Saturday, July 11, 1970: The Man Who Lived Twice (1936)

Synopsis: Hard-boiled criminal Slick Rawley (Ralph Bellamy) has been in some tough jams before, but he's really done it this time. During a botched bank job he killed a cop, and now every badge in America is looking for him. He leaves his girlfriend Peggy Russell (Isabel Jewell) in the care of his pal Gloves (Ward Bond) and runs for it.

Hiding out in a lecture hall at a medical college, he hears Dr. Clifford Schuyler (Thurston Hall) expound on his theory of crime: career criminals, he says, are the victims of a medical defect -- namely, small tumors in a certain region of the brain. Remove the tumors, Schuyler says, and the criminal can be permanently cured.

He has tested his theory on vicious dogs and apes, and in all cases the animals become gentle and docile after the brain surgery.

But as much as Schuyler wishes to test this surgery on a human, the criminal justice system won't allow it.

Rawley follows Schuyler home and offers himself as a test subject. He convinces Schuyler that this might be his only chance to verify his theory, and he asks for only one thing in return: plastic surgery so that he can forever evade detection.

After the surgeries, Rawley (literally) looks like a new man, and he remembers nothing about his past. Dr. Schuyler tells him that his name is James Blake, that he lost his memory in a car accident, and that he has no living relatives.

Blake proves to be an honest, caring and hard-working man -- the very opposite of Slick Rawley. Seeing that Blake is inquisitive and fascinated by medical books, Schuyler enrolls the young man in college, and then medical school. Soon Dr. James Blake is a renowned physician and philanthropist, a man of sterling character, dedicated to improving the lot of America's prison population.

But when Peggy happens to meet Dr. Blake, she begins to suspect that he is her former boyfriend. A dogged police detective begins to think so too. But is Slick Rawley really dead? And if he is, how can Dr. Blake be held responsible for his crimes?

Comments: What if criminality was caused by a physical ailment, one that could be corrected with surgery? What if inside every two-bit street thug there was a potential Nobel prize-winner?

That's the premise of The Man Who Lived Twice. It's an interesting idea, and stretched out across the length of a feature film, it becomes just as weird as the vampires, werewolves, mummies and reanimated corpses we've been seeing week after week. Thanks to a tautly written script, it winds up being a damned entertaining movie too, in spite of some egregious plot contrivances.

In many ways The Man Who Lived Twice is the antithesis of Anthony Burgess' 1962 novel A Clockwork Orange, in which brutal young hoodlum Alex undergoes experimental treatment designed to change him into a model citizen.

The difference, of course, is that The Man Who Lived Twice never questions the value of Dr. James Blake or, for that matter, the worthlessness of Slick Rawley. We are led -- by the hand -- to the conclusion that the improbably noble Blake is the "authentic" person, while the brutal Rawley is "inauthentic", merely a stunted byproduct of a physical illness. And we are invited to believe this despite the fact that our world contains a lot more Rawleys than Blakes.

By contrast, A Clockwork Orange argues that Alex ceases to be an authentic person the moment he can no longer choose for himself how to behave. Choice is the only moral certainty; to Burgess, a world of people who choose to do evil of their own free will is preferable to a world of people programmed by society to be "good".

To its credit, The Man Who Lived Twice seems to recognize that the issue of free will is a bit problematic, and so we follow two of Slick's former associates as each of them crosses paths with James Blake, and must decide for themselves how to react to the revelation that he's Rawley.

At first, Peggy sees Dr. Blake as nothing more than a bleeding heart from Park Avenue, a sucker that she can shake down for a few bucks; but once she suspects he's actually Slick, she sees an opportunity to take him for $5,000 in hush money. She feels no gratitude to Blake for his kindness and no loyalty to Rawley. In fact, she has no interest in anything except money, and perhaps petty revenge.

By contrast Gloves, who botches an attempt to rob Blake, would prefer to make an honest living but is stymied by his checkered past. He is surprised when Blake offers him a job as a chauffeur, and the moment he puts on the uniform his tattered dignity returns to him. Gloves becomes fiercely loyal to Blake, and the question of whether or not he is "really" Slick Rawley is no longer of interest to him.

Ralph Bellamy is splendid in his dual role, and in spite of minimal use of makeup he makes Slick Rawley seem utterly unlike James Blake. Ward Bond, too, is quite convincing as washed-up fighter Gloves. Isabel Jewell made a career out of playing the tough cookie from the wrong side of the tracks, and she turns in a standard performance here.

Beyond that I will only mention that the endless use of bombastic headlines to convey plot points in these Columbia flicks is driving me a little bonkers.

"Mayor Threatens Police Shakeup" warrants 42-point font? What is this, the story of the century? Wasn't there any other news to report today?

THE MAN WHO LIVED TWICE is available through our old friends at Loving the Classics.

Saturday, July 4, 1970: The Man They Could Not Hang (1939)

Synopsis: Dr. Henryk Savaard (Boris Karloff) is a brilliant doctor as well as a great humanitarian. He has designed a machine that will keep the blood circulating in a patient's body even when the heart has stopped. This is used in tandem with a coffin-like chamber that chills the body. With the body thus in a state of suspended animation, doctors can operate on a patient at their leisure.

With the assistance of his friend Dr. Lang (Byron Foulger), Savaard enlists his lab assistant Bob (Stanley Brown) to test the machine. Their plan is to stop Bob's heart, use the machine to circulate his blood for a time, then restore him to life. But the police burst in during the experiment. Finding Bob's heart not beating, the coroner declares him dead and Savaard is arrested for murder.

At his trial Savaard tries to explain his methods, but the jury is unimpressed. He is convicted and sentenced to hang. Embittered, Savaard vows to take vengeance on the judge, prosecutor, defense attorney and all twelve jurors .

On death row, Savaard arranges to have his body turned over to Dr. Lang after the hanging.

The prison chaplain makes a final visit to his cell in the hours before his execution, but Savaard seems unconcerned, even haughty, about facing death. Within the hour Savaard is hanged and his body is handed over to Dr. Lang.

Months later, a reporter notices something peculiar: six of the jurors in the Savaard case have apparently committed suicide. Soon he learns that the surviving jurors -- as well as the judge, prosecutor and defense attorney -- have been invited to a mysterious house. Going to investigate, the reporter learns that he and the invitees are trapped inside. Dr. Savaard's voice comes over a hidden loudspeaker, telling his guests that they will die one by one, every fifteen minutes. Moreover, no one will ever suspect Savaard because he has the perfect alibi: he's already dead....

Comments: This week we have another Columbia offering from the Son of Shock! TV package, and don't be surprised if this one seems a bit familiar. The premise here -- a gentle doctor trying to serve mankind is unjustly sentenced to the gallows, after which he becomes a murderer -- is quite similar to that of 1940's Before I Hang, which was broadcast on Horror Incorporated on May 30.

Hmm, let's see. Aside from the studio and the premise, what else do these movies have in common?

Well, both star Boris Karloff; both have the word "hang" in the title; and both titles are misleading (Before I Hang features a man who isn't hanged; The Man They Could Not Hang features a man who actually is hanged. *

But the two movies actually diverge dramatically after the initial setup. Dr. Garth in Before I Hang becomes the unfortunate victim of a Jekyll-and-Hyde side effect hidden in his breakthrough serum. Dr. Savaard simply turns into an embittered serial killer. In fact, Savaard's angry address to the courtroom is the closest I've seen to an out-and-out "Fools! I'll destroy you all!" speech from a cinematic mad scientist.

The idea of transforming Karloff from a gentle humanitarian into a monster makes a good deal of sense, because Karloff is quite convincing at both. He's an enormously likable actor. But I didn't buy his transformation in this movie. If Savaard was as gentle and humane a man as we're led to believe, even the death of his lab assistant and his unjust conviction for murder wouldn't be enough to send him over the edge. The truth is, it isn't easy to turn a truly good man into a truly evil one. Had Savaard suffered a Job-like punishment, had everything in his life taken away, even his devoted daughter Janet, that might have been enough to do the trick.

Oh, had I forgotten to mention that Dr. Savaard had a devoted daughter named Janet? She was played by Lorna Gray, who is marvelous. I guess I didn't mention her because she isn't really germane to the plot, at least until the last couple of minutes of the picture. Gray's performance, brief as it turns out to be, is one of the truly good things about The Man They Could Not Hang. So it's a pity they didn't give her more to do.

_________________________

* But let's be fair: Before My Sentence Is Commuted To Life In Prison lacks a certain dramatic punch, while The Man They Mysteriously Couldn't Kill By Hanging is a bit clunky.

Saturday, June 27, 1970: The Mummy's Tomb (1942)

Synopsis: Retired archeologist Steve Banning (Dick Foran) is regaling his son John (John Hubbard) and John’s fiancée Isobel Evans (Elyse Knox) with the story of his strange expedition to Egypt thirty years earlier: how he and the members of his expedition found the tomb of the mummy Kharis and, breaking the seal, unleashed a horrible curse that brought the mummy back to life. In a series of flashbacks, we are told how various members of the expedition were killed by Kharis, who was being controlled by the high priest Andoheb (George Zucco). In the end the mummy was destroyed and Steve and the surviving members of his party returned home.

John and Isobel find the story so fantastic that it isn’t clear if they completely believe it, but Banning claims every word of it is true.

Meanwhile, in Egypt, an elderly Andoheb is handing off his mummy-protecting duties to young Mehemet Bey (Turhan Bey). He tells the young man that the defilers of Kharis’ tomb still live; they must be tracked down and killed, and their line must be extinguished. Bey immediately makes plans to sail to Massachusetts, where the Banning family lives.

Once in America, Bey takes a job as caretaker in a cemetery, and from the caretaker’s cottage sets his plan in motion. Each night he gives the mummy the potion derived from nine tana leaves, which brings it to life. He orders the creature to kill Steve Banning. It shambles out to the Banning house and does so. The next night Bey orders it to dispense with Babe Hanson, another survivor of the expedition. This too the mummy accomplishes.

But a mummy's work is never done, and we learn that young John Banning is on the schedule for the next night. Surprisingly, the ultra-disciplined Bey hesitates. He finds himself captivated by the beautiful Isobel, and disobeys his orders from Andoheb by sending the mummy not to kill John but to capture Isobel, and bring her to him. What he does not know is that the townspeople are becoming suspicious of him, and that Kharis is close to rebelling against his sacrilege….

Comments: Let me confess right away: I’m a sucker for a good mummy movie.

My wife claims that the phrase "good mummy movie" is an oxymoron, but she is wrong. Mummies are thrilling creatures. They only do one thing (stumble around and kill people) but they do it really well. They are relentless, and of all the classic monsters in the Universal stable, they are the only ones focused exclusively on revenge.

Remember that Banning and his merry crew of grave robbers were explicitly warned not to break the seal of Kharis' tomb, but they dismissed the warning as superstitious nonsense and did it anyway. For this reason they richly deserve what's coming to them; and I find it hard not to root for Kharis in these films. I've been waiting for Horror Incorporated to bring us some mummy-related mayhem.

And mummy-related mayhem is what we get, in spite of a somewhat uneven script.

The Mummy's Tomb starts out quite shakily, dressing Dick Foran in some unconvincing old-age makeup and having him frame a flashback sequence from 1940's The Mummy's Hand. The use of scenes taken from this earlier movie is quite extensive, running more than ten minutes, or nearly a sixth of the entire movie's running time. This tells the viewer two things right away:

1. Enjoy these scenes set in Egypt, because you won't see any more of them for the rest of the film.
2. Wasn't The Mummy's Hand an exciting film? We think so too. Wish we could just show you that one again.

But once we're done with this clumsy bit of exposition, the movie starts running on its own power. Transplanting the action to Massachusetts is a bit problematic (how a shambling mummy is able to navigate the streets of Mapleton without being observed is never addressed) and the action is rather slow out of the gate, but it pays off in the end. We get a good, torch-wielding mob in the finest Universal tradition, and the movie finishes in the Banning house, now burning to the ground with a presumably stressed-out mummy wandering around inside it.

You would expect a film like this to be building an atmosphere of suspense and foreboding, as the smug members of the Banning party come to realize that 30 year's distance from Kharis has not nearly enough to make them safe. But that never happens. Instead we're treated to an atmosphere of rather dreary cheapness, a problem that plagues many of the Universal horror entries from this time.

Director Harold Young likes to use newspaper headlines for exposition, a common practice for films of this era, but he hilariously overuses the tactic here; every headline employs gigantic JAPS BOMB PEARL HARBOR font:

There are always, of course, moments of unintentional hilarity in movies like this, but I will refrain from pointing any more of them out to you. It isn't a good idea to mock Kharis. If he could show up in 1942 after a sleep of 3,000 years, he could terrorize us all in 2011. He would kill me first, obviously, since I wrote this blog entry. But he wouldn't stop there: he'd track the IP addresses of all visitors to the Horror Incorporated Project and wipe them out, one by one. You might think that you could outrun him, but you would be wrong. Through the magic of tricky editing, he'd get you.

So let's just move along, shall we?

THE MUMMY'S TOMB can be found on the DVD set The Mummy: The Legacy Collection, which contains all five of the original films. It's widely available, but you might want to check Alibris first -- there are lots of used copies out there.

Saturday, June 20, 1970: The Boogie Man Will Get You (1942)

Synopsis: Nathanial Billings (Boris Karloff) is a wigged-out professor who owns a dilapidated colonial inn. Billings carries out unorthodox experiments in the basement of the house, much to the consternation of the town mayor / sheriff / banker / justice of the peace Dr. Lorencz (Peter Lorre). Billings is paying a usurious interest rate on the mortgage and for this reason is eager to sell. The only hitch is that nobody would want the place -- it is in desperate need of maintenance and is quite off the beaten track.

His prayers are answered when young divorcee Winnie Slade (Miss Jeff Donnell) shows up at the inn with the determination to buy it and restore it to its former approximation of glory. Billings gets her to agree to let him stay on for a time and work on his experiments in the basement.

The nature of his experiments quickly becomes clear to us. Billings is a patriotic fellow, and he wants to do his part for the war effort. He believes he is closing in on a method of making ordinary men into super-soldiers. Alas, none of the door-to-door salesmen he's used as guinea pigs have become super-soldiers. In fact, none of them have survived the treatment. So there is a growing stack of dead salesmen in the basement, which he is desperately trying to hide.

Soon Winnie's ex-husband (Larry Park) shows up and immediately becomes suspicious of the goings-on around the house, Dr. Lorencz becomes an unlikely backer in Dr. Billing's experiments, and a new dopey door-to-door salesman ( "Slapsie" Maxie Rosenbloom) becomes the latest chump hoping to be converted to a superman.

Comments: This is the first madcap comedy we've seen on Horror Incorporated, and it's a movie so tethered to one locale that it looks as though it was originally written for the stage -- even though the credits indicate that it's an original screenplay.

And while I knew I'd never seen it before, why did The Boogie Man Will Get You seem so familiar to me?

I finally figured it out, and no doubt you have already done so as well: The Boogie Man Will Get You is a pretty blatant knockoff of Arsenic and Old Lace, which was a popular Broadway show at the time. Karloff himself had originated the role of Jonathan Brewster on stage the previous year. Instead of two dotty but lovable aunts collecting dead bodies in the cellar of their boarding house, we have a dotty but lovable scientist storing dead bodies in the cellar of his inn.

As you've probably already guessed, this is about as much a horror movie as Arsenic and Old Lace was. It seems to have slipped into the Son of Shock! package more or less by accident (perhaps the title and the presence of Karloff and Peter Lorre convinced someone at Screen Gems that it was a horror flick).

So we must shrug for the moment and go along with it.

As a horror movie, it's obviously a non-starter. As a comedy -- well, it certainly makes you appreciate Arsenic and Old Lace, in much the same way that watching Starcrash improves your opinion of George Lucas' talent as a filmmaker:

Karloff is perfectly serviceable in the absent-minded professor role, and Peter Lorre in particular seems to be enjoying himself as the kooky and amoral Dr. Lorencz. Retired boxer "Slapsy" Maxie Rosenbloom gets in some laughs as an unsuccessful cosmetics salesman.

And Jeff Donnell (here credited as "Miss Jeff Donnell") shines in her too-brief screen appearance. Considered too plain-looking to be a romantic lead (at least by Hollywood standards), her career sputtered out too quickly.... though I suspect any agent who let her use the stage name "Jeff" might not have been acting in her best interests.

But beyond that?

Hmm....well...

Nah. Sorry, I got nothin'.

___________________________

THE BOOGIE MAN WILL GET YOU is available on the 2-DVD set Icons of Horror Collection: Boris Karloff

Look, what do I know? Maybe you'll like it. Proceed with caution.

Saturday, June 13, 1970: The Black Room (1935)

Synopsis: In a Tyrolean fiefdom, a baron anxiously awaits the birth of an heir. But he is greatly distressed to learn that his wife has given birth to twins. An old family prophecy holds that one day twins will be born to the family, and that the younger twin will murder the older in the onyx-lined "black room" of the castle. Fearful of the prophecy, the baron orders that the entrance to the room be bricked up.

Some forty years later, we find the older twin Gregor ruling as baron. He is a cruel and dissolute tyrant, hated by his subjects, and he is suspected in the disappearances of several young women. But the local authorities turn a blind eye to his activities.

The younger twin Anton (Boris Karloff) is a nice but somewhat ineffectual fellow, and has been away since his brother's rule began. At Gregor's invitation, Anton returns home.

At first Anton refuses to believe the rumors about Gregor, but it soon becomes clear to him that his older brother is every bit as cruel and despotic as the locals allege.

When Gregor is implicated in the disappearance of Mashka, a gypsy serving girl, the townspeople rise up. They storm the castle and demand Gregor be handed over to them.

To everyone's surprise, Gregor tells the townspeople that he will relinquish his authority immediately and turn it over to his younger brother Anton. This mollifies the crowd and Anton becomes the new baron.

While acquainting Anton with his new duties, Gregor shows him an interesting trick: inside the huge fireplace in the main hall there is a secret passage that leads into the Black Room. Gregor reveals that he has been there many times, and that there is a pit beneath the room. When Anton looks down into the pit, he sees a number of bodies that have been thrown down there -- including the body of the missing girl Mashka. Gregor strikes Anton and tosses him down into the pit as well.

As Anton dies, Gregor taunts him. He reminds him that, according to the prophecy, Anton was supposed to kill Gregor in that room. "The prophesy will be fulfilled!" Anton insists. "From the grave?" Gregor asks sarcastically. "Yes," Anton says as he dies. "From the grave!"

Emerging from the Black Room, Gregor now assumes the identity of Anton, able to rule again while being absolved of all his past crimes. Yet Anton's dying words keep coming back to him...

Comments: Whenever you are introduced to a pair of twins in the movies, you can be sure that one twin will turn out to be good and the other evil. This is such a persistent cinematic trope that if I didn't know better, I'd assume that this was simply an accepted fact of real life.

Well, what do I know? Maybe it is; my experience with twins is quite limited. I seem to remember a pair of twins in my kindergarten class; neither seemed noticeably good or evil, but perhaps their true natures hadn't yet emerged.

Many years later I spent a summer working in a factory with a pair of stunningly beautiful twin gymnasts. For most of the summer I simply assumed I was dreaming and that they weren't really there. I remember being rather sweet on one of them (probably because she laughed at my jokes), but neither seemed the least bit evil. Of course, the evil twin might have been pretending to be good, for her own nefarious purposes. That is exactly the sort of thing I would expect.

Passing yourself off as your good twin is a deliciously evil thing to do, and it's an absolute requirement in your standard good twin / evil twin movie.

And of course it happens in tonight's feature, The Black Room. The insidious Gregor kills brother Anton and takes his place. This is bad luck for for Anton but a good thing for us, because good twins are always boring and we're much better with him out of the way.

Prophesies, of course, always come true in the movies as well. That's just a fact. So we know going in that even in death, Anton will somehow manage to kill Gregor in the Black Room. And we're not disappointed.

This is the second Columbia feature to be broadcast on Horror Incorporated, and already we're seeing a pattern: Columbia horror films are a bit stingy on the horror. Not a great concern -- this movie is pretty lively -- but Universal would have at least thrown in a torture chamber or a vampire or something to keep it interesting.

Another difference is that angry villagers in a Universal film always carry torches and pitchforks. They get liquored up and act crazy. But disappointingly, the villagers aren't really angry here; they are stone cold sober and they arrive at the castle empty-handed. And when Gregor renounces his title, they all melt away.

The citizens of Vasaria would never have stood for it. They'd have burned down the castle just for the trouble Gregor had put them all to.

Karloff does a good job playing the dandified Anton, but the real fun is clearly playing Gregor, and later, playing Gregor playing Anton. Unlike some actors who have done double duty on-screen, Karloff is perfectly capable of playing two entirely different characters. As always Karloff is wonderful to watch and I'm happy that the fame he found in Frankenstein made it possible for him to break into more lead roles. He's really marvelous here.

THE BLACK ROOM is available on the 2-DVD set Icons of Horror Collection: Boris Karloff

It's widely available, and if your local video store doesn't have it, Amazon.com will.

Saturday, June 6, 1970: Behind the Mask (1932)

Synopsis: A Sing Sing inmate named Quinn (Jack Holt) is plotting an escape. His cellmate Henderson (Boris Karloff) advises against it, claiming that powerful friends will spring both of them soon if they are patient. But seeing that Quinn will not be deterred, Henderson tells him how to get in touch with his associate on the outside, a man named Arnold (Claude King).

Quinn’s escape is successful and he travels to Arnold’s mansion in the country. Arnold seems afraid to assist Quinn, but is too frightened of his employer, the mysterious drug kingpin Mr. X, to refuse. He employs Quinn as his chauffer, and Quinn becomes enamored of Arnold’s beautiful daughter Julie (Constance Cummings).

Soon enough Henderson is released and makes contact with Dr. August Steiner (Edward Van Sloan), who runs the Eastland Hospital. We learn that Steiner is also an agent of Mr. X , and he tells Henderson that Mr. X arranged for him to be incarcerated so long because he was displeased with him.

Henderson suggests Quinn as the perfect man to deliver the next drug shipment for the organization. But as soon as Steiner sees Quinn he knows the man is an undercover federal agent. Henderson is shocked and angered by this revelation.

But the plan to have Quinn to pick up the shipment via seaplane goes forward. After Quinn delivers the drugs to a ship at sea, Henderson instructs Quinn to take off and then bail out – the boat, he says, will come to his location and pick him up. Quinn, sensing that this is an attempt to dupe him, quickly “rigs a dummy”*, attaches it to the parachute and tosses it overboard so that Henderson will think it’s him.

But before long Steiner captures Quinn himself. He plans on disposing of the federal agent in his usual manner – by getting him admitted to his hospital and subjecting him to an unnecessary – and fatal – operation….

Comments: Okay, let's see what we've got here. A sinister mastermind known only as“Mr. X”. A wire recorder that captures phone dispatches from criminal agents. Hospitals where snoopy undercover cops are dispatched with unnecessary surgeries. Sounds like fun, right?

Well, sure it does. And the truth is, director John Francis Dillon could have made a good movie from the raw material that went into Behind the Mask. Instead, every time he got close to doing something interesting, he chickened out.

It's difficult to understand how you could blow so many opportunities in a mere 70 minutes. Everything in this movie is bungled – Agent Burke’s murder at the hands of the drug gang establishes an entirely different m.o. than is used later in the film. Quinn’s romance with Julie seems exhausted and perfunctory. Henderson’s attempt to kill Quinn when he discovers his identity is exceedingly clumsy (why doesn’t Henderson just shoot him?). Mr. X himself, whose identity is supposed to be the Big Fat Secret Key To Everything, isn’t even mentioned until 24 minutes into the picture. You can get away with pacing like that if you’re Tarkovsky or maybe Hitchcock, and then just barely.

This is a movie that perfectly demonstrates the kind of bread-and-butter character parts Boris Karloff won before he became a household name in his mid-40s. Karloff worked on this movie after Frankenstein was filmed, but before it was released. After his smash success playing Colin Clive's tormented science fair project, he was able to quit playing common thugs and graduated to mad scientists and brilliant lunatics.

Perhaps because success came relatively late in his career, he never seemed to take it for granted, saying "You could heave a brick out of the window and hit ten actors who could play my parts. I just happened to be on the right corner at the right time." It's a statement that I guarantee you'll never hear from Tom Cruise.

Karloff is lucky, too, that he gets to work again with Edward Van Sloan, who gives a remarkably wacky and over-the-top performance here as Dr. Steiner.

Better-known today as the father of actor Tim (The Magnificent Ambersons) Holt, Jack Holt was once famous in his own right. He appeared in nearly a hundred silent features, and he carried on as a brusque leading-man type well into the sound era. I always associate him with Robert Armstrong for some reason, perhaps because they worked in the same era and used the same theatrical rat-a-tat delivery.

BEHIND THE MASK never had a proper DVD release, but you can purchase a copy from Loving the Classics, a great site for public-domain movies.

__________________________

*How? There was only room for one dummy on that plane.