- 23 hours ago
Category
🎥
Short filmTranscript
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00:03:04Who cares a hang about history and wax?
00:03:06There are people in the world who love beauty.
00:03:08But more who want sensation, shock.
00:03:10Morbidly curious.
00:03:12I won't cater to them.
00:03:14Their money's as good as anybody else's.
00:03:16You should have seen them turning them away
00:03:18at that wax museum on 23rd Street tonight, the Eden Musée.
00:03:22The story's the same at Madame Tussauds in London.
00:03:24You'd only listen to me, Jim.
00:03:26I know, Matthew.
00:03:28I'd put in a chamber of horrors.
00:03:30Murder, torture.
00:03:32Execution.
00:03:34Scare the living daylights out of people.
00:03:36I don't care for that kind of patronage.
00:03:38You're a great artist, a genius sculptor.
00:03:40But I'm just a common, ordinary businessman.
00:03:42I want a quick return on my investment.
00:03:44I've got $20,000 sunk in this historic peep show of yours,
00:03:47and I could use that money to better advantage.
00:03:49All right, Matthew, all right.
00:03:51I've known for some time you wanted to dissolve our partnership,
00:03:54and I think I may be able to accommodate you.
00:03:57Oh.
00:03:58A friend of mine is bringing Sidney Wallace,
00:04:00the art critic here tonight, to see my work.
00:04:02Wallace is rich,
00:04:04and I think I might be able to persuade him to buy you out.
00:04:07Well, that sounds interesting.
00:04:09Of course, I'll want a profit on my investment.
00:04:11Yes, Matthew.
00:04:12I understand.
00:04:14You leave everything to me, and I promise you it'll be...
00:04:17That should be they now.
00:04:19All right, I'll wait in the office.
00:04:21I've heard of this Wallace.
00:04:22He has a pot of money.
00:04:23If he likes your stuff, put a stiff price on it.
00:04:38Does Jared live in the building?
00:04:40Yes.
00:04:41He has a room upstairs.
00:04:42You'll like him, Sidney.
00:04:43He speaks your language.
00:04:45Please come in.
00:04:46I'm happy to see you, Bruce.
00:04:48It was such a bad night, I was afraid you couldn't get here.
00:04:50Well, delay, Mr. Wallace had a meeting in Manhattan Galleries.
00:04:53My friend Sidney Wallace, Professor Jarrett.
00:04:55It's a great pleasure.
00:04:56For me also, Professor.
00:04:57That's a title that was bestowed on me when I became an exhibitor.
00:05:00It has little to do with my real work.
00:05:02If you'll come with me, I'll show you what that work is.
00:05:05I'm afraid the visit of such a distinguished critic
00:05:07may cause my children to become conceited.
00:05:09To you, they are wax, but to me, their creator,
00:05:12they live and breathe.
00:05:14Here we have two great lovers from the past.
00:05:17Cleopatra, Queen of Egypt, and Mark Anthony.
00:05:21Their last meeting.
00:05:22You'll recall that Anthony, believing Cleopatra to be dead,
00:05:25killed himself with his own sword.
00:05:27When Cleopatra discovered what happened,
00:05:29she quickly followed her lover.
00:05:31Have you noticed how cleverly the hair is mounted on the scalp?
00:05:33Yes.
00:05:34How do you do that, Professor?
00:05:35Well, real hair of the proper color and texture
00:05:38is pressed into the slightly warmed wax with a scalpel,
00:05:41one hair at a time.
00:05:43Each wave and curl of the subject's own hair is reproduced.
00:05:53Here's President Lincoln and his assassin, John Wilkes Booth,
00:05:57one of my few concessions to the macabre.
00:06:00That's the best figure of Booth I've ever seen.
00:06:02You could almost expect him to speak to me.
00:06:04I wonder what he'd say after all these years.
00:06:06I'm sure he'd rant a bit.
00:06:08Even after he shot Lincoln and jumped from the President's box
00:06:10onto the stage, he couldn't resist turning to the audience
00:06:13and taking a bow.
00:06:14I found him a very stubborn person.
00:06:16Stubborn?
00:06:17Unbelievably.
00:06:18For days I argued with this fellow
00:06:20before I could get him to pose the way I wanted him to.
00:06:22You mean he'd talk back to you?
00:06:24Of course.
00:06:25It's not easy to shut an actor's mouth.
00:06:27These groups are like dimensional paintings of the old masters.
00:06:32This is not only a great show, it's an art exhibit.
00:06:35That's what I told you.
00:06:36Here we have Joan of Arc, a favorite subject of mine.
00:06:41I can understand that.
00:06:42Beautifully done.
00:06:44I've done her over a dozen times, haven't I, my dear?
00:06:47And still she doesn't complain.
00:06:49What was wrong with her?
00:06:50There are no authentic portraits of Joan available,
00:06:52so sculptors and painters have to work for models.
00:06:55I've never found the right one, but I will one of these days.
00:06:58You know, it's a shame to race through such an exhibit.
00:07:00One should have time to really study these figures.
00:07:02You're very kind.
00:07:03My creations have some merit, I suspect.
00:07:05But in bringing back to life the lovely Marie Antoinette,
00:07:09I feel I've done my best work.
00:07:11I've never seen anything so exquisite.
00:07:14People say they can see my Marie Antoinette breathe,
00:07:17that her breast rises and falls.
00:07:19Look at her eyes.
00:07:20They follow you wherever you go.
00:07:21She's very real to me.
00:07:23You know, her eyes do follow you.
00:07:26And they're made of glass, most of the pity.
00:07:28The exact size and color of the original.
00:07:31They're inserted into the sockets from inside by way of the hollow neck
00:07:35before the head is attached to the body.
00:07:38Forgive me, my dear, for discussing your intimate secrets.
00:07:42I'm sorry.
00:07:43I lose myself at times.
00:07:45Professor, people knew what you have inside these walls.
00:07:48You couldn't accommodate the crowds.
00:07:50What you need here is exploitation.
00:07:52All advertising.
00:07:53That's exactly what I've been telling him.
00:07:55Oh, my partner wouldn't agree.
00:07:57He's not happy here.
00:07:58He wants to invest in something else.
00:08:00Mr. Wallace, would you care to become a partner in this venture?
00:08:03Would you buy him out?
00:08:05You know, I might take you up on that offer.
00:08:07My lawyer's approved and price is right.
00:08:09With your support, I could do wonders.
00:08:11I'd make any sacrifice.
00:08:12Unfortunately, I'm leaving this again for Egypt.
00:08:14I'm financing some excavations there.
00:08:16However, I'll be back in three months.
00:08:17Then I'd be glad to discuss the day.
00:08:19You made me very happy.
00:08:20You intrigued me, Professor.
00:08:22I believe we'd get along together.
00:08:24Good night, my friend.
00:08:25Good night.
00:08:26And I'm grateful to you for this.
00:08:27Always.
00:08:28All right.
00:08:29Thank you both for your visit and your encouragement.
00:08:31I'll probably see you in three months.
00:08:32Good night.
00:08:33Good night.
00:08:34Good night.
00:08:35All right.
00:08:36Mr. Wallace is a great art critic, my darling.
00:08:37You heard what he said.
00:08:38Does it make you happy?
00:08:39No.
00:08:40No.
00:08:41No.
00:08:42No.
00:08:43No.
00:08:44No.
00:08:45No.
00:08:46No.
00:08:47No.
00:08:48No.
00:08:49No.
00:08:50No.
00:08:51No.
00:08:52No.
00:08:53No.
00:08:54No.
00:08:55No.
00:08:56No.
00:08:57No.
00:08:58No.
00:08:59No, I quite know.
00:09:00No.
00:09:01No pain.
00:09:02You wake y'all are dead,ilde.
00:09:03You see.
00:09:04Your donig ひ como si 盛圖 is dead.
00:09:05Does it make you happy?
00:09:06Of course you'd say that,I don't care about success.
00:09:07The world will acknowledge your beauty.
00:09:08And you,my friends...
00:09:09Cleopatra,Mark,Adé, Lincoln,Joan of Ark...
00:09:10All of you...
00:09:11How would it suit you to be famous again?
00:09:11I know it will please you, you conceited devil.
00:09:14I was like you to get yourself shot down in a burning barn.
00:09:18Couldn't do it without a spotlight, could you?
00:09:21Do you really hear what they say, chill?
00:09:22No.
00:09:23No.
00:09:24No.
00:09:25Of course.
00:09:29A man has to be a little nuts to be a good showman.
00:09:32The sooner I'm out of it, the better.
00:09:34You'll be out soon, Matthew.
00:09:36Mr. Wallace returns from Egypt in three months.
00:09:38He'll be ready to talk business then.
00:09:40I heard him. That's no good for me.
00:09:42But, Judy, you don't expect me...
00:09:44I have a chance to buy in on something.
00:09:46It'll pay off in a big way, and three months is too late.
00:09:48Besides, what guarantee do I have that he won't go cold on the deal?
00:09:50Sorry, Matthew. It's the best I could do.
00:09:52Well, I can do better.
00:09:54How would you like to split $25,000 with me?
00:09:57Don't you call me crazy?
00:09:59Have you ever thought of what would happen if we had a fire here?
00:10:02In the cellar, there's six barrels of wax.
00:10:04Wax has a paraffin base. It's highly inflammable.
00:10:07This whole place would go up like a paint factory.
00:10:09Burn? Burn all my people?
00:10:12Do you think I'm a murderer?
00:10:13Oh, stop dreaming, will you?
00:10:15These dummies are insured for $25,000.
00:10:17That's $12,500 for each of us.
00:10:19You wouldn't need Wallace. You'd have enough to begin again.
00:10:21No, I'd rather die myself than see my friends destroyed.
00:10:24I won't let you do it, and I'll kill you if you try.
00:10:26Don't be stupid.
00:10:28All you have to do is to strike a match, and the thing is done.
00:10:51...
00:10:52...
00:11:04...
00:11:06Come on.
00:11:36Come on.
00:12:06Come on.
00:12:36Come on.
00:13:06Come on.
00:13:36Come on.
00:14:06Come on.
00:14:36Come on.
00:15:06Come on.
00:15:36Come on.
00:16:06Come on.
00:16:36Come on.
00:17:06Come on.
00:17:36That means, baby?
00:17:37No, Manny.
00:17:38What?
00:17:39That little trip I was talking to you about.
00:17:41Oh, Manny.
00:17:45You're such a car.
00:17:46How much did you get?
00:17:47How much did you get?
00:17:48How much did you get?
00:17:49$25,000.
00:17:51Where would you like to go, baby?
00:17:53Atlantic City?
00:17:54No.
00:17:54Niagara Falls.
00:17:56We can get the license in Buffalo.
00:17:58Licensed?
00:17:59Yeah, you know.
00:18:05Why not?
00:18:06Why not?
00:18:07It might be fun.
00:18:08Uh, waiter.
00:18:08Waiter.
00:18:09My check.
00:18:10What?
00:18:19I'm looking for all the rooms.
00:18:19Here, sir.
00:18:20Oh, this is where I'm going.
00:18:20I'm looking for a man.
00:18:21I took a house with my人.
00:18:22I'm looking for a man.
00:18:22I'm looking for a man.
00:18:23I'm looking for a man.
00:18:23And, you're looking for a man.
00:18:27I'm looking for a man.
00:18:28Let's go.
00:18:58Let's go.
00:19:28Let's go.
00:19:58Let's go.
00:20:28Let's go.
00:20:58Let's go.
00:21:28Oh, that's all right.
00:21:30I don't need much breath anyway.
00:21:32As my late friend Maddie used to say, if a girl don't watch her figure, the man won't.
00:21:38Maddie, wasn't that the man you were going to marry?
00:21:40Yes, but he hung himself instead.
00:21:42Oh, Maddie was such a guard.
00:21:47Well, where's your new friend going to take you tonight?
00:21:49To the Hoffman house for dinner and then to Tony Pastors for the vaudeville show.
00:21:52That sounds like fun.
00:21:54Oh, yeah, he's a free spender, all right.
00:21:56A little bit older than I like him, but awfully distinguished looking.
00:22:00Is he nice?
00:22:01Oh, awfully nice.
00:22:02A real gentleman, except when he's had a couple of drinks in him.
00:22:05Oh, that's to be expected.
00:22:06Oh, that's to be expected.
00:22:08Oh, I'm moving up.
00:22:10Oh, I'm moving up in the world, honey.
00:22:13No girl ever hits the jackpot till after she passes 14th Street.
00:22:16Oh, is that how it goes?
00:22:18Oh, sure.
00:22:20Look at me.
00:22:22Not too long ago, I was down on Delancey Street,
00:22:24and tonight I'll be right up there among the bright lights on 23rd.
00:22:28Now, when you get up there tonight, don't drink too much.
00:22:31Oh, don't worry, I won't.
00:22:33He keeps trying to pour the liquor into me,
00:22:35but I always manage to keep my head.
00:22:37After all, now that I'm going regular with the swell,
00:22:41I got social obligations.
00:22:43You know how it is when a fella...
00:22:46Oh, no, of course you don't know.
00:22:48You're not like me, Sue.
00:22:49You never could be.
00:22:51You got all the brains,
00:22:52and all I got is what I got.
00:22:56You know, I'm surprised you even talked to me.
00:22:59That's such nonsense.
00:23:00You've been so good to me.
00:23:02Oh, why not?
00:23:03Girl needs a friend when she's down on her luck.
00:23:06Holy smoke, look at the time I gotta hurry.
00:23:09Did you find a job yet?
00:23:11Oh, no, not yet,
00:23:12but they need a hat check girl with a silver slipper,
00:23:14and I've got an appointment with the manager tonight.
00:23:16Oh, I know that fella.
00:23:18Watch out for him.
00:23:19But why?
00:23:20What's the matter with it?
00:23:22Oh, nothing much.
00:23:23As long as you know how to dog.
00:23:24Oh, that guy.
00:23:25Yeah.
00:23:26Did you eat today?
00:23:28Uh-huh.
00:23:28I had everything I needed to hear you tell it.
00:23:31Besides, I know you're behind in your room, Rant.
00:23:33Oh, well, Mrs. Flanagan, wait for me.
00:23:36Don't count on that.
00:23:37The old buzzard almost locked me out once.
00:23:39There.
00:23:42If I don't sizzle him tonight, I might as well give up.
00:23:45He's picking me up in a handsome camp.
00:23:47No trolley for him.
00:23:48He's real society.
00:23:53Sue, all I've got is 50 cents,
00:23:55but you take it and buy yourself some dinner.
00:23:56Oh, no, Cassie.
00:23:58Come on.
00:23:59Mm-mm.
00:24:00My friend will give you some money tonight,
00:24:02and then I'll stake you.
00:24:03I don't need any mad money.
00:24:05I never get mad.
00:24:08Good luck tonight at the silver slipper,
00:24:10and don't forget to dog.
00:24:11Mm-mm.
00:24:11Woo!
00:24:12Ha!
00:24:12Ha!
00:24:12Ha!
00:24:14Ha!
00:24:14Ha!
00:24:14Ha!
00:24:15Ha!
00:24:15Ha!
00:24:16Ha!
00:24:16Ha!
00:24:17Ha!
00:24:17Ha!
00:24:18Ha!
00:24:18Ha!
00:24:19Ha!
00:24:19Ha!
00:24:20Ha!
00:24:21Ha!
00:24:21Ha!
00:24:22Ha!
00:24:23Ha!
00:24:24Ha!
00:24:25Ha!
00:24:26Ha!
00:24:27Ha!
00:24:28Ha!
00:24:29Ha!
00:24:30Ha!
00:24:31Ha!
00:24:32Ha!
00:24:33Ha!
00:24:34Ha!
00:24:55Just a moment, Miss Allen.
00:24:58What are you coming in so quietly for?
00:25:00It was so late, I didn't want to disturb anybody.
00:25:02Did you get the job?
00:25:03No.
00:25:04Why not?
00:25:05I had trouble with the man who runs the trouble.
00:25:06Yes.
00:25:07Mrs. Flanagan, you'll get your money.
00:25:09Kathy promised to lend me some tonight when she comes home.
00:25:11Well, you'd better get right up there then,
00:25:13because she's home now.
00:25:16Couldn't it wait until tomorrow?
00:25:17No, it could not.
00:25:19If you want to sleep in this house tonight, you'll get that money.
00:25:22All right.
00:25:23All right.
00:25:24I'll try.
00:25:25All right.
00:25:26I'll try.
00:25:27All right.
00:25:28All right.
00:25:33Don't kill.
00:25:35There's no done.
00:25:36There's no done.
00:25:37There's no done.
00:25:38There's no done.
00:25:40I'm going to go to the bathroom.
00:25:42I'm going to go to the bathroom.
00:25:44I'm going to go to the bathroom.
00:26:04Kathy.
00:26:06Kathy, it's Sue. Are you there?
00:26:12Kathy?
00:26:18Kathy?
00:26:22Kathy?
00:26:36Kathy!
00:26:40Kathy?
00:26:42I tell you, the spring came from up there!
00:26:48Let's look into it.
00:26:50Oh, my God.
00:27:20Usually, there's a policeman down at the corner.
00:27:45I know. That's why I've blown the whistle.
00:27:50Oh, Cappy! Cappy!
00:28:07Cappy! Cappy!
00:28:10Cappy!
00:28:12Cappy!
00:28:13Cappy!
00:28:14Cappy!
00:28:15Cappy!
00:28:16Cappy!
00:28:17Cappy!
00:28:18Cappy!
00:28:19Cappy!
00:28:20Cappy!
00:28:21Cappy!
00:28:22Cappy!
00:28:23Cappy!
00:28:24Cappy!
00:28:25Cappy!
00:28:26Cappy!
00:28:27Cappy!
00:28:28Cappy!
00:28:29Cappy!
00:28:30Cappy!
00:28:31Cappy!
00:28:32Cappy!
00:28:33Cappy!
00:28:34Cappy!
00:28:35Cappy!
00:28:36Cappy!
00:28:37Cappy!
00:28:38Cappy!
00:28:39Cappy!
00:28:40Cappy!
00:28:41Cappy!
00:28:42Cappy!
00:28:43Cappy!
00:28:44Cappy!
00:28:45Cappy!
00:28:46Cappy!
00:28:47Cappy!
00:28:48Cappy!
00:28:49Cappy!
00:28:50Cappy!
00:28:51Cappy!
00:28:52Cappy!
00:28:53Cappy!
00:28:54Cappy!
00:28:55Cappy!
00:28:56Cappy!
00:28:57Cappy!
00:28:58Cappy!
00:28:59Cappy!
00:29:00Cappy!
00:29:01Cappy!
00:29:02Cappy!
00:29:03Cappy!
00:29:04Cappy!
00:29:05Cappy!
00:29:06Cappy!
00:29:07Cappy!
00:29:08Cappy!
00:29:09Cappy!
00:29:10Cappy!
00:29:11Cappy!
00:29:12Cappy!
00:29:13Cappy!
00:29:14Cappy!
00:29:15Cappy!
00:29:16Cappy!
00:29:17Cappy!
00:29:18Cappy!
00:29:19Cappy!
00:29:20Cappy!
00:29:21Cappy!
00:29:22Cappy!
00:29:23Cappy!
00:29:24Cappy!
00:29:25Cappy!
00:29:26Cappy!
00:29:27Cappy!
00:29:28Cappy!
00:29:29Cappy!
00:29:30Cappy!
00:29:31Cappy!
00:29:32Cappy!
00:29:33Cappy!
00:29:34Cappy!
00:29:35Cappy!
00:29:36Cappy!
00:29:37Cappy!
00:29:38Cappy!
00:29:39Cappy!
00:29:40Cappy!
00:29:41Cappy!
00:29:42Cappy!
00:29:43Cappy!
00:29:44Cappy!
00:29:45Cappy!
00:29:46Cappy!
00:29:47Oh, my God.
00:30:17What is it, Mother?
00:30:41It's Sue.
00:30:42Sue?
00:30:43This is a surprise.
00:30:44I was just thinking about...
00:30:47Sue.
00:30:50What happened to you, dear?
00:30:51What's wrong?
00:30:52Wait a minute.
00:30:53What happened, Sue?
00:30:55Wait a minute.
00:30:56What is it?
00:30:58Kathy...
00:30:58Kathy...
00:30:59The girl of my rooming house was murdered tonight.
00:31:04What?
00:31:04I found her.
00:31:07And the man who killed her was there in the room.
00:31:10And I tried to get away from him.
00:31:13But he followed me through the street.
00:31:19Now, Scott, no, please don't go out there.
00:31:22It's all right, darling.
00:31:23Don't be frightened.
00:31:25It's all right now, dear.
00:31:27You're safe.
00:31:28Who found the body?
00:31:45One of my roomers.
00:31:46A friend of Kathy's.
00:31:47Sue Allen.
00:31:48Which one is Miss Allen?
00:31:50She isn't here.
00:31:51Where is she?
00:31:52I don't know.
00:31:54We heard a scream.
00:31:55And when we went looking for her, she was gone.
00:31:57Have you checked your rumors?
00:31:58Are they all in?
00:31:59All but Miss Allen.
00:32:00Mm-hmm.
00:32:01Well, Lieutenant Brennan will want a statement from each one of you.
00:32:05See that nobody leaves the house.
00:32:06When I arrived at the rooming house, this girl had been dead for several hours.
00:32:18The immediate cause of death was strangulation.
00:32:21The mark of a cord is still on her throat.
00:32:24My examination indicated she'd probably been given a drug.
00:32:27You were right.
00:32:28What was it?
00:32:30Something to make her sleep, Lieutenant Brennan.
00:32:32Veranol, perhaps.
00:32:34I'll know as soon as we hear from the laboratory.
00:32:36How long would it take for such a drug to work?
00:32:38That would depend upon how much it was diluted.
00:32:41Yes, it was probably given to her in a drink.
00:32:44That's how it's usually done.
00:32:47Business is kind of slow tonight.
00:32:48What?
00:32:49Three suicides and two murders?
00:32:50Yeah, in a traffic case since nine o'clock.
00:32:52The fellow that got hit by one of them automobiles.
00:32:55I didn't think those thing and things went fast enough to hurt anybody.
00:32:58Give them time.
00:32:59They're getting better every day.
00:33:06I hope you like it here, honey.
00:33:14It's the best we've got.
00:33:15Hey, what's the matter with this?
00:33:27You'll get used to that.
00:33:28It's the embalming fluid.
00:33:30Makes them jump.
00:33:31That's one of the suicides.
00:33:33Just like a woman, they always have to have the last word.
00:33:35It's the best we've got.
00:34:05It's the best we've got.
00:34:35It's the best we've got.
00:35:05It's the best we've got.
00:35:35Why didn't you report this to the police?
00:36:02She's doing that, Lieutenant.
00:36:03Last night was the time to do it.
00:36:04She was in no condition to come here then.
00:36:06This is murder, Mrs. Andrews.
00:36:10The body of Kathy Gray was stolen from the morgue last night.
00:36:13No.
00:36:14Why would anyone want to take Kathy's body?
00:36:17We're as much in the dark as you are, Miss Allen.
00:36:19We had a similar case a few weeks back, Matthew Burke.
00:36:22I read about that.
00:36:23Yes, and Patterson, the deputy city attorney, disappeared, and we found no trace of him.
00:36:29We could have laid hands on that man that you saw last night.
00:36:32You know, that's the strangest description I've ever heard.
00:36:37No human being can look like that.
00:36:39Are you sure you didn't imagine all of it?
00:36:40I did see him.
00:36:41Just as I described him to you, he was incredible, but very real.
00:36:45And he couldn't have been the same man who took Miss Gray to dinner last night.
00:36:47No, that's impossible.
00:36:49She told me before she went to dinner that he was very good looking.
00:36:52That's what the landlady said.
00:36:53It's a man with gray hair.
00:36:54Well, there's no use showing you any suspects.
00:36:56We've nothing that fits that description.
00:36:58If we did have, we'd have him to the crazy house.
00:37:00Don't leave town, Miss Allen.
00:37:01Where can we find you?
00:37:0327 Lafayette Street.
00:37:05Miss Allen will stay in our home, Lieutenant.
00:37:07Make sure of that.
00:37:08She's our only witness.
00:37:09That's all.
00:37:39What do you do?
00:37:41I received a letter giving this address and signed Professor Jarrah.
00:37:44But I know the professor's dead.
00:37:47Can you tell me who wrote this letter?
00:37:50My name is Sidney Wallace.
00:37:51Oh, oh, oh.
00:38:09Mr. Wallace.
00:38:16Professor.
00:38:17It's so good to...
00:38:19Oh, forgive me.
00:38:21Shaking hands with me is an unpleasant experience.
00:38:24My hands are no longer hands.
00:38:26Sit down, please.
00:38:27Oh, this is Igor.
00:38:29He's a deaf mute.
00:38:30He's one of my assistants.
00:38:31I'm going to open another wax museum under a different name.
00:38:36It startled you, eh, seeing me here?
00:38:38That's an understatement.
00:38:39I thought you were dead.
00:38:40Jared is dead.
00:38:41I am a reincarnation.
00:38:42When I read this letter and saw your signature, I thought somebody was playing a joke on me.
00:38:46I still don't understand how you escaped from the fire.
00:38:48It's a mystery to me, too, Mr. Wallace.
00:38:49All I can remember is that I tried to get out of my studio.
00:38:53I failed at first, but here I am.
00:38:55What a frightful experience.
00:38:56Somehow I made my way to the house of a doctor.
00:38:59Oh, well, I still have my limbs, though they won't bear the weight of my body.
00:39:03As for my hands, they are no use to me now.
00:39:07As a sculptor, I can't control them, but they serve for ordinary functions.
00:39:11But you're beginning again?
00:39:13With the help of my pupils, yes.
00:39:15I'm rebuilding my exhibition from the ground up.
00:39:18I'm going to give the people what they want.
00:39:21Sensation, horror, shock.
00:39:23Send them out in the streets to tell their friends how wonderful it is to be scared to death.
00:39:30Let me show you one of my subjects.
00:39:32Do you recall the case of Kemmler, the first man to die in the electric chair?
00:39:37Yes.
00:39:38Igor is working on a model of his head.
00:39:42He has a strange obsession, this mute of mine.
00:39:45Every head he models takes on the shape of his own face.
00:39:48But in this case, I humor him for, actually, he somewhat resembles Kemmler.
00:39:55Crimes of violence will be reproduced in wax and exhibited while they are still fresh in the public mind.
00:40:02What do you think of my scheme?
00:40:03I think it will succeed, commercially.
00:40:07Though it doesn't sound like you.
00:40:09Have you turned your back on beauty?
00:40:11No.
00:40:13No, but I can no longer create it.
00:40:15I've never forgotten your Marie Antoinette.
00:40:17Nor have I.
00:40:18She will be the leading lady of my new exhibition.
00:40:22But I must find her first.
00:40:24Find her?
00:40:25A model, I mean.
00:40:27Oh, yes, there will be beauty for contrast, for nothing else.
00:40:30But each subject must be taken from life.
00:40:34How can I convince my audience then alive if I don't believe it myself?
00:40:38Oh, I have something I think will interest you.
00:40:40You follow Igor down into the basement.
00:40:47I have to go my own way.
00:40:49Well, here we are.
00:41:09Interesting, isn't it?
00:41:11One of my pupils is about to dip a body into a bath of wax.
00:41:15What if?
00:41:15Yes, the bodies are constructed separately to exact specifications of reinforced plaster of Paris.
00:41:22Oh, uh, this is Leon, another one of my pupils, Mr. Wallace.
00:41:26How do you look?
00:41:27The wax is melted in the cauldron you see above the vat,
00:41:31liquefied and brought to a boiling point,
00:41:34so that it will distribute itself evenly over the body.
00:41:37The head and hands, tinted by my own secret process,
00:41:40are attached to the body after it is covered with its skin of wax.
00:41:44Now, watch.
00:41:45Now, watch.
00:41:45Now, watch.
00:41:47Now, watch.
00:41:48Now, watch.
00:41:49Now, watch.
00:41:50Now, watch.
00:41:51Now, watch.
00:41:51Now, watch.
00:41:52Now, watch.
00:41:53Now, watch.
00:41:54Now, watch.
00:41:55Now, watch.
00:41:56Now, watch.
00:41:57Now, watch.
00:41:58Now, watch.
00:41:59Now, watch.
00:42:00Now, watch.
00:42:01Now, watch.
00:42:02Now, watch.
00:42:03Now, watch.
00:42:04Now, watch.
00:42:05Now, watch.
00:42:06Now, watch.
00:42:07Now, watch.
00:42:08Now, watch.
00:42:09Now, watch.
00:42:10Now, watch.
00:42:11Now, watch.
00:42:12Now, watch.
00:42:13Now, watch.
00:42:14Now, watch.
00:42:15Now, watch.
00:42:16I often wondered how that was done.
00:42:18It's a method of my own, crude but adequate.
00:42:25Have you found a home for your new museum?
00:42:27This is it, the building upstairs, I mean.
00:42:29We'll continue to use the cellar as a workshop-cutter door here and there,
00:42:33but it's an excellent location, and the building can be leased at a right price.
00:42:37I have some capital, but I need more, 30,000 at least.
00:42:41That's why I've asked you to come here.
00:42:43I'll think it'll all right. Go ahead.
00:42:45Well, she's about right now, Leon.
00:42:47Drain off the surplus and let her cool.
00:42:49Oh, Leon, open up number 27.
00:42:52Come this way, please.
00:42:54I told you that I intend to exhibit scenes of violence.
00:42:58Here's an interesting subject,
00:43:00a mystery they're still talking about.
00:43:02All right, Leon.
00:43:04I saw that man's picture in the paper.
00:43:06This is an interesting subject.
00:43:08A mystery they're still talking about.
00:43:10All right, Leon.
00:43:12I saw that man's picture in the paper.
00:43:13This is a remarkable likeness.
00:43:14But it can't be a death mask.
00:43:15No, it's from memory.
00:43:18He hanged himself in an elevator shaft.
00:43:24Come in, come in, come in, ladies and gentlemen.
00:43:25See the house of wax.
00:43:26Come in, come in, ladies and gentlemen.
00:43:27See the house of wax.
00:43:31See the chamber of holes.
00:43:32See the house of wax.
00:43:33See the chamber of holes.
00:43:37Ah, here's three lovely little ladies right over here.
00:43:41Would you like to see little Egypt?
00:43:42Here she is, ladies and gentlemen.
00:43:43Little Egypt.
00:43:44Here she is, ladies and gentlemen.
00:43:45Little Egypt.
00:43:46Queen of the Harrah, who danced at the Columbia Exposition in Chicago in 1893.
00:43:47Is she a wax?
00:43:48Come in, come in, come in.
00:43:49Come in, come in, ladies and gentlemen.
00:43:50See the house of wax.
00:43:51See the chamber of holes.
00:43:52Ah, here's three lovely little ladies right over here.
00:43:53Would you like to see little Egypt?
00:43:54Here she is, ladies and gentlemen.
00:43:55Little Egypt.
00:43:56Queen of the Harrah.
00:43:57Who danced at the Columbia Exposition in Chicago in 1893.
00:43:58Is she a wax?
00:43:59Or is she flesh and blood?
00:44:00See the world in wax.
00:44:01The hall of fame.
00:44:02The chamber of holes.
00:44:03A cultural exhibition that will enlighten you.
00:44:04You know, I think I could do that.
00:44:05Well, let's go.
00:44:06Let's go.
00:44:07Let's go.
00:44:08Let's go.
00:44:09Let's go.
00:44:10Let's go.
00:44:11Let's go.
00:44:12Let's go.
00:44:13Let's go.
00:44:14Let's go.
00:44:15Let's go.
00:44:16Let's go.
00:44:17Let's go.
00:44:18Let's go.
00:44:19Let's go.
00:44:20Let's go.
00:44:21Let's go.
00:44:22Let's go.
00:44:23Let's go.
00:44:24Let's go.
00:44:25Let's go.
00:44:26You know, I think I could do that.
00:44:27Oh, Billy, you couldn't.
00:44:28I could, too, if I took my stays off.
00:44:31Don't do that and don't talk that way.
00:44:33Watch it, young lady.
00:44:35Careful, sir.
00:44:36Keep your head down or I'll tap you on the chin.
00:44:38Look out.
00:44:39Dirk.
00:44:42Ah, that's a becoming hat you're wearing, madam.
00:44:44I wonder if I could clip a flower off it.
00:44:46Hold steady now.
00:44:47Don't move your head.
00:44:48Or you'll lose the powder off your nose.
00:44:52Well, there's someone with a bag of popcorn.
00:44:54Close your mouth.
00:44:55It's the bag I'm aiming at.
00:44:56Not your tonsils.
00:44:57Here she comes.
00:44:58Well, look at that.
00:44:59It's in the bag.
00:45:01See the lovely sinners of ancient times, ladies and gentlemen.
00:45:04Beauties who died in torture and on the block.
00:45:07Visit our chamber of wars and pass the time of day with notorious murderers.
00:45:12The kill with the rope, the knife, and the axe.
00:45:15Thrills, chills, and laughter for a price within the race.
00:45:19I hope you don't think I've gone too far hiring this fellow to bring people in.
00:45:24He does make it sound a little like a side joke.
00:45:26Try him for a week or two.
00:45:27Once we're established, we won't need that sort of thing.
00:45:30Well, he looks like a real man, doesn't he?
00:45:33You'd be surprised.
00:45:34It is a real man.
00:45:35Sorry.
00:45:36The historic figures I am about to show you will be more interesting when I tell you that their faces were molded from the original death masks, now in the possession of certain European governments.
00:45:55First, we have Anne Boleyn, second wife of Henry VIII and the mother of Queen Elizabeth.
00:46:02With the executioner, Henry borrowed from the French king so that Anne's head would be cleaved from her body without too much pain.
00:46:09He was a thoughtful husband, Henry.
00:46:11It was he who invented the shortcut to divorce.
00:46:14A very bad pun, I'm afraid.
00:46:17Here is another scene of historic violence.
00:46:20Charlotte Corday and Marat, one of the leaders of the French Revolution.
00:46:24The lady found him taking a bath and plunged the knife into his heart.
00:46:29What a shocking thing to do.
00:46:31Yes, wasn't it?
00:46:32The poor man was dreadfully embarrassed.
00:46:38The exhibits in this room will be added to from time to time as various crimes are committed.
00:46:43You will read about them in your newspaper and see them enacted here in wax and tableaus.
00:46:48Oh, by the way, ladies, this is how your ancestor carried his bride across the threshold.
00:46:54During the French Revolution, a certain doctor invented a labor-saving device to take the place of the headsman's axe.
00:47:01So successful was this machine at cutting off the heads of the French aristocrats, they named it after its creator.
00:47:08And here it is, the bloody guillotine.
00:47:14Oh, dear, I don't think I can stand it.
00:47:16Now, Millie.
00:47:17Pull yourself together, honey.
00:47:18Twelve years ago, the electric chair was first used in New York State.
00:47:23And here we have an authentic reproduction of the execution of William Kemmler on August 3rd in 1890.
00:47:30Kemmler killed without mercy, and 2,000 volts sent him to a higher court.
00:47:35The torture of the rack.
00:47:38In this case, Lady Anne Askew.
00:47:40An English noblewoman accused of treason is being put to the question.
00:47:45Needless to say, she admitted she was a traitor.
00:47:48Who wouldn't under that sort of pressure?
00:47:50Oh, dear.
00:47:51Is it your corset?
00:47:52No, it's my stomach.
00:47:53Turned over.
00:47:54Mine turned over, too.
00:47:55And now, my friends, we have that jolly old gentleman known as the modern Bluebeard.
00:48:01Like his namesake, he killed not wisely, but too well.
00:48:06And did away with eight wives.
00:48:10Oh, Millie!
00:48:12Smelling salts, ladies, help yourself.
00:48:14Thank you very much.
00:48:18Next door to him, we have a mystery of more recent date.
00:48:21Matthew Burke, the stockbroker.
00:48:23He was found hanged in the elevator shaft of the building where he had his offices.
00:48:30Was it murder or suicide?
00:48:33Only time will tell.
00:48:35Foul deeds will rise, though all the world overwhelm them to men's eyes.
00:48:40Oh, thank you.
00:48:41You like him, Sue?
00:48:42He looks exactly like my Uncle Rufus.
00:48:43You know, they have a policeman like this in the lobby of the Aiden Museum.
00:48:44Haven't you been there?
00:48:45No.
00:48:46From what I see in the papers, this museum is even better.
00:48:47Anyway, we'll soon find out.
00:48:48Scott!
00:48:49Mr. Wallace!
00:48:50Sue, I want you to meet my good friend.
00:48:51I'm not sure.
00:48:52I'm not sure.
00:48:53I'm not sure.
00:48:54I'm not sure.
00:48:55I'm not sure.
00:48:56I'm not sure.
00:48:57I'm not sure.
00:48:58I'm not sure.
00:48:59I'm not sure.
00:49:00I'm not sure.
00:49:01I'm not sure.
00:49:02I'm sure.
00:49:03I'm not sure.
00:49:04I'm sure.
00:49:05I'm sure.
00:49:06I'm sure.
00:49:07I'm sure.
00:49:10Mr. Sidney Wallace, Miss Sue Allen.
00:49:11It's a pleasure.
00:49:12I'm Miss Allen.
00:49:13I heard you were back in town.
00:49:14Then you should have looked me up.
00:49:15I expect great things of Scott.
00:49:17I consider him one of our most promising young sculptors.
00:49:19Has he been working hard?
00:49:20Oh, he never knows when to start.
00:49:21Sue's been posing for me.
00:49:23Indeed.
00:49:24Lovely subject.
00:49:26Not a professional model.
00:49:27She's a guest in our home.
00:49:28Sue's mother and mine were great friends.
00:49:29Have you been inside, Mr. Wallace?
00:49:30Yes.
00:49:31Is it exciting?
00:49:32If anything, too much so.
00:49:33But I'm sure it'll catch on.
00:49:34Jared, the man who owns the place, is a good friend of mine.
00:49:36You'll be interested in him, Scott.
00:49:37Let's go in, shall we?
00:49:40You know, these figures are excellent.
00:49:41I thought you'd agree with me.
00:49:42They're not only well done, but they're good theater.
00:49:43What do you think, Miss Allen?
00:49:44I know they're only wax, but he seems so real.
00:49:45Just looking at her makes my neck hurt.
00:49:46Wait till you see the chamber of Horace.
00:49:47I told Jared he should have a nurse on duty there.
00:49:48You know that he lost the use of his hands.
00:49:49Oh?
00:49:50Who did these figures?
00:49:51His pupils.
00:49:52His pupils.
00:49:53But he supervised the work.
00:49:54His is the mastermind.
00:49:55Surely he knows his anatomy.
00:49:56What do you think?
00:49:57What do you think, Miss Allen?
00:49:58What do you think, Miss Allen?
00:49:59I know they're only wax, but he seems so real.
00:50:00Just looking at her makes mind that hurt.
00:50:01Wait till you see the chamber of Horace.
00:50:02I told Jared he should have a nurse on duty there.
00:50:03You know that he lost the use of his hands.
00:50:04Oh?
00:50:05Who did these figures?
00:50:06His pupils.
00:50:07But he supervised the work.
00:50:08His is the mastermind.
00:50:09Surely he knows his anatomy.
00:50:10Where did he get his?
00:50:11Where did he get his?
00:50:12His pupils, but he supervised the work.
00:50:13His is the mastermind.
00:50:14Surely he knows his anatomy.
00:51:09Sue, what is it?
00:51:13Sue, are you crying?
00:51:15What's wrong, Miss Allen?
00:51:16A dear friend of mine was murdered and I found her.
00:51:20She means Kathy Gray, the girl whose body was stolen from the morgue.
00:51:23What made you think of her now?
00:51:25It's her face.
00:51:27That's Kathy's face, Scott.
00:51:29I know every line of it.
00:51:30I wake up at night and I see it and I can't get it out of my mind.
00:51:33Perhaps that's the reason you see a resemblance in the face of this figure.
00:51:36It's more than a resemblance.
00:51:37It's wax, my dear.
00:51:38I know, I know.
00:51:41Why should it be so like Kathy?
00:51:43I think I can explain that.
00:51:46Oh, Miss Allen, Scott Andrews, Mr. Henry Jarrett.
00:51:50This is a pleasure.
00:51:51You see, Miss Allen, you're a girl who...
00:51:52Yes, I heard what the young lady said.
00:51:54The figure of Joan of Arc is a traditional exhibit in wax museums.
00:51:58It was completed just in time for our opening tonight.
00:52:01You're right, my dear.
00:52:02Well, it is more than a chance resemblance.
00:52:05When I create an important figure, I can't take just any face.
00:52:08I saw pictures of your Kathy Gray in the newspaper.
00:52:11Her face fascinated me and, well, here she is.
00:52:15Immortalized is the victim of an earlier event.
00:52:18Do you really think she'd mind?
00:52:20No, I don't think she'd mind.
00:52:23Kathy loved to dress up, as she called it.
00:52:26She used to take fancy dresses and imitate the actresses she saw in the theater.
00:52:30I don't think she'd mind.
00:52:32Then I'm forgiven.
00:52:33Well, there's nothing to forgive.
00:52:36I just don't understand how it can seem so real.
00:52:39That's the finest compliment I've ever received.
00:52:41Thank you, my dear.
00:52:43Did I hear your name correctly, Scott Andrews?
00:52:45Yes, Mr. Jarrett.
00:52:47The young sculptor I've been telling you about.
00:52:48Oh, Sidney showed me some photographs of your work.
00:52:51He was right, you have great promise.
00:52:53What are you doing now?
00:52:54I'm doing ahead of Miss Allen.
00:52:56Let me see your hands.
00:53:00Yes.
00:53:00Yes, mine will once like that.
00:53:05Oh, I envy you.
00:53:07Mr. Andrews, would you be interested in doing some modeling for me,
00:53:11some originals I have in mind?
00:53:13Why, yes, I'd be honored.
00:53:14Good.
00:53:15Come here tomorrow morning.
00:53:16We'll make the arrangements.
00:53:18I think you'll like it.
00:53:19Sidney, I want you to look at this girl.
00:53:23It's a pleasure.
00:53:24Who does she remind you of?
00:53:26You know, I've been wondering about that myself.
00:53:28I haven't known Miss Allen more than ten minutes,
00:53:30but there's something about her face that haunts you as the face of my Marie Antoinette has haunted me.
00:53:36Marie Antoinette?
00:53:37Of course, I should have seen it at once.
00:53:40A figure in wax, Mr. Jarrett's greatest work.
00:53:43More than wax.
00:53:44She lived.
00:53:45You mean I look like she did?
00:53:47Exactly as she did.
00:53:49Once in his lifetime, every artist feels the hand of God and creates something that comes alive.
00:53:55So it was with my Marie Antoinette, and I loved her.
00:53:58But she's gone now, horribly destroyed.
00:54:04Perhaps you will help me to bring her back.
00:54:07You will come to see me soon.
00:54:11I'd be glad to.
00:54:13You'll be welcome at any time, no matter what I'm doing.
00:54:16And you, Mr. Andrews, in the morning?
00:54:18I'll be here, very eager to begin.
00:54:21It's been a very exciting day for me, and I'm a little tired, so if you'll forgive me, I'll say good night.
00:54:26Oh, uh, Sidney, one moment, please.
00:54:32Excuse me, I'll be right back.
00:54:35Forget about it, Sue, you heard what Mr. Jarrett said.
00:54:38Kathy's face was his inspiration.
00:54:40It's a portrait in wax.
00:54:41Why should it seem so real?
00:54:49I'd hate to drag you away, Scott.
00:54:51Oh, that's all right, I'm going to work here.
00:54:53We'll see it all another time.
00:54:55Yes, another time.
00:54:57Still time to see the entire exhibition, ladies and gentlemen.
00:55:00Get your tickets from the charming little lady in the box office, and go right in.
00:55:05See the world in wax and improve your mind.
00:55:07See the chamber of horrors and scare yourself out of a year's growth.
00:55:10Not again.
00:55:27Not again.
00:55:28Go, go, go.
00:55:29Go.
00:55:29Go, go.
00:55:32Go, go, go.
00:55:34Go, go, go.
00:55:42Go, go.
00:55:44Oh, my God.
00:56:14Oh, my God.
00:56:44What happened, Sue? Why did you scream?
00:57:06I saw Kathy again, and the man who killed him was right in the spoon.
00:57:11Oh, I must have been dreaming.
00:57:14Of course you were, dear.
00:57:36Oh, my God.
00:58:14Nogger for the gentleman, sarsaparilla for the lady, and two nockers on rye.
00:58:25Enjoying yourself?
00:58:27It's exciting.
00:58:28Do nice people come here?
00:58:31Of course.
00:58:32These Sunday matinees are very popular.
00:58:33I don't know.
00:58:35It doesn't seem proper, all those girls showing their talents.
00:58:40You never saw a show like this in Provincetown.
00:58:43No.
00:58:44Don't worry.
00:58:45Your reputation is safe.
00:58:46You've been going around with the weight of the world on your shoulders, worrying about
00:58:49wax figures and seeing monsters in your dreams.
00:58:52You need something like this to bring you back to normalcy.
00:58:55Sue.
00:58:58Pro-Zip.
00:58:58Scott.
00:59:16Remember Mr. Jared said he first saw Kathy's picture in the newspaper?
00:59:33Yes.
00:59:34What's wrong with that?
00:59:36I knew her so well.
00:59:39I knew every little expression, and they're all there.
00:59:42Well, they would be.
00:59:43The man's an artist.
00:59:44There's something else I saw that night in the museum.
00:59:48Kathy had a habit of wearing nearing in her right ear.
00:59:51She had the lobe of her right ear only, pierced for that.
00:59:56Well, that's there, too.
00:59:58How could he see that in a photograph?
01:00:01How could he make it so real unless...
01:00:03What?
01:00:06Unless it is, Kathy.
01:00:08Sue.
01:00:09Now, look.
01:00:10I'm going to take you to Lieutenant Brennan's office tomorrow.
01:00:12I want you to tell him exactly what you've told me here now.
01:00:15He's a policeman he knows.
01:00:16He'll convince you once and for all that no such thing could happen.
01:00:20Now, relax, honey, and enjoy the show.
01:00:22Let's go.
01:00:52I know it sounds fantastic, but you asked me to tell you everything.
01:01:00You can see this idea has become an obsession.
01:01:02An unhealthy one, if you ask me.
01:01:04You said Jared's a cripple.
01:01:06He uses a wheelchair.
01:01:07He can walk with crutches, but not very well.
01:01:10Well, such a man came and asked to see police photographs of Kathy Gray.
01:01:14You see?
01:01:14That's how it's done.
01:01:16Every detail is studied to make the features true to life.
01:01:18But why should Joan of Arc have a right ear pierced?
01:01:20Why not?
01:01:21They wore them, then.
01:01:22Two, not one.
01:01:24I don't know, Lieutenant.
01:01:25It's not a suspicion.
01:01:26It's more a kind of fear and intuition.
01:01:28Well, intuition isn't what you're helping police work.
01:01:30Facts are what we need.
01:01:32Suppose you forget about it and let us do the worrying, eh?
01:01:35You mean you'll investigate it?
01:01:37Of course he does.
01:01:39Yes, that's what I mean.
01:01:40You both think I'm crazy.
01:01:41Oh, we think nothing of the kind.
01:01:43It was very good of you to listen and be so patient.
01:01:47Goodbye.
01:01:48Goodbye.
01:01:49Thanks.
01:01:56This is Brennan speaking.
01:01:57Give me Shane.
01:02:00Oh, hello, Jim.
01:02:00I want you to go to the city license bureau and check up on a man named Henry Jarrett.
01:02:05Yes, he opened a museum on 29th Street near Broadway.
01:02:10Yes, the House of Wags.
01:02:11Dig up all you can, get a list of his employees and check with me here.
01:02:15Right.
01:02:41Now, that's a copy of her face, all right.
01:02:44But she didn't look like that the night we saw her in Maul Flanagan's rooming house.
01:02:46Not so composed.
01:02:47Oh, poor kid.
01:02:49Hey, you know this fellow Jarrett's good.
01:02:51And you don't think Miss Allen's fears are justified.
01:02:53Why, heck no, do you?
01:02:55Well, that's wax.
01:02:56How could it be anything else?
01:02:58Leave you to a skirt to dream up a crazy idea like that.
01:03:30So you did come to see me, my Marie Antoinette.
01:03:43Or was it that you came to see?
01:03:46Oh, Mr. Jarrett, I'm so sorry.
01:03:48I know I'm not supposed to touch the figures.
01:03:50But you couldn't help yourself.
01:03:52Well, don't let it trouble you.
01:03:53Oh, I beg your pardon.
01:03:54This is Leon Averill and Igor.
01:03:56How do you do?
01:03:57Igor isn't impolite.
01:03:58He simply can't talk.
01:04:00Leon is an artist in his own right.
01:04:02It was he who did the waxwork on the figure of Joan of Arc.
01:04:06Does she still seem real to you?
01:04:07As life itself.
01:04:09Of course, her hair is different, but that doesn't change her face.
01:04:12What puzzles me is how you can get such detail from a photo.
01:04:19Was Kathy wearing her earrings when the police photographed her?
01:04:22Earrings?
01:04:23I don't remember.
01:04:24Was she, Leon?
01:04:26No.
01:04:27No, I don't think so.
01:04:29The police would remove the jewelry from the body, wouldn't they?
01:04:31And yet you were careful to show that both her ears had been pierced for them.
01:04:35Oh, yes, yes, of course.
01:04:38If I had missed a detail of that sort, Mr. Jared would be most displeased.
01:04:42He insists on reality.
01:04:44I can understand that.
01:04:46Well, just a moment.
01:04:47Yeah?
01:04:47There's something in this box I think would interest you.
01:04:50Open it, Leon.
01:04:51You're Mr. Andrews permitted us to make a cast of the head he did of you.
01:05:02Leon has just finished it in wax.
01:05:04Do you like it?
01:05:06It's sort of a shock to see your head detached that way.
01:05:10I guess it's a very good likeness.
01:05:12Yes and no.
01:05:13Andrews is clever, but like all modern sculptors, he has too much imagination.
01:05:18He would improve on nature.
01:05:19What I need for my Mary Antoinette is you.
01:05:23The real you.
01:05:24Nothing less will satisfy me.
01:05:27Will you come to see me again, my dear?
01:05:49Hey, Burke.
01:05:55Do you know this fellow Jared's quicker at finding these guys than we are?
01:05:59That's what he says in his advertising.
01:06:02Look at that.
01:06:03Even the twist in the neck.
01:06:05You know, that's the case that gets me.
01:06:06Where is Burke?
01:06:07Who got him?
01:06:08Who'd want him?
01:06:09We better find out pretty quick.
01:06:11Did you read the blast in this morning's world?
01:06:12Yeah, it's dynamite.
01:06:14Chief had me in his office this morning.
01:06:16If I'm not careful, I'll be pounding a beat in the Bronx.
01:06:29Come here, Jim.
01:06:30You remember Wilbur Patterson, the deputy city attorney who disappeared?
01:06:37Sure.
01:06:38Does Booth look like Wilbur, or am I crazy?
01:06:42Hey, he does at that with the brush off his lip.
01:06:44Hair's different, of course, but the features are something like Patterson's.
01:06:48Well, maybe he looked like Booth anyway.
01:06:50Seen a lot of dummies in here.
01:06:51Look like people I know.
01:06:52The caveman they got in there is a spitting image of the new commissioner.
01:06:55Please, don't touch the exhibits.
01:06:58Can't you read the sign?
01:06:59I'm sorry.
01:07:01Hey, look.
01:07:02Where'd you get the face for this guy that shot Lincoln?
01:07:04From photographs.
01:07:06Yeah, they'd take him at that time.
01:07:07If you go down to the city library, you'll find a whole volume of Matthew Brady's photographs taken during the Civil War.
01:07:13You work here?
01:07:14Yeah.
01:07:14You make these things?
01:07:16Some of them.
01:07:17What's your name?
01:07:19Leon Averill.
01:07:20What's yours?
01:07:21Jim Shane.
01:07:22I'm an engineer on the 9th Avenue Elf.
01:07:24It was nice meeting you.
01:07:25Hmm.
01:07:29Tom.
01:07:31You know me.
01:07:32I'm no good at names, but I don't forget faces.
01:07:35If I could take the muff off of that one, I might be able to place it.
01:07:38It was a long time ago.
01:07:45Mr. Wallace?
01:07:46Yes.
01:07:46I'm Lieutenant Brennan, Sergeant Shade.
01:07:48Glad to know you, gentlemen.
01:07:49Why don't you sit down?
01:07:51Sorry, I kept you waiting.
01:07:52That's quite all right.
01:07:52I confess I'm worried.
01:07:54This is the first time I've been asked to come to police headquarters.
01:07:56What am I suspecting of?
01:07:57Nothing whatever.
01:07:58We thought perhaps you might be able to help us.
01:08:00You had to.
01:08:00We found out that your partner is the same Professor Jared who was in New Zealand on 24th Street burned down some time ago.
01:08:07That's true.
01:08:09Well, this, uh, Professor Jared was supposed to have been killed in the fire.
01:08:13Apparently a slight mistake.
01:08:14You suspect him of some criminal act?
01:08:16We haven't a thing on the guy.
01:08:18Oh, we're just curious.
01:08:19So's the insurance company.
01:08:21What do you know about his employees?
01:08:23Well, there's Scott Andrews, a protégé of mine.
01:08:26Yes, we know of him.
01:08:28Then there's Igor, deaf, mute, and Leon Averill, who does the waxwork.
01:08:33Averill's an odd character.
01:08:35Periodical drunkard, but a fine artist.
01:08:38I've seen some of his sketches.
01:08:39One of the saviour with his disciples.
01:08:41Beautiful work.
01:08:43Well, I'm afraid I haven't been much help.
01:08:45Oh, you're never going to tell, Mr. Wallace.
01:08:47Thank you very much.
01:08:48I'd prefer you not mention this to your partner.
01:08:50I won't.
01:08:53You know, I'd gamble on Jared.
01:08:56He's strange, unpredictable, but I think he's a man of integrity.
01:08:59Yes, I'm sure of it. Thank you very much.
01:09:01Not at all.
01:09:01Good day, gentlemen.
01:09:05Tom, I told you I'd need the man with the whiskers.
01:09:08You remember that artist in Sing Sing that painted a picture of the Last Supper on the wall of his cell?
01:09:12Oh, Hendricks.
01:09:12Oh, they called him a genius and gave him a parole.
01:09:15Yeah, but when they turned him loose, he became a drunk.
01:09:17He broke parole about a year ago, and we've had him on the wanted list ever since.
01:09:21Carl Hendricks.
01:09:22That's him, alias Leon Averill.
01:09:24Bring him in.
01:09:25Can do.
01:09:47A little more bitterness in that face, my boy.
01:10:00Remember, this fellow has been badly used by the world
01:10:03and he despises all the people in it.
01:10:06Deepen those lines around the corner of the mouth.
01:10:10Not too much.
01:10:11There.
01:10:12There, that's better.
01:10:14What I wouldn't give to have those fingers of yours.
01:10:17Thank you, Mr. Jarrod.
01:10:19Sorry I've kept you so late here tonight, Scott.
01:10:22Oh, that's all right.
01:10:23Miss Allen is meeting me here.
01:10:25It's her birthday.
01:10:26We're going to celebrate at Child's.
01:10:28Charming creature.
01:10:29I was worried about her.
01:10:31The shock of finding that murdered girl gave her some strange ideas.
01:10:34Yes, I know.
01:10:35I took her to see Lieutenant Brennan at police headquarters and he said all right.
01:10:38That's very good now.
01:10:39Excellent.
01:10:41Oh, Scott, before you go, would you mind running over to Metzger's for me?
01:10:44Metzger's?
01:10:44The place where they make those artificial flowers.
01:10:46Oh, yes.
01:10:47They're doing a background for this new group.
01:10:49Take a look at it for me.
01:10:50You know what I want.
01:10:52Advise them on the color scheme.
01:10:54I'd go myself, but it's so hard for me to get about.
01:10:58Oh, I know.
01:10:58I'll be glad to do it.
01:10:59I'll go right now.
01:11:00Thank you very much.
01:11:07I followed him through his bender.
01:11:09You know, sometimes this guy gets the shakes of bad you expect to see his teeth fall.
01:11:13That's all he had on him?
01:11:14That's it.
01:11:15No money?
01:11:16Mm-hmm.
01:11:20Gold.
01:11:20To Wilbur Patterson.
01:11:31Patterson.
01:11:32With affection and admiration, the city attorney's office, December 25th, 1900.
01:11:37Where did you get this?
01:11:48I found it.
01:11:49Where?
01:11:50On the L.
01:11:51What line?
01:11:52Third Avenue, downtown.
01:11:54When?
01:11:54Don't remember.
01:11:55It was months ago.
01:11:58Book him on suspicion of murder.
01:11:59No, I found it.
01:12:00I tell you, I found it.
01:12:01I never even knew the man who owned it.
01:12:02I never even saw him.
01:12:03Lock him up.
01:12:04Please, please don't put me in a cell.
01:12:07I'm sick.
01:12:08Can't you see my nerves?
01:12:09They're all shattered.
01:12:10Look.
01:12:11Look, please give me one little.
01:12:15Could I please have one little drink?
01:12:16You're not going to get anything until you tell us where you got this watch.
01:12:24Take him out.
01:12:25Let's go.
01:12:34Let's go.
01:13:04Let's go.
01:13:34Let's go.
01:14:04Oh, my God.
01:14:34Oh, my God.
01:15:04Oh, my God.
01:15:34Oh, my God.
01:16:04Oh, my God.
01:16:33Oh, my God.
01:17:03Oh, my God.
01:17:33Oh, my God.
01:17:35Oh, my God.
01:17:37Oh, my God.
01:17:39Oh, my God.
01:17:41Oh, my God.
01:17:43Oh, my God.
01:17:45Oh, my God.
01:17:49Oh, my God.
01:17:51Oh, my God.
01:17:53Oh, my God.
01:18:01Oh, my God.
01:18:03Oh, my God.
01:18:05Oh, my God.
01:18:15Oh, my God.
01:18:17Oh, my God.
01:18:19Oh, my God.
01:18:29Oh, my God.
01:18:31Oh, my God.
01:18:33Oh, my God.
01:18:35Oh, my God.
01:18:47Oh, my God.
01:18:49Oh, my God.
01:18:55I can't stand it.
01:19:11I can't stand it.
01:19:25I'll tell you what I know.
01:19:31Patterson was killed because he looked like Booth.
01:19:35You killed him?
01:19:36No, not I. Jared at the waxworks.
01:19:38His hands were no good. He had to take subjects from real life.
01:19:41You helped him?
01:19:42No, they were already dead.
01:19:44What about Burke?
01:19:45He's there too, in wax.
01:19:48He was the one who set fire to the old museum.
01:19:51Jared came out of it alive, but insane.
01:19:54Kathy Gray?
01:19:55Joan of Arc.
01:19:56Joan of Arc, that's Kathy.
01:19:58She's there with all the rest of them.
01:19:59That whole place is a morgue.
01:20:01He'll do the same with Sue Allen if he ever gets his hands on her.
01:20:04You've got to stop him.
01:20:06You've got to stop him before he does any more killing.
01:20:24That look of horror spoils your lovely face.
01:20:35What if it should show even through the wax?
01:20:38That looks amazing and all the shit.
01:20:40Stop it.
01:20:41Left it.
01:20:42Come on…
01:20:45Don't lift it up.
01:20:57Hey!
01:20:59じゃない…
01:21:01Sue?
01:21:11Sue?
01:21:15Sue?
01:21:27Sue, are you in there?
01:21:31Where is Sue?
01:21:37Where is Sue?
01:21:39Where is she?
01:21:41Where is she?
01:22:01Where is Sue?
01:22:03Where is Sue?
01:22:05Where is Sue?
01:22:07Where is Sue?
01:22:09Where is Sue?
01:22:11Where is Sue?
01:22:13Where is Sue?
01:22:17Oh, my God.
01:22:19Oh, my God.
01:22:25Oh.
01:22:27No!
01:22:57No!
01:23:27The end will come quickly, my love.
01:23:29There is a pain beyond pain.
01:23:31An agony so intense it shocks the mind into instant gloomy.
01:23:35We'll find immortality together.
01:23:37For they'll remember me through you.
01:23:57Come on!
01:24:27Come on!
01:24:53Where's Jared?
01:24:55Where's Jared?
01:24:57Where's Jared?
01:25:13Andrews.
01:25:15Where's Jared?
01:25:17In the cellar.
01:25:19He's got Sue.
01:25:21Take care of her.
01:25:23Ah boy.
01:25:33Come on!
01:25:35Come on, are you he?
01:25:37You're a boy.
01:25:39George, you're not returning us to the sea.
01:25:41Nothing should happen at home.
01:25:43Come on.
01:26:13Come on.
01:26:43Come on.
01:27:14The People's Exhibit No. 1.
01:27:17You almost lost your head, Miss Allen. Would you care to keep that one as a spare?
01:27:21Yes, thank you.
01:27:22We'll never forget you and your men, Lieutenant. Thanks to you, we're still alive.
01:27:25But you know, every time I shave, I can still feel that guillotine blade.
01:27:29Oh, please, let's not talk about it anymore.
01:27:32Yeah, sure.
01:27:33Mr. Brennan, thank you for the use of your coat.
01:27:38Oh, oh, that was nothing.
01:27:40Well, it meant a lot to me.
01:27:42Well, when I found you weren't dressed too warmly, I, uh, well, I didn't want you to catch cold.
01:27:47Yes!
01:27:50Goodbye, Mr. Brennan, and thanks for everything.
01:27:52Bye.
01:27:54Bless you, Mr. Shane.
01:27:55Thank you, Miss Allen.
01:27:56You know, Shane, by the time this guy gets out of Sing Sing, this head will grow a long beard.
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