo,

paranoid schizophrenic.

Your man has a deep underlying
hatred for women by nature,

probably due to hatred of his own mother,

or some woman close to him.

She may be dead or even still alive,

but he feels she's mistreated
him or cheated him some way.

- Do you have any idea how old he is?

- Between 19 and 25, possibly up to 30.

That's the age bracket

when most schizos erupt into violence.

(door opens and closes)

- Lieutenant, about that Mama Doll.

I've checked it out

with both the manufacturers
and the distributors.

No dice.

- All right. Start checking the retailers.

- Right. Oh, what about Kroll in there?

Clyde wants to know what to do with him.

- Send him home.

- Yes, Lieutenant.

(horn honks)

(traffic humming)

- Good night, Mrs. Kroll.

Mr. Kroll. I was hoping
you'd be here this evening.

Your mother's asked for
you the last two nights.

- I've been feeling under the weather.

- You know about Ms. Thomas, of course?

- Yes. It was terrible.

- Your mother was very fond of her.

Quite dependent on her too.

- It was my impression that
she was an excellent nurse.

- I hope they find that maniac.

Anyhow.

We don't like to evade
telling the truth to patients.

But in coronary cases...

We haven't told your mother
that Ms. Thomas was murdered.

- How have you explained it?

- That she's away on a
short vacation, went home.

It'd be best if you don't say
anything either. The shock-

- All right.

Thank you Doctor. I understand.
I'll be very careful.

(tense music)

- Where have you been?

You haven't been to see me for two nights.

- I told you, Mama.

The one night I had to work late,

and last night I wasn't feeling well.

- I don't think you wanna see me.

You're always looking for excuses.

I don't think you love me.

Well, do you?

- Stop it.

- Leo, I've given you all my love.

I've devoted my entire life to you.

- You said that 20 times a day.

Let's have some music.

- It's broken. It won't work.

Are you in some kind of a hurry, Leo?

- Nope.

- Is there some place else you'd rather be?

Someone else you'd rather be with?

- Who would that be?

I don't have any friends.

- You found a girl.

Is that it?

(laughing)

Leo. Leo, I've warned you about women.

They're just going to make you
unhappy, and ruin your life.

- All women except you.
Is that what you mean?

- Turn around and look at me.

Now what would any girl want you for?

Come over here, Leo.

Come on. Come on.

Now, face facts, son.

You're not good looking. You're fat.

You know very well yourself

that some people think you're funny.

- Please, Mama.

- Even as a little boy, nobody liked you.

And except for me, nobody's loved you.

And you haven't any money.

And women want money.
And don't you forget it.

Why, you barely make enough of a salary

to keep a good looking hussy in stockings.

- That I don't, after
paying your hospital bills.

- Why can't we just talk?

Why do you have to argue?

Oh, I wish Clara would come
back from her vacation.

She'd talk to me.

I miss her.

I miss her so.

I can't stop thinking about her,
and thinking about her.

- [Leo] Didn't you know, Mama?

Clara's dead.

She's dead, Mama.

She was murdered.

Claire's dead, Mama. And
you'll never see her again.

(dramatic music)

- Oh, Mr. Kroll. How's your mother?

- She's fine, thank you.
- Good.

Good night.

(phone ringing)

- Hello.

I'm Leo Kroll.

No.

She can't be.

Mama was well when I left her.

Can you call the mortuary?

(tense music)

(glass breaking)

(tense music continues)

(glass breaking)

(tense music continues)

(glass breaking)

(tense music continues)

(balloon pops)

(upbeat jazz music)

- Nah, I never bought nothing.

It sounds like a Mama Doll trademark.

- Okay, thanks.

(upbeat jazz music)

- These are called Ruby Dolls.

Sophisticated, you know.

Nearly like real women,
lingerie, cute stuff.

(upbeat jazz music continues)

- And you've never bought
any Mama Dolls for prizes?

- No, not in the year
I've been working here.

- Well, who buys the prizes?

- The guy that owns the place.

He never comes by except to
count the take, something.

- Well, that's the way it goes.

Thanks.

(tense music)

- Well, if it isn't Old Dead Eye.

And aren't we dressed up?

Do you have a big date
tonight or something?

- Where's Tally?

- It's her night off.

We didn't expect you back so
soon. Did you run outta dolls?

- Just got back into town
sooner than expected.

Anything wrong with that?

- Not if you say so.

Lucky in love.

Sure been quiet around here tonight.

- You've had a customer here
just a little while ago.

- Guy in the brown
suit? Wasn't a customer.

It was a cop.

- Oh?

Give me some rings.

What did he want?

- Just asking about some dolls.

- Oh?

- You missed.

- What did you tell him?

- You missed again.

- What did he wanna know about dolls?

- You missed again.

You're really getting
lousy tonight, you know?

- Give me three more rings.

Anyway, what's so important about dolls?

- How should I know?
You've got all the dolls.

You missed again.

Do you know you're gonna
disappoint all your little nieces?

That's what I should have told him.

I should have told them to see you.

'Cause you're the big
doll expert around here.

I bet you could have told
him just plenty about dolls.

He just wanted to know
about some Mama Doll.

Mama.

Mama, mama.

- Why did you say that?

- I don't know.

What's so important about dolls, anyway?

- Just wanted to create a
little conversation, that's all.

- Hey, are you mad at me?

Don't go away mad. Come back.

Come here.

You're mad 'cause you
didn't win anything, huh?

- No.

- You sure are. Come here.

Come over closer.

For you.

So you won't be disappointed.

Give my regards to all your little nieces.

(tense music)

(horn honking)

(tense music continues)

(tense music continues)

(tense music continues)

(eerie music)

(eerie music continues)

(dramatic music)
(Barbara screams)

- 10, 10th one.

We cover all the hospitals and our creep

strangles a girl from some Fun Palace.

- Well, you can't cover
the whole town, Frank.

Besides who figured he'd switch?

- Because he had a damn good reason.

And I wish I knew what it was.

- That's why I wanted
to see you, Lieutenant.

I talked to this Wells girl.

- What?

- Oh, that's right.

He didn't get a chance
to put it in his report.

Tell him, Mel.

- Well, last night about 10 o'clock.

That's right, Barbara Wells.

She was a relief girl

in this Toss a Ring
booth at that Fun Palace.

I was still trying to
check out that Mama Doll.

I stopped at this booth,

because I saw they offered prizes, dolls.

- Dolls?

And what'd you find out?

- Well, the Wells girl
said they never used

that kind of a doll for a prize.

That's all.

She seemed like a good kid.

- That's gotta be more than a coincidence.

Barbara Wells and Clara Thomas,

both with dolls.

Even if they were different kinds.

Yeah, I'm sure of it.

We better plant a stake out there.

And at that Toss a Ring booth.

- Yes, sir. How many men?

- As many as you need.

- Right.

- Mel, I think we better play this smart.

That Strangler can probably
smell a plant from a way off.

Too many cops around
there, he'll never show up.

- Let me cover it by myself.

- Right. We're not gonna louse this up.

You stick out there like
it was your Siamese twin.

- Gotcha.

(contemplative music)

- Hello.

- You, uh...

- You don't seem very happy tonight.

- Didn't you read about
what happened to Barbara?

- I just came back from a long trip.

- Well, she's dead, murdered.

And they think the strangler did it.

- Do the police think that?

- Yes, they've been here nearly all day.

I guess they're gone now.

- Do they have any sort of clue?

- Only, Barbara.

I can't stand to think about her anymore.

I can't stand the sight of this booth.

I'm leaving the end of this week.

- No.

You can't go away. I
wouldn't see you again.

- That's awfully nice of you to say that.

But I've got to get away.

- Then we'll go away together.

I have something for you.

See?

- Yes, it's very nice.

- It's my mother's engagement ring.

We'll get married.

- No, no. Listen, please.

- No, you don't understand.

I'm free now.

I can do anything I
want. I can go anywhere.

We can get married.

- I don't want to listen to you.

- I'll live anywhere you want.

I'll take care of you.

I earn a good living.

I'll go back to medical school.

- Please stop.

(somber music)

- But I love you.

- You can understand
that I'm terribly upset.

I'm sorry. Really, I am.

Can't you see? We can't get married.

People just don't get married like that.

They have to know each other
and they have to be in love.

- But I've watched you for a long time,

and you didn't even know it.

I thought you'd like the ring.

I saved it for you after Mama died.

- Let's not talk about it any longer.

I don't know you. I don't love you.

I'm sorry.

(somber music continues)

- You're always smiling.

I look forward to seeing
you, being around you.

I thought you liked me too.

-I.

- You pretended to love me.

- I never did.

Look, you were just a
customer. That's all.

I'm supposed to be nice to everybody.

- Oh, she was right.

- Who?

- I'm funny and I'm fat.

And I don't have a lot
of money. Is that it?

Well, there are a lot of people

who don't laugh at me anymore.

They don't laugh at anybody.

- My new relief girl
should show up anytime now.

- Do you think I'm going to take no

for an answer after all these - ?

Well, I don't have to. Not anymore.

- Look, please go away.

(somber music continues)

- I'll go.

Tally.

I'll go away.

But I'll see you again.

(dramatic music)

(eerie music)

- [Mother] What do you think
any girl would want you for?

- [Tally] People have to know
each other, and be in love.

- [Mother] Except for me,
nobody has ever loved you.

- [Tally] I don't love you.

- [Mother] Face facts, son. Face facts.

- [Tally] You were just
a customer, that's all.

I'm supposed to be nice to everybody.

I don't love you.

- [Mother] Even as a
boy, nobody liked you.

- [Tally] Please go away.

Go away.

Go away.

Go away.

(upbeat jazz music)

- Hi. Are you still here?

- Either that or I'm
lost. Mind if I sit down?

- No.

Thought you'd gone home?

- No. I just broke for dinner.

Coffee.

Any kooks or nuts show up over there?

- Well, just before the
relief girl got here,

this fella comes up to me and

right outta the clear sky,
he asked me to marry him.

He had a ring and everything.

- Had you ever seen him before?

- He comes here lots of
times. He's a customer.

But I didn't know his name,

or where he lives, or anything about him.

- You must have had
some idea he liked you.

- Not really.

When I turned him down, he got real mad.

He scared me.

- And what did he do then?

- He just took the doll
he'd won and he left.

Must have dozens of those
dolls. That's all he ever takes.

- You mean this guy likes toy dolls?

Look, would you mind
looking at a few mug,

identification pictures?

- No.

- Come on.

- Here's the last of them, Frank.

- That isn't him.

I know I'd recognize his
picture if it was in here,

but I just don't see it.

- At least it proves one thing.
He doesn't have a record.

Or if he does, we don't have it here.

- [Sketch Artist] Lieutenant,
you wanna take a look at this?

- Well, it does look a little like him.

- But not enough, huh?

- Go ahead, Ms. Raymond.
Tell him what's wrong.

- Well, he should be fatter.
His face should be rounder.

Yes, that's much better.

- How's the age? About right?

- Like I told you, pretty close to 30.

But the eyes.

- Go ahead. Tell him what's wrong.

- Well, they're too
round, sort of deeper set.

- Okay, two round bulgy eyes coming up.

Now, are they better?

- Yes, much.

- Anything else?

- I don't know.

I think maybe there's something

about the chin that's not quite right.

- Okay, now you tell me about
the chin. Is it large enough?

- No, I think maybe too large.

- All right, now then I'll
take a little bit off.

And you tell me when to stop.

- Now.

No, no. Now it's too pointed.

Good.

Only he should have sort
of a, a double chin.

He's big, about 300 pounds.

That's it. That looks
quite a bit like him now.

- It's that fat, egotistical-

- Kroll, Leo Kroll.

He knew Helen Lawson, Clara
Thomas, and Barbara Wells.

Pick him up, Mack.

- With pleasure. Mel?

- Looks like our troubles are over.

(tense music)

Coffee?

Would you like some breakfast?
I'll send out for some.

- I'd like to rather go home.

- I'm sorry,

but you'll have to wait
around for a little while.

Might have to make an identification.

- [Landlord] Mr. Kroll
ain't been here all night.

- Look in there.

(suspenseful music)

(tense music)

Mel.

- Find anything?

- Look in here.

(phone dialing)

(phone ringing)

- Benson, homicide.

All right, Mack.

Cover the apartment where he lives,

and the hospital where he
works, and get on back here.

Kroll's not at home. Something
must have spooked him.

There's a chance that he
went back to the Fun Palace,

or maybe to your apartment.

- He said he would.

- Would what? See you again?

- Yes.

He got sort of wild and said
all kinds of crazy things.

- When was this?

- After he won the
doll, as he was leaving.

- He won another doll? You gave it to him?

- Is that so important?

- It might be.

I'd say you were probably
in considerable danger.

I could put out an all points bulletin,

cover newspapers, radio,
television stations.

But that might drive him underground.

There's a chance he might leave
the state, even the country.

But there is a chance we might
catch him, if you'll help us.

- No.

No, I don't wanna get involved.

- But you are involved.

I can understand if you're
frightened. I don't blame you.

But we'll give you 24
hour police protection.

- No. Please.

I told him I was leaving
town the end of this week.

Well, I've changed my mind.

I'm leaving today, now.

- All right.

I can't make you stay
if you don't want to.

- I've done all I could.
I've identified him.

I just wanna go home and get packed,

and get out of this town.

Then you won't have to worry about me.

- But we do worry about you.

- Well then don't.

I'm sorry.

Please, just let me leave.

I'll be all right, I promise.

I'll get started for
Pennsylvania right away.

- All right.

We'll take Ms. Raymond home.

(tense music)

- I know I'm not very brave.

And you think he's the strangler,

and that he's gonna kill me too.

I'm scared,

really scared.

And when I think of Barbara, I get sick.

- Sure.

(somber music)

- I can't help it.

- [Frank] Plant this radio
mic in her apartment.

- Will do.

You gonna cover her whether
she likes it or not.

- Yes, but she doesn't
have to know about it.

(tense music)

- Don't bother to come
in with me, Sergeant.

- It's no bother. I'll
just walk you to your door.

- It isn't necessary.
- I know.

Maybe I like the excuse.

(suspenseful music)

You sure you don't want me
to hang around for a while?

- Really, you don't have to.

I just wanna start packing.

- Could I have a drink, if it's no bother?

- It'll have to be water.

- Well, that's fine.

(calm music)

(radio buzzing)

Thanks. And have a nice trip.

- [Tally] You're welcome, Sergeant.

(tense music)

(water splashing)

(tense music continues)

(static blaring)

(tense music continues)

- [Frank] Something's wrong.
We're not getting any sound.

- Probably the mic's cut out.

- Why? It was all right a minute ago.

(tense music)

- I'm sure the receiver isn't on the bum.

It has to be in the mic.

- It's the lack of sound that bothers me.

(tense music)

(Tally screams)

(dramatic music)

- Miss Raymond?
(Tally screams)

(knocking on door)

(tense music)

(gun fires)

(Leo screaming)

(tense music fades)

(calm music)

(music swells)

(calm orchestral music)