- 5/24/2025
House of Wax (1953) is a landmark horror film, notable for being one of the first color 3D films to achieve major commercial success. The film stars Vincent Price in one of his most iconic roles as Professor Henry Jarrod, a brilliant but unhinged wax sculptor. After his beloved wax museum is destroyed in a fire set by his greedy business partner, Jarrod survives but is left horribly disfigured.
He later opens a new wax museum, which amazes visitors with its disturbingly lifelike figures. However, beneath the surface of his artistic genius lies a horrifying secret: the wax figures are actually real human bodies, preserved and coated in wax.
Renowned for its gothic atmosphere, chilling score, and innovative 3D effects—including the famous paddle ball scene—House of Wax helped solidify Vincent Price's legacy as a master of horror. The film combines classic suspense with macabre visuals, making it a standout in early American horror cinema.
He later opens a new wax museum, which amazes visitors with its disturbingly lifelike figures. However, beneath the surface of his artistic genius lies a horrifying secret: the wax figures are actually real human bodies, preserved and coated in wax.
Renowned for its gothic atmosphere, chilling score, and innovative 3D effects—including the famous paddle ball scene—House of Wax helped solidify Vincent Price's legacy as a master of horror. The film combines classic suspense with macabre visuals, making it a standout in early American horror cinema.
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Short filmTranscript
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00:02:49Hello, Matthew. What are you doing here so late?
00:02:52I came to get the books. I want to study our account.
00:02:55We've been doing very well lately.
00:02:57Over 200 paid admissions today.
00:02:59Do you call that good Saturday business?
00:03:01If you weren't so stubborn, we'd be turning them away from here weekends.
00:03:05Who cares a hang about history and wax?
00:03:07There are people in the world who love beauty.
00:03:10But more who want sensation, shock.
00:03:13Morbidly curious. I won't cater to them.
00:03:16Their money's as good as anybody else's.
00:03:19You should have seen them turning them away at that wax museum on 23rd Street tonight.
00:03:23The Eden Museum.
00:03:25The story's the same at Madame Tussauds in London.
00:03:28You'd only listen to me, John.
00:03:29I know, Matthew.
00:03:31I'd put in a chamber of horrors.
00:03:33Murder, torture, execution.
00:03:35Scare the living daylights out of people.
00:03:37I don't care for that kind of paid commission.
00:03:39You're a great artist, a genius sculptor.
00:03:41But I'm just a common ordinary businessman.
00:03:43I want a quick return on my investment.
00:03:45I've got $20,000 sunk in this historic peep show of yours.
00:03:48And I could use that money to better advantage.
00:03:50All right, Matthew. All right.
00:03:52I'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.
00:04:02Wallace is rich, and I think I may be able to persuade him to buy you out.
00:04:07Well, that sounds interesting.
00:04:09Of course, I'll want a profit on my investment.
00:04:11Yes, Matthew. 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. He has a pot of money.
00:04:23If he likes your stuff, put a stiff price on it.
00:04:26All right.
00:04:39Does Jarrod live in the building?
00:04:40Yes. He has a room upstairs.
00:04:42You'll like him, Sidney. He speaks your language.
00:04:46Please come in. I'm happy to see you, Bruce.
00:04:49It 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 Jarrod.
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, but to me they're creator, and they live and breathe.
00:05:14Here we have two great lovers from the past.
00:05:17Cleopatra, Queen of Egypt, and Mark Antony, their last meeting.
00:05:22You'll recall that Antony, believing Cleopatra to be dead, killed himself with his own sword.
00:05:27When Cleopatra discovered what happened, she quickly followed her lover.
00:05:31Have you noticed how cleverly the hair is mounted on the scalp?
00:05:34Yes. How do you do that, Professor?
00:05:36Well, 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 of Booth I've ever seen. You'd almost expect him to speak.
00:06:04I wonder what he'd say after all these years.
00:06:06I'm sure he'd rant a bit.
00:06:08Even after he shot Lincoln and jumped from the President's box onto the stage,
00:06:12he couldn't resist turning to the audience and taking a bow.
00:06:15I found him a very stubborn person.
00:06:17Stubborn?
00:06:18Unbelievably. For 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?
00:06:25Of course. It's not easy to shut an actor's mouth.
00:06:29These groups are like dimensional paintings of the old masters.
00:06:33This is not only a great show. It's an art exhibit.
00:06:36That's what I told you.
00:06:39Here we have Joan of Arc, a favorite subject of mine.
00:06:42I can understand that. Beautifully done.
00:06:44Thank you. I've done her over a dozen times, haven't I, my dear?
00:06:48And still she doesn't complain.
00:06:50What was wrong with her?
00:06:51There are no authentic portraits of Joan available,
00:06:53so sculptors and painters have to work for models.
00:06:56I've never found the right one, but I will one of these days.
00:06:59You know, it's a shame to race through such an exhibit.
00:07:01One should have time to really study these figures.
00:07:03You're very kind. My creations have some merit, I suspect.
00:07:06But in bringing back to life the lovely Marie Antoinette,
00:07:10I feel I have done my best work.
00:07:12I've never seen anything so exquisite.
00:07:14People say they can see my Marie Antoinette breathe,
00:07:17that her breast rises and falls.
00:07:19Look at her eyes. They follow you wherever you go.
00:07:22She's very real to me.
00:07:25You know her eyes do follow you.
00:07:27They'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
00:07:36before the head is attached to the body.
00:07:38Forgive me, my dear, for discussing your intimate secrets.
00:07:42I'm sorry. I lose myself at times.
00:07:45Professor, people knew what you have inside these walls.
00:07:48You couldn't accommodate the crowds.
00:07:50What you need here is exploitation, not advertising.
00:07:53That's exactly what I've been telling him.
00:07:55Oh, my partner wouldn't agree. He'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 the price is right.
00:08:09With your support, I could do wonders. I'd make any sacrifice.
00:08:12Unfortunately, I'm leaving this weekend for Egypt.
00:08:14I'm financing some excavations there.
00:08:16However, I'll be back in three months, then I'd be glad to discuss the deal.
00:08:19You make me very happy.
00:08:21You intrigue me, Professor. I believe we'd get along together.
00:08:24Good night, my friend. Good night.
00:08:26And I'm grateful to you, Bruce.
00:08:32Thank you both for your visit and your encouragement.
00:08:35I'll probably see you in three months.
00:08:37Good night. Good night.
00:08:53Mr. Wallace is a great art critic, my darling. You heard what he said.
00:08:56Does it make you happy?
00:08:58Of course, you'd say that, but I don't care about success.
00:09:01The world will acknowledge your beauty.
00:09:04And you, my friends.
00:09:06Cleopatra, Mark Antony, Lincoln, Joan of Arc, all of you.
00:09:09How would it suit you to be famous again?
00:09:13I know it will please you, you conceited devil.
00:09:16It was like you to get yourself shot down in a burning barn.
00:09:19Couldn't do it without a spotlight, could you?
00:09:22Do you really hear what they say, Jared?
00:09:25Of course.
00:09:30A 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.
00:09:38Mr. Wallace returns from Egypt in three months.
00:09:40He'll be ready to talk business then.
00:09:42I heard him. That's no good for me.
00:09:44But surely you don't expect...
00:09:45I have a chance to buy in on something.
00:09:47It'll pay off in a big way, and 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. It's the best I could do.
00:09:54Well, I can do better.
00:09:56How would you like to split $25,000 with me?
00:09:59Don't you call me crazy?
00:10:01I wonder what would happen if we had a fire here.
00:10:04In the cellar, there's six barrels of wax.
00:10:06Wax has a paraffin base. It's highly inflammable.
00:10:09This whole place would go up like a paint factory.
00:10:11Burn? Burn all my people?
00:10:14Do you think I'm a murderer?
00:10:15Oh, stop dreaming, will you?
00:10:16These dummies are insured for $25,000.
00:10:18That's $12,500 for each of us.
00:10:20You wouldn't need Wallace. You'd have enough to begin again.
00:10:23No, I'd rather die myself than see my friends destroyed.
00:10:26I won't let you do it, and I'll kill you if you try.
00:10:28Don't be stupid.
00:10:30All you have to do is strike a match, and the thing is done.
00:11:00Come on.
00:11:30Come on.
00:12:00Come on.
00:12:30Come on.
00:13:00Come on.
00:13:30Come on.
00:14:00Come on.
00:14:30Come on.
00:15:00Come on.
00:15:30Come on.
00:16:00Come on.
00:16:31Yes, my friend was a genius.
00:16:34A great artist.
00:16:36Only I could understand him.
00:16:39We were like that, Kathy. Just like that.
00:16:42Didn't they ever find him after the fire?
00:16:44Not a sign of him.
00:16:46The place burned like a paint factory.
00:16:48Like a volcano.
00:16:50He was such an impractical fellow.
00:16:53But I still loved him.
00:16:55And had I been there, I might have saved him.
00:16:58But you might have gotten burned yourself, Manny.
00:17:00Yes, such is life.
00:17:02No matter how much we lose, we must still go on living.
00:17:05Was there any insurance on the wax museum?
00:17:10Yes, I had a little difficulty about that.
00:17:13According to the terms of the partnership agreement,
00:17:15the money was to go to the survivor of the others.
00:17:18The insurance company insists upon proof my partner's dead.
00:17:22Yes.
00:17:24They always want a corpse.
00:17:26They always want a corpse.
00:17:28But they settled finally.
00:17:30This afternoon, as a matter of fact.
00:17:32Certify a check.
00:17:34I got it cashed. The money's in my safe.
00:17:36You know what that means, baby?
00:17:38No, Manny. What?
00:17:40That little trip I was talking to you about.
00:17:42Oh, Manny.
00:17:45You're such a card.
00:17:48How much did you get?
00:17:50$25,000.
00:17:52Where would you like to go, baby? Atlantic City?
00:17:54No. Niagara Falls.
00:17:56We can get the license in Buffalo.
00:17:59License?
00:18:00Yeah, you know.
00:18:03Legitimate.
00:18:06Ah, why not? It might be fun.
00:18:08Uh, waiter. Waiter, my check.
00:19:24Ugh.
00:19:54Ugh.
00:20:24Ugh.
00:20:54Agh!
00:21:04Aagh!
00:21:17Pull it tighter, Sue.
00:21:20Pull it tighter.
00:21:23If I pull it any tighter, you're not going to be able to breathe.
00:21:26Oh, that's all right.
00:21:28I don't need much breath anyway.
00:21:30As my late friend Maddie used to say,
00:21:33if a girl don't watch her figure, the man won't.
00:21:36Maddie, wasn't that the man you were going to marry?
00:21:39Yes, but he hung himself instead.
00:21:42Oh, Maddie was such a card.
00:21:45Well, where's your new friend going to take you tonight?
00:21:47The Hoffman house for dinner,
00:21:49and then to Tony Pastor's for the vaudeville show.
00:21:51That sounds like fun.
00:21:53Oh, yeah, he's a free spender, all right.
00:21:55A little bit older than I like him,
00:21:57but awfully distinguished looking.
00:21:59Is he nice?
00:22:00Oh, awfully nice.
00:22:02A real gentleman, except when he's had a couple of drinks in him.
00:22:05Oh, that's to be expected.
00:22:08I'm moving up.
00:22:10Oh, I'm moving up in the world, honey.
00:22:12No girl ever hits the jackpot
00:22:14till after she passes 14th Street.
00:22:16Oh, is that how it goes?
00:22:18Sure.
00:22:21Look at me.
00:22:23Not too long ago, I was down on Delancey Street,
00:22:25and tonight I'll be right up there
00:22:27among the bright lights on 23rd.
00:22:29Now, when you get up there tonight,
00:22:31don't drink too much.
00:22:32Oh, don't worry, I won't.
00:22:34He keeps trying to pour the liquor into me,
00:22:36but I always manage to keep my head.
00:22:38After all,
00:22:40now that I'm going regular with the swell,
00:22:42I got social obligation.
00:22:44You know how it is when a fella...
00:22:47Oh, no, of course you don't know.
00:22:49You're not like me, Sue.
00:22:50You never could be.
00:22:52You got all the brains,
00:22:54and all I got is...
00:22:56what I got.
00:22:58You know, I'm surprised you even talked to me.
00:23:00That's such nonsense.
00:23:01You've been so good to me.
00:23:03Oh, why not?
00:23:04Girl needs a friend when she's down on her luck.
00:23:07Holy smoke!
00:23:08Look at the time.
00:23:09I gotta hurry.
00:23:10Did you find a job yet?
00:23:12Oh, no, not yet,
00:23:13but they need a hat check girl
00:23:14at the Silver Slipper,
00:23:16and I've got an appointment
00:23:17with the manager tonight.
00:23:18I know that fellow.
00:23:19Watch out for him.
00:23:20But why?
00:23:21What's the matter with him?
00:23:22Oh, nothing much.
00:23:23As long as you know how to duck.
00:23:25Oh, that's good.
00:23:26Yes.
00:23:27Did you eat today?
00:23:28Uh-huh.
00:23:29I had everything I needed.
00:23:30To hear you tell it.
00:23:32Besides, I know you're behind in your room rent.
00:23:34Oh, well, Mrs. Flanagan, wait for me.
00:23:36Don't count on that.
00:23:38The old buzzard almost locked me out once.
00:23:41There.
00:23:42If I don't sizzle him tonight,
00:23:44I might as well give up.
00:23:46He's picking me up in a handsome cab.
00:23:48No trolley for him.
00:23:49He's real society.
00:23:53Sue, all I've got is 50 cents,
00:23:55but you take it and buy yourself some dinner.
00:23:57Oh, no, Kathy.
00:23:58Come on.
00:24:00My friend will give me some money tonight,
00:24:02and then I'll stake you.
00:24:04I don't need any mad money.
00:24:06I never get mad.
00:24:08Good luck tonight at the Silver Slipper,
00:24:10and don't forget to duck.
00:24:16Ha-ha-ha.
00:24:47Just a moment, Miss Allen.
00:24:50What are you coming in so quietly for?
00:24:53It was so late, I didn't want to disturb anybody.
00:24:55Did you get the job?
00:24:56No.
00:24:57Why not?
00:24:58I had trouble with the man who runs the trouble.
00:25:00Mrs. Flanagan, you'll get your money.
00:25:02Kathy promised to lend me some tonight
00:25:04when she comes home.
00:25:05Well, you'd better get right up there, then,
00:25:07because she's home now.
00:25:09Oh, I'm sorry.
00:25:10Oh, I'm sorry.
00:25:11Oh, I'm sorry.
00:25:12Oh, I'm sorry.
00:25:13Oh, I'm sorry.
00:25:14Oh, I'm sorry.
00:25:15Oh, I'm sorry.
00:25:16Oh, I'm sorry.
00:25:17Oh, I'm sorry.
00:25:18Oh, I'm sorry.
00:25:19Oh, I'm sorry.
00:25:20Oh, I'm sorry.
00:25:22Oh, I'm sorry.
00:25:23You better get some sleep because she's home now.
00:25:26Couldn't it wait until tomorrow?
00:25:28No, it could not.
00:25:29If you want to sleep in this house tonight,
00:25:31you'll get that money.
00:25:33All right, I'll try.
00:25:44Kathy, it's Sue, are you there?
00:26:12Kathy?
00:26:21Kathy?
00:26:41I tell you, the spring came from up there.
00:26:48Let's look into it.
00:27:11Kathy!
00:27:42Usually there's a policeman down at the corner.
00:27:45I know, that's why I'm blowing the whistle.
00:28:04Kathy!
00:28:06Kathy!
00:28:08Kathy!
00:28:10Kathy!
00:28:40Kathy!
00:29:10Kathy!
00:29:40Kathy!
00:29:42Kathy!
00:29:44Kathy!
00:29:46Kathy!
00:29:48Kathy!
00:29:50Kathy!
00:29:52Kathy!
00:29:54Kathy!
00:29:56Kathy!
00:29:58Kathy!
00:30:04Kathy!
00:30:06Kathy!
00:30:08Kathy!
00:30:10Kathy!
00:30:35Mrs. Hurd.
00:30:37Sue!
00:30:40What is it, mother?
00:30:42It's Sue.
00:30:43Sue, this is a surprise.
00:30:45I was just thinking about...
00:30:49Sue.
00:30:50What happened to you, dear?
00:30:52What's wrong?
00:30:53Wait a minute, wait a minute.
00:30:54What happened, Sue?
00:30:55Wait a minute.
00:30:57What is it?
00:30:58Kathy, Kathy Grant, the girl in my rooming house,
00:31:02was murdered tonight.
00:31:04What?
00:31:05I found her.
00:31:08And the man who killed her was there in the room.
00:31:11I tried to get away from him.
00:31:16But he followed me through the street.
00:31:19Now, Scott, no, please don't go out there.
00:31:22It's all right, darling.
00:31:24Don't be frightened.
00:31:26It's all right now, dear.
00:31:28You're safe.
00:31:38Who found the body?
00:31:40One of my roomers.
00:31:41A friend of Kathy's.
00:31:42Sue Allen.
00:31:43Which one is Miss Allen?
00:31:45She isn't here.
00:31:46Where is she?
00:31:47I don't know.
00:31:48We heard her scream, and when we went looking for her,
00:31:51she was gone.
00:31:52Have you checked your roomers?
00:31:53Are they all in?
00:31:54All but Miss Allen.
00:31:55Mm-hmm.
00:31:56Well, Lieutenant Brennan will want a statement
00:31:58from each one of you.
00:31:59See that nobody leaves the house.
00:32:01All right.
00:32:02All right.
00:32:03All right.
00:32:04All right.
00:32:05See that nobody leaves the house.
00:32:14When I arrived at the rooming house,
00:32:16this girl had been dead for several hours.
00:32:19The immediate cause of death was strangulation.
00:32:21The mark of a cord is still on her throat.
00:32:24My examination indicated she'd probably been given a drug.
00:32:28You were right.
00:32:29What was it?
00:32:30Something to make her sleep, Lieutenant Brennan.
00:32:32Verinol, perhaps.
00:32:34I'll know as soon as we hear from the laboratory.
00:32:36How long would it take for such a drug to work?
00:32:38That would depend upon how much it was diluted.
00:32:41Yes, it was probably given to her in a drink.
00:32:44That's how it's usually done.
00:32:47Business is kind of slow tonight.
00:32:48What?
00:32:49Three suicides and two murders?
00:32:50Yeah, and a traffic case since 9 o'clock.
00:32:52The fella that got hit by one of them automobiles.
00:32:55I didn't think those things went fast enough to hurt anybody.
00:32:58Give them time.
00:32:59They're getting better every day.
00:33:05I hope you like it here, honey.
00:33:07It's the best we've got.
00:33:19Hey, what's the matter with this one?
00:33:21You'll get used to that.
00:33:23It's the embalming fluid.
00:33:24Makes them jump.
00:33:26That's one of the suicides.
00:33:27Just like a woman that got hit by a car.
00:33:30You'll get used to that.
00:33:31It's the embalming fluid.
00:33:33Makes them jump.
00:33:35That's one of the suicides.
00:33:36Just like a woman that got hit by a car.
00:33:37They always have to have the last word.
00:34:00Come on.
00:34:01Let's go.
00:34:30Come on.
00:34:31Come on.
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00:35:44Come on.
00:35:45Come on.
00:35:46Come on.
00:35:47Come on.
00:35:48Come on.
00:35:49Come on.
00:35:50Come on.
00:35:51Come on.
00:35:52Come on.
00:35:53Come on.
00:35:54Come on.
00:35:55Come on.
00:35:56Come on.
00:35:57Come on.
00:35:58Come on.
00:35:59Come on.
00:36:00Come on.
00:36:01Come on.
00:36:02Come on.
00:36:03Come on.
00:36:04Come on.
00:36:05Come on.
00:36:06Come on.
00:36:07Come on.
00:36:08Come on.
00:36:09Come on.
00:36:10Come on.
00:36:11Come on.
00:36:12Come on.
00:36:13Come on.
00:36:14Come on.
00:36:15Come on.
00:36:16Come on.
00:36:17Come on.
00:36:18Come on.
00:36:19Come on.
00:36:20Come on.
00:36:21Come on.
00:36:22Come on.
00:36:23Come on.
00:36:24Come on.
00:36:25Come on.
00:36:26Come on.
00:36:27Come on.
00:36:28Come on.
00:36:29Come on.
00:36:30Come on.
00:36:31Come on.
00:36:32Come on.
00:36:33Come on.
00:36:34Come on.
00:36:35Come on.
00:36:36Come on.
00:36:37Come on.
00:36:38Come on.
00:36:39Come on.
00:36:40Come on.
00:36:41Come on.
00:36:42Come on.
00:36:43Come on.
00:36:44Come on.
00:36:45Come on.
00:36:46Come on.
00:36:47Come on.
00:36:48Come on.
00:36:49Come on.
00:36:50Come on.
00:36:51Come on.
00:36:52Come on.
00:36:53Come on.
00:36:54Come on.
00:36:55There's no use showing you any suspects.
00:36:56We have nothing that fits that description.
00:36:57If we did have, we'd have them in the crazy house.
00:37:00Don't leave town, Miss Allen.
00:37:01Where can we find you?
00:37:0327 Lafayette Street.
00:37:05Miss Allen won't stay in our home, Lieutenant.
00:37:07Make sure of that.
00:37:08She's our only witness.
00:37:09That's all.
00:37:11How do you do?
00:37:41I received a letter giving this address and signed Professor Jarrah.
00:37:44But I know the professor's dead.
00:37:46Can you tell me who wrote this letter?
00:37:49My name is Sidney Wallace.
00:38:11Mr. Wallace.
00:38:12Professor.
00:38:13It's so good.
00:38:15Oh, forgive me.
00:38:17Shaking hands with me is an unpleasant experience.
00:38:20My hands are no longer hands.
00:38:22Sit down, please.
00:38:24Oh, this is Igor.
00:38:25He's a deaf-mute.
00:38:26He's one of my assistants.
00:38:28I'm going to open another wax museum under a different name.
00:38:32It startled you, eh, seeing me here?
00:38:35That's an understatement.
00:38:36I thought you were deaf-mute.
00:38:38Jarrah is dead.
00:38:39I am a reincarnation.
00:38:40When I read this letter and saw your signature,
00:38:42I thought somebody was playing a joke on me.
00:38:44I still don't understand how you escaped from the fire.
00:38:46It's a mystery to me, too, Mr. Wallace.
00:38:48All I can remember is that I tried to get out of my studio.
00:38:51I failed at first, but here I am.
00:38:53What a frightful experience.
00:38:54Somehow I made my way to the house of a doctor.
00:38:57Oh, well, I still have my limbs,
00:38:59though they won't bear the weight of my body.
00:39:01As for my hands, they're no use to me now.
00:39:05As a sculptor, I can't use them.
00:39:07As a sculptor, I can't control them,
00:39:09but they serve for ordinary functions.
00:39:12But you're beginning again?
00:39:13With the help of my pupils, yes.
00:39:16I'm rebuilding my exhibition from the ground up.
00:39:19I'm going to give the people what they want.
00:39:21Sensation, horror, shock.
00:39:24Send them out in the streets to tell their friends
00:39:26how wonderful it is to be scared to death.
00:39:30Let me show you one of my subjects.
00:39:33Do you recall the case of Kemmler,
00:39:35the first man to die in the electric chair?
00:39:37Yes.
00:39:38Igor is working on a model of his head.
00:39:42He has a strange obsession, this mute of mine.
00:39:45Every head he models takes on the shape of his own face.
00:39:49But in this case, I humor him,
00:39:51for actually, he somewhat resembles Kemmler.
00:39:55Crimes of violence will be reproduced in wax
00:39:58and exhibited while they are still fresh in the public mind.
00:40:02What do you think of my scheme?
00:40:04I think it'll succeed, commercially.
00:40:07Though it doesn't sound like you.
00:40:09Have you turned your back on beauty?
00:40:11No.
00:40:13No, but I can no longer create it.
00:40:15I've never forgotten your Marie Antoinette.
00:40:17Nor have I.
00:40:19She will be the leading lady of my new exhibition.
00:40:22But I must find her first.
00:40:24Find her?
00:40:25The model, I mean.
00:40:27Oh, yes, there will be beauty for contrast, for nothing else.
00:40:31Each subject must be taken from life.
00:40:34How can I convince my audience they're alive
00:40:36if I don't believe it myself?
00:40:38Oh, I have something I think will interest you.
00:40:43You follow Igor down into the basement.
00:40:48I have to go my own way.
00:41:02Well, here we are.
00:41:04Interesting, isn't it?
00:41:06One of my pupils is about to dip a body into a bath of wax.
00:41:10Body?
00:41:11Yes, the bodies are constructed separately
00:41:13to exact specifications of reinforced plaster of Paris.
00:41:17Oh, uh, this is Leon, another one of my pupils, Mr. Wallace.
00:41:21How do you do?
00:41:22The wax is melted in the cauldron you see above the vase.
00:41:26So that it will distribute itself evenly over the body.
00:41:30The head and hands, tinted by my own secret process,
00:41:33are attached to the body after it is covered with its skin of wax.
00:41:37Now, watch.
00:41:39Hmm.
00:41:40The head and hands, tinted by my own secret process,
00:41:43are attached to the body after it is covered with its skin of wax.
00:41:47Now, watch.
00:41:49Hmm.
00:42:11I often wondered how that was done.
00:42:13It's a method of my own, crude but adequate.
00:42:20Have you found a home for your new museum?
00:42:22This is it, the building upstairs, I mean.
00:42:24We'll continue to use the cellar as a workshop,
00:42:26cut a door here and there, but it's an excellent location,
00:42:29and the building can be leased at a right price.
00:42:32I have some capital, but I can't afford to lose it.
00:42:35It's an excellent location, and the building can be leased at a right price.
00:42:39I have some capital, but I need more, 30,000 at least.
00:42:43That's why I've asked you to come here.
00:42:46I'll take it over.
00:42:47Good.
00:42:48She's about right now, Leon.
00:42:51Drain off the surplus and let her cool.
00:42:54Oh, Leon, open up number 27.
00:42:57Come this way, please.
00:42:59I told you that I intend to exhibit scenes of violence.
00:43:03Here's an interesting subject,
00:43:05a mystery they're still talking about.
00:43:08All right, Leon.
00:43:11I saw that man's picture in the paper.
00:43:13This is a remarkable likeness, but it can't be a death mask.
00:43:16No, it's from memory.
00:43:23He hanged himself in an elevator shaft.
00:43:34Come in, come in, ladies and gentlemen.
00:43:37See the House of Wax.
00:43:42See the Chamber of Horrors.
00:43:48Here's three lovely little ladies right over there.
00:43:51Come on, ladies.
00:43:53Let's go.
00:43:54Come on, ladies.
00:43:55Let's go.
00:43:56Come on, ladies.
00:43:57Let's go.
00:43:58Come on, ladies.
00:43:59Let's go.
00:44:00Come on, ladies.
00:44:01Let's go.
00:44:02Here's three lovely little ladies right over here.
00:44:06Would you like to see Little Egypt?
00:44:08Here she is, ladies and gentlemen, Little Egypt,
00:44:10Queen of the Harps,
00:44:12who danced at the Columbian Exposition in Chicago in 1893.
00:44:16Is she wax, or is she flesh and blood?
00:44:19See the world in wax, the Hall of Fame,
00:44:22the Chamber of Horrors,
00:44:23a cultural exhibition that will enlighten you.
00:44:26You know, I think I could do that.
00:44:28Oh, really, you couldn't.
00:44:29What would I do if I took my stays off?
00:44:32Don't do that, and don't talk that way.
00:44:34Watch it, young lady.
00:44:36Careful, sir.
00:44:37Keep your head down, or I'll tap you on the chin.
00:44:40Look out.
00:44:41Dirk!
00:44:43Now, that's a becoming hat you're wearing, madam.
00:44:45I wonder if I can clip a flower off it.
00:44:47Oh, steady now.
00:44:48Don't move your head,
00:44:49or you'll lose the powder off your nose.
00:44:53Now, there's someone with a bag of popcorn.
00:44:55Close your mouth.
00:44:56It's the bag I'm aiming at.
00:44:58Here she comes.
00:44:59Well, look at that.
00:45:00It'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 Horrors
00:45:10and pass the time of day with notorious murderers.
00:45:13Who kill with the rope, the knife, and the axe.
00:45:16Thrills, chills, and laughter
00:45:18for a price within the rates of all.
00:45:21I hope you don't think I've gone too far
00:45:23hiring this fellow to bring people in.
00:45:25He does make it sound a little like a side job.
00:45:27For a week or two, once 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.
00:45:44It is a real man.
00:45:45Sorry.
00:45:46The historic figures I'm about to show you
00:45:49will be more interesting
00:45:50when I tell you that their faces
00:45:52were molded from the original death masks,
00:45:54now in the possession of 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, Henry,
00:46:04borrowed from the French king
00:46:06so that Anne's head would be cleaved from her body
00:46:08without too much pain.
00:46:10He was a thoughtful husband, Henry.
00:46:12It was he who invented the shortcut to divorce.
00:46:15A very bad pun, I'm afraid.
00:46:18Here is another scene of historic violence.
00:46:21Charlotte Corday in Marat,
00:46:23one of the leaders of the French Revolution.
00:46:25The lady found him taking a bath
00:46:27and plunged the knife into his heart.
00:46:30Quelle femme terrible.
00:46:31What a shocking thing to do.
00:46:32Yes, wasn't it?
00:46:33The poor man was dreadfully embarrassed.
00:46:39The exhibits in this room will be added to
00:46:41from time to time as various crimes are committed.
00:46:44You will read about them in your newspaper
00:46:46and see them enacted here in waxen tableaux.
00:46:49Oh, by the way, ladies,
00:46:51your ancestor carried his bride across the threshold.
00:46:55During the French Revolution,
00:46:57a certain doctor invented a labor-saving device
00:47:00to take the place of the headsman's axe.
00:47:02So successful was this machine
00:47:05at cutting off the heads of the French aristocrats,
00:47:07they named it after its creator.
00:47:09And here it is, the bloody guillotine.
00:47:15Oh, dear, I don't think I can stand this.
00:47:17Now, Melanie.
00:47:18Pull yourself together, honey.
00:47:19Twelve years ago,
00:47:20the electric chair was first used in New York State.
00:47:23And here we have an authentic reproduction
00:47:25of the execution of William Kemmler
00:47:27on August 3rd in 1890.
00:47:30Kemmler killed without mercy
00:47:32and 2,000 volts sent him to a higher court.
00:47:35The torture of the rack.
00:47:37In this case, Lady Anne Askew,
00:47:40an English noblewoman accused of treason,
00:47:43is being put to the question.
00:47:45Needless to say, she admitted she was a traitor.
00:47:48Who wouldn't under that sort of pressure?
00:47:50Oh, dear me.
00:47:51Is it your corset?
00:47:52No, it's my stomach.
00:47:53Turned over.
00:47:54Mine turned over, too.
00:47:55And now, my friends,
00:47:56we have that jolly old gentleman
00:47:59known as the Modern Bluebeard.
00:48:01Like his namesake,
00:48:02he killed not wisely, but too well.
00:48:06And did away with eight wives.
00:48:10Oh, Millie!
00:48:12Smelling salts?
00:48:13Ladies, help yourselves.
00:48:15Thank you very much.
00:48:19Next door to him,
00:48:20we have a mystery of more recent date.
00:48:22Matthew Burke, the stockbroker.
00:48:25He was found hanged in the elevator shaft of the building
00:48:28where he had his offices.
00:48:31Was it murder or suicide?
00:48:34Only time will tell.
00:48:37Foul deeds will rise to wall the world
00:48:39or whelm them to men's eyes.
00:48:49Oh, thank you.
00:48:51You like him, Sue?
00:48:52He looks exactly like my Uncle Rufus.
00:48:54You know, they have a policeman like this
00:48:55in the lobby of the Aiden Museum.
00:48:57Haven't you been there?
00:48:58No.
00:48:59From what I see in the papers,
00:49:00this museum is even better.
00:49:02Anyway, we'll soon find out.
00:49:04Scott!
00:49:06Mr. Wallace!
00:49:08Sue, I want you to meet my good friend,
00:49:09Mr. Sidney Wallace, Miss Sue Allen.
00:49:11It's a pleasure, Miss Allen.
00:49:12I heard you were back in town.
00:49:13Then you should have looked me up.
00:49:15I expect great things of Scott.
00:49:16I consider him one of our most promising young sculptors.
00:49:18Has he been working hard?
00:49:19Oh, he never knows when to start.
00:49:21Sue's been posing for me.
00:49:22Indeed.
00:49:23Lovely subject.
00:49:25Not a professional model.
00:49:26She's a guest in our home.
00:49:27Sue's mother and mine were great friends.
00:49:28Have you been inside, Mr. Wallace?
00:49:29Yes.
00:49:30Is it exciting?
00:49:31If anything, too much so.
00:49:32But I'm sure it'll catch on.
00:49:33Gerard, the man who owns the place,
00:49:34is a good friend of mine.
00:49:35You'll be interested in him, Scott.
00:49:36Let's go in, shall we?
00:49:47You know, these figures are excellent.
00:49:49I thought you'd agree with me.
00:49:51They're not only well done, but they're good theater.
00:49:54What do you think, Miss Allen?
00:49:55I know they're only wax, but they seem so real.
00:49:58Just looking at her makes my neck hurt.
00:50:00Wait till you see the Chamber of Horrors.
00:50:02I told Gerard he should have a nurse on duty there.
00:50:06You know that he lost the use of his hands.
00:50:08Oh?
00:50:09Who did these figures?
00:50:10His pupils, but he supervised the work.
00:50:12His is the mastermind.
00:50:13He surely knows his anatomy.
00:50:43Sue, what is it?
00:51:12Sue, are you crying?
00:51:14What's wrong, Miss Allen?
00:51:15A dear friend of mine was murdered, and I found her.
00:51:18She means Kathy Gray, the girl whose body
00:51:20was stolen from the morgue.
00:51:22What made you think of her now?
00:51:24It's her face.
00:51:25That's Kathy's face, Scott.
00:51:27I know every line of it.
00:51:28I wake up at night, and I see it,
00:51:30and I can't get it out of my mind.
00:51:31Perhaps that's the reason you see a resemblance
00:51:33in the face of this figure.
00:51:34It's more than a resemblance.
00:51:36It's wax, my dear.
00:51:37I know, I know.
00:51:41Why should it be so like Kathy?
00:51:43I think I can explain that.
00:51:46Oh, uh, 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
00:51:57in wax museums.
00:51:58It was completed just in time for our opening tonight.
00:52:01You're right, my dear.
00:52:02It is more than a chance resemblance.
00:52:04When I create an important figure,
00:52:06I can't take just any face.
00:52:08I saw pictures of your Kathy Gray in the newspaper.
00:52:11Her face fascinated me, and, well, here she is,
00:52:14immortalized as 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.
00:52:22Kathy loved to dress up, as she called it.
00:52:25She used to take fancy dresses
00:52:26and imitate the actresses she saw in the theater.
00:52:30I don't think she'd mind.
00:52:32Then I'm forgiven.
00:52:33Well, there's nothing to forgive.
00:52:35I just don't understand how it can seem so real.
00:52:38That's the finest compliment I've ever received.
00:52:41Thank you, my dear.
00:52:42Did I hear your name correctly, Scott Andrews?
00:52:45Yes, Mr. Gerard.
00:52:46The young sculptor I've been telling you about.
00:52:48Oh, Sidney showed me some photographs of your work.
00:52:51He was right, you have great promise.
00:52:53What are you doing now?
00:52:54I'm doing a head of Miss Allen.
00:52:56Let me see your hands.
00:52:59Yes.
00:53:01Yes, mine were once like that.
00:53:05Oh, I envy you.
00:53:07Mr. Andrews, would you be interested
00:53:09in doing some modeling for me, some 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.
00:53:17I think you'll like it.
00:53:19Sidney, I want you to look at this girl.
00:53:23With pleasure.
00:53:24What does she remind you of?
00:53:25You 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
00:53:31that haunts you as the face of my Marie Antoinette
00:53:34has haunted me.
00:53:35Marie Antoinette?
00:53:36Of course, I should have seen it at once.
00:53:39A figure in wax, Mr. Gerard's greatest work.
00:53:42More than wax.
00:53:44She lived.
00:53:45You mean I look like she did?
00:53:47Exactly as she did.
00:53:48Once in his lifetime, every artist feels the hand of God
00:53:52and creates something that comes alive.
00:53:54So it was with my Marie Antoinette, and I loved her.
00:53:59But she's gone now.
00:54:01Horribly destroyed.
00:54:04Perhaps you will help me to bring her back.
00:54:07You will come to see me soon.
00:54:11I'd be glad to.
00:54:13You'll be welcome at any time, no matter what I'm doing.
00:54:16And you, Mr. Andrews, in the morning?
00:54:18I'll be here, very eager to begin.
00:54:21It's been a very exciting day for me, and I'm a little tired,
00:54:24so if you'll forgive me, I'll say good night.
00:54:29Oh, Sidney, one moment, please.
00:54:32Excuse me.
00:54:33I'll be right back.
00:54:35Forget about it, Sue.
00:54:36You heard what Mr. Gerard said.
00:54:38Cathy'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, ladies and gentlemen.
00:55:00Get your tickets from the charming little lady in 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 and scare yourself after years of growth.
00:55:27Not again.
00:55:58Oh, no.
00:55:59Oh, no.
00:56:00Oh, no.
00:56:01Oh, no.
00:56:02Oh, no.
00:56:03Oh, no.
00:56:04Oh, no.
00:56:05Oh, no.
00:56:06Oh, no.
00:56:07Oh, no.
00:56:08Oh, no.
00:56:09Oh, no.
00:56:10Oh, no.
00:56:11Oh, no.
00:56:12Oh, no.
00:56:13Oh, no.
00:56:14Oh, no.
00:56:15Oh, no.
00:56:16Oh, no.
00:56:17Oh, no.
00:56:18Oh, no.
00:56:19Oh, no.
00:56:20Oh, no.
00:56:21Oh, no.
00:56:22Oh, no.
00:56:23Oh, no.
00:56:24Oh, no.
00:56:25Oh, no.
00:56:26Oh, no.
00:56:27Oh, no.
00:56:28Oh, no.
00:56:29Oh, no.
00:56:30Oh, no.
00:56:31Oh, no.
00:56:32Oh, no.
00:56:33Oh, no.
00:56:34Oh, no.
00:56:35Oh, no.
00:56:36Oh, no.
00:56:37Oh, no.
00:56:38Oh, no.
00:56:39Oh, no.
00:56:40Oh, no.
00:56:41Oh, no.
00:56:42Oh, no.
00:56:43Oh, no.
00:56:44Oh, no.
00:56:45Oh, no.
00:56:46Oh, no.
00:56:47Oh, no.
00:56:48Oh, no.
00:56:49Oh, no.
00:56:50Oh, no.
00:56:51Oh, no.
00:56:52Oh, no.
00:56:53Oh, no.
00:56:54Oh, no.
00:56:55Oh, no.
00:56:56Oh, no.
00:56:57Oh, no.
00:56:58Oh, no.
00:56:59Oh, no.
00:57:00Oh, no.
00:57:01Oh, no.
00:57:02Oh, no.
00:57:03Oh, no.
00:57:04Oh, no.
00:57:05Oh, no.
00:57:06Oh, no.
00:57:07Oh, no.
00:57:08Oh, no.
00:57:09Oh, no.
00:57:10Oh, no.
00:57:11Oh, no.
00:57:12Oh, no.
00:57:13Oh, no.
00:57:14Oh, no.
00:57:15Oh, no.
00:57:16Oh, no.
00:57:17Oh, no.
00:57:18Oh, no.
00:57:19Oh, no.
00:57:20Oh, no.
00:57:21Oh, no.
00:57:22Oh, no.
00:57:23Oh, no.
00:57:24Oh, no.
00:57:25Oh, no.
00:57:26Oh, no.
00:57:27Oh, no.
00:57:28Oh, no.
00:57:29Oh, no.
00:57:30Oh, no.
00:57:31Oh, no.
00:57:32Oh, no.
00:57:33Oh, no.
00:57:34Oh, no.
00:57:35Oh, no.
00:57:36Oh, no.
00:57:37Oh, no.
00:57:38Oh, no.
00:57:39Oh, no.
00:57:40Oh, no.
00:57:41Oh, no.
00:57:42Oh, no.
00:57:43Oh, no.
00:57:44Oh, no.
00:57:45Oh, no.
00:57:46Oh, no.
00:57:47Oh, no.
00:57:48Oh, no.
00:57:49Oh, no.
00:57:50Oh, no.
00:57:51Oh, no.
00:57:52Oh, no.
00:57:53Oh, no.
00:57:54Oh, no.
00:57:56Oh, no.
00:57:58Oh, no.
00:57:59Oh, no.
00:58:00Oh, no.
00:58:01Oh, no.
00:58:14Host,,
00:58:20Parker to the gentleman,
00:58:26Enjoying yourself?
00:58:27It's exciting.
00:58:29Do nice people come here?
00:58:31Of course.
00:58:32These Sunday matinees are very popular.
00:58:34I don't know.
00:58:35It doesn't seem proper.
00:58:36All those girls showing their talents.
00:58:40You never saw a show like this in Provincetown.
00:58:43No.
00:58:44Don't worry, your reputation is safe.
00:58:46You've been going around
00:58:47with the weight of the world on your shoulders,
00:58:48worrying about wax figures
00:58:50and seeing monsters in your dreams.
00:58:52You need something like this
00:58:53to bring you back to normalcy.
00:58:55Soon.
00:58:58Proceed.
00:59:22Do it.
00:59:25Do it.
00:59:26Go on.
00:59:26I am waiting for you.
00:59:28You know,
00:59:29I don't want to miss the big moment.
00:59:32It's the big moment you want,
00:59:33and I have to hire you,
00:59:35I have to have you.
00:59:36I can't let you down.
00:59:37I have to have you.
00:59:38And I have to have you.
00:59:39I'm gonna get you,
00:59:41I'm gonna get you.
00:59:42I'm gonna get you.
00:59:43I'm gonna get you.
00:59:44That's the way it is.
00:59:46I'm gonna get you
00:59:47and I'm gonna get you.
00:59:49I'm gonna get you.
00:59:50She had the lobe of her right ear only, pierced for that.
00:59:55Well, that's there too.
00:59:57How could he see that in a photograph?
01:00:00How could he make it so real unless...
01:00:03What?
01:00:05Unless it is Kathy.
01:00:07Sue...
01:00:08Now look, I'm gonna take you to Lieutenant Brennan's office tomorrow.
01:00:11I want you to tell him exactly what you've told me here now.
01:00:14He's a policeman, he knows.
01:00:15He'll convince you once and for all that no such thing could happen.
01:00:18Now relax, honey, and enjoy the show.
01:00:49I know it sounds fantastic, but you asked me to tell you everything.
01:00:53You can see this idea has become an obsession.
01:00:55An unhealthy one, if you ask me.
01:00:57You said Jared's a cripple.
01:00:59He uses a wheelchair.
01:01:00He can walk with crutches, but not very well.
01:01:03Well, such a man came and asked to see police photographs of Kathy Gray.
01:01:07You see? That's how it's done.
01:01:09Every detail is studied to make the features true to life.
01:01:11But why should he?
01:01:12Well, I don't know.
01:01:13I don't know.
01:01:14I don't know.
01:01:15Every detail is studied to make the features true to life.
01:01:18But why should Joan of Arc have her right ear pierced?
01:01:20Why not? They wore them then.
01:01:22Two, not one.
01:01:24I don't know, Lieutenant. It's not a suspicion.
01:01:26It's more a kind of fear, an intuition.
01:01:28Well, intuition isn't much help in police work.
01:01:30Facts are what we need.
01:01:32Suppose you forget about it and let us do the worrying, eh?
01:01:35You mean you'll investigate it?
01:01:37Of course he does.
01:01:38Yes, that's what I mean.
01:01:40You both think I'm crazy.
01:01:41Oh, we think nothing of the kind.
01:01:43It was very good of you to listen and be so patient.
01:01:47Goodbye.
01:01:48Goodbye.
01:01:49Thanks.
01:01:56This is Brennan speaking. Give me Shane.
01:01:59Oh, hello, Jim.
01:02:00I want you to go to the City License Bureau
01:02:02and check up on a man named Henry Jarrett.
01:02:05Yes, he opened a museum on 29th Street near Broadway.
01:02:09Yes, the House of Wax.
01:02:11Dig up all you can, get a list of his employees,
01:02:13and check with me here.
01:02:15Right.
01:02:41Now, that's a copy of her face, all right.
01:02:43She didn't look like that the night we saw her
01:02:45in Marl Flanagan's rooming house.
01:02:46Not so composed.
01:02:47Oh, poor kid.
01:02:49Hey, you know this fella Jarrett's good.
01:02:51And you don't think Miss Allen's fears are justified?
01:02:53Why, heck no. Do you?
01:02:55Well, that's wax. How could it be anything else?
01:02:57Maybe he was too scared to dream up a crazy idea like that.
01:03:11So, you're the one who's been following him?
01:03:13Yes, sir.
01:03:14And you're the one who's been following him?
01:03:15Yes, sir.
01:03:16And you're the one who's been following him?
01:03:17Yes, sir.
01:03:18And you're the one who's been following him?
01:03:19Yes, sir.
01:03:20And you're the one who's been following him?
01:03:21Yes, sir.
01:03:22And you're the one who's been following him?
01:03:23Yes, sir.
01:03:24And you're the one who's been following him?
01:03:25Yes, sir.
01:03:26And you're the one who's been following him?
01:03:27Yes, sir.
01:03:28And you're the one who's been following him?
01:03:29Yes, sir.
01:03:30And you're the one who's been following him?
01:03:31Yes, sir.
01:03:32And you're the one who's been following him?
01:03:33Yes, sir.
01:03:34So, you did come to see me, my Marie Antoinette?
01:03:43Or was it that you came to see?
01:03:45Oh, Mr. Jarrett, I'm so sorry.
01:03:48I know I'm not supposed to touch the figures.
01:03:50But, you couldn't help yourself.
01:03:51Well, don't let it trouble you.
01:03:53Oh, I beg your pardon, this is Leon Averell and Igor.
01:03:55How do you do?
01:03:57Igor is an impolite.
01:03:58He simply can't talk.
01:04:00Leon is an artist in his own right.
01:04:02It was he who did the wax work on the figure of Joan of Arc.
01:04:06Does she still seem real to you?
01:04:07As life itself.
01:04:09Of course, her hair is different,
01:04:10but that doesn't change her face.
01:04:13What puzzles me is how you can get such detail from a photo.
01:04:19Was Cathy wearing her earrings when
01:04:20the police photographed her?
01:04:22Earrings?
01:04:24I don't remember.
01:04:24Was she, Leon?
01:04:26No.
01:04:27No, I don't think so.
01:04:29The police would remove the jewelry from the body,
01:04:31wouldn't they?
01:04:32And yet you were careful to show that both her ears
01:04:34had been pierced for them.
01:04:36Yes, yes, of course.
01:04:38If I had missed a detail of that sort,
01:04:39Mr. Jarrett would be most displeased.
01:04:42He insists on reality.
01:04:44I can understand that.
01:04:46Well, just a moment there.
01:04:47There's something in this box I think
01:04:49would interest you.
01:04:50Open it, Leon.
01:04:58Your Mr. Andrews permitted us to make a cast
01:05:00of the head he did of you.
01:05:02Leon has just finished it in wax.
01:05:04Do you like it?
01:05:06Sort of a shock to see your head detached that way.
01:05:10I guess it's a very good likeness.
01:05:12Yes and no.
01:05:13Andrews is clever, but like all modern sculptors,
01:05:16he has too much imagination.
01:05:18He would improve on nature.
01:05:20What I need for my Marie Antoinette is you, the real you.
01:05:24Nothing less will satisfy me.
01:05:27Will you come to see me again, my dear?
01:05:53Hey, Burt, do you know this fellow
01:05:56Jarrett's quicker at finding these guys than we are?
01:05:59That's what he says in his advertising.
01:06:02Look at that, even the twist in the neck.
01:06:05You know, that's a case against me.
01:06:06Where is Burke?
01:06:07Who got him?
01:06:07Who'd want him?
01:06:08We'd better find out pretty quick.
01:06:10Did you read the blast in this morning's world?
01:06:12Yeah, it's dynamite.
01:06:14Chief had me in his office this morning.
01:06:16If I'm not careful, I'll be pounding
01:06:17a beat in the Bronx.
01:06:27Come here, Jim.
01:06:31You remember Wilbur Patterson, the deputy city
01:06:33attorney who disappeared?
01:06:34Sure.
01:06:36Does both look like Wilbur, or am I crazy?
01:06:39Hey, he does at that with the brush off his lip.
01:06:41Hair's different, of course, but the features
01:06:43are something like Patterson's.
01:06:45Well, maybe he looked like Booth anyway.
01:06:47I've seen a lot of dummies in here.
01:06:48Looked like people I know.
01:06:50The caveman they got in there is a spitting
01:06:51image of the new commissioner.
01:06:52Please, let me in.
01:06:54Spitting image of the new commissioner?
01:06:55Please, don't touch the exhibits.
01:06:58Can't you read the sign?
01:06:59I'm sorry.
01:07:00Hey, look, where'd you get the face
01:07:02for this guy that shot Lincoln?
01:07:04From photographs.
01:07:06Yeah, they take them at that time?
01:07:08If you go down to the city library,
01:07:09you'll find a whole volume of Matthew Brady's photographs
01:07:11taken during the Civil War.
01:07:13You work here?
01:07:13Yeah.
01:07:15You make these things?
01:07:16Some of them.
01:07:17What's your name?
01:07:19Leon Averill.
01:07:21What's yours?
01:07:21Jim Shane.
01:07:23I've seen you around here on the Ninth Avenue L.
01:07:24It was nice meeting you.
01:07:30Tom, you know me.
01:07:32I'm no good at names, but I don't forget faces.
01:07:36If I could take the muff off of that one,
01:07:37I might be able to place it.
01:07:39It was a long time ago.
01:07:46Mr. Wallace?
01:07:47Yes.
01:07:48I'm Lieutenant Brennan, Sergeant Shane.
01:07:49Glad to know you, gentlemen.
01:07:50Won't you sit down?
01:07:51Sorry I kept you waiting.
01:07:53I confess I'm worried.
01:07:54This is the first time I've been asked to go
01:07:55into police headquarters.
01:07:56What am I suspected of?
01:07:57Nothing, whatever.
01:07:59We thought perhaps you might be able to help us.
01:08:00You had to.
01:08:01We found out that your partner is
01:08:02the same Professor Jarrod whose museum on 24th Street
01:08:05burned down some time ago.
01:08:07That's true.
01:08:09Well, this Professor Jarrod was supposed to have
01:08:12been killed in the fire.
01:08:13Apparently a slight mistake.
01:08:14You suspect him of some criminal act?
01:08:16We haven't a thing on the guy.
01:08:18We're just curious.
01:08:19So is the insurance company.
01:08:22What do you know about his employees?
01:08:23Well, there's Scott Andrews, a protege of mine.
01:08:26Yes, we know of him.
01:08:28Then there's Igor, deaf-mute.
01:08:30And Leon Averill, who does the wax work.
01:08:33Averill's an odd character.
01:08:35Periodical drunkard, but a fine artist.
01:08:38I've seen some of his sketches.
01:08:39One of the Savior with his disciples.
01:08:41Beautiful work.
01:08:44Well, I'm afraid I haven't been much help.
01:08:45Oh, you're never going to tell.
01:08:46Mr. Wallace, thank you very much.
01:08:48I prefer you not mention this to your partner.
01:08:50I won't.
01:08:53You know, I'd gamble on Jarrod.
01:08:56He's strange, unpredictable, but I
01:08:58think he's a man of integrity.
01:08:59Yes, I'm sure of it.
01:09:00Thank you very much.
01:09:01Not at all.
01:09:01Good day, gentlemen.
01:09:05Tom, I told you I knew the man with the whiskers.
01:09:08You remember that artist in Sing Sing
01:09:09who painted a picture of the Last Supper
01:09:10on the wall of his cell?
01:09:12Oh, Hendrix.
01:09:13Oh, they called him a genius and gave him a parole.
01:09:14Yeah, but when they turned him loose, he became a drunk.
01:09:18He broke parole about a year ago,
01:09:19and 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.
01:09:50A little more bitterness in that face, my boy.
01:09:52Remember, this fellow has been badly used by the world,
01:09:55and he despises all the people in it.
01:09:58Deepen those lines around the corner of the mouth.
01:10:02Not too much.
01:10:03There.
01:10:04There, that's better.
01:10:06What I wouldn't give to have those fingers of yours.
01:10:09Thank you, Mr. Jarrod.
01:10:11I'm afraid I'm going to have to leave you
01:10:13to your own devices, Mr. Hendrix.
01:10:14I'm afraid I'm going to have to leave you to your own devices.
01:10:17Thank you, Mr. Jarrod.
01:10:19Sorry I've kept you so late here tonight, Scott.
01:10:22Oh, that's all right.
01:10:23Miss Allen is meeting me here.
01:10:25It's her birthday.
01:10:26We're going to celebrate a child's.
01:10:27Charming creature.
01:10:29I was worried about her.
01:10:30The shock of finding that murdered girl
01:10:32gave her some strange ideas.
01:10:34Yes, I know.
01:10:35I took her to see Lieutenant Brennan at police headquarters,
01:10:37and he said all right.
01:10:38Well, that's very good now.
01:10:39Excellent.
01:10:40Oh, Scott, before you go, would you
01:10:42mind running over to Metzger's for me?
01:10:44Metzger's?
01:10:45The place where they make those artificial flowers.
01:10:46Oh, yes.
01:10:48They're doing a background for this new group.
01:10:49Take a look at it for me.
01:10:51You know what I want.
01:10:52Advise them on the color scheme.
01:10:54I'd go myself, but it's so hard for me to get about.
01:10:58Oh, I know.
01:10:58I'll be glad to do it.
01:10:59I'll go right now.
01:11:00Thank you very much.
01:11:07I followed him through his bender.
01:11:09You know, sometimes this guy gets the shakes of bad,
01:11:11you expect to see his teeth fall out.
01:11:13That's all he had on him?
01:11:14That's it.
01:11:15No money?
01:11:16No money.
01:11:19Gold.
01:11:27To Wilbur Paterson.
01:11:30Patterson.
01:11:32With affection and admiration, City Attorney's Office,
01:11:35December 25th, 1900.
01:11:45Where did you get this I?
01:11:48Found it where on the L. What line?
01:11:52Third Avenue downtown when don't remember it was months ago
01:11:57Book him on suspicion of murder. No, I found it
01:12:00I tell you I found that I never even knew the man who owned it. I never even saw him lock him up
01:12:04Please please don't put me in a cell. I'm sick. Can't you see my nerves are all shattered
01:12:10Look, look, please. Give me one little
01:12:13Could I please have one little drink you're not gonna get anything until you tell us where you got this watch
01:12:22Take him up let's go
01:12:42I
01:13:12I
01:13:42Scott
01:14:12I
01:14:42I
01:15:12I
01:15:42I
01:15:58Got
01:16:12I
01:16:42I
01:17:12I
01:17:29You shouldn't have done that my dear
01:17:33It is Kathy
01:17:35It's Kathy's body under the wax. I knew it. I knew it all the time
01:17:42I
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