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FunTranscript
00:00:30♪♪
00:01:00I'm going to be
00:01:17First in your fire!
00:01:19Why, Mr. Wood, what is wrong with me?
00:01:21You.
00:01:22It is your idea we come up this forsaken hole over the weekend.
00:01:25If I die of Pneumonia, it will be your death decided.
00:01:28Mr. Wood, I tried to be a competent secretary,
00:01:31but I have absolutely no control over the elephant.
00:01:35How did I know it was going to rain?
00:01:37See?
00:01:38The paper says fair and warmer.
00:01:41That's last week's paper.
00:01:42You're still fired.
00:01:45How much further do we go?
00:01:47Won't be long now, Mr. Wood.
00:01:49Well, it better not be.
00:01:50It's going to rain.
00:01:51It's going to rain.
00:01:52It's going to rain.
00:01:53It's going to rain.
00:01:54It's going to rain.
00:01:55It's going to rain.
00:01:56It's going to rain.
00:01:57It's going to rain.
00:01:58It's going to rain.
00:01:59It's going to rain.
00:02:00It's going to rain.
00:02:01It's going to rain.
00:02:02It's going to rain.
00:02:03It's going to rain.
00:02:04It's going to rain.
00:02:05It's going to rain.
00:02:06It's going to rain.
00:02:07It's going to rain.
00:02:08It's going to rain.
00:02:09It's going to rain.
00:02:10It's going to rain.
00:02:11It's going to rain.
00:02:12It's going to rain.
00:02:13It's going to rain.
00:02:14It's going to rain.
00:02:15It's going to rain.
00:02:16It's going to rain.
00:02:17It's going to rain.
00:02:21Is there something the matter?
00:02:23I guess we're stuck.
00:02:25You guess you're stuck.
00:02:29What are you trying to do?
00:02:31Kill me?
00:02:32Oh no, it's not as serious as that.
00:02:34We just skidded into a fallen tree.
00:02:37Don't tell them.
00:02:38Don't tell them what the plain seal suggests of us.
00:02:41I'm sorry, sir, but I never did work well underwater.
00:02:45I know this part of the country isn't with me.
00:02:48There are several houses nearby.
00:02:50We can walk to one of them.
00:02:52Swim, you mean.
00:02:53I see a light down that way.
00:02:55You couldn't see a light if you looked in a forest fire.
00:03:18It's all right.
00:03:19It's all right.
00:03:20It's all right.
00:03:21It's all right.
00:03:22It's all right.
00:03:23It's all right.
00:03:24It's all right.
00:03:25It's all right.
00:03:26It's all right.
00:03:27It's all right.
00:03:28It's all right.
00:03:29It's all right.
00:03:30It's all right.
00:03:31It's all right.
00:03:32It's all right.
00:03:33It's all right.
00:03:34It's all right.
00:03:35It's all right.
00:03:36It's all right.
00:03:37It's all right.
00:03:38It's all right.
00:03:39It's all right.
00:03:40It's all right.
00:03:41It's all right.
00:03:42It's all right.
00:03:43It's all right.
00:03:44It's all right.
00:03:45It's all right.
00:03:46It's all right.
00:03:47It's all right.
00:03:48It's all right.
00:03:49It's all right.
00:03:50It's all right.
00:03:51It's all right.
00:03:52It's all right.
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00:03:54It's all right.
00:03:55It's all right.
00:03:56It's all right.
00:03:57It's all right.
00:03:58It's all right.
00:03:59It's all right.
00:04:00It's all right.
00:04:01It's all right.
00:04:02It's all right.
00:04:03It's all right.
00:04:04It's all right.
00:04:05It's all right.
00:04:06It's all right.
00:04:07It's all right.
00:04:08It's all right.
00:04:09It's all right.
00:04:10It's all right.
00:04:11It's all right.
00:04:12It's all right.
00:04:13It's all right.
00:04:14It's all right.
00:04:15It's all right.
00:04:16It's all right.
00:04:17It's all right.
00:04:18It's all right.
00:04:19It's all right.
00:04:20It's all right.
00:04:21It's all right.
00:04:22Mr. Raynes.
00:04:23Oh, hello, Carraway.
00:04:24I'm sorry.
00:04:25I didn't recognize this was Dr. Kent's house.
00:04:29Just a moment, Ainz.
00:04:31I don't know who this Dr. Kent is, but I'm getting out of the storm even if it's to be
00:04:35The Missing Lady.
00:04:38Coming in, Mr. Raynes.
00:04:43Well, this is a surprise.
00:04:46Good to see you.
00:04:48Yes, I suppose it is a surprise.
00:04:50We skidded off the road, hit a tree, and became mired in mud,
00:04:53and yours is the nearest house.
00:04:54Oh, pardon me, Dr. Kent.
00:04:55This is Herman Wood, the famous theatrical producer.
00:04:57You no doubt have heard of him, even if you haven't met him.
00:05:00Delighted, Mr. Wood.
00:05:01You're courageous to face the storms we have up here.
00:05:04Courageous?
00:05:05Insane, you mean.
00:05:06How do you do that?
00:05:07And this is Homer Erskine, his son.
00:05:09He's a great actor.
00:05:10How do you do that?
00:05:11And this is Homer Erskine, his secretary.
00:05:13How are you, Erskine?
00:05:15Aw, wet.
00:05:17I agree with you for once.
00:05:21Hello, Gloria.
00:05:22Glad to see me.
00:05:23More than you know.
00:05:24A certain gentleman here doesn't take our engagement seriously.
00:05:28Harry.
00:05:29Hello, Ames.
00:05:30How do you do?
00:05:31Gloria, this is Mr. Wood, Mr. Erskine, Miss Shaw, and Mr. Terry Gray.
00:05:37Oh, Mr. Wood.
00:05:38I've heard so much about you.
00:05:40Yeah.
00:05:41I was afraid of that.
00:05:42How are you, young man?
00:05:43Still quite normal, thank you.
00:05:45Nice of you all to drop in like this.
00:05:47Your idea wasn't it, Ames?
00:05:49After all, you were invited.
00:05:51That had nothing to do with it, and I assure you, I wouldn't be here now if I could help it.
00:05:55We were just driving to my place when Mr. Wood was going to hear me read my latest play.
00:05:58Another play, Pastor?
00:05:59My, you are prolific.
00:06:01Well, play or no play, I ought to be in New York.
00:06:04In bed.
00:06:05Well, I'm afraid you'll have to remain my guest for the night.
00:06:07My chauffeur tells me the roads are completely out.
00:06:10Oh, forgive me for keeping you in these wet things.
00:06:12I'll have Carraway show you to some rooms immediately.
00:06:15Then you'll join us for a cocktail before dinner for your staying, of course.
00:06:18Well, I like the cocktail part of the program.
00:06:21Oh, Carraway, take Mr. Ames and his friends upstairs immediately.
00:06:25Owing to the storm, they're going to stay for the evening.
00:06:27Yes, sir.
00:06:28This way, please.
00:06:30Who are you?
00:06:32Why, I'm...
00:06:34I...
00:06:35You tell her.
00:06:36I'm beginning to be uncertain of everything.
00:06:38Why, this is Mr. Wood.
00:06:40I'm Mr. Erskine, his secretary.
00:06:45I pity you so much.
00:06:47You're surrounded by tragedy and sorrow.
00:06:52Oh, you are, sir.
00:06:54You're surrounded by tragedy and sorrow.
00:06:58Well, you are psychic, Beatrice.
00:07:00Mr. Wood is the greatest producer of tragedies and dramas in the country.
00:07:05You mean he was.
00:07:13Hey, uh, Ames, about this play of yours...
00:07:16Why, yes, it's in my bag.
00:07:18As long as we can't reach my place, why not let me read it to you here?
00:07:22I just remembered an important appointment tomorrow in the city.
00:07:25I must return tonight.
00:07:27Isn't that right?
00:07:28Yes, absolutely.
00:07:29He has to address the Traveler's Aid Society on the proper way to fold a timetable.
00:07:34My dear Mr. Wood, I would gladly assist you,
00:07:37but until the storm abates, there's no way of reaching the city.
00:07:40Well, we may as well accept the situation, Mr. Wood.
00:07:43We'll have a good dinner and then retire to Dr. Kent's study for a nice quiet reading.
00:07:47Perhaps, uh, it'll make you appreciate my play all the more.
00:07:50They say a full stomach reads tolerant.
00:07:52Well, something tells me I shall need it.
00:08:08Miss Raines, this is your room. You've used it before.
00:08:11This way, gentlemen, please.
00:08:13This is yours, sir.
00:08:15And this is yours.
00:08:25Just a moment.
00:08:27Have that coat dried out.
00:08:29Yes, sir. Right away, sir.
00:08:30Anything else, sir?
00:08:32Yes, close the door when you go out.
00:08:34Yes, sir.
00:08:43Come on.
00:09:14Well, the ghost walks tonight or never.
00:09:16You don't sound very hopeful.
00:09:18To the contrary. Not only hopeful, but brave.
00:09:22I'm going to ask you to marry me and go to California,
00:09:25where the sun always shines
00:09:27and the oranges fall from the trees to your breakfast table.
00:09:30Oh, that's a beautiful picture on a stormy night like this.
00:09:33I'm going to ask you to marry me and go to California,
00:09:36where the sun always shines
00:09:38and the oranges fall from the trees to your breakfast table.
00:09:41Oh, that's a beautiful picture on a stormy night like this.
00:09:44But with or without the oranges and sunshine,
00:09:46you know I won't marry you, Terry,
00:09:48because I love someone else.
00:09:52Terry!
00:09:53Pardon me?
00:10:02You're not a very easy man to discourage, are you?
00:10:05You forget that Gloria here is engaged to a mutual friend of ours.
00:10:09I don't think that's any of your business.
00:10:11Look here, Gray. I don't like your attitude.
00:10:15In fact, I don't think I like anything about you.
00:10:17So what?
00:10:18Why must you two always act like gladiators?
00:10:21Be sensible.
00:10:22Tonight of all nights must not be the time for any discord.
00:10:25You know I've never given you cause to think of me as more than a friend.
00:10:28That depends on your viewpoint.
00:10:30I might argue that statement.
00:10:32I'd like to give you the thrashing you deserve for those insinuations.
00:10:34Please!
00:10:36We'll discuss this later.
00:10:59Eskin!
00:11:02Did you hear that scream?
00:11:04Yes.
00:11:05You sounded like a grand opera star with acute indigestion.
00:11:08Worse than that.
00:11:09It sounded like something I'm hearing.
00:11:11Oh, pure imagination.
00:11:13If I allowed a noise like that to scare me,
00:11:16your voice would have killed me long ago.
00:11:18Look here.
00:11:19Are you trying to insinuate I'm afraid?
00:11:21I'm just nervous, that's all.
00:11:23What kind of a madhouse is this, Eddie?
00:11:25Oh, don't be so excitable.
00:11:27It's probably your liver acting up again.
00:11:31Have you your pill?
00:11:32My pill?
00:11:36And did you folks hear a scream?
00:11:38Yes, it frightened me too.
00:11:40Yes, I can't understand where it came from.
00:11:42Tell them where it came from, Ames.
00:11:44You've heard it before.
00:11:46Why scare your friends unnecessarily?
00:11:49Perhaps you're right.
00:11:53Any scream you may have heard probably came from Beatrice's room.
00:11:57She's Dr. Kent's patient and Mr. Gray's sister.
00:12:01You met at the foot of the stairs.
00:12:03She's just a little, uh, irrational at times.
00:12:06Well, as far as I know, it's nothing to worry about.
00:12:08Simply emotional outbursts.
00:12:11Don't you just love a night like this?
00:12:14This old house seems to belong in the rain and thunder.
00:12:17I read a book once about an old, old house.
00:12:20And oh, I don't know how many murders happen
00:12:22on just such a night as this.
00:12:25Was that, was that the clock?
00:12:27Yes, I, I guess so.
00:12:29I, I think so.
00:12:30It must have been.
00:12:31But it's a union clock.
00:12:33What do you mean?
00:12:34Well, it strikes in the old times.
00:12:41It's a union clock.
00:12:43What do you mean?
00:12:44Well, it strikes in the old times.
00:12:47It's a union clock.
00:12:49What do you mean?
00:12:50Well, it strikes in the old times.
00:12:52What happened?
00:13:08What's the matter with Beatrice?
00:13:20Yes, John?
00:13:22I am waiting for you, I am waiting.
00:13:52That woman gives me goose pimples.
00:14:02I've seen saner people than her in asylums.
00:14:06I'm sorry this had to happen, Beatrice's spells are unnerving to a stranger, but after one
00:14:10gets to know her...
00:14:11Know her?
00:14:12Say, if I never see her again, I'll be satisfied.
00:14:15Now if you'll be so kind as to find some method for me to leave this house, see that I take
00:14:19it.
00:14:20Oh Prescott, we couldn't let you do that with your friend.
00:14:23I think your friend is unduly alarmed, Ames.
00:14:25Oh, is that so?
00:14:26Well, who asked you?
00:14:28He has high blood pressure, he should calm himself.
00:14:32Miss Beatrice's actions are nothing to fear, she simply dwells in the unknown.
00:14:37As her attending physician, I can speak freely, the girl suffers from hallucinations and the
00:14:42shock of a tragedy that occurred in this house three years ago this night.
00:14:47Mr. Ames remembers that night very distinctly, no doubt.
00:14:51That's why he shuns my house.
00:14:52Doctor, can't I see no reason for making my sister's grief public talk?
00:14:56I bet the doctor's going to tell us about some terrible operation.
00:15:00That ought to be cheerful.
00:15:02The unsolved murder of your sister's husband must be public talk in this house.
00:15:07Murder?
00:15:08I have taken notes on her actions since that night, and each year at this hour, the flutter
00:15:13of that sound is heard, and she has acted as though the spirit of John, her dead husband,
00:15:17had returned to her.
00:15:18That's all there is to it.
00:15:20Erskine, we're leaving.
00:15:22Dinner is served, sir.
00:15:26No, we're not.
00:15:27Ghosts are no ghosts, we're eating.
00:15:30We're leaving.
00:15:31You're disobeying my orders.
00:15:32No, I'm not.
00:15:33You fired me an hour ago.
00:15:43Gloria, Mr. James, Mr. Wood, Mr. Erskine, hope you're all as hungry as I am.
00:16:00Just give me an aspirin.
00:16:02Just give me anything but a tomato surprise.
00:16:04I've had shocks enough.
00:16:06This is about as cheerful as an undertaker's picnic in a cemetery.
00:16:13You're right on time, John.
00:16:25I was so afraid you might disappoint me.
00:16:29Mr. Wood, I think you're right.
00:16:33We better leave now that John's here.
00:16:37Yes, Erskine, I'm not a cowardly man by nature, but my nerves won't stand this any longer.
00:16:42That woman is dangerous.
00:16:44My friends, please, I regret these unusual disturbances,
00:16:48but I've experienced these same phenomena in my patient's presence before.
00:16:52There's nothing to fear from the dead.
00:16:54I believe in spirits, but only spirits.
00:16:58Hear me?
00:16:59Beatrice, please, your brother wishes you to restrain yourself.
00:17:03My dear brother seems frightened, as well he should be.
00:17:09Just like all the rest of you are.
00:17:13Please, Beatrice, they're a guest here, friends of Mr. Ames.
00:17:17What do they mean to me?
00:17:19You, Terry Gray, you, Miss Gloria Shaw,
00:17:23and you, my delightful friend, know what that bloodstain is.
00:17:28You were at this table the night poor John fell forward
00:17:33and stained the cloth with his own blood.
00:17:37The night he was murdered.
00:17:41By one of you.
00:17:42Why, that's a lie.
00:17:46Open that door.
00:17:47Clare, I'll call the police.
00:17:49Oh, this is outrageous.
00:17:50Open that door.
00:17:52Unloosen that porthole.
00:17:54I'm sorry, Miss Beatrice, as old as I am, that no one leaves.
00:17:58Jarvis is only partly correct.
00:18:00I gave that order.
00:18:01What's the idea?
00:18:02The idea, my friend, is to protect my patient's health.
00:18:05Any interruption might cause the loss of her sanity.
00:18:07You want the responsibility for that on your shoulders?
00:18:10I think you're as crazy as she is.
00:18:12Don't aggravate him.
00:18:14They're all dangerous.
00:18:15Everyone will please sit down.
00:18:24You can't frighten me into anything.
00:18:26I don't know who killed your husband.
00:18:28But I believe your brother can tell you.
00:18:30I thought you'd try to insinuate something like that.
00:18:33And I'm glad you did.
00:18:35Now I can voice what I've suspicioned these past years.
00:18:38You were jealous of John.
00:18:39You wanted to marry Beatrice for money.
00:18:41You were a penniless hack playwright.
00:18:43She preferred John.
00:18:45And you killed him.
00:18:46There's always been insanity in your family.
00:18:48Wait.
00:18:49He's right.
00:18:50I, too, always thought you killed John.
00:18:52You're unscrupulous enough to have done it.
00:18:54That's enough of that kind of talk.
00:18:56You aren't free from suspicion either.
00:18:59As John's cousin, you inherited more money from his death
00:19:03than I did.
00:19:04How dare you say that?
00:19:05I can't listen any longer.
00:19:08In the name of humanity, allow Leska and I
00:19:11to get out of here before they kill each other.
00:19:14I appreciate that we have outside witnesses
00:19:16to what is going to happen.
00:19:17There is a murderer in this room,
00:19:19and we're going to find him.
00:19:22John.
00:19:23John.
00:19:24Tell me the person who killed you.
00:19:28Speak.
00:19:29Quickly.
00:19:30Why don't you admit it?
00:19:31Hurry.
00:19:32Hurry.
00:19:33Before it is too late.
00:19:35You won't talk now or I'll break your neck.
00:19:38Lunch!
00:19:39John.
00:19:40No!
00:19:41John.
00:19:42John.
00:19:43Speak to me.
00:19:44John.
00:19:45No!
00:19:48Simon, turn on those lights.
00:19:56All right, where's Beatrice?
00:19:57Where?
00:19:58I don't know.
00:20:02Dr. Kent, I demand I be allowed to leave this room.
00:20:05And I'm with you.
00:20:06Remember my years of devotion to you.
00:20:09Divided we arrive, but united we leave.
00:20:12Of course, I'd give anything in the world
00:20:14if this hadn't happened.
00:20:15Jarvis, open that door.
00:20:17Oh, Mr. Wood, I'll see you later.
00:20:19You'll not see me later.
00:20:20Not for a month, not for 10 years.
00:20:22I'm getting out of here.
00:20:32And so ends the first act of my little play.
00:20:38Oh, darling, it was wonderful.
00:20:40Well, we certainly scared those two.
00:20:44Yes, and Wood's famous for his temper.
00:20:48Isn't it remarkable how they reacted
00:20:50almost exactly as you had written them into your play?
00:20:56Oh, I'm tired.
00:20:57I need two more acts to go.
00:20:59Well, you're as clever a group of actors
00:21:01as I've ever seen.
00:21:02And I've got Glory to thank for finding you.
00:21:04Didn't I tell you they were troopers?
00:21:06You don't think we frightened them too much, do you?
00:21:09What's the difference?
00:21:10It's a blooming order of play, ain't it?
00:21:15Oh, Jarvis, go get Beatrice.
00:21:17Good old Beatrice.
00:21:18She certainly played her part well.
00:21:20Yay.
00:21:21But I was afraid she wouldn't scram
00:21:23before the lights turned up.
00:21:24Beatrice, are you hurt?
00:21:26Beatrice, what's the matter?
00:21:28Speak.
00:21:29She's, she's dead.
00:21:32This isn't my room.
00:21:34No.
00:21:35And whoever it does belong to has a gun.
00:21:38A gun?
00:21:39No, no.
00:21:40Let's don't annoy.
00:21:41Oh, shut up.
00:21:42I'm sorry.
00:21:43I'm sorry.
00:21:44I'm sorry.
00:21:45I'm sorry.
00:21:46I'm sorry.
00:21:47I'm sorry.
00:21:48I'm sorry.
00:21:49I'm sorry.
00:21:50I'm sorry.
00:21:51I'm sorry.
00:21:52I'm sorry.
00:21:53Can't he just sit in ìž and say,
00:21:54oh, you bother the others without making any good noise?
00:21:56Oh, shut up.
00:21:57Just make them in handy.
00:21:58A manuscript.
00:21:59The Ghost Walks By Prescott Ainge.
00:22:01I see.
00:22:12As the group seat themselves at the table,
00:22:14the vacant chair also moves out,
00:22:17as if an invisible person was preparing to sit down.
00:22:21As the vacant chair slides back to the table,
00:22:23Beatrice addresses its invisible occupant.
00:22:26Beatrice, speak.
00:22:28You are right on time, John.
00:22:32Erskine, we've been witnessing a dress rehearsal
00:22:36of Ames's horror play.
00:22:38You mean all those stairs were part of the play?
00:22:41Certainly.
00:22:42Wait.
00:22:43Here.
00:22:44Try it again.
00:22:45Here.
00:22:46Listen to this.
00:22:47Listen to this.
00:23:18I'm afraid my play has been surpassed.
00:23:23We have a real menace in this house.
00:23:27Well, there was no one in the house but us,
00:23:29and we were all in the dining room.
00:23:31I know I was.
00:23:33That's right, because I was struggling with you.
00:23:35I was standing near the light switch.
00:23:37And I was at the table, as you all know.
00:23:39I was playing ghost.
00:23:40I was all over the room.
00:23:41But I didn't do it, I tell you.
00:23:42I didn't do it.
00:23:43Of course you didn't.
00:23:44Now, don't lose your head.
00:23:46Don't any of us.
00:23:49A death-like face slowly appears in the dark.
00:23:52Ghostly, white in pallor.
00:23:54The face seems to float as it reaches the table.
00:23:57Beatrice, hysterically.
00:23:59John lights out.
00:24:01Everyone remains where standing, with the exception of Beatrice,
00:24:05who disappears through a door in the kitchen.
00:24:08So they thought they'd impress me with their phony theatricals,
00:24:11eh?
00:24:13Me, who staged the burning of Rome
00:24:15while the gladiators would be gored to death
00:24:17in the animal pits.
00:24:19I wasn't scared a bit.
00:24:21Neither was I.
00:24:23So, what are you doing under the table?
00:24:26Well, I was looking for you.
00:24:29Ridiculous.
00:24:30I hate cowards.
00:24:31When we get back to town, remind me to fire you.
00:24:34And let the play continue.
00:24:44Now that the play is over,
00:24:46I'll have to tell Wood what's happened.
00:24:49Here he comes now.
00:24:51Come.
00:24:52Come.
00:24:53Come.
00:24:54Come.
00:24:55Come.
00:24:56Come.
00:24:57Come.
00:24:58Come.
00:24:59Come.
00:25:00Come.
00:25:01Come.
00:25:02Come.
00:25:04Still making merry, I see.
00:25:06Well, we thought we'd come down again.
00:25:07It's too quiet upstairs for us.
00:25:09Yes, we're used to shrieks, sirens, and suicide.
00:25:12Yeah.
00:25:17Why, what seems to be the trouble?
00:25:19Has Miss Beatrice been found?
00:25:21Yes, she has been found.
00:25:24Dead.
00:25:25Is that so?
00:25:27No, I mean, I mean, it can't be.
00:25:28It can't be.
00:25:29It's impossible.
00:25:30What are you talking about?
00:25:32Mr. Wood, I'm trying to tell you that Beatrice is dead.
00:25:38Beatrice is dead?
00:25:41I don't believe it.
00:25:43Let's put this whole thing straight to you, Mr. Wood.
00:25:45We're all actors hired by Ames here
00:25:47to present his play to you.
00:25:49Actors?
00:25:50Everything that's happened since you arrived
00:25:52was part of the play.
00:25:54Except poor Beatrice is dead.
00:25:57Mr. Ames,
00:26:00am I to understand that I've been witnessing
00:26:02part of the play you were to read to me?
00:26:04Yes, I thought it a good method of presenting it to you.
00:26:07You see, this is really my house,
00:26:09and a fallen tree on the road was all part of my scheme to fool you.
00:26:13The storm, of course, was an added break.
00:26:15Well, if these chills and frills have been theatricals,
00:26:19where does the death of Beatrice fit in?
00:26:21Surely you don't destroy your character.
00:26:23Somebody evidently does.
00:26:26We don't know any more about it than you do.
00:26:28The police should be notified.
00:26:30Now, wait a moment, everyone, please.
00:26:32I know that this is even more confusing to Mr. Wood than it is to us.
00:26:36He still believes we're putting on a play.
00:26:39But the only thing we can do
00:26:41is to show him Beatrice.
00:26:43By all means, do.
00:26:45Yes, death is no novelty to us.
00:26:48No, we stage it eight times a week,
00:26:50including matinees.
00:26:52And benefits.
00:26:53Now, remember, no one is to touch the body
00:26:57until the police arrive.
00:26:59In there.
00:27:18Well, where is she?
00:27:21I don't know.
00:27:23What could have happened?
00:27:25I don't know. You're the author.
00:27:28This is impossible. I've never heard of such a thing.
00:27:30The police must be close. We've got to get out of here.
00:27:32Where can she be?
00:27:34Perhaps she just stepped out during the intermission.
00:27:37Gentlemen, this is too serious for joking.
00:27:40She was on that dive van ten minutes ago, dead.
00:27:42You've got to believe us for your own safety.
00:27:44Oh, and you think we're all in danger.
00:27:48We most certainly are.
00:27:51We've got to search this house
00:27:53and find Beatrice in a person who...
00:27:59I wonder who that could be.
00:28:01Well, we'll never find out until we answer.
00:28:04I will. We all will.
00:28:15Who are you?
00:28:17Who are you?
00:28:18A guard from the Greystone Sanitarium.
00:28:20Seen anything of an escaped patient around here?
00:28:22What kind of a patient?
00:28:24A quiet one, until disturbed,
00:28:26at which time he becomes slightly murderous.
00:28:29Well, so hurt me if this ain't a night.
00:28:32Oh, what's going to happen to us next?
00:28:34Who are these people?
00:28:37I didn't know anyone was living here until I saw the lights.
00:28:40Which makes you think he came here.
00:28:42Empty houses make good hideouts.
00:28:44I never saw or heard of anyone living here
00:28:46in the past few years.
00:28:49I've been living here about a month.
00:28:51I think you've come to the right house at that.
00:28:53Yes? Has anything happened?
00:28:55Uh-huh. A murder and a disappearance.
00:28:58What are you winking about?
00:29:00Winking? Why, my dear man, you're saying things.
00:29:03I simply stated a murder had been committed.
00:29:06Murder? Ah.
00:29:08Well, it's him all right, then.
00:29:10Well, who is this man you're looking for?
00:29:12At the sanitarium, we'd call him Case 222.
00:29:15I guess you'd call him a homicidal maniac.
00:29:18A maniac? And you think he'd lose in this house?
00:29:20Now, be perfectly calm.
00:29:22If my patient is here,
00:29:24and you scare him with hysterics,
00:29:26he might tear you apart
00:29:28to see what caused the excitement.
00:29:30That reminds me. Has anyone called surveillance?
00:29:33No. Well, that's a usual procedure, isn't it?
00:29:36We forgot to, I suppose.
00:29:38But there's a telephone right here in the study.
00:29:40Telephone?
00:29:48Hello?
00:29:51Hello?
00:29:57Cut.
00:29:59I suppose no one knows who did this.
00:30:01Why should we? You don't think it's fun
00:30:03to be isolated with a maniac?
00:30:05If the plague calls for it, yes.
00:30:07Well, I don't know what the rest of you are going to do,
00:30:09but I'm driving into town for the police.
00:30:11Wait. It isn't safe outside.
00:30:13I'm going to call the police.
00:30:16I'll be right back.
00:30:18So those who want to go to bed are safe enough.
00:30:20Besides, it's easier to die in bed.
00:30:22Come on, Kent. Let's turn in.
00:30:24It's as safe up there as here
00:30:26if we knock on our bedroom doors.
00:30:32What's the idea?
00:30:34Why, you're choking terribly.
00:30:36Well, can you do any better?
00:30:42Yes.
00:30:44You know, I had a hunch the theater
00:30:46should never appear in a horror play.
00:30:48Why?
00:30:50Too highly strung and impressionable.
00:30:52A fatalist.
00:30:54She figured if you were paid to scare people,
00:30:56the law of compensation would see to it
00:30:58that you got scared yourself.
00:31:00Utter nonsense.
00:31:02How could anyone possibly foresee a maniac
00:31:04coming here tonight and committing murder?
00:31:06Don't interrupt him.
00:31:08The play's improving.
00:31:10Not enough action for me.
00:31:13Tell me, Ames, just how did you happen
00:31:15to come to this house yourself?
00:31:17Funny you should mention that.
00:31:19I was just asking myself the same question.
00:31:23Of course, you saw that painting
00:31:25in the drawing room of Gussie Gillis.
00:31:27Sure. Everybody knew him.
00:31:29And his history?
00:31:31Naturally. Personally, I thought he was
00:31:33the worst butcher who ever severed a tonsil.
00:31:35Right. And you remember how nine of his patients
00:31:37mysteriously disappeared after he treated them?
00:31:39They were murdered.
00:31:41And when the police came to arrest him
00:31:43right here in this house,
00:31:45he committed suicide.
00:31:47He lost his mind from the strain of his surgical work, I guess.
00:31:49Get to the point, man.
00:31:51I know all that record.
00:31:53Now you say this house was his.
00:31:55How did you get it?
00:31:57Why, that was easy.
00:31:59I simply advertised for an old,
00:32:01isolated country home.
00:32:03And the real estate agent for the Gillis estate
00:32:05answered and said he'd be glad to rent me this place.
00:32:07It's been vacant ever since the doctor's death.
00:32:10People were afraid to live in it
00:32:12because of the crimes that were committed here.
00:32:14It's supposed to be haunted.
00:32:16And the local people swear they've seen the lights
00:32:18go on and off in this house even while it stood unoccupied.
00:32:20Well, the rest of the story is short.
00:32:22I wanted to write a play
00:32:24in the same atmosphere he had lived his ghoulish life,
00:32:26so here I am.
00:32:28I'll bet he'll come back to haunt you for this.
00:32:30Did Jarvis get away all right?
00:32:32Yes. There's no one around the grounds,
00:32:34so I think I'll search upstairs.
00:32:36I'll go up, too. I'm going to bed.
00:32:38You're resigning from your cast.
00:32:40You playwrights are all screwy.
00:32:42I take it that this ends the second act.
00:32:44Now, if you don't mind me saying so,
00:32:46I think your play is rotten.
00:32:48Well spoken, Erskine.
00:32:50Forget about being fired.
00:32:52Let's go to bed.
00:32:54Yes, go to bed, Mr. Wood, and get some sleep.
00:32:56You insist the play is still on,
00:32:58but we've tried to tell you that it's ended in a tragedy.
00:33:00Good night, sir.
00:33:02Good night, Mr. Loren.
00:33:04Good night.
00:33:07Good night.
00:33:09Be sure and let us know
00:33:11if anyone else is murdered.
00:33:13I can't convince those fools.
00:33:15They insist we're still playing for their benefit.
00:33:17Oh, I wish we were out of this dreadful house.
00:33:19First it was Terry pestering me,
00:33:21and now this awful tragedy of tonight.
00:33:23Don't worry, dear.
00:33:25You look all worn out.
00:33:27You get some sleep,
00:33:29and I'll see that nothing disturbs you.
00:33:31Oh, I'm too frightened to sleep.
00:33:33Tell me the truth.
00:33:35Who do you think could have killed Beatrice,
00:33:37and where do you think she could be?
00:33:39Well, uh, personally, I believe it was just a burglar
00:33:41who's long since disappeared.
00:33:43Then why would he steal the body?
00:33:45Oh, to cover up the crime, I suppose.
00:33:47Now you go to bed, dear.
00:33:55Ah!
00:33:57My God.
00:33:59What is it?
00:34:02Oh, you poor kid.
00:34:04Your nerves have completely gone.
00:34:32Oh, it's you.
00:34:34I ought to pull the trigger, Pat.
00:34:36Well, come on.
00:34:38Snap out of it.
00:34:40What is it?
00:34:42Mr. Wood, maybe we're wrong.
00:34:44Maybe this isn't the play we're witnessing after all.
00:34:46Oh, rubbish.
00:34:48You saw the man just now.
00:34:50I'm sure you saw him.
00:34:52I'm sure I saw him.
00:34:54I'm sure I saw him.
00:34:56I'm sure I saw him.
00:34:58I'm sure I saw him.
00:35:00Oh, rubbish.
00:35:02You saw the manuscript, didn't you?
00:35:04Yes, but I didn't see anything in it
00:35:06about the top of my bed coming down
00:35:08and smothering me just like a steak under onions.
00:35:10Oh, nonsense.
00:35:12You've had too many cocktails.
00:35:14Besides, I wouldn't be lucky enough
00:35:16to celebrate your demise by violence.
00:35:18That's a fine way for you to talk to me,
00:35:20me who has been everything to you but a mother.
00:35:22Now, Mr. Wood, listen to reason.
00:35:24I may be all wrong.
00:35:26I'm a nervous man by nature.
00:35:29I'm the closest thing to reality
00:35:31I ever saw behind the footlights.
00:35:33Oh, you're a sissy.
00:35:35I tell you, this fellow Raines is clever.
00:35:37He has reality in his play,
00:35:39and that's what the public wants.
00:35:41Now, let me alone,
00:35:43and if you want to stay in the theatrical business,
00:35:45stop letting it scare you.
00:35:47Oh, I was kidding all the time.
00:35:49That bed bracket was only a dream I had,
00:35:51and you were in it too.
00:35:53I was not. I was reading.
00:35:55Yes, I saw that.
00:35:57I took on psychics.
00:35:59You were worried about the future yourself.
00:36:01Say,
00:36:03go home and go to bed, will you please?
00:36:05And if you want to think of the future,
00:36:07remember I'm firing you.
00:36:09Mr. Wood, I have a premonition
00:36:11that we must stick together tonight.
00:36:13You need protection.
00:36:15You mean you do.
00:36:17You're trying to muscle into my bed because you're frightened.
00:36:19Go home.
00:36:21Oh, my dear employer,
00:36:23play or no play,
00:36:25I have no relish for my own couch.
00:36:27Move over.
00:36:31Say, this is all Tommy Rock.
00:36:33You've got the mind of an oyster
00:36:35and the nerve of an acrobat.
00:36:37As my secretary,
00:36:39I do allow you to share my office,
00:36:41but that does not include my bed.
00:36:43Say,
00:36:45you were born in October, weren't you?
00:36:47Yes, during the National Apple Week.
00:36:49Why?
00:36:51It says here
00:36:53that your body type is the instincts of a bloodhound,
00:36:55the heritage of a homing pigeon,
00:36:57the attributes of a ferret,
00:36:59and the heart of a lion.
00:37:01Yet you snuggle beneath my quilts,
00:37:03you cream puff,
00:37:05because a make-believe play is scaring you.
00:37:07You're fired once and for all.
00:37:11Will you please close my mouth if I'm snoring?
00:37:13I have adenoids.
00:37:17Adenoids, too?
00:37:19My Lord.
00:37:29Homing pigeon.
00:37:31Ferret.
00:37:33Lion.
00:37:35I'm sleeping in a zoo.
00:37:49I'm sleeping in a zoo.
00:37:51Ferret.
00:38:17Harry.
00:38:19I was worried about you.
00:38:21Up here, all alone.
00:38:23I'm all right.
00:38:25Listen, Gloria.
00:38:27You know I love you.
00:38:29Why do you always give me the cold shoulder?
00:38:31I'm just not interested, Harry.
00:38:33Why did you come here?
00:38:35It makes it very embarrassing.
00:38:37Oh, I know. You're afraid your playwright sweetheart
00:38:39would be jealous if he knew I was here.
00:38:41Well, I wish he could see you now.
00:38:43I just came in to say goodbye.
00:38:45I'm walking out on this play,
00:38:47and I've got a curtain speech to make.
00:38:49And this is it.
00:38:51Get off, Harry.
00:39:03Gloria.
00:39:05Gloria.
00:39:07I'll see what you've done.
00:39:09I'll hide in that closet until he goes.
00:39:11If you tell him I'm here, I'll say you invited me.
00:39:13Understand?
00:39:15Oh, darling, what frightened you?
00:39:17I... I saw a man.
00:39:19Oh, where was he?
00:39:21He came in that door.
00:39:23I screamed, and he went away.
00:39:25Oh, you poor kid. What a narrow escape you had.
00:39:29I wonder what that screaming was about.
00:39:31There's a light in Gloria's room.
00:39:33Let's see what's out.
00:39:35You take it easy. I'll find a guard.
00:39:37We'll search the house again.
00:39:39What's happened? We heard screams.
00:39:41Someone tried to break into Gloria's room.
00:39:43Seen anything?
00:39:45Plenty. Gloria was almost attacked by someone.
00:39:47Fancy that. Who do you think it was?
00:39:49We don't know. We'll wake up everybody and find out.
00:39:51Good idea. Let's try Terry first.
00:39:55Oh, Terry.
00:39:59He's gone.
00:40:01Not a sign of him.
00:40:03Whose room is this? That's mine.
00:40:05There's Erskine's room, and that's Mr. Woods'.
00:40:07Let's see what they know.
00:40:13Empty.
00:40:15I wonder if that maniac could have...
00:40:17Try Woods' room before my mind snaps too.
00:40:19Eh?
00:40:21Oh.
00:40:27Hey, you two.
00:40:31Get out of here.
00:40:33My office hours are from 10 to 4.
00:40:35Seen anything strange in here?
00:40:37Yes. Here's an exhibit that ought to be in a museum.
00:40:39What are you doing in here?
00:40:41I was sleeping.
00:40:43Is the play on again?
00:40:45No.
00:40:47We're just having a roll call.
00:40:49Well, consider us absent.
00:40:55Terry.
00:40:57Terry, come out.
00:40:59Come out.
00:41:11Gloria.
00:41:13What, again?
00:41:15Let go of me.
00:41:19I might as well be a fireman.
00:41:25Gloria, what is it, dear?
00:41:27It's Terry.
00:41:29He was standing right in that closet.
00:41:31He's disappeared.
00:41:37Well, what was Terry doing in your closet?
00:41:39He...
00:41:41He was hiding.
00:41:43From whom?
00:41:45Why, I...
00:41:47Oh, pardon me.
00:41:49Oh, no. Please let me explain.
00:41:51It isn't necessary.
00:41:53I think I understand.
00:41:57I'd sooner trust a lunatic than I would a woman.
00:41:59Yes, they're more reliable.
00:42:13Strange how anyone could disappear from behind a nightgown.
00:42:15You couldn't from behind my cousin's.
00:42:17She weighs 250.
00:42:21Are you winking at me again?
00:42:23Say,
00:42:25let's go down and get a drink.
00:42:27This isn't a horror play.
00:42:29It's a bedroom farce.
00:42:37I don't think this situation is fair to me.
00:42:39You people are of very little help.
00:42:43That patient of mine is evaporating.
00:42:45He thinks all I've got to do is to look for him.
00:42:47Besides,
00:42:49I promised to be a fourth of bridge tonight
00:42:51with some friends of mine.
00:42:53Speaking of wasting time,
00:42:55Jarvis should have been back from town with the police long ago.
00:42:57Oh, Carraway,
00:42:59will you and Kent go back upstairs, please,
00:43:01just to be near Gloria?
00:43:03I couldn't stand seeing her myself just now,
00:43:05but I don't want to expose her to unnecessary danger.
00:43:07I understand.
00:43:09We'll be glad to help.
00:43:11I'd just as soon go up again anyway.
00:43:13I'm dead.
00:43:15Please don't use that word.
00:43:17I don't like that fellow, Carraway.
00:43:19Oh, forget it.
00:43:21He's just a seedy butler.
00:43:25Well, I feel duty-bound
00:43:27to see this night through.
00:43:29I live here and all that,
00:43:31but I'm beginning to reach the breaking point.
00:43:33This situation is getting out of hand.
00:43:37It seems to me
00:43:39you're about as useless a guard as I've ever seen.
00:43:41Well, I've worked in two penitentiaries
00:43:43and three asylums
00:43:45and never had any complaints.
00:43:49Best actor of the bunch.
00:43:51Well, boys,
00:43:53I'm going to retire from now
00:43:55for the second time tonight.
00:43:57Abe,
00:43:59go on with your rehearsal,
00:44:01but don't disturb me for the finale.
00:44:03And again I say,
00:44:05good night.
00:44:07Please continue.
00:44:09I never walk out on anything
00:44:11that doesn't cost me something.
00:44:13What does he mean?
00:44:15Oh, these fools think we're putting on a play
00:44:17for their benefit.
00:44:19I'm hungry.
00:44:21I could destroy a few vitamins myself.
00:44:23Well, you'll find some food in the kitchen.
00:44:25I'll be waiting for you here.
00:44:47Good night.
00:45:17Good night.
00:45:47Hello?
00:45:49What are you doing down here?
00:45:51Why, I just came down to get some cigarettes.
00:45:53You shouldn't have left Gloria upstairs alone.
00:45:55Well, I'm not her guardian.
00:45:57If you're so anxious about her,
00:45:59why don't you go upstairs and play watchman yourself?
00:46:01That's just what we're both going to do.
00:46:03Well, if the scene shifts,
00:46:05so do I.
00:46:11Gloria?
00:46:13Gloria?
00:46:15Gloria?
00:46:21Gloria!
00:46:29I smell chloroform.
00:46:35This is all your fault.
00:46:37I told you not to leave her alone.
00:46:39It will arouse everyone.
00:46:41Oh, Cass!
00:46:43He's probably in his room.
00:46:45I shouldn't cue you, but here comes Kent now.
00:46:47Oh, Kent!
00:46:49Yeah?
00:46:51Gloria's disappeared.
00:46:53Huh?
00:46:55Say, have you been out in the rain?
00:46:57No, why?
00:46:59Well, whoever stole Gloria took her out of the window into the rain.
00:47:01Funny that you should be out of your room
00:47:03and then appear all wet.
00:47:05I don't like your insinuations, Mr. Ames.
00:47:07If you must know, I couldn't sleep.
00:47:09I was going to take a bath in the tub and turn on the shower.
00:47:11That's what I would call a watertight alibi.
00:47:13Maybe Mr. Wood knows something.
00:47:21Mr. Wood!
00:47:23I'd have more privacy in a convention hall.
00:47:25Come in!
00:47:31Mr. Wood, some gentlemen to see you.
00:47:33Have you seen Gloria?
00:47:35She doesn't seem to be here.
00:47:37Why?
00:47:39Gloria has been kidnapped.
00:47:41Goodie, goodie.
00:47:43I say, that's beastly rude of you.
00:47:45They accused me, but I think Teddy's the guilty one.
00:47:47He's gone too.
00:47:49They've got to search the whole place over again.
00:47:51Get up and see the fun.
00:47:53It's better than looking for a good candidate before an election.
00:47:55Not me.
00:47:57I'm staying right here.
00:47:59And if they don't stop this fool play and get out of here,
00:48:01I'll rid the world of the entire cast.
00:48:03All right, stay here.
00:48:05I hope you're the next victim.
00:48:09Mr. Wood, could I have a word with you?
00:48:11If you try to get in this bed again,
00:48:13I'll shoot youself.
00:48:15I only want to say that you're right, as usual.
00:48:17The play is still going on.
00:48:19Of course I'm right.
00:48:21I know the theater like Barnum knew his elephants.
00:48:23And I'm not possibly your working.
00:48:25In fact, I'm going to raise your salary.
00:48:27Thanks.
00:48:29People don't disappear every five minutes in real life.
00:48:31Unfortunately, some don't.
00:48:33I'd like to get some sleep.
00:48:35But the play?
00:48:37I'll give you some of the money that I pay you
00:48:39by watching it for me.
00:48:41Well, I thought you fired me.
00:48:43Not until we get back to town.
00:48:45Now, shut up and...
00:48:47Shut up.
00:48:51Guard!
00:48:53Guard!
00:48:55What do you want?
00:48:57Fine, help you are.
00:48:59Gloria's been stolen. You're standing around here eating chicken.
00:49:01Well, one must eat occasionally.
00:49:03What makes you think the lady was stolen?
00:49:05Oh, shut up.
00:49:07Her window was open. She must have been taken out of the house.
00:49:09I'm going to search the ground.
00:49:11I'm with you, Wayne.
00:49:13Hey, you, come here.
00:49:15Where's your friend?
00:49:17If you mean my honored employer,
00:49:19he's upstairs in bed.
00:49:21I think I'll go up and look him over.
00:49:23There's something queer about you both.
00:49:25He winks at you and you wink at me.
00:49:27And I don't like it.
00:49:35We'll make a careful search of the ground.
00:49:37You go that way and I'll go this.
00:49:39We'll search the house and I'll meet you front.
00:49:41Right.
00:50:05Oh!
00:50:25Who's there?
00:50:27Only me.
00:50:29Oh, my old friend from the insane asylum.
00:50:31Come on in, sit down.
00:50:33Make yourself at home.
00:50:35Everybody else has.
00:50:37Hey, look here, old man.
00:50:39Pal to pal, you're not really
00:50:41an asylum guard, are you?
00:50:43No. How did you get here?
00:50:45You can't fool an old-timer.
00:50:47You know, you're wasting your talents here.
00:50:49You're too good for this stuff.
00:50:51The whole world knows that.
00:50:53I said good, not perfect.
00:50:55Like that play.
00:50:57You know, I've been thinking that over.
00:50:59It's mighty darn gripping.
00:51:01Everything is pathetically bad.
00:51:03I'll have no part in it.
00:51:05Have you won the contract to Ames?
00:51:07Me? I should say not.
00:51:09But I'm ready for a presentation now
00:51:11that will astound the world.
00:51:13I believe you are.
00:51:15I'll bet you'd be a sensation
00:51:17and a good part.
00:51:19And I'm going to give it to you.
00:51:21Herman Wood, the man who has
00:51:23given more stars to Broadway
00:51:25than Edison has electric lights,
00:51:27will star you personally
00:51:29with extravaganza.
00:51:31Splendid, splendid.
00:51:33Are you busy Thursday?
00:51:35Let me see.
00:51:37No, I have nothing planned.
00:51:39Good. Come to my office next Thursday
00:51:41and you'll sign the contract.
00:51:43Splendid.
00:51:45But you should see me work first.
00:51:47What are you doing now?
00:51:49Wasting time talking to you.
00:51:51Come with me and I will show you real dramatics.
00:51:53Are you kidding?
00:51:55I never joke.
00:51:57I'll show you drama.
00:51:59Stark, throbbing drama
00:52:01with a master touch of comedy.
00:52:03By God, I'm going to win.
00:52:05Just wait until I get my slippers.
00:52:09Don't forget.
00:52:11Thursday.
00:52:13Come.
00:52:21I'd feel a lot safer
00:52:23if I had my gun.
00:52:25That's okay with me.
00:52:27Let's go to your house and hang out.
00:52:29There will be daylight soon.
00:52:31Thank God.
00:52:33James.
00:52:35Anything new?
00:52:37We searched the grounds and found nothing.
00:52:39How long is this going on?
00:52:41I'm getting tired of sitting here
00:52:43and waiting for something that doesn't happen.
00:52:55I found a picture.
00:52:57It's alive.
00:52:59It's waiting.
00:53:05What's wrong with him?
00:53:07He must be a bomb.
00:53:09What happened to you remember when I left the house to get the car and the cops yes
00:53:28well that nuthouse guard leaves me at the garage then just as I'm getting into the car
00:53:34somebody slugged me with a late pipe what was the idea well someone didn't want him
00:53:39to get away and that someone is probably the escape nut that we're looking for how many
00:53:44of you are searching for him there's already been a guard here tonight well there's possibly
00:53:47half a dozen others but believe you and I'll find him yeah this guy disappears every so
00:53:51often but we always spot him in this neighborhood I see well after you were hit on the head
00:53:57why did you come back to the house I figured getting the police was the wisest move to
00:54:00make I've been knocked out and tied in the garage but I broke the ropes then I tried
00:54:05to start the car but I found out someone had gummed up the motor well I began to
00:54:11hoove it into the village when these guards from the sanitarium picked me up and here we are
00:54:15has anything happened since I left yes Gloria's been kidnapped and Terry's disappeared
00:54:20and now that Erskine person's gone violent oh yeah well I'll handle that
00:54:25help help what's the matter Mr. Wood is gone I said he's gone and so is the guard
00:54:34is that figure that's doing
00:54:42oh what's the matter with it if the eyes moved it blared at me why it's as solid as the wall
00:54:48you're daffy those eyes never stared out of nothing but a paint pot I say someone looked
00:54:54out of that painting okay brother we'll soon find out who's nuts around here
00:55:11say he's right these eyes are phony what'd I tell you now who's
00:55:15hey there's a passageway back to this
00:55:24look it's moving
00:55:32that's how Beatrice disappeared from this room well
00:55:35I'm going to find out where it leads to I'll go with you be careful it looks dangerous
00:55:45so
00:55:59my friends since your entrance into this house I have worked for bringing you into this laboratory
00:56:06years ago a famous surgeon lived worked and studied here his name was Guthrie Gillis
00:56:14he is dead now but I Professor Elmer Crickery will carry on and improve his way
00:56:25hey I don't like these underground places well you may as well get used to it you may
00:56:29spend a lot of time in one why the whole house must be honeycombed with passages
00:56:34they lead all directions
00:56:38oh
00:56:41I am the greatest genius you have ever seen I have mastered my work
00:56:49work that has produced power almost divine
00:56:55yeah
00:57:00I have become more than the greatest plastic surgeon in the world
00:57:06I am the molder of mankind I have reached a great decision that is why I've allowed you all
00:57:17to trespass upon the seclusion that I have enjoyed in a supposedly deserted house
00:57:25I discovered this old house at Dr. Gillis' on one of my many escapes from the sanitarium
00:57:31it is adamantly fitted for my work all I needed was patience and now I have you
00:57:41healthy people who can't stand the rigor of certain small operations
00:57:54now wait this looks like a door
00:58:02see where that leads to
00:58:13this patient you're looking for is he violent sometimes
00:58:17he almost killed a guard tonight when he stole his uniform oh and he winked at me
00:58:22leads into an open room with a swinging bookcase
00:58:25then Gloria did see something in that study we've got to find it before anything happens to her
00:58:32it seems to me this is the fluid I used to paralyze the mice with yesterday
00:58:40I think I meant to use it on your friend Beatrice
00:58:46somehow I became somewhat confused so now the poor girl is dead
00:58:54forgive my stupidity I will be more careful
00:58:58forgive my stupidity I will be more careful
00:59:02to see that you don't suffer the accidental death she did
00:59:09I have brought back the spark of life I am colossal
00:59:17oh my headache
00:59:21I think that man saw the way you're choking me I am awfully embarrassed I thought I killed you
00:59:28but I only gave you a headache
00:59:59I ask your indulgence in looking at this chart
01:00:03you will notice the various noses eyes and chin
01:00:10you all have an ideal a face you envy you can have your choice of alteration
01:00:18you understand my operations run in series you may look as you wish now
01:00:26unfortunately I will slowly change you to fit my model
01:00:35young lady you shall have the honor of being the first on my table
01:00:41I shall require very little from any of you just enough to begin my work
01:00:50a feature from you
01:00:51a bone from him and a cartilage from that one
01:01:09it's the guard
01:01:13it's professor twiddling the guy we're looking for said he's the nut
01:01:16well he's dangerous let's get him wait a minute better not get him excited
01:01:20I know how to handle him
01:01:26hello professor
01:01:29why Mr. McLeavy what are you doing here can't you see I'm busy sure but you've got to come
01:01:36home with us it's important oh is there anything wrong why don't you remember you operated on
01:01:45your old friend Julius Caesar a couple of days ago did I know funny I forgot how'd it turn out
01:01:55not so good that's why we have to hurry back you see he got tired of his Roman nose so you
01:02:01grafted on a new one but you put it on upside down and on rainy nights like this the poor fellow can't
01:02:08go out for fear of drowning my my we'll return at once poor Caesar must be miserable
01:02:21oh Chris could take me out of here I never want to see another horror play well don't worry I'll
01:02:25never write another one yes you will what absolutely but you've got to rewrite it
01:02:31just like this night and the experiences we've gone through even to the murder of Beatrice
01:02:36yes I'm afraid Beatrice will have to die all over again well the ghost walks after all
01:02:43congratulations you were all about too terribly thank you Mr. Wood
01:02:49now what's the matter with you I was just thinking how terrible it would be
01:02:54had the professor really operated on it and changed us all
01:02:57you might have gotten my adenoids and I would have gotten your false teeth
01:03:02Erskine turn your face to the setting sun
01:03:08what's the idea don't forget you're fired oh Mr. Wood come