- hace 16 horas
House of Wax (1953) is a classic mystery drama that follows a talented sculptor whose remarkable wax creations capture public attention. As visitors admire the lifelike figures on display, unusual events begin to raise questions about the origins of the exhibits. Featuring striking visuals, a memorable atmosphere, and a strong central performance, this timeless film delivers an engaging and suspenseful cinematic experience from the golden age of cinema.
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House of Wax 1953, House of Wax movie, House of Wax full movie, classic mystery film, classic suspense movie, vintage cinema film, 1950s classic movie, old Hollywood film, atmospheric mystery movie, classic drama suspense, wax museum movie, retro mystery film, golden age cinema, classic thriller style film, English classic movie, classic movie full length, classic movie online, classic movie free, vintage suspense film, dramatic mystery movie, iconic classic film, early color cinema movie, timeless suspense film, classic storytelling movie, studio classic film, old movies HD
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00:03:50All right, Matthew, all right.
00:03:51I've known for some time you wanted to dissolve our partnership,
00:03:55and I think I may be able to accommodate you.
00:03:57Oh.
00:03:58A friend of mine is bringing Sidney Wallace, the art critic, here tonight to see my work.
00:04:03Wallace is rich, and 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 to profit on my investment.
00:04:11Yes, Matthew, I understand.
00:04:14You leave everything to me, and I promise you it'll be...
00:04:18That should be they now.
00:04:20All 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.
00:04:39Does Jared live in the building?
00:04:40Yes, he has a room upstairs.
00:04:42You'll like him, Sidney.
00:04:43He speaks your language.
00:04:45Please come in.
00:04:47I'm happy to see you, Bruce.
00:04:48It was such a bad night, I was afraid you couldn't get here.
00:04:51Well, Elaine, 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 may cause my children to become conceited.
00:05:10To you, they are wax.
00:05:11But to me, their creator, they live and breathe.
00:05:14Here we have two great lovers from the past.
00:05:18Cleopatra, Queen of Egypt, and Mark Anthony.
00:05:21Their last meeting.
00:05:22You'll recall that Anthony, believing Cleopatra to be dead, killed himself with his own sword.
00:05:27When Cleopatra discovered what happened, she quickly followed her lover.
00:05:31You noticed how cleverly the hair is mounted on the scalp?
00:05:34Yes.
00:05:34How do you do that, Professor?
00:05:35Well, the real hair of the proper color and texture is pressed into the slightly warmed wax with a scalpel, one 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, one of my few concessions to the macabre.
00:06:00That's the best figure at Booth I've ever seen.
00:06:02You could almost expect him to speak.
00:06:03I wonder what he'd say after all these years.
00:06:06I'm sure he'd rant a bit.
00:06:07Even after he shot Lincoln and jumped from the President's box onto the stage,
00:06:11he couldn't resist turning to the audience and taking a bow.
00:06:14I found him a very stubborn person.
00:06:17Stubborn?
00:06:18Unbelievably.
00:06:18For days I argued with this fellow before I could get him to pose the way I wanted him to.
00:06:23You mean he'd talk back to you?
00:06:24Of course.
00:06:25It's not easy to shut an actor's mouth.
00:06:28These 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.
00:06:38Here we have Joan of Arc, a favorite subject of mine.
00:06:42I can understand that.
00:06:43Beautifully done.
00:06:44Thank you.
00:06:45I've done her over a dozen times, haven't I, my dear?
00:06:48And still she doesn't complain.
00:06:49What was wrong with her?
00:06:50There are no authentic portraits of Joan available, so sculptors and painters have to work for models.
00:06:56I'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, I feel I've done my best work.
00:07:11Oh, I've never seen anything so exclusive.
00:07:14People say they can see my Marie Antoinette breathe, that her breast rises and falls.
00:07:19Look at her eyes.
00:07:20They follow you wherever you go.
00:07:22She's very real to me.
00:07:25You know, her eyes do follow you.
00:07:27And they're made of glass, more is the pity.
00:07:29The exact size and color of the original.
00:07:31They're inserted into the sockets from inside by way of the hollow neck before the head is attached to the body.
00:07:38Forgive me, my dear, for discussing your intimate secrets.
00:07:42I'm sorry.
00:07:44I lose myself at times.
00:07:46Professor, people knew what you have inside these walls.
00:07:49You couldn't accommodate the crowds.
00:07:51What you need here is exploitation.
00:07:53More advertising.
00:07:54That'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'll be glad to discuss the day.
00:08:18You make me very happy.
00:08:21You 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...
00:08:27Wallace.
00:08:27Oh, my.
00:08:30Thank you both for your visit and your encouragement.
00:08:35I'll probably see you in three months.
00:08:37Good night.
00:08:37Good night.
00:08:38Good night.
00:08:38Good night.
00:08:38Good night.
00:08:38Mr. Wallace is a great art critic, my darling.
00:08:55You heard what he said.
00:08:56Does it make you happy?
00:08:58Of course, you'd say that.
00:08:59But I don't care about success.
00:09:01The world will acknowledge your beauty.
00:09:04And you, my friends, Cleopatra, Mark Antony, Lincoln, Joan of Arc, all of you,
00:09:09how would it suit you to be famous again?
00:09:11I know it will please you, you conceited devil.
00:09:16It was like you to get yourself shot down in a burning barn.
00:09:20Couldn't do it without a spotlight, could you?
00:09:22Do you really hear what they say, Jared?
00:09:26Of course.
00:09:27A man has to be a little nuts to be a good showman.
00:09:33The sooner I'm out of it, the better.
00:09:36You'll be out soon, Matthew.
00:09:37Mr. Wallace returns from Egypt in three months.
00:09:40He'll be ready to talk business then.
00:09:42I heard him.
00:09:43That's no good for me.
00:09:44But surely you don't expect...
00:09:45I have a chance to buy in on something that'll pay off in a big way in three months is too late.
00:09:49Besides, what guarantee do I have that he won't go cold on the deal?
00:09:52Sorry, Matthew.
00:09:52It's the best I could do.
00:09:53Well, I can do better.
00:09:55How would you like to split $25,000 with me?
00:09:58Don't you call me crazy?
00:10:00Have you ever thought of what would happen if we had a fire here?
00:10:03In the cellar, there's six barrels of wax.
00:10:05Wax has a paraffin base.
00:10:06It's highly inflammable.
00:10:08This whole place would go up like a paint factory.
00:10:10Burn?
00:10:11Burn all my people?
00:10:13Do you think I'm a murderer?
00:10:14Oh, stop dreaming, will you?
00:10:15These dummies are insured for $25,000.
00:10:17That's $12,500 for each of us.
00:10:20You wouldn't need Wallace.
00:10:21You'd have enough to begin again.
00:10:22No, I'd rather die myself than see my friends destroyed.
00:10:25I won't let you do it.
00:10:26And I'll kill you if you try.
00:10:27Don't be stupid.
00:10:29All you have to do is to strike a match.
00:10:32And the thing is done.
00:10:44Don't be stupid.
00:10:44Don't be stupid.
00:10:45Don't sleep.
00:10:45Don't be stupid.
00:10:46Don't drink.
00:10:48Don't be stupid.
00:10:49Don't drink.
00:10:49Andrew.
00:10:50Don't drive home.
00:10:59Don't offer it.
00:10:59Don't create the suit.
00:11:00Don't're not a guy.
00:11:01Don't a guy.
00:11:02Don't do it.
00:11:02Don't use neitherυχate or...
00:11:03Stop it!
00:11:04Don't crush them.
00:11:04Don't you?
00:11:05Don't.
00:11:05Don'tar anybody.
00:11:06Don't win!
00:11:07Don't force them in.
00:11:08Don't survive.
00:11:09Don't do it!
00:11:09obligated.
00:11:10Don't you?
00:11:11You'll run away once in the shutting stuff.
00:11:12Don't make damp.
00:11:12¡Gracias!
00:11:42¡Gracias!
00:12:12¡Gracias!
00:12:42¡Gracias!
00:13:12¡Gracias!
00:13:42¡Gracias!
00:14:12¡Gracias!
00:14:42¡Gracias!
00:15:12¡Gracias!
00:15:42¡Gracias!
00:16:12¡Gracias!
00:16:14¡Gracias!
00:16:30¡Gracias!
00:16:32¡Gracias!
00:16:34Gracias, mi amigo, fue un ingenio, un gran artista.
00:16:38Solo me entendí.
00:16:41Nos fuimos así, Cathy.
00:16:42Just así.
00:16:43¿Has encontrado él después del fuego?
00:16:46No es un signo de él.
00:16:48El lugar fue quemado como una pintura,
00:16:50como un volcánico.
00:16:52He fue tan impracticante.
00:16:54Pero todavía lo amé.
00:16:57Y si hubiera sido allí, me hubiera salvado.
00:16:59Pero te hubiera sido quemado también, Mati.
00:17:02Sí, así es la vida.
00:17:04No importa lo que perdemos,
00:17:06debemos seguir viviendo.
00:17:08¿Alguien de insuficiencia en el museo?
00:17:11Sí.
00:17:12Sí, tengo un poco de dificultad.
00:17:14En el acuerdo de la acuerdo de la acuerdo,
00:17:17el dinero fue a los otros.
00:17:19La insuficiencia insistió en la prueba de mi hermano.
00:17:23Sí.
00:17:25Siempre quería ser un hombre.
00:17:27Pero se acabó, finalmente.
00:17:29Esta mañana, por lo tanto.
00:17:30No.
00:17:31Cerro de mi hermano.
00:17:33Estaba en casa.
00:17:34Estaba en mi casa.
00:17:35¿Sabes lo que eso significa?
00:17:36No, Mati.
00:17:37¿Qué?
00:17:38Lo que estaba hablando de un viaje que estaba hablando con tu.
00:17:40Oh, Mati.
00:17:45Es un caro.
00:17:47¿Cómo lo ganaste?
00:17:49$25,000.
00:17:50¿Era donde preferiría?
00:17:52¿Atlantic City?
00:17:53No, en Niagara Falls.
00:17:56Of course, we can get the license in Buffalo.
00:17:59License?
00:18:00Yeah, you know.
00:18:04Legitimate.
00:18:06Ah. Why not? It might be fun.
00:18:08Uh, waiter. Waiter, my check...
00:18:26No, no, no.
00:18:56No, no, no.
00:19:26No, no.
00:19:56No, no.
00:20:26No, no.
00:20:56No, no.
00:21:26No, no.
00:21:28No, no.
00:21:30No, no.
00:21:32No, no.
00:21:34No, no.
00:21:36No, no.
00:21:38No, no.
00:21:40No, no.
00:21:42No, no.
00:21:44No, no.
00:21:46No, no.
00:21:48No, no.
00:21:50No, no.
00:21:52No, no.
00:21:54No, no.
00:21:56No, no.
00:21:58No, no.
00:22:00No, no.
00:22:02No, no.
00:22:04No, no.
00:22:06No, no.
00:22:08No, no.
00:22:10No, no.
00:22:12No, no.
00:22:14No, no.
00:22:16No, no.
00:22:18No, no.
00:22:20No, no.
00:22:22No, no.
00:22:24No, no.
00:22:26No, no.
00:22:28No, no.
00:22:30No, no.
00:22:32No, no.
00:22:34No, no.
00:22:36No, no.
00:22:38No, no.
00:22:40No, no.
00:22:42No, no.
00:22:43No, no.
00:22:44No, no.
00:22:45No, no.
00:22:46No, no.
00:22:47No, no.
00:22:48No, no.
00:22:49No, no.
00:22:50No, no.
00:22:51No, no.
00:22:52No, no.
00:22:53No, no.
00:22:54No, no.
00:22:55No, no.
00:22:56No, no.
00:22:57No, no.
00:22:58No, no.
00:22:59No, no.
00:23:00No, no.
00:23:01No, no.
00:23:02No, no.
00:23:03No, no.
00:23:04No, no.
00:23:05No, no.
00:23:06No, no.
00:23:07No, no.
00:23:08No, no.
00:23:09No, no.
00:23:10No, no.
00:23:11No, no, pero no hay que tener una caba de caba de la caba de la caba.
00:23:14Y yo tengo un trabajo con el manager.
00:23:16Oh, me lo sé, velo.
00:23:18Cuidado por él.
00:23:19¿Pero qué? ¿Qué pasa con él?
00:23:21No, nada más.
00:23:22Solo que no hay nada.
00:23:24¿Como?
00:23:25Sí. ¿Has comido hoy?
00:23:27Sí, todo lo que necesitaba.
00:23:29Para escuchar tú.
00:23:31Además, me lo sé.
00:23:32No, no, no, no, no, no.
00:23:35No, no, no.
00:23:37El cabezado casi me dejó.
00:23:39No, no, no, no, no, no, no.
00:24:09And don't forget to duck.
00:24:39Just 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.
00:25:03Why not?
00:25:04I had trouble with the man who runs the trouble.
00:25:06Mrs. 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, because 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.
00:25:23All right.
00:25:25I'll try.
00:25:26All right.
00:25:56Kathy.
00:26:08Kathy, it's Sue. Are you there?
00:26:14Kathy.
00:26:23Kathy.
00:26:26I tell you, the screen came from up there.
00:26:48Let's look into it.
00:26:49Let's go.
00:26:56¡Gracias!
00:27:26Usually, there's a policeman down at the corner.
00:27:45I know. That's why I've blown the whistle.
00:27:56Oh, Cappie! Cappie!
00:28:06Oh, Cappie! Cappie!
00:28:09Cappie!
00:28:10Cappie!
00:28:26¡Gracias!
00:28:56¡Gracias!
00:29:26¡Gracias!
00:29:56¡Gracias!
00:30:26¡Gracias!
00:30:35¡Gracias!
00:30:36¡Gracias!
00:30:37¡Gracias!
00:30:40Te lo chrono.
00:30:41Es Sue.
00:30:42Sue, esto es una sorpresa.
00:30:45Yo estaba pensando...
00:30:46Sue.
00:30:50¿Qué pasó, querida?
00:30:51¿Qué pasa?
00:30:52¿Qué pasó, Sue?
00:30:56¿Qué pasó?
00:30:58Kathy, Kathy, la mujer de mi casa
00:31:01fue matado.
00:31:03¿Qué?
00:31:04I encontré.
00:31:07El hombre que mató fue ahí en la sala.
00:31:10No, no, no, no.
00:31:11I tried to get away from him.
00:31:16But he followed me through the street.
00:31:19No, Scott, no, please don't go out there.
00:31:22It's all right, darling.
00:31:23Don't be frightened.
00:31:26It's all right now, dear.
00:31:27Your street.
00:31:40¿Quién ha encontrado el cuerpo?
00:31:44Una de mis rumores.
00:31:46Una amiga de Kathy.
00:31:47Sue Allen.
00:31:48¿Quién es Miss Allen?
00:31:50Ella no está aquí.
00:31:51¿Quién es?
00:31:52No sé.
00:31:53Nos escuchamos y cuando llegamos a la casa,
00:31:56ella fue desaparecida.
00:31:57¿Has comprado tus rumores?
00:31:58¿Están todos los rumores?
00:31:59All but Miss Allen.
00:32:01Bueno, Lieutenant Brennan
00:32:02nos va a dar un mensaje de cada uno de ustedes.
00:32:05No hay nadie de la casa.
00:32:10Cuando llegamos a la casa de la habitación,
00:32:16esta mujer ha sido muerto por varias horas.
00:32:18La causa de la muerte era la strangulación.
00:32:21La marca de la corda está en la boca.
00:32:24Mi examinación indicó que ella probablemente se ha dado a la droga.
00:32:27¿Qué es lo que fue?
00:32:30¿Qué es lo que se ha dado, Lieutenant Brennan?
00:32:32Veranol, quizás.
00:32:34I'll know as soon as we hear from the laboratory.
00:32:36¿Cuánto tiempo de que se ha dado a la droga?
00:32:37Que se ha dado a la droga.
00:32:43Señor, es muy difícil.
00:32:47Vaziones son muyBLEas por la noche.
00:32:48¿Qué?
00:32:49¿Va?
00:32:50¿3 suicidas y 2 murders?
00:32:50Sí, en un asescoache de alta hora.
00:32:52La que se ha rota por una de los autos.
00:32:55No, los sentimientos eran rápidos por alguien.
00:32:58Os en el tiempo.
00:32:59Se van a tener mejor cada día.
00:33:07Espero que te guste aquí, honey.
00:33:14Es lo mejor que tenemos.
00:33:25Hey, ¿qué pasa con esto?
00:33:27Te vas a acostumbrar.
00:33:28Es el fluido de embalmación que hace un salto.
00:33:31Es uno de los suicidadores.
00:33:33Justo como una mujer, siempre tiene que tener la última palabra.
00:33:37¡Gracias!
00:34:07¡Gracias!
00:34:09¡Gracias!
00:34:11¡Gracias!
00:34:13¡Gracias!
00:34:15¡Gracias!
00:34:17¡Gracias!
00:34:19¡Gracias!
00:34:20¡Gracias!
00:34:22¡Gracias!
00:34:23¡Gracias!
00:34:25¡Gracias!
00:34:26¡Gracias!
00:34:28¡Gracias!
00:34:29¡Gracias!
00:34:30¡Gracias!
00:34:31¡Gracias!
00:34:33¡Gracias!
00:34:34No, no, no.
00:35:04No, no, no.
00:35:34No, no, no.
00:36:04No, no, no.
00:36:06No, no.
00:36:08No, no.
00:36:10No, no.
00:36:12No, no.
00:36:14No, no.
00:36:16No.
00:36:18No, no.
00:36:20No.
00:36:22No.
00:36:24No.
00:36:26No.
00:36:28No.
00:36:30No.
00:36:32No.
00:36:34No.
00:36:36No.
00:36:38No.
00:36:40No.
00:36:42No.
00:36:44No.
00:36:46No.
00:36:48No.
00:36:50No.
00:36:52No.
00:36:54No.
00:36:56No.
00:36:58No.
00:37:00No.
00:37:02No.
00:37:04No.
00:37:06No.
00:37:08No.
00:37:10No.
00:37:12No.
00:37:14No.
00:37:16No.
00:37:18No.
00:37:20No.
00:37:22No.
00:37:24No.
00:37:26No.
00:37:28No.
00:37:30No.
00:37:32No.
00:37:34No.
00:37:36No.
00:37:38No.
00:37:40No.
00:37:42No.
00:37:44No.
00:37:46No.
00:37:48No.
00:37:50No.
00:37:52No.
00:37:54No.
00:38:14Mr. Wallace.
00:38:16Professor.
00:38:17It's so good.
00:38:19Oh, forgive me.
00:38:20Shaking hands with me is an unpleasant experience.
00:38:23My hands are no longer hands.
00:38:25Sit down, please.
00:38:27Oh, this is Igor.
00:38:28He's a deaf mute.
00:38:29He's one of my assistants.
00:38:31I'm going to open another wax museum under a different name.
00:38:35It startled you, eh?
00:38:37Seeing 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,
00:38:43I thought somebody was playing a joke on me.
00:38:45I still don't understand how you escaped from the fire.
00:38:47It's a mystery to me too, Mr. Wallace.
00:38:49All I can remember is that I tried to get out of my studio.
00:38:52I failed at first, but here I am.
00:38:54What a frightful experience.
00:38:55Somehow I made my way to the house of a doctor.
00:38:58Well, I still have my limbs, though they won't bear the weight of my body.
00:39:02As for my hands, they are no use to me now.
00:39:06As a sculptor, I can't control them, but they serve for ordinary functions.
00:39:10But you're beginning again?
00:39:12With the help of my pupils, yes.
00:39:14I'm rebuilding my exhibition from the ground up.
00:39:17I'm going to give the people what they want.
00:39:19Sensation, horror, shock.
00:39:22Send them out in the streets to tell their friends how wonderful it is to be scared to death.
00:39:27Let me show you one of my subjects.
00:39:30Do you recall the case of Kemmler, the first man to die in the electric chair?
00:39:35Yes.
00:39:36Igor is working on a model of his head.
00:39:40He has a strange obsession, this mute of mine.
00:39:43Every head he models takes on the shape of his own face.
00:39:47But in this case, I humor him for actually he somewhat resembles Kemmler.
00:39:52Crimes of violence will be reproduced in wax and exhibited while they are still fresh in the public mind.
00:40:00What do you think of my scheme?
00:40:03I think it will succeed, commercially.
00:40:06Though it doesn't sound like you.
00:40:08Have you turned your back on beauty?
00:40:10No.
00:40:11No, but I can no longer create it.
00:40:14I've never forgotten your Marie Antoinette.
00:40:16Nor have I.
00:40:18She will be the leading lady of my new exhibition.
00:40:21But I must find her first.
00:40:23Find her?
00:40:24A model, I mean.
00:40:25Oh yes, there will be beauty for contrast, for nothing else.
00:40:29But each subject must be taken from life.
00:40:32How can I convince my audience then alive if I don't believe it myself?
00:40:36Oh, I have something I think will interest you.
00:40:39You follow Igor down into the basement.
00:40:44I have to go my own way.
00:40:48Well, here we are.
00:40:49Interesting, isn't it?
00:40:50One of my pupils is about to dip a body into a bath of wax.
00:40:55What if?
00:40:56Yes, the bodies are constructed separately to exact specifications of reinforced plaster of Paris.
00:41:01Oh, this is Leon, another one of my pupils, Mr. Wallace.
00:41:02How do you do?
00:41:03The wax is melted in the cauldron you see above the vat.
00:41:08Liquefied and brought to a boiling point.
00:41:09So that it will distribute itself evenly over the body.
00:41:11The head and hands.
00:41:12The head and hands.
00:41:13The body.
00:41:14The body.
00:41:15Well, here we are.
00:41:16Interesting, isn't it?
00:41:17One of my pupils is about to dip a body into a bath of wax.
00:41:18What if?
00:41:19Yes, the bodies are constructed separately to exact specifications of reinforced plaster of Paris.
00:41:21Oh, this is Leon, another one of my pupils, Mr. Wallace.
00:41:25How do you do?
00:41:26The wax is melted in the cauldron you see above the vat.
00:41:30Liquefied and brought to a boiling point.
00:41:33So that it will distribute itself evenly over the body.
00:41:36The head and hands, tinted by my own secret process, are attached to the body after it is covered with its skin of wax.
00:41:43Now watch.
00:41:55I often wondered how that was done.
00:42:19It's a method of my own, crude but adequate.
00:42:22Have you found a home for your new museum?
00:42:27This is it.
00:42:28The building upstairs, I mean.
00:42:30We'll continue to use the cellar as a workshop-cutter door here and there, but 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.
00:42:40Thirty thousand, at least.
00:42:41That's why I've asked you to come here.
00:42:43I think it all right.
00:42:45Good.
00:42:46Well, she's about right now, Leon.
00:42:49Drain off the surplus and let her cool.
00:42:51Oh, Leon, open up number 27.
00:42:53Come 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.
00:43:03I saw that man's picture in the paper.
00:43:04This is a remarkable likeness.
00:43:05But it can't be a death mask.
00:43:06No, it's from memory.
00:43:08He hanged himself in an elevator shaft.
00:43:23Come in, come in, come in, ladies and gentlemen.
00:43:38See the house of wax.
00:43:39See the chamber of horns.
00:43:40Ah, here's three lovely little ladies right over here.
00:43:45Would you like to see little Egypt?
00:43:46Here she is, ladies and gentlemen.
00:43:47Little Egypt.
00:43:48Queen of the Hound.
00:43:49Who danced at the Columbia Exposition in Chicago in 1893.
00:43:52Is she wax?
00:43:53Or is she flesh and blood?
00:43:54See the world in wax.
00:43:55The hall of fame.
00:43:56The chamber of horns.
00:43:57A cultural exhibition that will enlighten you.
00:43:58I hate you.
00:43:59You know, I think I could do that.
00:44:00Oh, really?
00:44:01I've never seen you.
00:44:02I've never seen you.
00:44:03No, I'm not.
00:44:04You've never seen you.
00:44:05I've never seen me.
00:44:06I've never seen you.
00:44:07I've never seen you.
00:44:08en Little Egypt, Queen of the Herald,
00:44:11who danced at the Columbia Exposition
00:44:12in Chicago in 1893.
00:44:15Is she wax,
00:44:16or is she flesh and blood?
00:44:18See the world in wax, the Hall of Fame,
00:44:21the Chamber of Horrors,
00:44:22a cultural exhibition that will enlighten you.
00:44:26You know, I think I could do that.
00:44:27Oh, really, 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.
00:44:36Careful, sir, keep your head down,
00:44:37or I'll tap you on the chin.
00:44:39Look out, Jack!
00:44:42Well, that's a becoming hat you're wearing, madam.
00:44:45I wonder if I could clip a flower off it.
00:44:47Hold steady now, don't move your head,
00:44:49or you'll lose the powder off your nose.
00:44:52Well, there's someone with a bag of popcorn.
00:44:55Close your mouth, it's the bag I'm aiming at,
00:44:57not your tonsils.
00:44:58Here she comes.
00:44:59Well, look at that, it's in the bag.
00:45:02See the lovely sinners of ancient times,
00:45:04ladies and gentlemen,
00:45:05beauties who died in torture and on the block.
00:45:08Visit our chamber of wars
00:45:10and pass the time of day
00:45:11with notorious murderers.
00:45:13Who killed with the rope,
00:45:14the knife,
00:45:15and the axe.
00:45:16Thrills, chills, and laughter
00:45:18for a price
00:45:19without the rates of gold.
00:45:21I hope you don't think
00:45:22I've gone too far
00:45:23hiring this fellow
00:45:24to bring people in.
00:45:25He does make it sound
00:45:26a little like a side joke.
00:45:27We'll try him for a week or two.
00:45:28Once we're established,
00:45:29we won't need that sort of thing.
00:45:40Well, he looks like a real man, doesn't he?
00:45:42You'd be surprised.
00:45:43It is a real man.
00:45:45Sorry.
00:45:45The historic figures
00:45:47I am about to show you
00:45:49will be more interesting
00:45:50when I tell you
00:45:50that their faces
00:45:51were molded
00:45:52from the original death masks,
00:45:54now in the possession
00:45:55of certain European governments.
00:45:57First, we have Anne Boleyn,
00:45:59second wife of Henry VIII
00:46:01and the mother of Queen Elizabeth.
00:46:03With the executioner,
00:46:04Henry borrowed from the French king
00:46:05so that Anne's head
00:46:06would be cleaved from her body
00:46:08without too much pain.
00:46:10He was a thoughtful husband, Henry.
00:46:11It was he who invented
00:46:13the shortcut to divorce.
00:46:15A very bad pun, I'm afraid.
00:46:18Here is another scene
00:46:19of historic violence.
00:46:21Charlotte Corday and Marat,
00:46:22one of the leaders
00:46:23of the French Revolution.
00:46:25The lady found him taking a bath
00:46:27and plunged the knife
00:46:28into his heart.
00:46:29Que fan terrible.
00:46:30What a shocking thing to do.
00:46:32Yes, wasn't it?
00:46:33The poor man
00:46:33was dreadfully embarrassed.
00:46:38The exhibits in this room
00:46:40will be added to
00:46:41from time to time
00:46:42as various crimes are committed.
00:46:44You will read about them
00:46:44in your newspaper
00:46:45and see them enacted here
00:46:47in wax and tableaus.
00:46:49Oh, by the way, ladies,
00:46:50this is how your ancestor
00:46:52carried his bride
00:46:53across the threshold.
00:46:55During the French Revolution,
00:46:56a certain doctor
00:46:57invented a labor-saving device
00:46:59to take the place
00:47:00of the headsman's axe.
00:47:02So successful was this machine
00:47:04at cutting off the heads
00:47:06of the French aristocrats,
00:47:07they named it after its creator.
00:47:08And here it is,
00:47:10the bloody guillotine.
00:47:15Oh, dear,
00:47:16I don't think I can stand you.
00:47:17Now, Millie.
00:47:18Pull yourself together, honey.
00:47:19Twelve years ago,
00:47:20the electric chair
00:47:21was first used
00:47:22in New York State.
00:47:23And here we have
00:47:24an authentic reproduction
00:47:25of the execution
00:47:26of William Kemmler
00:47:27on August 3rd in 1890.
00:47:31Kemmler killed without mercy
00:47:32and 2,000 volts sent him
00:47:34to a higher court.
00:47:36The torture of the rack.
00:47:38In this case,
00:47:39Lady Anne Askew,
00:47:41an English noblewoman
00:47:42accused of treason,
00:47:44is being put to the question.
00:47:46Needless to say,
00:47:47she admitted she was a traitor.
00:47:49Who wouldn't under
00:47:49that sort of pressure?
00:47:51Oh, dear me.
00:47:51Is it your corset?
00:47:52No, it's my stomach.
00:47:54It turned over.
00:47:54Mine turned over, too.
00:47:56And now, my friends,
00:47:57we have that jolly
00:47:58old gentleman
00:47:59known as the modern bluebeard.
00:48:02Like his namesake,
00:48:03he killed not wisely,
00:48:04but too well.
00:48:06And did away with eight wives.
00:48:11Oh, Millie!
00:48:13Smelling salts,
00:48:14ladies, help yourself.
00:48:15Thank you very much.
00:48:19Next door to him,
00:48:20we have a mystery
00:48:21of more recent date.
00:48:22Matthew Burke,
00:48:23the stockbroker.
00:48:25He was found hanged
00:48:26in the elevator shaft
00:48:27of the building
00:48:28where he had his offices.
00:48:31Was it murder
00:48:32or suicide?
00:48:34Only time will tell.
00:48:37Foul deeds will rise
00:48:38though all the world
00:48:39or whelm them
00:48:40to men's eyes.
00:48:50Oh, thank you.
00:48:52You like him, Sue?
00:48:53He looks exactly
00:48:54like my Uncle Rufus.
00:48:55You know they have
00:48:55a policeman like this
00:48:56in the lobby
00:48:56of the Aiden Museum.
00:48:58Haven't you been there?
00:48:58No.
00:49:00From what I see
00:49:00in the papers,
00:49:01this museum is even better.
00:49:03Anyway, we'll soon find out.
00:49:05Scott!
00:49:07Mr. Wallace!
00:49:09Sue, I want you
00:49:09to meet my good friend,
00:49:10Mr. Sidney Wallace,
00:49:11Miss Sue Allen.
00:49:12It's a pleasure, Miss Allen.
00:49:13I heard you were back in town.
00:49:14Then you should have
00:49:15looked me up.
00:49:16I expect great things
00:49:17of Scott.
00:49:17I consider him
00:49:18one of our most promising
00:49:18young sculptors.
00:49:19Has he been working hard?
00:49:20Oh, he never knows
00:49:21when to start.
00:49:22Sue's been posing for me.
00:49:23Indeed.
00:49:24Lovely subject.
00:49:24Thank you.
00:49:25Not a professional model.
00:49:26She's a guest in our home.
00:49:27Sue's mother and mine
00:49:28were great friends.
00:49:29Have you been inside,
00:49:29Mr. Wallace?
00:49:30Yes.
00:49:30Is it exciting?
00:49:31If anything, too much so.
00:49:33But I'm sure it'll catch on.
00:49:34Gerard, the man who owns
00:49:35the place,
00:49:35is a good friend of mine.
00:49:36You'll be interested
00:49:36in him, Scott.
00:49:37Let's go in, shall we?
00:49:38You know, these figures
00:49:48are excellent.
00:49:49I thought you'd agree
00:49:49with me.
00:49:51They're not only well done,
00:49:52but they're good theater.
00:49:53What do you think, Miss Allen?
00:49:55I know they're only wax,
00:49:56but he seems so real.
00:49:57Just looking at her
00:49:58makes my neck hurt.
00:50:00Wait till you see
00:50:00the chamber of Horace.
00:50:02I told Gerard
00:50:02he should have a nurse
00:50:03on duty there.
00:50:06You know that he lost
00:50:07the use of his hands.
00:50:08Oh?
00:50:08Who did these figures?
00:50:09His pupils,
00:50:10but he supervised the work.
00:50:11His is the mastermind.
00:50:13Surely knows it's anatomy.
00:50:37I don't know math.
00:50:38I don't understand it.
00:50:40I'm a woman.
00:50:41He could have been
00:50:42talking to me.
00:50:42I don't know how many
00:50:42weeks ago.
00:50:43He's a bit late.
00:50:47Good podob
00:50:48it.
00:50:50I'm one of the most
00:50:54I hang.
00:50:56Good morning, Jim.
00:50:57I'm out.
00:51:01Good morning, Jim.
00:51:03No, no, no, no, no, no, no.
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 Cathy?
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.
00:52:03It 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 Cathy 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.
00:52:23Cathy loved to dress up, as she called it.
00:52:25She used to take fancy dresses and imitate the actresses she saw in the theater.
00:52:31I 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.
00:52:52You 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.
00:53:01Yes, 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.
00:53:20Sidney, 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 10 minutes,
00:53:30but there's something about her face that haunts you
00:53:33as 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
00:53:52and creates something that comes alive.
00:53:55So it was with my Marie Antoinette, and I loved her.
00:53:59But 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.
00:54:09I'd be glad to.
00:54:13You'll be welcome at any time, no matter what I'm doing.
00:54:17And you, Mr. Andrews, in the morning?
00:54:18I'll be here, very eager to begin.
00:54:20Thank you.
00:54:21It's been a very exciting day for me,
00:54:23and I'm a little tired,
00:54:24so if you'll forgive me, I'll say good night.
00:54:30Oh, Sidney, one more, please.
00:54:32Excuse me.
00:54:33I'll be right back.
00:54:35Forget about it, Sue.
00:54:36You 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 hate to drag you away, Scott.
00:54:51Oh, that's all right.
00:54:52I'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,
00:54:59ladies and gentlemen.
00:55:00Get your tickets from the charming little lady
00:55:02in the box office,
00:55:03and go right in.
00:55:05See the world in wax and improve your mind.
00:55:07See the chamber of horrors
00:55:08and scare yourself out of a year's growth.
00:55:27Not again.
00:55:30No.
00:55:36No.
00:55:36No.
00:55:49No.
00:55:53No.
00:55:54No.
00:55:54No.
00:55:54No, no, no.
00:56:24No, no, no.
00:56:54What happened, Sue? Why did you scream?
00:57:06I saw Cassie again.
00:57:08And 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.
00:57:15Oh, oh, oh, oh.
00:57:17Oh, oh.
00:57:18Oh, oh, oh.
00:57:30¡Gracias!
00:58:00No.
00:58:02¡Gracias!
00:58:04¡Gracias!
00:58:14Foods more.
00:58:16¡Gracias por la señora.
00:58:20Y dos ryes.
00:58:22Gracias.
00:58:25¿A que estás disfrutando?
00:58:26¡Atención!
00:58:28¿Los jóvenes vienen aquí?
00:58:31Claro, las matinas son muy popular.
00:58:33No sé, no parece tan bueno.
00:58:36Las chicas que están mostrando sus talentos.
00:58:40¿No viste una show en Provincetown?
00:58:43No.
00:58:44No te preocupes, tu reputation es seguro.
00:58:46Viste con la vida de la vida en tus brazos,
00:58:48preocuparte de las figuras y veras monstruos en tus sueños.
00:58:52Necesitamos algo así para que te vuelva a la normalidad.
00:58:55Sue.
00:58:58Pro-Zip.
00:58:59Scott.
00:59:03Scott.
00:59:15¿Se acuerdan?
00:59:16¿Se acuerdan?
00:59:17¿Se acuerdan?
00:59:18¿Se acuerdan?
00:59:19¿Se acuerdan?
00:59:20¿Se acuerdan?
00:59:21¿Se acuerdan?
00:59:22¿Se acuerdan?
00:59:23¿Se acuerdan?
00:59:24¿Se acuerdan?
00:59:25¿Se acuerdan?
00:59:26¿Se acuerdan?
00:59:27¿Se acuerdan?
00:59:28¿Se acuerdan?
00:59:29¿Se acuerdan?
00:59:30¿Se acuerdan?
00:59:31¿Se acuerdan?
00:59:32¿Se acuerdan?
00:59:33¿Se acuerdan?
00:59:34¿Se acuerdan?
00:59:35¿Qué es eso?
00:59:37Yo lo conocí muy bien.
00:59:39He conocido cada expresión, y ellos están ahí.
00:59:42Bueno, sí. El hombre es un artista.
00:59:44Hay algo más que yo he visto en el museo.
00:59:48Kathy tenía un hábito de vestir de la cabeza de la cabeza.
00:59:52Ella tenía la cabeza de la cabeza de la cabeza, pierced por eso.
00:59:56Eso también está ahí.
00:59:58¿Cómo se puede ver eso en una foto?
01:00:01¿Cómo se puede hacer esto tan real?
01:00:03¿Qué?
01:00:06No, si es Kathy.
01:00:08Sue.
01:00:10Ahora, voy a ir a la oficina de la oficina.
01:00:13Quiero decirle lo que me ha dicho.
01:00:15Él es un policía que sabe.
01:00:17Él va a decirle que no puede suceder.
01:00:20Relax, amor, y disfruta el show.
01:00:33Si asistir.
01:00:46¿Cueduca a la ala de las clínicas?
01:00:48Oh, bueno.
01:00:50¡Gracias!
01:01:20No, no, no, no.
01:01:22No, no, no.
01:01:23No, no, no.
01:01:24No, no.
01:01:25No, no, no.
01:01:26No, no, no.
01:01:27No, no, no.
01:01:28No, no, no.
01:01:29No, no, no.
01:01:30No, no, no.
01:01:31No, no.
01:01:32No, no, no.
01:01:33No, no.
01:01:34No, no, no.
01:01:35No, no, no, no.
01:01:36I don't know, Lieutenant.
01:01:37It's not a suspicion.
01:01:38It's more a kind of fear and intuition.
01:01:40Well, intuition isn't much help in police work.
01:01:41Facts are what we need.
01:01:42Suppose you forget about it and let us do the worrying, eh?
01:01:45You mean you'll investigate it?
01:01:46Of course he does.
01:01:48Yes, that's what I mean.
01:01:48Thanks.
01:01:56This is Brennan speaking. Give me Shane.
01:02:00Oh, hello Jim.
01:02:00I want you to go to the City License Bureau
01:02:02and check off on a man named Henry Jarrod.
01:02:05Yes, he opened a museum on
01:02:0629th Street near Broadway.
01:02:10Yes, the House of Wags.
01:02:12Dig up all you can,
01:02:13get a list of his employees and check with me here.
01:02:15Right.
01:02:18¡Suscríbete al canal!
01:02:48¡Suscríbete al canal!
01:03:18¡Suscríbete al canal!
01:03:48¡Suscríbete al canal!
01:03:50¡Suscríbete al canal!
01:03:52¡Suscríbete al canal!
01:03:54¡Suscríbete al canal!
01:03:56¡Suscríbete al canal!
01:03:58¡Suscríbete al canal!
01:04:00¡Suscríbete al canal!
01:04:02¡Suscríbete al canal!
01:04:04¡Suscríbete al canal!
01:04:06¡Suscríbete al canal!
01:04:08¡Suscríbete al canal!
01:04:10¡Suscríbete al canal!
01:04:12¡Suscríbete al canal!
01:04:14¡Suscríbete al canal!
01:04:16¡Suscríbete al canal!
01:04:18¡Suscríbete al canal!
01:04:20¡Suscríbete al canal!
01:04:22¡Suscríbete al canal!
01:04:24¡Suscríbete al canal!
01:04:26¡Suscríbete al canal!
01:04:28Bueno, la policía retirar la jewelry de su cuerpo, ¿verdad?
01:04:32Y aún así, ¿verdad que los dos ojos se han perdido por ellos?
01:04:36Sí, claro. Si me hubiera dado cuenta de eso,
01:04:39Mr. Jarrett sería más desplazado.
01:04:42He insistido en la realidad.
01:04:44Me entiendo, Pat.
01:04:46Just un momento.
01:04:47Hay algo en esta caja, creo, que me interesa.
01:04:50Openla, Leon.
01:04:51No, no, no, no.
01:05:21No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no.
01:05:27¿Vale a ver de nuevo, mi querido?
01:05:51No, yo, no, no, no, no, no, no, no, no, no, no, no, no, no.
01:05:53Hey, Burke, you know this fella Jarrett's quicker at finding these guys than we are?
01:05:58Eso es lo que dice en la publicación.
01:06:02Mira eso. Incluso el rostro en la cabeza.
01:06:05Si me parece, ¿dónde está Burke? ¿Quién lo haces?
01:06:07¿Quién lo haces?
01:06:08Deberíamos encontrarlo muy rápido.
01:06:11¿Vale a leer el blasto en el mundo de esta mañana?
01:06:12Sí, es dynamite.
01:06:14El presidente me dejó en mi oficina esta mañana.
01:06:16Si no estoy preocupado, voy a pelear en el bronx.
01:06:28¿Vale a leer el palco?
01:06:30¿Vale a leer el palco?
01:06:33¿Vale a leer el palco?
01:06:35¿Vale a leer el palco?
01:06:36¿Vale a leer el palco?
01:06:38¿Vale a leer el palco?
01:06:40Sí, sí, sí, con el palco de la piel.
01:06:44El cabello es diferente, pero los aspectos son algo como el palco.
01:06:48¿Vale a leer el palco?
01:06:49¿Vale a leer muchos de los malos en aquí?
01:06:51Se ve a los malos.
01:06:52El cabello que hay en aquí es el imagen de la nueva comisión.
01:06:55No te pierdas las muestras.
01:06:57¿Vale a leer el palco?
01:06:59No te pierdas las muestras.
01:07:00No te pierdas las muestras.
01:07:01¿Vale a leer el palco?
01:07:03Sí, de los fotos.
01:07:05¿Vale a tomar ese momento?
01:07:06Sí.
01:07:07Si vas a la ciudad de la ciudad,
01:07:08vas a encontrar un montón de fotos de Matthew Brady.
01:07:12¿Vale a trabajar aquí?
01:07:13Sí.
01:07:14¿Vale a hacer estas cosas?
01:07:15Algunas.
01:07:16¿Cuál es tu nombre?
01:07:18¿Leon Averill.
01:07:20¿Qué es tu nombre?
01:07:21Jim Shane.
01:07:22Soy un ingeniero en el 9th Avenue L.
01:07:24Muy bien conocido.
01:07:27Tom.
01:07:30¿Vale?
01:07:31¿Vale?
01:07:32¿Vale?
01:07:33¿Vale?
01:07:34¿Vale?
01:07:35¿Vale?
01:07:36¿Vale?
01:07:37¿Vale?
01:07:38¿Vale?
01:07:39¿Vale?
01:07:40¿Vale?
01:07:41¿Vale?
01:07:42¿Vale?
01:07:43¿Vale?
01:07:44¿Vale?
01:07:45¿Vale?
01:07:46¿Vale?
01:07:47¿Vale?
01:07:48¿Vale?
01:07:49¿Vale?
01:07:50¿Vale?
01:07:51¿Vale?
01:07:52¿Vale?
01:07:53¿Vale?
01:07:54¿Vale?
01:07:55¿Vale?
01:07:56¿Vale?
01:07:57¿Vale?
01:07:58¿Vale?
01:07:59¿Vale?
01:08:00¿Vale?
01:08:01¿Vale?
01:08:02¿Vale?
01:08:03¿No?
01:08:05¿Vale?
01:08:09¿Vale?
01:08:11...que supone que ha sido muerto en el fuego.
01:08:13Parece que es un error.
01:08:15¿Tú supone que un crimen?
01:08:17No, hay un poco.
01:08:18No, solo sé.
01:08:19Así está el coche.
01:08:22¿Qué sabes de sus empleos?
01:08:23Bueno, hay Scott Andrews, un protégé de mí.
01:08:26Sí, sabemos de él.
01:08:28Hay Igor, a la derecha del mundo...
01:08:30...y Leon Averill, que hace el trabajo.
01:08:33Averill es un personaje...
01:08:35...es un hombre muy malo, pero es un artista.
01:08:38He visto algunos de sus escuelas...
01:08:39...es un hombre con sus discípulos...
01:08:41...es un buen trabajo.
01:08:43Bueno, yo no tengo mucha ayuda.
01:08:45Oh, no te voy a decir, Mr. Wallace.
01:08:47Gracias, muy bien.
01:08:48Me gustaría que no mencionara esto a tu partner.
01:08:50No, no.
01:08:52No, no.
01:08:54No, no.
01:08:55No, no.
01:08:56No, no.
01:08:57No, no, no.
01:08:58No, no, no.
01:08:59No, no, no.
01:09:00No, no.
01:09:01No, no, no.
01:09:02No, no, no.
01:09:05No, no, no.
01:09:08¿No?
01:09:08Remember that artist in Sing Sing...
01:09:09...¿painted a picture of the last supper...
01:09:11...on the wall of his cell?
01:09:12Oh, Hendrix.
01:09:13They called him a genius...
01:09:14...and gave him a parole?
01:09:15Ha, ha.
01:09:16Yeah, but when he turned loose...
01:09:17...he became a drunk.
01:09:18He broke parole about a year ago...
01:09:19...and we've had him on the wanted list ever since.
01:09:21Carl Hendrix.
01:09:22That's him, alias Leon Averill.
01:09:24Bring him in.
01:09:25Can do.
01:09:37¡Suscríbete al canal!
01:10:07¡Suscríbete al canal!
01:10:37¡Suscríbete al canal!
01:11:07¡Suscríbete al canal!
01:11:09¡Suscríbete al canal!
01:11:11¡Suscríbete al canal!
01:11:13¡Suscríbete al canal!
01:11:15¡Suscríbete al canal!
01:11:17¡Suscríbete al canal!
01:11:21¡Suscríbete al canal!
01:11:23¡Suscríbete al canal!
01:11:27¡Suscríbete al canal!
01:11:29¡Suscríbete al canal!
01:11:31¡Suscríbete al canal!
01:11:33¡Suscríbete al canal!
01:11:35¡Suscríbete al canal!
01:11:37¡Suscríbete al canal!
01:11:39¡Suscríbete al canal!
01:11:41¡Suscríbete al canal!
01:11:43¡Suscríbete al canal!
01:11:45¡Suscríbete al canal!
01:11:47¡Suscríbete al canal!
01:11:49¡Suscríbete al canal!
01:11:51¡Suscríbete al canal!
01:11:53¡Suscríbete al canal!
01:11:55¡Suscríbete al canal!
01:11:57¡Suscríbete al canal!
01:11:59¡Suscríbete al canal!
01:12:01¡Suscríbete al canal!
01:12:03¡Suscríbete al canal!
01:12:05¡Suscríbete al canal!
01:12:07¡Suscríbete al canal!
01:12:09¡Suscríbete al canal!
01:12:11¡Suscríbete al canal!
01:12:13¡Suscríbete al canal!
01:12:15¡Suscríbete al canal!
01:12:17¡Suscríbete al canal!
01:12:19¡Suscríbete al canal!
01:12:23Take him out.
01:12:25Let's go.
01:12:53Let's go.
01:13:23Let's go.
01:13:53Let's go.
01:14:23Let's go.
01:14:53Let's go.
01:15:23Let's go.
01:15:53Let's go.
01:16:23Let's go.
01:16:25Let's go.
01:16:29Let's go.
01:16:31Let's go.
01:16:33Let's go.
01:16:35Let's go.
01:16:37Let's go.
01:16:43Let's go.
01:16:49Let's go.
01:16:51Let's go.
01:16:57Let's go.
01:16:59Let's go.
01:17:07Let's go.
01:17:09Let's go.
01:17:17Let's go.
01:17:19Let's go.
01:17:29Let's go.
01:17:39Let's go.
01:17:41Let's go.
01:17:42Let's go.
01:17:51Let's go.
01:17:53Let's go.
01:18:03Let's go.
01:18:05Let's go.
01:18:07Let's go.
01:18:08Let's go.
01:18:09Let's go.
01:18:10Let's go.
01:18:11Let's go.
01:18:13Let's go.
01:18:15Let's go.
01:18:16Let's go.
01:18:17Let's go.
01:18:21Let's go.
01:18:23Let's go.
01:18:25Let's go.
01:18:27¡Suscríbete al canal!
01:18:57¡Suscríbete al canal!
01:19:27¡Suscríbete al canal!
01:19:57Joan of Arc, that's Kathy.
01:19:59She's there with all the rest of them.
01:20:00That whole place is a morgue.
01:20:02He'll do the same with Sue Allen if he ever gets his hands on her.
01:20:05You've got to stop him.
01:20:07You've got to stop him before he does any more killing.
01:20:09That look of horror spoils your lovely face.
01:20:20That look of horror spoils your lovely face.
01:20:36What if it should show even through the works?
01:20:39She's...
01:20:42No, no, no.
01:21:10Sue?
01:21:12Sue!
01:21:28Sue, ¿estás ahí?
01:21:37¿Dónde está Sue?
01:21:41¿Dónde está ella?
01:21:41¿Dónde está Sue?
01:22:11¡No, no!
01:22:28¡No!
01:22:29¡Vamos!
01:22:59¡Vamos!
01:23:01¡Vamos!
01:23:03¡Vamos!
01:23:05¡Vamos!
01:23:27¡Vamos!
01:23:29¡Vamos!
01:23:31Being beyond pain and agony so intense,
01:23:45it shocks the mind into instant gloomy.
01:23:49We find immortality together,
01:23:51for they will remember me through you
01:23:53¡Ah!
01:24:23¡Ah!
01:24:54Where's Jared?
01:24:55Where's Jared?
01:24:57Where's Jared?
01:25:13Andres.
01:25:15Where's Jared?
01:25:19In the cellar.
01:25:20He's got Sue.
01:25:21Take care of it.
01:25:51Take care of it.
01:26:21Take care of it.
01:26:51Take care of it.
01:27:22We'll never forget you and your men, Lieutenant.
01:27:24Thanks to you, we're still alive.
01:27:26But you know, every time I shave, I can still feel that guillotine blade.
01:27:29Oh, please, let's not talk about it anymore.
01:27:32Yes, you're right.
01:27:33Mr. Brennan, thank you for the use of your coat.
01:27:38Oh, oh, that was nothing.
01:27:40It 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'll grow a long beard.
01:28:04Oh, wow.
01:28:05Thank you.
01:28:06Thank you.
01:28:08Thank you.
01:28:08Gracias por ver el video.
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