Original subtitles

(upbeat music)

(dramatic music)

(bells chiming)

(trumpet fanfare)

(birds chirping)

(chickens clucking)

(bells chiming)

- Perhaps the Russian, Pavlov, was the instigator

of these techniques.

But in my opinion viewed in retrospect

and in the light of my more enlightened experience,

Pavlov and his famous dogs would be seen

to be no more than a circus act.

But the surface has only been scratched.

There still remain a million unanswered questions

on the subject of conditioned behavior.

A million unanswered questions.

(knife thudding)

But the surface has only been scratched.

There still remain a million unanswered questions

on the subject of conditioned behavior.

(bell ringing)

(man groaning)

(dramatic music)

(knife thudding)

(bright music)

(ominous music)

(eerie music)

(birds chirping)

(train whooshing)

- Allow me.

Helga Muller. - Yes.

- Tim Hunter.

- Sylvia Dee.

- So it seems the we're the privileged few.

- And such a privilege.

Professor Carnaby is one of the greatest psychologists,

invited to his home for a whole week.

When this came I could hardly believe it.

- Well I didn't.

I thought some of the boys were having me on.

Carnaby hardly ever meets anyone.

I still don't believe it.

- Well it has happened before

- Yeah? - Yes.

I think about once a year he invites a few students

to his home.

It's a bit like a seminar, you know,

where you study and learn and ask questions.

- From the master.

- It's strange though.

I wonder how we were chosen.

I mean out of all the thousands of students. why us?

- Well who cares so long as he has.

I must say I can't wait to meet him.

- Nor me.

What year are you in?

- Oh, I graduate this year.

- And you?

- [Tim] I won't be taking my finals till next year.

- And I am only in my first year.

So there is no pattern there then.

- Maybe he pulls names out of a hat.

- Do you think there will be many of us?

- [Tim] I hope not.

I want to tackle him on that last paper of his.

- On criminal behavior.

Oh, that was so-- - Radical.

- Yes!

Oh, we are there.

- Professor Carnaby's party? - That's us.

Cars waiting.

(bright music)

(dramatic music)

This way, please.

- When do we meet Professor Carnaby?

- Soon.

- It's enormous.

- No wonder he never leaves this house.

- You could get lost in a place like this.

- And probably will.

(eerie music)

- Day ones subject have arrive.

Two girls and a man, the man looks fit and strong.

That's good.

The girls of course are very pretty

which is why I chose them.

(dramatic music)

- Oh Sylvia there you are.

Goodness knows where I would have ended up.

The rooms are beautiful aren't they?

- Aren't they fantastic.

- Mine has a view clear across the grounds.

- Oh lucky you.

Too bad you won't get a chance to see it.

No, when will we meet him do you think?

- I don't know.

Slattery, Michael Slattery.

- Hello, Sylvia Dee.

- Hello, Helga Muller.

Are you a student too?

- Oh hardly, a bit long in the tooth.

No, I'm just a wooly old journalist

- Oh, that Slattery.

You write for Momentous magazine, don't you?

- Yeah, sometimes.

- Oh you wrote that feature on Professor Carnaby.

it was very good.

It really got under the skin of the man.

- Oh, not as much as I hope to.

oh that's why I'm here.

Hoping to badger the old man

into letting me write his biography.

- That should make fascinating reading.

- Mm, so should the royalty checks.

- Ah you say we'll meet him at dinner?

- Yes, that's the normal procedure.

I'll see you then.

- Okay. - Mm-hm, he's rather nice.

It's going to be quite a week.

What are you gonna wear?

- I think I'll wear my brown dress.

(woman screaming)

- That's the normal procedure too.

The professor has some fantastic tapes, weird, actual cases.

See you later.

- Yeah, well see you dinner.

- See you later. - I'll see you downstairs.

(dramatic music)

- Oh.

Thank you.

(man chattering)

- Professor.

(Sylvia gasps)

- Oh, you frightened me.

Is something wrong?

(eerie music)

- The dining room's this way if you all follow me, miss.

(gentle music)

- Here you are Tim, - That's fine, thank you.

- [Micheal] How's that?

- Sorry I'm late, my zipper broke.

Whoa.

- Yes it's, uh, pretty impressive isn't it.

The fruits of insanity.

Well the professor's work paid for all this.

Sherry, Silvia? - Mm, yes please.

Is Professor Carnegie on his way?

Don't worry, he'll be down in a moment.

He wouldn't turn up till he was certain you were all here.

He has a taste for the theatrical,

loves to make an entrance.

(gently chiming bells) Duh, dah.

- Good evening. - Good evening, sir.

- Timothy Tim hunter isn't it.

Glad you could make it, Tim.

I wouldn't miss meeting you for the world, sir.

- You must be Sylvia Dee.

You're very pretty, my dear.

- Thank you, Professor.

- Helga Muller, our little German friend.

Delighted to meet you.

Delighted to meet you all.

May I offer a toast to enlightenment.

- Enlightenment.

- Won't you sit down?

Sylvie, you here, my dear Timothy.

- Sir.

- Allow me. - Thank you.

- Professor will there be an opportunity

to discuss your last paper, Criminal Behavior?

- Oh, it's open house here.

I hope there'll be many questions.

- And your new work, sir.

Will we learn anything of that?

- Now we mustn't rush things Tim,

except perhaps dinner, Boz.

I hope you all like borsch.

- You like her don't you?

The American girl.

You really like her.

Well I'll let you into a secret.

The professor told me she's yours.

(George laughing) (eerie music)

That means that the little one is mine.

- The conditioned response such as may be achieved

by brainwashing for example,

is merely the extension of natural phenomenon.

- [Sylvia] Natural phenomena?

- Well the dog that seeks out the bitch in season,

what could be more natural than that?

- Well yes but that's instinct.

- Yes, but the dog can be conditioned

to avoid the bitch in season

and once that conditioning has been accepted

its responses are as automatic as the way

in which you withdraw from the flame.

- I don't think I agree with that.

- No? - Well I don't.

I mean Tim withdrew

but that's because that's a sensible thing to do.

Isn't it.

I mean that's an autonomic response, right?

It's a retreat from pain.

- You think so? - Yes.

- Boz.

Perhaps I should explain that Boz here came

to me as a patient.

He was a very sick man, isn't that so?

- Yes, Professor.

- He's been a very useful and willing subject

for my experiments.

His problem was, well we won't go into that,

but it was a very big problem.

I have endeavored to recondition him

to give him a whole new set of responses.

- Here comes the party trick.

- I have managed to eradicate his antisocial instincts

and substitute a whole new set.

It's had some very curious side effects.

Boz.

(eerie music) (dramatic buzzing)

- Stop it!

- Oh, I've upset you.

But there's no need to be upset.

Boz is quite unhurt, aren't you?

- [Boz] Yes, professor.

- Oh, I'm, I'm terribly sorry.

- No need to be sorry.

You are merely suffering

from a conditioned response.

Revulsion and horror in the face

of another human being apparently being hurt.

It's a very good response.

If more people felt as you do,

the world would be a better place.

- You didn't hypnotize him.

- That would be cheating and quite useless.

No I merely taught on a whole new set of principles.

- So his problem or whatever it was, has gone?

- Almost.

- That's really something, Professor Carnaby.

- Now we've talked enough about me.

What about you, eh?

Timothy, do you want to practice or to teach?

- Well I wish to pass my exams first.

- Helga what made you want to study the human mind?

- Oh, I suppose it was the orphanage.

- [Carnaby] Oh?

- Yes I was brought up an orphan.

But by good people, informed people.

They helped me a lot and encouraged me

to take an interest in others.

(dramatic music)

- [Carnaby] I approve.

Boz, more cognac. - Oh no sir, really, I.

- Oh nonsense.

Tonight we relax, tomorrow we get down to work, hey.

- [Timothy] Right sir.

- Brandy? - Yes, Professor.

(man coughing)

- Who knows, tonight may be your lucky night. (laughing)

Could be tonight.

- Ladies and gentlemen, it's been a delightful evening

but you have one very grave

and decided advantage over me in years.

So if you'll forgive me, I'll see you in the morning.

No, no, please remain.

Help yourselves to brandy.

Good night. - Good night, sir.

- Oh and by the way my usual fee

for a lecture is 500 guineas.

(all laughing)

- What an evening.

- I've been trying to remember every word he said.

- They'll never believe this back at college.

- Three whole hours.

And he usually only gives interviews for 10 minutes.

- Five if you're lucky. - We certainly are.

- He liked you. - You think so?

- I'm sure of it. - Oh, I'm so pleased.

- Look I've got some work to do before I go to sleep

so if you'll excuse me I'll say goodnight.

- Goodnight. - Goodnight.

- Goodnight.

- Tim is your father a psychologist?

- He was but he was killed

in a car accident a few years back with my mother.

- Oh, I'm sorry.

I understand how you feel though.

I don't have any parents either.

(dramatic music)

I wonder if, I wonder if that could be the link.

- Link?

- Yes, the reason we were chosen.

None of us have any parents.

- But, uh, why?

What possible reason?

- (sighs) I don't know.

(people chattering)

(light classical music)

- I don't need mine, Professor, I'm cured.

- There are women in the house.

- But I, I am cured.

- Go to your bed, go to sleep.

Lock him in.

- [Boz] Good night, miss.

- Oh, good night.

- You're not giving Aldrich is injection?

- No, I'm not.

- But he's an animal without it.

An animal.

- That's how I want him tonight.

(faint classical music)

(bright classical music)

(ominous music)

- Professor. - Tim.

Sorry to disturb you.

Knew you wouldn't want to miss this.

I'm about to conduct a practical experiment,

thought you might like to come along.

- Yes, of course sir.

- Look, I'd be grateful if you didn't make too much noise.

The girls, you know.

- No. - Don't want them

to think I'm showing any favoritism.

Laboratory's upstairs. - Yes, sir.

(eerie music)

What kind of experiment is it, sir?

- The physiology of violence.

Imagine, Tim, the knowledge to be gained

from the precise study of the murderers attack

at the moment of attack.

To be able to assess the killer as he makes his attack.

Heart beat, respiration,

an encephalographic of brain activity.

Wouldn't that be a breakthrough, Tim?

- Fantastic, sir, but.

- It's a breakthrough I have achieved.

- But? (alarm ringing)

It can only ever be simulated?

Can't it?

(dramatic music)

(alarm ringing)

- Aldrich.

- What the!

(dramatic intense music)

(tape whirring)

- [Carnaby] Attack to the throat initially, issue's on.

The need to squeeze is very interesting.

Requires further investigation.

Heartbeat increasing rapidly, respiration fast and shallow.

Heartbeats reaching climactic phase.

Extraordinary power.

Autopsy will no doubt reveal many broken ribs.

And now the need to shatter.

Infant eye response is followed by remorse and drama.

Respiration reaching plateau phase.

The story, the strength of demon proportions I would say.

If I believed in demons.

(eerie dramatic music)

- Morning are you studying or snooping?

- I knew I was right.

Look, Jorg Kesselheim, you must have heard of him.

- Kesselheim, the murderer?

- Yeah, he escaped from Bavaria about six years ago.

There was a worldwide manhunt.

- Yes, I remember.

So what?

- I think I've seen him last night.

- Where? - Here in this house.

- Oh, don't be silly.

- Kesselheim or his double.

- His double?

That's more like it.

- Morning. - Morning,, may I?

M y god, they are alike aren't they.

- Who?

- Well, George, George Thibedon, that's who you saw.

He's a sort of secretary cum librarian to Professor Carnaby.

He's the spitting image of Kesselheim.

I remember now the professor telling me

that while all that hue and cry was going on,

poor old George was arrested three times.

You know, it got so bad he had to carry a letter

of identification around with him stating

that he wasn't Kesselheim.

Breakfast? - Mm.

- You've got a good memory for faces.

- [Helga] Yes.

- Good morning, Professor. - Morning.

I'm an early bird.

Lot to do today.

Sleep well? - Like a log.

- Where's Tim?

- Oh, Tim is not too well I'm afraid.

Must have been the brandy or something.

Woke me up in the middle of the night.

Terrible stomach pains.

I prescribe something, he'll be fine.

- Should I take him up some coffee?

- No, no, no, still sleeping.

Anyway, Boz will look after him, won't you?

- Yes, Professor.

- Now then, grapefruit or orange juice?

(bright eerie music)

(dramatic music)

- That Aldrich.

He's an animal.

An animal.

There but for the grace of God.

- And the professor.

- These encephalographs are utterly indispensable.

To be able to actually see brain activity.

- Yes, but, unless you know exactly the activity

of the patient, well like this one.

Was the patient reading a poem or doing his income tax

or murdering somebody?

It makes a difference.

- I hardly think reading a poem.

- Tremendous mental activity.

Some kind of feat, Professor?

- There are no references to any of the patients here.

- Well there will be when George gets round to filing them.

- That's the man you thought was Kesselheim.

- Yes, as a matter of fact

when they were looking for Kesselheim.

- Yes sir, Mr. Slattery already told us.

- They kept arresting George.

- Yes.

- Did they ever find him, Professor?

- You know, I don't believe they did.

Oh Sylvia,

these should be more specific.

Documented case histories.

(bell ringing)

These should be of particular interest to both of you.

People of your own age, psychotically disturbed,

suppressions, repressions,

(eerie music)

Oh.

(dramatic music)

Misunderstanding old chap, I didn't ring.

(bright classical music)

So you'll go back to your kitchen, eh.

- Oh, very sorry sir.

- Oh, that's perfectly all right, Boz.

- [Sylvia] Music soothes the savage breast, Professor.

- Well it helps to relax the mind.

Make your minds more receptive

to the earth-shaking theories I am about to propound.

(George laughing)

- A little reversion, did we?

- They, th-th-they rang the bell.

Somebody, somebody rang the bell.

- Did they? (laughing)

You've got bells on the brain do you know that?

Bells on the brain. (laughing)

- Nothing wrong with shoes either?

- [George] (groaning) Give that back to me, it's mine!

- Looks clean enough to me.

Almost cleaned away I'd say.

You almost see your face in it.

Always assuming you'd want to see your face.

- Give it back to me

What, what did you have to do that for?

(groaning) I'm gonna clean them all over again.

- It's good for you.

Occupational therapy.

(Micheal sighing)

- Tim, Tim.

- [Boz] He isn't there miss.

Mr. Hunter was taken to hospital.

- Hospital?

- Yes, those stomach pains turned out

to be acute appendicitis.

- Poor Tim.

How long will you be in?

- Oh, a couple of days a week.

- I think we should go and see him,

cheer him up a bit.

- Yes, in a day or two's time.

- He's gonna miss this whole seminar.

- Oh don't you worry.

I'll make it up to him.

- Must have been awfully quick.

I didn't hear an ambulance or anything.

- No, Boz drove him there.

Thought it was the quickest way.

You two were dressing for dinner.

No point in disturbing you I thought.

Wine, Sylvia?

- Mm, yes please. - Slattery?

- Mm, thank you.

- [Carnaby] I put good claret

in the same category as music, Silvia.

(dramatic music)

It opens the mind.

- Unless you have too much then it closes it.

- Cheers, Professor.

(eerie music)

- All right.

- She drunk it.

(George laughing)

- I think far too much stress is placed

upon the treatment of mental patients

not enough of on prevention techniques.

- [Helga] You're looking for a universal panacea

to prevent mental disturbances?

- I have refined a hypnotic drug

which overrides the responses.

Once I've ensures the conditioning has been accepted,

why it's-- (Sylvia groaning)

- Sylvia! - Are you all right?

- Oh, I'm so sorry.

(moans) It must be the wine.

- We only had one glass.

- Oh perhaps she's overtired.

I've been working them very hard today.

Perhaps you should go to bed, my dear.

- Yes, Professor.

- Boz? - Oh dear I feel so silly.

- Oh nonsense.

Boz, will you take Miss Dee to her room?

- No, please, I'm fine.

- Should I go up with you?

- No, Helga, you stay I don't want to ruin you evening.

Good night. - Goo night.

- Good night, Sylvia.

Oh sit down my dear.

(eerie music)

(dramatic music)

- [Helga] That may well be professor

but it cuts right across all the work

that has been done in this field.

- Well put aside the old-- (Micheal yawning)

- Oh I'm sorry.

I'm a bit sleepy myself.

If you don't mind I think I'll go to bed.

- Off you go, Slattery. - Good night, Helga.

- Good night. - Good night.

- Then there was one.

(Micheal yawning)

- Good night, Boz. (yawning)

- How long will it be?

- Soon.

- It's alright for you and Aldrich.

You had your injections.

- That's the whole point of the experiment, isn't it?

That you are as you are.

Self-doubts?

- No, (laughs) I'm fine.

I'm better than you.

I'm cured.

- You know, Helga,

it occurs to me you haven't yet seen the laboratory earlier.

Of course you may find it dull and academic.

- Oh, I'd love to see it.

- Then you shall, this very moment.

Come along.

(door thuds)

The laboratory's on the top floor.

- Pull yourself together, man.

It's time.

Professor Carnaby? - Yes?

- There's a phone call for you, sir.

It's the Boston Clinic.

- Oh dear, George there? - Mm.

- Yes, professor.

Will you show Miss Muller upstairs.

Won't be long but George would be very informative.

Back as soon as I can.

- This way, please.

(eerie music)

- 10:40, initial test has begun.

The girl, Helga Mahler is now alone with Jorg Kesselheim.

If he can stay in control for five minutes,

he will remain in control.

And I will have affected a cure.

Five minutes.

- Laboratory's upstairs, miss.

- Thank you.

- Please.

(dramatic music)

- What is along here?

- Therapy rooms.

(Helga screaming) (intense dramatic music)

- Failure.

Complete failure.

- I, I didn't touch her.

- Boz? - Lacerations.

Bruising, neck broken.

- You didn't touch her, hm?

- I, I don't remember.

I swear to you I don't remember.

I'd left her alone for a few moments.

She wandered down the corridor.

She went into that room and then I heard her scream,

and then,

- And then she was lying at your feet.

- Yes, but I don't remember touching her.

- You didn't touch her because you're cured, aren't you.

Take him to his room.

Lock him in.

Total failure.

(Sylvia groaning)

(birds chirping)

- I feel as many of my patients do.

I struggle between logic and emotion.

My logic tells me that Kesselheim's relapse was partly

to be expected.

Yet I'm bitterly disappointed.

I was so sure, so certain that Kesselheim was ready.

So sure of success.

This failure means that the next test is utterly crucial.

It is vitally important to me and my researchers

that Bostyne does not fail with the American girl.

- Morning. - Morning.

- Good morning. - Did the old man eat?

- Uh, yes.

- How you feeling this morning?

- Huh.

- Yeah, well I woke up with a granddaddy of a hangover.

Yeah, remind me to stay off the wine.

Make the coffee black. - Black.

- Where's Helga?

- Oh, I think she went to town this morning, early.

Isn't that right, Boz?

- Yes, Miss, with George to do some shopping.

- That's funny.

I didn't hear the car.

Then this morning I wasn't seeing

or hearing anything too well.

Mm, where is the professor?

- Working in his study. - Oh.

- Bostyne can and must succeed.

After all my success with Aldrich has been phenomenal.

- Sedated he is a normal charming human being.

Unsedated.

- [George] How long do I have to stay in here?

- He didn't say.

- [George] Well tell him it wasn't my fault.

Tell him I,

(clock gently chiming)

- Hello. - Hello.

- It's eight o'clock. - Uh-huh.

- There are can't be any shops open now, can there?

Helga's been gone all day.

- Oh, she probably got lost.

- No, George was with her.

Michael? - Hm?

- How long have you been here?

- Oh, sometime.

I came to interview the old man,

persuaded him to let me stay on and observe.

He doesn't know it yet

but I've almost finished drafting the shape

of his biography.

I'll twist his arm yet.

- Well during that time have any other students come

to stay here?

- What are you getting at?

(dramatic music)

- I don't know.

It's just, I woke up this morning with such a hangover.

And it couldn't have been the wine.

I only had one glass.

Anyway it didn't feel like a hangover.

- You're lucky.

My head was split in two halves.

- Well you didn't drink that much did you.

- [Micheal] Enough I suppose.

- Well, I felt as if I'd had sleeping pills.

I was really groggy.

- Couldn't have been pills, could it.

- [Sylvia] Well I don't suppose so.

- Look, I've got type some of this up before dinner

so I'll see you later, eh.

(eerie music) (Sylvia sighing)

(Boz whistling tunelessly)

- Boz.

How's Kesselheim?

- Still sticking to his story.

- Doesn't remember. - Mm.

We'd better start investigating.

Take him right back through it.

I'll need you until I'm sure he's classified as dangerous.

(dramatic music)

(bright music)

(dramatic intense music)

Now Kesselheim, we can go through the events once more.

- A, B, K.

Aldrich, Bostyne, Kesselheim.

- It's as I told you before.

I'd let her alone for a few moments.

She wandered down the corridor and went into the room alone.

- You're blocking Kesselheim, you're blocking.

- No. - I'm very displeased.

You know what that means.

We may have to withhold your treatment indefinitely.

(dramatic music)

- Micheal!

Micheal!

(eerie music)

(Micheal whistling)

(eerie music)

(dramatic music)

(eerie music)

(dramatic music)

(intense music)

- Don't forget the doors.

Preliminary report.

Subject refused, uncooperative.

I've decided withhold treatment indefinitely.

This of course will make him very dangerous indeed

as he reverts to homicidal tendencies.

(eerie music)

(dramatic music)

Something we've forgotten, isn't there.

- [Boz] are you gonna run my test next?

- [Carnaby] Of course.

(dramatic intense music)

(Sylvia gasping)

(intense music) (Sylvia gasping)

(eerie music)

(dramatic music)

- Micheal!

Oh Micheal, thank god! - What's the matter?

- Helga is dead.

- What? - She was murdered!

Come.

She was right there.

She was right there just a few minutes ago.

Michael, I swear to you, she'd been murdered.

Bostyne, Kesselheim, Aldrich they're all killers

and they're in this house.

- Boz.

Aldrich has been out thinking us.

- Hm? - His sedation.

He isn't sedated at all.

This is water.

- Then Kesselheim was telling the truth.

He didn't kill that girl.

It was Aldrich.

- Where is Aldrich?

- Uh I haven't seen him for some time.

- And the American girl?

- Lock all the doors and shutters, switch off the phone.

I want the house sealed.

- Michael, please, you have to believe me.

He has clippings on each case.

I've seen them.

They escaped from criminal asylums.

Look, Carnaby would have access

to places like that, wouldn't he?

He probably helped him escape.

- [Micheal] Why would he do a thing like that?

- I don't know.

For his experiments.

You don't believe a word I'm saying.

I'm gonna prove it to you.

Kesselheim is in the next room.

- You mean George?

- No, I mean Kesselheim.

- Ah there you are.

I've been looking for you everywhere.

What are you doing up here?

I was, um, trying a psychologica experiment Professor,

to see just how far the press could be deceived.

- Well you are welcome to see all my facilities of course

but I do prefer the official tour.

Some very delicate experimentation going on here.

I'd be ruined.

And Slattery, this isn't your domain at all.

- Oh, no sir. - It was, uh,

all my fault professor.

I'm sorry.

(eerie music)

- Sylvia (coughs).

- I think I'd like a drink before dinner.

Hair of the dog.

Michael? - Ah yes.

You found my weakness.

- Well if you'll forgive me I'll join you later.

- How about the drink.

What would you like Sylvia, brandy?

- I don't want a drink, I want to get out of here.

That's not my imagination it's locked!

The front door's locked too.

- There's nothing sinister about that.

Boz often locks up at about this time.

(Sylvia gasping)

- Oh Micheal, for god's sake,

you've gotta believe me oh we're gonna end up dead!

(phone clicking)

Tape recorder.

- My god, I really do need a drink.

- They were upstairs.

I found them upstairs.

- Upstairs?

Everything else all right.

- Yes it was all right but we can't afford to take chances.

Break it down.

- What! - I locked them in.

- [Micheal] You did what!

- No, Michael you're gonna listen to this.

- [Carnaby] Day one subjects have arrived.

Two girls, one man.

The man looks fit and strong.

That is good.

(door thudding faintly)

This girls of course are both very pretty

which is why I chose them.

(door thudding)

It is vitally important to me and my researchers

that Bostyne does not fail with the American girl.

- That's me.

They've killed Helga and Tim.

Do you believe me now?

Michael!

- That door isn't gonna hold much longer.

- Micheal, Micheal! (dramatic music)

(men groaning)

- Sylvia, here.

(eerie music)

- Sylvia?

- He's going on up.

It's a maze up there.

He'll be searching for ages.

- Boz is downstairs.

He'll have the keys.

- Wait, wait, we'll get out.

But we've got to do it right.

Wait til Carnaby gets further away.

- Sylvia.

Miss Dee, answer me.

Answer me, you're in terrible danger.

- What's he saying?

- Sh, sh, doesn't matter, we'll move soon.

- You're with Slattery.

But he isn't Slattery.

The real Slattery was killed by the man you're with now.

By Aldrich.

- Imagine tying to get away with it.

- You hear me?

He's killed many times.

Tim Hunter, Helga, he'll kill again.

Sylvia do you hear me?

Miss Dee, answer me.

You're with Aldrich, Martin Aldrich.

He's a killer.

- So that's his ploy, divide and conquer.

- If you trust him, if you think him sane

that's a tribute to my work, to my researches.

I've given the face of normality

but beneath that exterior he's a killer

and he'll kill you.

- Don't listen to him.

- Run from him before it's too late.

- Shouldn't we make a move now?

- Not yet.

You haven't kissed me yet.

(dramatic music)

(Sylvia screaming)

- It's Aldrich.

We've got to stop him.

(Sylvia screaming) (Micheal groaning)

(dramatic music)

(Micheal yelling) (dramatic music)

(Micheal groaning) (eerie music)

(dramatic music) (Sylvia gasping)

(dramatic intense music)

(footsteps thudding)

(Sylvia screaming)

(dramatic intense music)

- Oh!

- Aldrich.

(gun firing)

(George laughing)

(Micheal groaning)

(bell ringing)

(dramatic intense music)

(Sylvia moaning)

(dramatic music)

(dramatic intense music)