- 23 hours ago
Enter the spooky world of The Ghost Walks, a classic blend of mystery, comedy, and haunted house thrills from the golden age of cinema. When a group of unexpected guests becomes trapped inside a creepy mansion during a stormy night, strange events, hidden secrets, and ghostly encounters begin to unfold. Packed with suspense, eerie atmosphere, and lighthearted humor, this 1934 classic delivers vintage entertainment perfect for fans of old-school horror mysteries.
A must-watch for lovers of haunted mansion stories, black-and-white classics, and early Hollywood suspense films.
A must-watch for lovers of haunted mansion stories, black-and-white classics, and early Hollywood suspense films.
Category
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Short filmTranscript
00:04:23The End
00:04:23Mr. Ains.
00:04:24Oh, hello, Carraway.
00:04:26I'm sorry, I didn't recognize this as Dr. Kent's house.
00:04:30Just a moment, Ames.
00:04:31I don't know who this Dr. Kent is,
00:04:33but I'm getting out of the storm even if it's to be the missing lady.
00:04:37Coming in, Mr. Ames?
00:04:46Ames!
00:04:48Well, this is a surprise.
00:04:51Good to see you.
00:04:52Yes, I suppose it is a surprise.
00:04:54We skidded off the road, hit a tree and became mired in mud,
00:04:57and yours is the nearest house.
00:04:59Oh, pardon me, Dr. Kent, this is Herman Wood,
00:05:01the famous theatrical producer.
00:05:02You no doubt have heard of him even if you haven't met him.
00:05:04Delighted, Mr. Wood.
00:05:05You're courageous to face the storms we have up here.
00:05:08Courageous? Insane, you mean?
00:05:10How do you do, sir?
00:05:11And this is Homer Erskine, his secretary.
00:05:13How are you, Erskine?
00:05:15Oh, wet.
00:05:17I agree with you for once.
00:05:21Hello, Gloria. Glad to see me.
00:05:23More than you know.
00:05:24A certain gentleman here doesn't take our engagement seriously.
00:05:28Harry.
00:05:29Hello, Ames.
00:05:30How do you do?
00:05:31Gloria.
00:05:32This is Mr. Wood, Mr. Erskine, Miss Shaw, and Mr. Terry Gray.
00:05:37Oh, Mr. Wood, I've heard so much about you.
00:05:40Yeah, I was afraid of that.
00:05:42How are you, young man?
00:05:43Still quite normal, thank you.
00:05:45Nice of you all to drop in like this.
00:05:47Your idea wasn't it, Ames?
00:05:49After all, you were invited.
00:05:51That had nothing to do with it.
00:05:52And I assure you, I wouldn't be here now if I could help it.
00:05:55We were just driving to my place where Mr. Wood was going to hear me read my latest play.
00:05:58Another play, Pastor?
00:06:00My, you are prolific.
00:06:01Well, play or no play, I ought to be in New York. In Bay.
00:06:04Well, I'm afraid you'll have to remain my guest for the night.
00:06:07My chauffeur tells me the roads are completely out.
00:06:09Oh, forgive me for keeping you in these wet things.
00:06:12I'll have Carraway show you to some rooms immediately.
00:06:14Then you'll join us for a cocktail before dinner for you.
00:06:17Staying, of course.
00:06:18Well, I like the cocktail part of the program.
00:06:21Oh, Carraway.
00:06:22Take Mr. Ames and his friends upstairs immediately owing to the storm.
00:06:25They're going to stay for the evening.
00:06:27Yes, sir.
00:06:27This way, please.
00:06:35Who are you?
00:06:37Why, I'm...
00:06:40You tell her.
00:06:41I'm beginning to be uncertain of everything.
00:06:43Why, this is Mr. Wood.
00:06:45I'm Mr. Erskine, his secretary.
00:06:49I pity you so much.
00:06:52You're surrounded by tragedy.
00:06:55And sorrow.
00:06:58Well, you are psychic, Beatrice.
00:07:00Mr. Wood is the greatest producer of tragedies and dramas in the country.
00:07:04You mean he...
00:07:07What?
00:07:13Hey, uh...
00:07:13Ames, about this play of yours.
00:07:15Why, yes, it's in my bag.
00:07:17As long as we can't reach my place, why not let me read it to you here.
00:07:23I just remembered to report an appointment tomorrow in the city.
00:07:26I must return tonight.
00:07:28Isn't that right?
00:07:29Yes, absolutely.
00:07:30He has to address the Traveler's Aid Society.
00:07:33On the proper way to fold a timetable.
00:07:35My dear Mr. Wood, I would gladly assist you.
00:07:38But until the storm abates there's no way of reaching the city.
00:07:41Well, we may as well accept the situation, Mr. Wood.
00:07:44We'll have a good dinner and then retire to Dr. Kent's study for a nice quiet reading.
00:07:48Perhaps, uh, it'll make you appreciate my play all the more.
00:07:51They say a full stomach reads tolerance.
00:07:53Well, something tells me I shall need it.
00:08:09Mr. Rains, this is your room. You've used it before.
00:08:12This way, gentlemen, please.
00:08:16And this is yours, sir.
00:08:17All right.
00:08:18And this is yours, sir.
00:08:27Just a moment.
00:08:30Have that coat dried out.
00:08:32Yes, sir. Right away, sir.
00:08:33Anything else, sir?
00:08:34Yes. Close the door when you go out.
00:08:36Yes, sir.
00:08:55Let's go.
00:08:55Go.
00:08:58Good.
00:09:05Good.
00:09:16Good.
00:09:17Good.
00:09:17Good.
00:09:20Good.
00:09:24well the ghost walks tonight or never you don't sound very hopeful to the contrary not only hopeful
00:09:31but brave i'm going to ask you to marry me and go to california where the sun always shines and
00:09:37the oranges fall from the trees to your breakfast table that's a beautiful picture on a stormy night
00:09:42like this but with or without the oranges and sunshine you know i won't marry you terry because
00:09:47i love someone else terry pardon me
00:10:02you're not a very easy man to discourage are you you forget that gloria here is engaged to a mutual
00:10:07friend of ours i don't think that's any of your business here gray i don't like your attitude
00:10:14in fact i don't think i like anything about you so what why must you two always act like gladiators
00:10:20be sensible the night of all nights must not be the time for any discord you know i've never given
00:10:25you
00:10:25cause to think of me as more than a friend that depends on your viewpoint i might argue that
00:10:30statement i'd like to give you the thrashing you deserve for those insinuations we'll discuss this
00:11:06later
00:11:08Worse than that, it sounds like something I'm a human.
00:11:11Oh, pure imagination.
00:11:13If I allowed a noise like that to scare me,
00:11:16your voice would have killed me long ago.
00:11:19Look here, are you trying to insinuate I'm afraid?
00:11:22I'm just nervous, that's all.
00:11:24What kind of a madhouse is this, Eddie?
00:11:26Oh, don't be so excitable.
00:11:28It's probably your liver acting up again.
00:11:31Have you your pills?
00:11:32Oh, my pills.
00:11:37Any of you folks hear a scream?
00:11:39Yes, it frightened me too.
00:11:41Yes, I can't understand where it came from.
00:11:43Tell them where it came from, Ames.
00:11:45You've heard it before.
00:11:47Why scare your friends unnecessarily?
00:11:50Perhaps you're right.
00:11:54Any scream you may have heard probably came from Beatrice's room.
00:11:58She's Dr. Kent's patient and Mr. Gray's sister.
00:12:02You met at the foot of the stairs.
00:12:04She's just a little, uh, irrational at times.
00:12:07Well, as far as I know, it's nothing to worry about.
00:12:09Simply emotional outbursts.
00:12:12Don't you just love a night like this?
00:12:15This old house seems to belong in the rain and thunder.
00:12:18I read a book once about an old, old house.
00:12:21And oh, I don't know how many murders happened on just such a night as this.
00:12:25No!
00:12:38Was that, was that the clock?
00:12:40Yes, I, I, I, I guess so.
00:12:42I, I, I think so.
00:12:43It must have been.
00:12:44But it's a union clock.
00:12:46What do you mean?
00:12:47Well, it strikes in the old times.
00:13:07What's the matter with Beatrice?
00:13:19Yes, John.
00:13:22I am waiting.
00:13:25For you.
00:13:30I am waiting.
00:13:59I am waiting.
00:14:02I've seen say the people in her in asylum
00:14:06I'm sorry this had to happen Beatrice's spells are unnerving to a stranger
00:14:09But after one gets to know her no say if I never see her again, I'll be satisfied
00:14:14Now if you'll be so kind as to find some method for me to leave this house see that I
00:14:19take it. Oh
00:14:20Prescott we couldn't let you do that with your friend. I think your friend is unduly alarmed Ames
00:14:25How is that so well who asked you he has high blood pressure. He should calm himself. Oh
00:14:31Miss Beatrice actions are nothing to fear. She simply dwells in the unknown
00:14:37As her attending physician I can speak freely the girl suffers from hallucinations and the shock of a tragedy that
00:14:43occurred in this house
00:14:44Three years ago this night
00:14:46Mr. Ames remembers that night very distinctly. No doubt
00:14:50That's why he shuns my house
00:14:52Dr. Kent I see no reason for making my sister's grief public talk
00:14:55I bet the doctor is going to tell us about some terrible operation
00:15:00That ought to be cheerful
00:15:01The unsolved murder of your sister's husband must be public talk in this house murder
00:15:08I have taken notes on her actions since that night and each year at this hour the flutter of that
00:15:13sound is heard and she has acted as though the spirit of
00:15:16John her dead husband had returned to her. That's all there is to it
00:15:20Erskine, we are leaving
00:15:22No, we are not ghosts or no ghosts. We are eating
00:15:29We are leaving or disobeying my orders
00:15:32No, I'm not you fired me an hour ago
00:15:54Gloria, Mrs. Drames, Mr. Wood, Mrs. Burrskine
00:15:58Hope you're all as hungry as I am
00:16:00Just give me an aspirin
00:16:02Just give me anything but a tomato surprise
00:16:04I've had shocks enough
00:16:06This is about as cheerful as an undertaker's picnic in a cemetery
00:16:23You're right on time, John
00:16:26I was so afraid you might disappoint me
00:16:30Mr. Wood, I think you're right
00:16:33We better leave now that John's here
00:16:37Yes, Erskine, I'm not a cowardly man by nature
00:16:40But my nerves won't stand this any longer
00:16:43That woman is dangerous
00:16:45My friends, please
00:16:46I regret these unusual disturbances
00:16:49But I've experienced these same phenomena in my patient's presence before
00:16:53There's nothing to fear from the dead
00:16:55I believe in spirits but only in spirits
00:16:59Hear me?
00:17:00Beatrice, please
00:17:01Your brother wishes you to restrain yourself
00:17:04My dear brother seems frightened
00:17:08As well he should be
00:17:10Just like all the rest of you are
00:17:13Please, Beatrice, they're a guest here
00:17:15Friends of Mr. Ames
00:17:16What does Ames mean to me?
00:17:20You, Terry Gray
00:17:21You, Miss Gloria Shaw
00:17:23And you, my delightful friend
00:17:26Know what that blood stain is
00:17:28You were at this table
00:17:30The night poor John fell forward
00:17:33And stained the cloth with his own blood
00:17:37The night he was murdered
00:17:41By one of you
00:17:42Well, that's a lie
00:17:47Open that door
00:17:48Clear, I'll call the police
00:17:49Well, this is outrageous
00:17:50Open that door
00:17:53Unloosen that portal
00:17:54I'm sorry, Miss Beatrice's orders are
00:17:56Let no one leave
00:17:58Jarvis is only partly correct
00:18:00I gave that order
00:18:01What's the idea?
00:18:02The idea, my friend, is to protect my patient's health
00:18:05Any interruption might cause the loss of her sanity
00:18:08You want the responsibility for that on your shoulders?
00:18:11I think you're as crazy as she is
00:18:13Don't, don't aggravate them
00:18:14They're all dangerous
00:18:16Everyone will please sit down
00:18:24You can't frighten me into anything
00:18:26I don't know who killed your husband
00:18:29But I believe your brother can tell you
00:18:31I thought you'd try to insinuate something like that
00:18:33And I'm glad you did
00:18:35Now I can voice what I've suspicioned these past years
00:18:38You were jealous of John
00:18:39You wanted to marry Beatrice for money
00:18:41You were penniless, hacked playwright
00:18:43She preferred John
00:18:45And you killed him
00:18:46There's always been insanity in your family
00:18:48Wait
00:18:49He's right
00:18:50I, too, always thought you killed John
00:18:52You're unscrupulous enough to have done it
00:18:54That's enough of that kind of talk
00:18:56You aren't free from suspicion either
00:18:59As John's cousin, you inherited more money from his death than I did
00:19:04How dare you say that
00:19:05I can't listen any longer
00:19:08In the name of humanity
00:19:10Allow Lester and I to get out of here before they kill each other
00:19:14I appreciate that we have outside witnesses to what is going to happen
00:19:18There is a murderer in this room and we're going to find him
00:19:23John, John
00:19:24Tell me the person who killed you
00:19:29Speak, quickly
00:19:30Why don't you admit it
00:19:32Hurry, before it is too late
00:19:35You'll talk now or I'll break your neck
00:19:37Lunch
00:19:38John
00:19:42John, John
00:19:43Speak to me, John
00:19:48John
00:19:49John, hang on those legs
00:19:56Where's Beatrice?
00:19:57Why, I don't know
00:20:01Dr. Curtis
00:20:02I demand I be allowed to leave this room
00:20:05And I will you
00:20:06Remember my years of devotion to you
00:20:09Divided we arrived
00:20:10But united we leave
00:20:12Of course I'd give anything in the world
00:20:14If this hadn't happened
00:20:15Jarvis, open that door
00:20:16Oh, Mr. Wood
00:20:18I'll see you later
00:20:19You'll not see me later
00:20:20Not for a month
00:20:21Not for ten years
00:20:22I'm getting out of here
00:20:33And so ends the first act of my little play
00:20:39Oh, darling, it was wonderful
00:20:41Well, we certainly scared those two
00:20:45Yes, and Wood's famous for his temper
00:20:49Isn't it remarkable how they reacted
00:20:51Almost exactly as you'd written them
00:20:53Into your play?
00:20:57Oh, I'm hired
00:20:58And we do more acts to go
00:21:00Well, you're as clever a group of actors
00:21:02As I've ever seen
00:21:03And I've got glory to thank for finding you
00:21:06Didn't I tell you they were troopers?
00:21:08You don't think we frighten them too much, do you?
00:21:10What's the difference?
00:21:11It's a blooming aura pliantus
00:21:16Oh, Jarvis, go get Beatrice
00:21:19Good old Beatrice, she certainly played her part well
00:21:22Yay, but I was afraid she wouldn't scram
00:21:24Before the lights turned up
00:21:36Beatrice, are you hurt?
00:21:38Beatrice, what's the matter?
00:21:40Speak
00:21:43She's dead
00:21:45This isn't my room
00:21:46No, and whoever it does belong to has a gun
00:21:51No, no, no, let's don't annoy her
00:21:53Oh, shut up, let's make them in handy
00:21:55A manuscript
00:21:57The Ghost Walks by Prescott Ains
00:22:10As the group seat themselves at the table
00:22:12The vacant chair also moves out
00:22:15As if an invisible person was preparing to sit down
00:22:18All eyes are on the chair
00:22:23As the vacant chair slides back to the table
00:22:25Beatrice addresses its invisible occupant
00:22:28Beatrice, you are right on time, John
00:22:35Esther, we've been witnessing a dress rehearsal
00:22:38Of Ains' horror play
00:22:40You mean, all those scares were part of the play
00:22:44Certainly
00:22:44Here, listen to this
00:22:48Thank you
00:23:19I'm afraid my play has been surpassed.
00:23:24We have a real menace in this house.
00:23:28Well, there was no one in the house but us, and we were all in the dining room.
00:23:32I know I was.
00:23:33That's right, because I was struggling with you.
00:23:36I was sending you the light switch.
00:23:38And I was at the table, as you all know.
00:23:39I was playing ghosts.
00:23:41I was all over the room.
00:23:42But I didn't do what I tell you.
00:23:43I didn't do it.
00:23:44Of course you did.
00:23:45Now, don't lose your head.
00:23:47Don't.
00:23:48Any of us.
00:23:51A death-like face slowly appears in the dark.
00:23:54Ghostly whitened pallor.
00:23:55The face seems to float as it reaches the table.
00:23:59Beatrice, hysterically.
00:24:00Gerard, lights out.
00:24:03Everyone remains where standing, with the exception of Beatrice.
00:24:06Who disappears through a door in the kitchen.
00:24:10So they thought they'd impress me with their phony theatrical ray.
00:24:14Me, who staged the burning of Rome while the gladiators would be gored to death in the animal pits.
00:24:20I wasn't scared a bit.
00:24:23Neither was I.
00:24:24No, what are you doing under the table?
00:24:28Well, I was looking for you.
00:24:31Ridiculous.
00:24:31I hate cowards.
00:24:33When you get back to town, remind me to fire you.
00:24:44Let the play continue.
00:24:55Now that the play is over, I'll have to tell Wood what's happened.
00:25:00Here he comes now.
00:25:03Ha!
00:25:03Still making merry, I see.
00:25:05Well, we thought we'd come down again.
00:25:07It's too quiet upstairs for us.
00:25:08Yes, we're used to shrieks, sirens and suicide.
00:25:12Yeah.
00:25:16Why, what seems to be the trouble?
00:25:18Has Miss Beatrice been found?
00:25:21Yes, she has been found.
00:25:23Dead.
00:25:25Is that so?
00:25:26No, I mean, I mean, it can't be, it can't be.
00:25:29It's impossible.
00:25:30What are you talking about?
00:25:31Mr. Wood, I'm trying to tell you that Beatrice is dead.
00:25:37Beatrice is dead?
00:25:41I don't believe it.
00:25:42Let's put this whole thing straight to you, Mr. Wood.
00:25:44We're all actors hired by Ames here to present his play to you.
00:25:49I don't.
00:25:50Everything that's happened since you arrived was part of the play.
00:25:54Except for Beatrice's death.
00:25:57Mr. Ames.
00:26:00Am I to understand that I've been witnessing part of the play you were to read to me?
00:26:05Yes, I thought it a good method of presenting it to you.
00:26:08You see, this is really my house, and the fallen tree on the road is all part of my scheme
00:26:12to fool you.
00:26:13The storm, of course, was an added break.
00:26:16Well, if these chills and frills have been theatricals, where does the death of Beatrice fit in?
00:26:22Surely you don't destroy your characters.
00:26:24Somebody evidently does.
00:26:26We don't know any more about it than you do.
00:26:29The police should be notified.
00:26:30Now, wait a moment, everyone, please.
00:26:32I know that this is even more confusing to Mr. Wood than it is to us.
00:26:36He still believes we're putting on the play.
00:26:39So the only thing we can do is to show him Beatrice.
00:26:44By all means do.
00:26:45Yes, death is no novelty to us.
00:26:48No.
00:26:49We stage it eight times a week, including matinees.
00:26:52And benefits.
00:26:53Now remember, no one is to touch the body until the police arrive.
00:26:59In there.
00:27:18Well, where is she?
00:27:20I don't know.
00:27:22What could have happened?
00:27:24Well, you ought to know.
00:27:25You're the author.
00:27:28This is impossible.
00:27:29I've never heard of something.
00:27:30The place must be closed.
00:27:31We've got to get out of here.
00:27:32Where can she be?
00:27:34Perhaps she just stepped out during the intermission.
00:27:37Gentlemen, this is too serious for joking.
00:27:40She was on that divan ten minutes ago, dead.
00:27:42You've got to believe it's for your own safety.
00:27:44Oh, and you think we're all in danger.
00:27:48We most certainly are.
00:27:51We've got to search this house and find Beatrice and a person who...
00:27:59I wonder who that could be.
00:28:01Well, we'll never find out until we answer.
00:28:04I will.
00:28:05We all will.
00:28:15Who are you?
00:28:16Who are you?
00:28:18A guard from the Greystone Sanitarium.
00:28:20Seen anything of an escaped patient around here?
00:28:22What kind of a patient?
00:28:24A quiet one, until disturbed.
00:28:26At which time he becomes slightly murderous.
00:28:29Well, so hurt me if this ain't a night.
00:28:32Oh, what's going to happen to us next?
00:28:34Who are these people?
00:28:37I didn't know anyone who was living here until I saw the lights.
00:28:40Makes you think you came here.
00:28:42Empty houses make good hideouts.
00:28:44I never saw or heard of anyone living here in the past few years.
00:28:47Well, I've been living here for about a month.
00:28:50I think you've come to the right house at that.
00:28:52Yes?
00:28:53Has anything happened?
00:28:54Uh-huh.
00:28:55A murder and a disappearance.
00:28:57What are you winking about?
00:28:59Winking?
00:28:59Why, my dear man, you're saying things.
00:29:03I simply stated a murder had been committed.
00:29:05Murder?
00:29:06Ah.
00:29:07Well, it's him all right then.
00:29:10Well, who is this man you're looking for?
00:29:12At the sanitarium, we'd call him Case 222.
00:29:15I guess you'd call him a homicidal maniac.
00:29:17A maniac?
00:29:18And you think he's losing this house?
00:29:20Now, be perfectly calm.
00:29:22If my patient is here, and you scare him with the hysterics,
00:29:26he might tear you apart to see what caused the excitement.
00:29:30That reminds me.
00:29:31Has anyone caught a disappearance?
00:29:33No.
00:29:34Well, that's a usual procedure, isn't it?
00:29:36Well, we forgot to, I suppose.
00:29:38But there's a telephone right here in the study.
00:29:40Telephone?
00:29:53Hello.
00:29:56Hello.
00:30:02Cut.
00:30:03I suppose no one knows who did this.
00:30:05Why should we?
00:30:06You don't think it's fun to be isolated with a maniac?
00:30:09If the plague calls for it, yes.
00:30:11Well, I don't know what the rest of you are going to do,
00:30:13but I'm driving into town for the police.
00:30:16Wait, it isn't safe outside.
00:30:18I'll walk with you to the garage.
00:30:19Thanks.
00:30:20I'll be right back.
00:30:21So those who want to go to bed are safe enough.
00:30:24Besides, it's easier to die in bed.
00:30:26Come on, Kent.
00:30:27Let's turn in.
00:30:28It's as safe up there as here,
00:30:29if we lock our bedroom doors.
00:30:35What's the idea?
00:30:37Why, you're choking terribly.
00:30:39Well, can you do any better?
00:30:45You know, I had a hunch that Beatrice should never appear
00:30:47in a horror play.
00:30:48Why?
00:30:49Too highly strung.
00:30:51An impressionable.
00:30:52A fatalist.
00:30:53She figured if you were paid to scare people,
00:30:55the law of compensation would see to it
00:30:57that you got scared yourself.
00:30:59Utter nonsense.
00:31:00How could anyone possibly foresee a maniac coming here tonight
00:31:03and committing murder?
00:31:05Murder.
00:31:06Ha, ha, ha.
00:31:06Don't interrupt him.
00:31:08The play is improving.
00:31:10Not enough action for me.
00:31:12Tell me, Ames.
00:31:13Just how did you happen to come to this house yourself?
00:31:17Funny you should mention that.
00:31:19I was just asking myself the same question.
00:31:23Of course, you saw that painting in the drawing room of Gutter Gillis.
00:31:26Sure.
00:31:26Everybody knew him.
00:31:27And his history?
00:31:28Naturally.
00:31:30Personally, I thought he was the worst butcher who ever severed a tonsil.
00:31:33Right.
00:31:34And you remember how nine of his patients mysteriously disappeared after he treated them?
00:31:39They were murdered.
00:31:41And when the police came to arrest him right here in this house, he committed suicide.
00:31:47He lost his mind from the strain of his surgical work, I guess.
00:31:50Get to the point, man.
00:31:51I know all that record.
00:31:53Now, you say this house was his.
00:31:55How did you get it?
00:31:56Why, that was easy.
00:31:59I simply advertised for an old, isolated country home.
00:32:03And the real estate agent for the Gillis estate answered and said he'd be glad to rent me this place.
00:32:07It's been vacant ever since the doctor's death.
00:32:10People were afraid to live in it because of the crimes that were committed here.
00:32:13Supposed to be haunted.
00:32:15The local people swear they've seen the lights go on and off in this house even while it stood unoccupied.
00:32:20Well, the rest of the story is short.
00:32:22I wanted to write a play in the same atmosphere he had lived his ghoulish life, so here I am.
00:32:28I'll bet he'll come back to haunt you for this.
00:32:30Did Jarvis get away all right?
00:32:31Yes.
00:32:32There's no one around the ground, so I think I'll search upstairs.
00:32:35I'll go up, too.
00:32:36I'm going to bed.
00:32:37And I'm resigning from your cast.
00:32:39You playwrights are all screwy.
00:32:41I take it that this ends the second act.
00:32:44Now, if you don't mind me saying so, I think your play is rotten.
00:32:49Well spoken, Erskine.
00:32:50Forget about being fired.
00:32:52Let's go to bed.
00:32:53Yes, go to bed, Mr. Wood, and get some sleep.
00:32:56You insist the play is still on, but we've tried to tell you that it's ended in a tragedy.
00:33:01Good night, sir.
00:33:03Good night, Mr. Lorien.
00:33:04Good night.
00:33:06Ames?
00:33:07Good night.
00:33:09Be sure and let us know if anyone else is murdered.
00:33:14I can't convince those fools.
00:33:16They insist we're still playing for their benefit.
00:33:20Oh, I wish we were out of this dreadful house.
00:33:22First it was Terry pestering me, and now this awful tragedy is tonight.
00:33:27Don't worry, dear.
00:33:28You look all worn out.
00:33:29You get some sleep, and I'll see that nothing disturbed you.
00:33:32Oh, I'm too frightened to sleep.
00:33:33Tell me the truth.
00:33:34Who do you think could have killed Beardless, and where do you think she could be?
00:33:37Well, personally, I believe it was just a burglar who's long since disappeared.
00:33:42Then why would he steal the body?
00:33:44Oh, to cover up the crime, I suppose.
00:33:47Now you go to bed, dear.
00:33:57Oh, Gloria, what is it?
00:34:02You poor kid, your nerves have completely gone.
00:34:08Okay?
00:34:13True.
00:34:17Okay?
00:34:36The Israelites have completely views...
00:34:48Oh it's you. I ought to pull the trigger a path. Well come on snap out of it. What is
00:34:55it?
00:34:55Mr. Wood, maybe we're wrong. Maybe this isn't a play we're witnessing after all.
00:34:59Oh rubbish. You saw the manuscript didn't you?
00:35:02Yes, but I didn't see anything in it about the top of my bed coming down and smother me
00:35:06just like a steak under onions. Oh nonsense. You've had too many cocktails. Besides, I wouldn't be lucky enough to
00:35:13celebrate your demise by violence.
00:35:15That's a fine way for you to talk to me. Me who has been everything to you but a mother.
00:35:21Now Mr. Wood listen to reason. I may be all wrong. I'm a nervous man by nature.
00:35:25But if this play is still going on, it's the closest thing to reality I ever saw behind the footlights.
00:35:32Oh you're a sissy. I tell you this fellow Rains is clever. He has reality in this play and that's
00:35:38what the public wants.
00:35:39Now let me alone. If you want to stay in the theatrical business, stop letting it scare you.
00:35:45Oh I was kidding all the time. That bed bracket was only a dream I had and you were in
00:35:51it too.
00:35:52I was not. I was reading. Yes, I saw that. You were reading a book on Sackett. You were worried
00:35:58about the future yourself.
00:36:01Say, go home and go to bed, will you please? And if you want to think of the future, remember
00:36:07I'm firing you.
00:36:08Mr. Wood, I have a premonition that we must stick together tonight. You need protection.
00:36:15You mean you do. You're trying to muscle into my bed because you're frightened. Go home.
00:36:20Oh my dear employer, play or no play. I have no relish for my own couch. Move over.
00:36:31Say, this is all Tommy Rock. You've got the mind of an oyster and the nerve of an acrobat.
00:36:37As my secretary, I do allow you to share my office, but that does not include my bed.
00:36:44Hey, you were born in October, weren't you? Yes, during the national apple week. Why?
00:36:51It says here, your type is the instincts of a bloodhound, the heritage of the homing pigeon,
00:36:57the attributes of the ferret and the heart of a lion. Yet you snuggle beneath my quilts, you cream puff,
00:37:04because a make-believe play is scaring you. You're fired once and for all.
00:37:10Will you please close my mouth if I'm snoring? I have adenoids.
00:37:16Adenoids, too?
00:37:29A pinging pigeon, a ferret, a lion. I'm sleeping in a zoo.
00:37:33A pinging pigeon. A ferret, a lion. I'm sleeping in a zoo.
00:37:37I'm sleeping in a zoo.
00:38:17I was worried about you up here all alone.
00:38:22I'm all right.
00:38:24Listen, Gloria.
00:38:27You know I love you.
00:38:29Why do you always give me the cold shoulder?
00:38:31I'm just not interested, Harry.
00:38:33Why did you come here?
00:38:34It makes it very embarrassing.
00:38:36Oh, I know.
00:38:36You're afraid your playwright's sweetheart would be jealous if he knew I was here.
00:38:40Well, I wish he could see you now.
00:38:42I just came in to say goodbye.
00:38:44I'm walking out on this play, but I've got a curtain speech to make, and this is it.
00:38:51Go, Harry!
00:38:52Ah!
00:39:03Gloria!
00:39:04Gloria!
00:39:05Why, you fool.
00:39:06I'll see what you've done.
00:39:08I'll hide in that closet until he goes.
00:39:11If you tell him I'm here, I'll say you invited me.
00:39:13Understand?
00:39:16Oh!
00:39:16Gloria, what frightened you?
00:39:17I...
00:39:18I saw a man.
00:39:19Well, where was he?
00:39:21He came in that door.
00:39:22I screamed and he went away.
00:39:24Oh, you poor kid, what a narrow escape you had.
00:39:28I wonder what that screaming was about.
00:39:31There's a knock from Gloria's room.
00:39:32Let's see what's up.
00:39:34You take it easy.
00:39:35I'll find a guard.
00:39:36We'll search the house again.
00:39:37What's happened?
00:39:38We heard a scream.
00:39:39Someone tried to break into Gloria's room.
00:39:40What?
00:39:41Who?
00:39:41I don't know.
00:39:42Here comes the guard.
00:39:43Seen anything?
00:39:44Plenty.
00:39:45Gloria was almost attacked by someone.
00:39:46Fancy that.
00:39:47Who do you think it was?
00:39:48I don't know.
00:39:49We'll wake up everybody and find out.
00:39:51Good idea.
00:39:51Let's try Terry first.
00:39:55Oh, Terry.
00:40:00He's gone.
00:40:00Not a sign of him.
00:40:01Whose room is this?
00:40:02Oh, that's mine.
00:40:03And there's Erskine's room and that's Mr. Woods.
00:40:05Let's see what they know.
00:40:14I wonder if that maniac could have tried Woodroom
00:40:17before my mind snaps, too.
00:40:19Eh?
00:40:20Oh.
00:40:26Hey, you two.
00:40:30Get out of here.
00:40:32My office hours are from 10 to 4.
00:40:34Seen anything strange in here?
00:40:36Yes.
00:40:36Here's an exhibit that ought to be in a museum.
00:40:39What are you doing in here?
00:40:41Here.
00:40:42I was sleepy.
00:40:44Is the play on a game?
00:40:47No.
00:40:47We're just having a roll call.
00:40:49Well, consider us absent.
00:40:55Terry.
00:40:58Terry, come out.
00:40:58Come out.
00:41:10Gloria.
00:41:11What, again?
00:41:12Who let go of this there?
00:41:17I might as well be a fireman.
00:41:24Gloria, what is it, dear?
00:41:27It's Terry.
00:41:28He was standing right in that closet, and he's
00:41:31disappeared.
00:41:36Well, what was Terry doing in your closet?
00:41:39He, he was hiding.
00:41:42From whom?
00:41:43Why, I.
00:41:45Oh, pardon me.
00:41:47Oh, no.
00:41:47Please let me explain.
00:41:49It isn't necessary.
00:41:51I think I understand.
00:41:57I just want to trust a lunatic than I would have won.
00:41:59Yes, they're more reliable.
00:42:00Well, let me go.
00:42:12Strange how anyone could disappear from behind the nightgown.
00:42:15You couldn't from behind my cousin.
00:42:17He weighs 250.
00:42:19day are you waiting at me again hey let's go down get a drink this isn't a
00:42:28horror play it's a bedroom fast I don't think this situation is fair to me you
00:42:40people are a very little help that patient of mine is evaporating he thinks
00:42:46all I've got to do is to look for him besides I promise to be a fourth of
00:42:51rich tonight with some friends of mine speaking of wasting time job he should
00:42:55have been back from town with the police long ago Oh Carraway for you and can't
00:43:00go back upstairs please just to be near Gloria I couldn't stand seeing her
00:43:04myself just now but I don't want to expose her to unnecessary danger I
00:43:08understand we'll be glad to help I'd just as soon go up again anyway I'm dead
00:43:15please don't use that word I don't like that from a terrible oh forget it he's
00:43:21just a seedy butler well I feel duty bound to see this night through I live here
00:43:29and all that but I'm beginning to reach the breaking point the situation is
00:43:34getting out of hand it seems to me you're about as useless a guard as I've ever
00:43:41seen well I've worked in two penitentiaries and three asylums never
00:43:46had any complaints best actor in the bunch
00:43:52boys I'm going to retire from now for the second time
00:43:57Abe go on with your rehearsal but don't disturb me for the finale and again I say
00:44:07please continue I never walk out on anything that doesn't cost me what does
00:44:12he mean oh these fools think we're putting on a play for their benefit I'm
00:44:18hungry I could destroy a few vitamins myself well you'll find some food in the
00:44:23kitchen I'll be waiting for you here
00:44:39so
00:44:44you
00:44:46you
00:44:47you
00:44:49you
00:45:02you
00:45:04you
00:45:13you
00:45:19you
00:45:21you
00:45:23you
00:45:25you
00:45:50you
00:45:51what are you doing down here why I just came down to get some cigarettes
00:45:54you shouldn't have left Laurie upstairs alone I'm not her guardian
00:45:58if you're so anxious about her why don't you go upstairs and play watchman
00:46:01yourself that's just what we're both going to do
00:46:04well the scene shifts so do I
00:46:11Gloria
00:46:15Gloria
00:46:28you
00:46:29I
00:46:29I
00:46:29chloroform
00:46:34this is all your fault I told you not to leave her alone
00:46:37we'll arouse everyone
00:46:41oh
00:46:41Kent
00:46:42well there's your word he's probably in his room
00:46:44I shouldn't kill you but here comes Kent now
00:46:47oh
00:46:47oh Kent
00:46:49yes
00:46:50what
00:46:52Gloria's disappeared
00:46:52huh
00:46:54say
00:46:55have you been out in rain
00:46:56no why
00:46:57well whoever stole Gloria took her out of the window into the rain
00:47:00funny that you should be out of your room and then appear all wet
00:47:04I don't like your insinuations Mr. Ames
00:47:06if you must know I couldn't sleep I was going to take a bath in the tub and turned on
00:47:09the shower by mistake
00:47:10that's what I would call a watertight alibi
00:47:13maybe Mr. Wood knows something
00:47:22I'd have more privacy in the convention hall
00:47:29come in
00:47:31Mr. Wood some gentlemen to see you
00:47:33have you seen Gloria
00:47:36she doesn't seem to be here
00:47:37why
00:47:39Gloria has been kidnapped
00:47:40goody goody
00:47:42I say
00:47:43that's beastie root of you
00:47:44they accused me but I think Teddy's the guilty one he's gone too
00:47:48they've got to search the whole place over again get up and see the fun
00:47:52it's better than looking for a good candidate before an election
00:47:55not me I'm staying right here
00:47:57and if they don't stop this fool play and get out of here
00:48:00I'll rid the world of the entire cast
00:48:03alright stay here
00:48:04I hope you're the next victim
00:48:11Mr. Wood could I have a word with you
00:48:13if you try to get in this bed again I'll shoot you so help me
00:48:16I only want to say that you're right as usual
00:48:19the play is still going on
00:48:21of course I'm right
00:48:22I know the theater like Barnum knew as Elephants
00:48:24and I'm not prosper you asking
00:48:26heck I'm going to raise your salary
00:48:28thanks
00:48:29people don't disappear every five minutes in real life
00:48:32unfortunately some don't
00:48:33I'd like to get some sleep
00:48:35but the play
00:48:36earn some of the money that I pay you by watching it for me
00:48:40why I thought you fired me
00:48:41not till we get back to town
00:48:44now
00:48:44shut up and
00:48:46shut up
00:48:47but
00:48:50guard
00:48:52guard
00:48:52guard
00:48:53what do you want
00:48:54fine help you are
00:48:56glory has been stolen
00:48:57you're standing around here eating chicken
00:48:59well one who's eat occasionally
00:49:00what makes you think the lady was stolen
00:49:02rather an antiquated way to acquire a woman isn't it
00:49:04oh shut up
00:49:06her window was open
00:49:07she must have been taken out of the house
00:49:09I'm going to search the ground
00:49:09I'm with you Wayne
00:49:13hey you come here
00:49:15where's your friend
00:49:16if you mean my honored employer
00:49:19he's upstairs in bed
00:49:20I think I'll go up and look him over
00:49:22there's something queer about you both
00:49:24he winks at you and you wink at me
00:49:26ha
00:49:26and I don't like it
00:49:45we'll make a careful search in the ground
00:49:47you go that way now go this
00:49:49we'll search at the house and I'll meet you front
00:49:51right
00:49:51I'll see you
00:50:25who's there
00:50:26only me
00:50:28oh
00:50:28my old friend for me in state asylum
00:50:31come on in sit down
00:50:32make yourself at home
00:50:34everybody else has
00:50:37hey look here old man pal to pal
00:50:39you're not really an asylum guard are you
00:50:42no
00:50:43how did you get it
00:50:44you can't fool an old timer
00:50:46you know you're wasting your talents here
00:50:49you're too good for this stuff
00:50:51the whole world knows that
00:50:53I said good not perfect
00:50:55like that play
00:50:56you know I've been picking that over
00:50:57it's mighty down gripping
00:51:00I think it's pathetically bad
00:51:02I'll have no part in it
00:51:03are you on the contract to Ames
00:51:05me?
00:51:06I should say not
00:51:09but I'm ready for the presentation now
00:51:11that will astound the world
00:51:13I believe you are
00:51:15I'll bet you'd be a sensation and a good part
00:51:18and I'm going to give it to you
00:51:20Herman Wood
00:51:22the man who has given more stars to Broadway
00:51:25than Edison has electric lights
00:51:26will star you personally in an extravaganza
00:51:30splendid
00:51:31splendid
00:51:31oh uh
00:51:32are you busy uh Thursday?
00:51:35let me see
00:51:36no
00:51:37I have nothing planned
00:51:38good
00:51:39come to my office next Thursday
00:51:40and we'll sign a contract
00:51:42splendid
00:51:43but you should see me work first
00:51:45what are you doing now?
00:51:47wasting time talking to you
00:51:49come with me
00:51:50and I will show you real dramatic
00:51:52are you kidding?
00:51:54I never joke
00:51:55I will show you drama
00:51:58stark
00:51:59robbing drama
00:52:00with a master touch of comedy
00:52:03by golly I'm with you
00:52:05just wait till I get my slippers
00:52:09don't forget
00:52:10don't forget
00:52:13come
00:52:22feel a lot safer if I had my gun
00:52:23where is it?
00:52:25home
00:52:25that's okay with me
00:52:26let's go over to your house and hang around
00:52:28soon be daylight
00:52:30thank heaven
00:52:32thanks
00:52:34anything new?
00:52:35we've made a complete search of the grounds
00:52:37and found nothing
00:52:38well how much longer is this going on?
00:52:41I'm getting tired of sitting around here
00:52:43and waiting for something that doesn't happen
00:53:06what's the matter with him?
00:53:07he must be Bobby
00:53:14what's the matter with him?
00:53:23Charles, what happened to you?
00:53:25remember when I left the house to get the car and the cops?
00:53:28yes
00:53:28well that nut house guard leaves me at the garage
00:53:31then just as I'm getting into the car
00:53:33somebody slugged me
00:53:35for the late point
00:53:36what was the idea?
00:53:37well someone didn't want him to get away
00:53:39and that someone is probably the escape nut that we're looking for
00:53:43how many of you are searching for him?
00:53:45there's already been a guard here tonight
00:53:46well there's possibly half a dozen others
00:53:48but Gleby and I will find him
00:53:49yeah this guy disappears every so often
00:53:51but we all would spot him in this neighborhood
00:53:54I see
00:53:55well after you were hit on the head
00:53:56why did you come back to the house?
00:53:58I figured getting the police was the widest move to make
00:54:00I've been knocked out and tied in the garage
00:54:02but I broke the ropes
00:54:04then I tried to just start the car
00:54:06but I found out someone had gummed up the motor
00:54:08well I began to hoove it into the village
00:54:12when these guards from the sanitarium picked me up
00:54:14and here we are
00:54:15has anything happened since I left?
00:54:17yes
00:54:18Gloria's been kidnapped and Terry's disappeared
00:54:20and now that Erskine person's gone violent
00:54:22oh yeah?
00:54:24well I'll handle that
00:54:25help! help!
00:54:26what's the matter?
00:54:28Mr. Wood is gone
00:54:30what?
00:54:30I said he's gone
00:54:31and so is the guard
00:54:33it's that picture that's doing it
00:54:42well what's the matter with it?
00:54:43his eyes moved
00:54:45it glared at me
00:54:46why it's as solid as the wall
00:54:48you're deafy
00:54:49those eyes never stared out of nothing but a paint pot
00:54:52I say someone looked out of that painting
00:54:55okay brother we'll soon find out who's nuts around here
00:55:10say he's right these eyes are phony
00:55:12what'd I tell you?
00:55:14now who's that?
00:55:15say there's a passage way back to this
00:55:17a passage way back to this
00:55:18a passage way back to this
00:55:19a passage way back to this
00:55:24look!
00:55:25it's moving
00:55:31that's how Beatrice disappeared from this room
00:55:34well I'm going to find out where it leads to
00:55:36I'll go with you
00:55:37be careful
00:55:38it looks dangerous
00:55:58my friends
00:56:00since your entrance into this house
00:56:01I've worked for bringing you into this laboratory
00:56:05years ago
00:56:06a famous surgeon lived
00:56:08worked and studied here
00:56:11his name was Guthrie Gillis
00:56:13he is dead now
00:56:15but I
00:56:16Professor Elmer Tritoree
00:56:19will carry on
00:56:20and improve his work
00:56:24hey
00:56:25I don't like these underground places
00:56:27well you may as well get used to it
00:56:29you may spend a lot of time in one
00:56:31why the whole house must be honeycomb with passages
00:56:33they lead all directions
00:56:40I am the greatest genius you have ever seen
00:56:46I have mastered my work
00:56:48work
00:56:50that has produced power
00:56:52almost divine
00:56:59I have become more than the greatest plastic surgeon in the world
00:57:05I am the moulder of mankind
00:57:11I have reached a great decision
00:57:14that is why I've allowed you all to trespass upon the seclusion
00:57:19that I have enjoyed
00:57:21in a supposedly deserted house
00:57:24I discovered this old house of Dr. Gillis'
00:57:27on one of my many escapes from the sanitarium
00:57:30it is adamantly fitted for my work
00:57:34all I needed was patience
00:57:37and now
00:57:38you know
00:57:38I have you
00:57:40healthy people
00:57:42who can't spend
00:57:44the rigor
00:57:45of certain
00:57:47small
00:57:48operations
00:57:49now wait
00:57:55this looks like a door
00:58:08you know
00:58:08see where that leads to
00:58:13this patient you're looking for
00:58:15is he violent
00:58:15sometimes
00:58:16he almost killed a guard tonight
00:58:18when he stole his uniform
00:58:19oh and he wings isn't he
00:58:21he leads into an open room with a swinging bookcase
00:58:24and Gloria did see something in that study
00:58:27we've got to find it before anything happens to her
00:58:36it seems to me
00:58:37this is the fluid I used to paralyze the mice with yesterday
00:58:44I think
00:58:45I meant to use it on your friend Dietrich
00:58:49but somehow
00:58:50I became somewhat confused
00:58:53so now
00:58:54the poor girl is dead
00:58:57forgive my stupidity
00:59:00I will be more careful
00:59:01to see that you don't suffer the accidental death she did
00:59:09I have brought back this spark of life
00:59:12I am colossal
00:59:16oh
00:59:17my headache
00:59:21take that smelling salt away
00:59:22you're choking me
00:59:23I am awfully embarrassed
00:59:25I thought I killed you
00:59:27but I only gave you a headache
00:59:58You will be more careful
00:59:59I ask your indulgence
01:00:00in looking at this chart
01:00:03you will notice
01:00:04the various noses
01:00:05eyes
01:00:07and chin
01:00:09You all have an ideal, a face you envy.
01:00:14You can have your choice of alteration.
01:00:17You understand.
01:00:19My operations run in series.
01:00:23You may look as you wish now.
01:00:26Ultimately, I will slowly change you to fit my model.
01:00:34Young lady, you shall have the honor
01:00:38of being the first of my table.
01:00:41I shall require very little from any of you.
01:00:45Just enough to begin my work.
01:00:50A feature from you,
01:00:53a phone from him,
01:00:55and a cartilage from that one.
01:01:09It's the guard.
01:01:12It's Professor Twiddley, the guy we're looking for.
01:01:15Then he's the nut.
01:01:16Well, he's dangerous.
01:01:17Let's get him.
01:01:17Wait a minute.
01:01:18Better not get him excited.
01:01:20I know how to handle him.
01:01:26Hello, Professor.
01:01:29Why, Mr. McLeavy, what are you doing here?
01:01:33Can't you see I'm busy?
01:01:34Sure, but you've got to come home with us.
01:01:37It's important.
01:01:39Home?
01:01:40Is there anything wrong?
01:01:42Why don't you remember?
01:01:43You operated on your old friend,
01:01:45Julius Caesar, a couple of days ago.
01:01:48Did I now?
01:01:49Sure.
01:01:51Funny I forgot.
01:01:53How did it turn out?
01:01:54Not so good.
01:01:56That's why we have to hurry back.
01:01:58You see, he got tired of his Roman nose,
01:02:00so you grafted on a new one.
01:02:02But you put it on upside down.
01:02:04And on rainy nights like this,
01:02:06the poor fellow can't go out for fear of drowning.
01:02:10My, my.
01:02:12We'll return at once.
01:02:13Poor Caesar must be miserable.
01:02:20Oh, Prescott, take me out of here.
01:02:22I never want to see another horror play.
01:02:24Well, don't worry.
01:02:25I'll never write another one.
01:02:26Yes, you will.
01:02:27What?
01:02:28Absolutely.
01:02:28But you've got to rewrite it.
01:02:30Just like this night of the experiences we've gone through.
01:02:34Even to the murder of Beatrice?
01:02:36Yes, I'm afraid Beatrice will have to die all over again.
01:02:39Well, the ghost walks after all.
01:02:43Congratulations.
01:02:44Congratulations, John.
01:02:45You were all about too, Taraway.
01:02:46Thank you, Mr. Wood.
01:02:49Now, what's the matter with you?
01:02:51I was just thinking how terrible it would have been
01:02:53had the professor really operated on us and changed us all.
01:02:57You might have gotten my adenoids,
01:03:00and I would have gotten your false teeth.
01:03:03Erskine, turn your face to the setting sound.
01:03:09What's the idea?
01:03:11Don't forget, you're fired.
01:03:13Oh, Mr. Wood.
01:03:14Come.
01:03:19Look at it.
01:03:20You got a parecer.
01:03:21No, no, no, no.
01:03:22No, no.
01:03:25Seen, empty it.
01:03:26I will have to ask you.
01:03:26If we really say nothing more,
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