Original subtitles

(suspenseful music)

- The last personally conducted tour of the museum

for the day, starting immediately,

the finest collection of occult

and supernatural manifestations ever gathered

beneath one roof,

lectures on werewolfism, vampirism, and voodooism.

Hear for yourselves the amazing story

of the long-lost Marie LaTour.

Dr. Charles Morris, the renowned director of this museum,

has devoted his life to gathering this authentic material.

Now, if you will kindly follow me, ladies and gentlemen,

please keep as close together as possible.

There's much to be seen, more to be heard,

and plenty to imagine.

(tourists chatting)

Everyone is familiar with the legend of vampirism,

how the victim exists on after death

seeking out some new victim each night,

is satiable for the blood of mortals.

This room is modeled upon an ancient description

of some vampire's nest.

In such a place as this, the infamous victims

rested during the daylight hours,

rising at dusk to seek out some new victim

to appease their craving for human blood.

A skeleton on the coffin here

illustrates the prescribed method of doing away with empire.

A wooden stake is driven through the vampire's heart

while the creature sleeps in some dank cabin

during the daylight hours.

We will now proceed to the voodoo room.

May I have your attention, ladies and gentlemen, please?

As you will notice, this room is reserved

for the mysteries of the voodoo.

These are all actual photographs

enlarged to show some of the mysterious practices

of this strange cult.

These pictures were all taken by Dr. Morris

on one of his many expeditions to the West Indies,

where voodooism is widely practiced by some of the natives.

Here is a real life photograph of a mysterious rite.

By some strange par, the soul of one human being

is projected into the body of another.

Sometimes this exchange is made between humans and animals.

The secret of this mysterious rite has never been disclosed,

but here is actual photographed evidence

that the practice really exists.

Dr. Morris actually witnessed this extraordinary rite.

He carried with him a hidden camera.

Had it been discovered, Dr. Morris would have been killed.

Ladies and gentlemen, photographs do not lie.

(tourists chatting)

If you'd follow me, please.

You will observe evidence showing

that the former occupant of this room

was a woman of rare refinement and unique taste.

Everything has been kept just as it was

on the day she disappeared,

a red letter day in the life of her family.

A woman of mystery, she was the mistress of this house

and her name was Marie LaTour, and she was a werewolf.

The tradition of werewolves and vampires

dates back almost to the world's oldest recorded history.

Of the two, the werewolf is perhaps the most horrible

because the instinct for evil is so strong

that they willingly and cunningly

assume the shape of a beast in order to kill.

It was during these times that farmers complained

of seeing a wolf with flashing eyes

that killed their cattle and sheep.

Every effort was made to track the creature done,

but it was George LaTour who learned the truth at last.

He discovered the muddy footprints of an animal

leading to his house.

He followed them to his wife's room.

(suspenseful music)

(growling and screaming)

Servants upstairs hearing screams

rushed up and found their master's mangled body.

Over him stood a terrible animal

with flaming, dripping jaws.

This creature, seeing them,

turned and fled through a window.

Ladies and gentlemen, that creature,

that thing was Marie LaTour.

She's never been seen from that day to this.

No one knows what became of her.

This room has been kept just as she left it.

The clock on the mantel there

has never struck the hour since.

The hands are stopped on the exact moment

she struck her husband down.

You've heard her story, seen her effects.

Now here is her picture.

Ladies and gentlemen, Marie LaTour.

(bell dinging)

Well, that's the signal for the closing of the museum.

Thank you for your attention, ladies and gentlemen.

Please tell your friends about us, goodnight.

(tourists responding and chattering)

(door knocking)

- Good evening, Jan.

(door knocking)

- Come in.

(shoe dragging)

Well, what is it, Jan?

- I wanted to ask you

if I might leave early tonight, Dr. Morris.

Peter said he would lock up for me.

- Oh, that'll be all right, Jan.

I expect to be working late tonight myself.

- Thank you, sir.

(shoe dragging)

(door closing)

(bright violin music)

(speaking in foreign language)

- No, no, I will break bread with you later

when I've delivered my messenger to the princess.

(door knocking)

- So, Comrade Spavero, you have come at last.

We were expecting you.

- Greetings, old one.

I came as soon as I could.

I have news for the princess. - Enter.

Jan Spavero, princess, he says he has new news.

- Tell me your news.

Is it good or bad?

- The news is not good, my princess.

- Then out with it, doddler.

Bad news does not improved with keeping.

- The secret of your mother's grave is known.

Dr. Morris at the museum has found it.

- What? - When did this happen?

- Only last week, my princess.

No one but he knows it as yet.

He's preparing a manuscript, a book,

their life story- - You needn't say any more.

The life story of the LaTours

will never be told by an unbeliever.

To that, I give oath.

Dr. Morris, his manuscript will never be published.

- Yes, my child, your future is written.

Your path is plain.

You will follow it.

- The last personally conducted tour of the museum

for the day, starting immediately,

lectures on werewolfism, vampirism, and voodooism.

Hear for yourselves the amazing story

of the long-lost Marie LaTour.

Now if you'll kindly follow me, ladies and gentlemen.

Please keep as close together as possible.

There's much to be seen, more to be heard,

and plenty to imagine.

(tourists chatting)

(suspenseful music)

(door creaking)

- You're going to meet Bob, Miss Elsa?

- Yes, his plane is due in half an hour.

- Well, I'll certainly be glad to see him.

- We all will.

- Ready, Dr. Morris?

- Oh, hello, Elsa.

The plane's, the plane's on time then?

- Uh-huh, 9:57.

- I'm afraid I'll have to send you to the airport alone.

Something rather important will keep me here.

- But Dr. Morris, you haven't seen Bob for nearly a year.

He'll be terribly disappointed.

- It's only a matter of minutes, an hour at most.

When he finds you waiting for him,

he won't even miss his father.

- Oh, you know that isn't so.

Bob only thinks of me as his sister.

- (chuckling) Should I give the young man a talking to?

- Oh no, no, he mustn't think that I...

- [Dr. Morris] What's the matter?

- There, there on the desk.

Where did you get that?

It's a devil doll!

- Yes, it's a devil doll.

You recognize it, Elsa?

It isn't like the ones we have in the voodoo room.

This one is from the old country, I should judge.

- Yes, I know.

I saw one like that in my village when I was a little girl.

It was always a warning, a warning of death.

- Yes, I know.

I found it here when I got back from dinner,

but it's nothing to be upset about.

Obviously, it was a left here as a joke

or perhaps a contribution to the museum.

- Dr. Morris, is someone threatening your life?

- I hardly think so, but I'm not quite sure yet.

I'm on the verge of a most interesting discovery,

a discovery to answer a lot of unanswered questions.

It may even have something to do with this,

but I hardly think so.

Anyway, I'll know for certain tonight.

Whom are you phoning?

- [Elsa] The police.

- No, Elsa, this is a matter for science,

not for the police.

- But Dr. Morris, if someone is threatening your life-

- For 30 years, I've built towards something like this

and I'm just selfish enough

to want all the credit for the discovery,

if it is a discovery, for myself.

- Well, all right, what do you want me to tell Bob then?

- Tell him I had a most important engagement

that couldn't possibly wait.

I might almost call it a rendezvous with fate.

Tell him it has something to do with why I sent for him.

Now, now be a good girl and go along

or you'll miss the plane.

- All right, doctor, I'll do as you say.

- I'll be waiting for you both with news,

great news, when you get back.

- Good evening, doctor.

- Oh, are you still here, Peter?

I thought you had gone.

- I couldn't go till I'd fed Minnie, sir.

She's been acting up, hiding on me.

I couldn't find her.

I guess she's getting scared of her own shadow.

- Maybe she listens to your lectures.

- You know, sometimes I begin to believe

some of that stuff myself.

- A lot of it's true.

Goodnight, Peter.

Don't forget to lock the front door.

- I won't, sir, goodnight.

(foreboding music)

(cat meows)

- Hey, what's eating you?

Kitty, kitty, kitty?

Kitty, kitty, kitty, kitty, kitty, kitty?

(Dr. Morris screaming)

Dr. Morris, is that you?

Dr. Morris, where are you?

Dr. Morris, Dr. Morris, where are you?

Answer me.

(wolf howling)

Dr. Morris, Dr. Morris, where are you?

Answer me.

Dr. Morris, Dr. Morris, where are you?

Answer me. (door creaking)

(gentle music)

- Hey, look, Minnie didn't finish her supper.

- Hey, dad, I'm back!

Dad.

Oh, he's not here.

- But he must be somewhere about.

There's a fresh fire on the grate.

Oh, look, Bob, I'm sure those are pages

from your father's manuscript.

- Well, so what?

Dad isn't the first author to burn the stuff he's written.

I wonder where he can be.

(water hissing)

- I'll stake my record on it.

No one has left this house unless he went out the back way.

- But Elsa said he spoke

of having a very important engagement.

From the way he talked,

the appointment was here in the museum.

- Yes, and the doctor would never go out the back way.

Besides, what's become of Peter?

He's not here either.

- You think I should turn in an alarm?

- No, let's give the building a thorough going over first.

I'd feel pretty silly if he were here all the time.

- Shh,

I think I here something.

- It sounds like it's in there.

(Peter mumbling)

- [Peter] Kitty, kitty?

(Elsa gasping)

Minnie, Minnie.

Kitty, kitty?

Minnie, Minnie, Minnie?

Minnie, Minnie. - Peter.

(police car sirens blaring)

- That's as much as we know.

Nothing was touched until you arrived.

- And you say, Miss Chauvet, that the fire wasn't burning

when you talked to Dr. Morris.

- No, it was not.

- Elsa poured water on it trying to save

what was left of dad's notes.

I'm afraid it didn't save much.

- Yes, it looks like they're past restoring.

Any idea what was in them?

- I think so.

Dad was writing a history on Marie LaTour.

I believe these were his reference notes.

A week ago, he wired me asking me to come home.

He hinted it was something important,

but he didn't go beyond that.

- Miss Chauvet, you say that Dr. Morris told you

he was on the verge of an important discovery.

- Yes.

- And you think it has something to do

with a woman that used to live in this house,

a woman who's supposed to be a vampire or something.

- Marie LaTour, yes, she was a werewolf.

- Oh, yes, a werewolf.

Mr. Morris, you're a scientist.

Tell me the truth.

Do you believe any of that silly stuff?

- I don't know, Lieutenant.

As a scientist, I'm only supposed to believe that

which can be proven in the laboratory.

My father was killed here tonight

under strange and desperate circumstances.

I think maybe he knew something

about some of that silly stuff.

- Well, of course, when the coroner's jury

gets a medical report, the death was caused

by the attack of an animal or animals unknown.

They're not gonna point to anything supernatural.

- But, Lieutenant, no ordinary animal

deliberately set fire to those notes.

- I'll admit there are some peculiar things

about this case that haven't been cleared up.

We'll keep our eye on that guide,

in case his mind clears and we can ask him some questions,

but the police department hasn't got time to chase

a lot of things that don't exist.

I never heard of a wolf that could strike a match.

Here's that devil doll you were telling me about.

- Where did you find it?

- It was with the body.

- The boys have stopped digging

in that secret passage, Lieutenant.

They can't find nothing.

- I guess that's about all we can do till the inquest.

I'll leave a man on guard for a few days.

(phone ringing)

Oh, do you mind?

Hello? Speaking.

Okay, I'll be right over.

I have to go over the police laboratory.

I'll see you both later.

Come on, Homer.

- Hey, chief, you gonna call the boys off the case?

- Not now.

Homer, it looks like you're in for a little detective work.

- No kidding?

- Yeah, there's more here than meets the eye.

- What do you mean by that?

- That phone call was from Pinkie over in the lab.

They found a woman's fingerprints

all over that secret door,

on the inside. - Yeah?

- Can you tell what they are?

- Are these really the hairs

that were from the dead man's hand?

- That's what the doc says.

He found them under the fingernails.

- Well, as near as I can figure it out,

they came from the body of a wolf.

That makes you happy?

- Well, maybe it does.

Maybe we've been underrating a certain young lady.

Homer, wire for a rush answer on those fingerprints.

And we're going over to the museum

and have a talk with Miss Elsa Chauvet.

- You can't have any doors or windows open.

The slightest breath of air

will crumble those pages into powder.

Can you stand it?

- I'll go without breathing if it'll help

find out who killed your father.

- You may have to.

Look, (blowing air) see what I mean.

This is gonna be tough.

- Inside this burnt heap of papers

the answer to what we want to know,

to what your father was seeking when...

Oh, Bob, it frightens me to think of what we might find out.

- Ah, we'll cross that little bridge when we come to it.

Right now, I'm only interested

in getting this old machine together.

- Do you really think that it can photograph

the letters on burned paper?

- Well, if we can get those charred pages

to stay in one piece long enough.

You know, it's amazing what infrared can do.

- Well, I'll make sure she's here

and I'll give you the high sign from the porch.

- Hey, chief, give me that again.

I'm supposed to go to her apartment

and pick out something with her fingerprints on it.

- Yeah, her passport.

The girl was born in Europe,

so she's gotta have a passport.

The fingerprints are on it.

- I get it, she was born in Europe then.

- Miss Chauvet inside?

- Yes, Lieutenant, Mr. Morris, too.

The rest of the help are down in Athius' office

answering questions. - Good.

(fingers snapping)

(Lieutenant whistling)

(car engine roaring)

- Hey, I wish you had knocked

before you come barging into a laboratory that way.

When you opened that door,

you scattered a full page of dad's notes

into a million pieces.

- Oh, I'm sorry.

I didn't realize you were working on something.

I just dropped by to tell you I got a new lead.

- You mean you're not gonna close the case?

- That's right, there's too many questions

that haven't been answered.

For instance, how did a woman's fingerprints

get on the inside of that secret panel

in the Marie LaTour room?

- A woman's fingerprints?

- Yeah, we're checking them now.

Am I interfering with your work?

- No, not at all.

- Say, Bob, what is your job in Washington?

- Chemical research for the government.

That's fine, Elsa, just touch the brush to the edges.

Then only little pieces will break off

when you take it away.

- Miss Chauvet, where did you say you were born?

- In Transylvania,

a little village in the mountains named Ongua.

- And did they have werewolves in Transylvania?

- Well, there were many legends about werewolves.

I never actually saw any,

although there were people in my village

who claimed they had seen them.

- Where did you meet Dr. Morris?

- He came to our village to investigate

the background of Marie LaTour.

My father was magistrate there.

He asked Dr. Morris to bring me to America.

He said there would be a lot of trouble in Europe.

- How long ago was that?

- Seven years ago.

- What's the matter, Lieutenant,

you think maybe Elsa's a werewolf in her spare time?

- Oh no, I was just thinking,

it's funny that that secret passage has been there

all these years and nobody found it but Dr. Morris.

(door knocking)

- Come in.

- You're wanted on the telephone, Lieutenant.

- I'll let you know when I find out

about those fingerprints.

Yeah?

All right, Homer, just so you got it.

Is Peggy checking on those fingerprints

against the ones we find inside that secret passage?

Good. (door creaking)

If they turn out the way I think they'll turn out,

we can close this case in a hurry.

Yeah.

Yeah, I got an idea who did it.

Come on outta there or do you want to be carried out?

Now give it to me fast.

What were you doing snooping around in that closet?

- I work here.

I'm Jan Spavero, the janitor.

- Oh yeah, I remember you.

That's not the broom closet, Jan.

What were you're doing in there?

- Because of what happened to Dr. Morris, I'm afraid.

I heard the policeman come down to the telephone

and I hid.

- That's a good way to attract suspicion.

You been to the DA's office yet?

- All morning I answer questions.

Then I come here to do my work.

- Well, I guess you can go home.

There's nothing to do around here for a while.

This place is closed temporarily.

Well, just a minute.

Do you believe in werewolves?

- I, well, there are legends, superstitions in my country.

- Transylvania?

- Yes, how did you know?

- Oh, it's my business to know.

Go ahead.

(phone ringing)

Yeah?

What?

Well, tell him to check them again.

Those fingerprints have gotta match.

- Pinkie says they don't.

You can't pin it on the Chauvet girl

if the fingerprints don't jive.

- But she's the only woman

that knew about that inside passage.

Yeah, you don't have to tell me,

we're right back where we were before.

All right, I'll come over.

You must be wrong, Pinkie.

You gotta be wrong.

That girl is the only- - I mean, all the time,

but all I can tell you is what the fingerprints show.

They don't belong to the Chauvet woman.

- Well, let's have another look.

Homer, pull dow that shade. - Yes, sir.

- All right, you can see for yourself.

The prints don't jive.

Huh, there you are.

What'd I tell you?

- I never did think that nice girl coulda done it.

That nice girl coulda had an accomplice, couldn't she?

And I've got a pretty good idea who it was.

He comes from the same country as the Chauvet girl.

- What are you gonna do, chief?

- Why do you think?

- Yeah, that's what I thought.

- Well, we've got two pages

of slightly scrambled notes on these negatives.

I'll take them home and develop them.

At this rate, we'll have some real evidence

in about six months.

Yeah, let's call it a night.

- Wait until I get my purse.

You don't think I'm silly

in believing that there's something supernatural

about your father's death, do you, Bob?

- I wouldn't be trying to restore dad's notes if I did.

So far, it's the only explanation that makes sense.

- Yes, if all this had happened in my home village,

the people there, they would be sure of it.

And I'm as convinced that your father

made some startling discovery regarding Marie LaTour

as I am that we're here together now.

- Else, I've been meaning to ask you,

do you want to stay on at the museum?

- Oh, I hadn't thought that far ahead.

Do you know that you just called me Elsa?

- Did I? - Uh-huh.

What happened to sis?

- Oh, I had to check her off of the list.

She grew up and became a very pretty girl

named Elsa Chauvet.

- (chuckling) And what have you done about Elsa?

- Oh, I give her two weeks to make up her mind.

- To do what?

- To come back to Washington with me as Mrs. Robert Morris.

- Oh, Elsa doesn't need two weeks.

Her mind is made up right now.

- You mean you'll go with me?

- Anywhere in the world, darling.

- That's all I wanted to know.

So what am I waiting for?

(officer sighing)

(cat snarling)

(cat hissing)

- Here, kitty, kitty, kitty.

Where are you, kitty?

Here kitty, kitty, kitty, kitty.

Here kitty, kitty, kitty.

(cat mewing and hissing)

Here, kitty, kitty, kitty, kitty.

(cat snarling)

Kitty, kitty, kitty?

Here, kitty, kitty, kitty, kitty.

There you are.

So you got shut in, huh?

Come on, come on.

There now, is that better?

You were kinda scared in there all alone, weren't ya?

(car door shutting)

(camera clicking) Okay.

- Professor, you're sure you didn't touch anything

when you came in this morning.

- Not a thing, Lieutenant.

I took one look and notified you.

- After I let the cat out, I never went near this room.

- I can believe it, Donnegan.

You were probably catching a little shuteye.

- Oh, I've got insomnia, Lieutenant, you know that.

I couldn't sleep if I wanted to.

- That don't keep you from trying.

Well, boys, it looks like we got something

to go on this time.

Right, Homer, huh?

- Yeah, right, chief.

- Hurry up, Pinkie, and develop those pictures?

- [Pinkie] Right.

- Whoever destroyed these notes

put that hand print on the door.

Whoever left the hand print killed back Dr. Morris.

Sorry, Miss Chauvet, to debunk your little story

about a werewolf being the killer.

The real killer had hands and feet

and he walked with a limp.

- You believe that the janitor-

- It's more than a belief, Miss Chauvet.

That hand print will prove that Jan Spavero is our man,

right, Pinkie? Yeah.

He must've had a lot of fun in here last night,

tossing all this black confetti around.

- Well, you can call it fun if you wanna, Pinkie,

but Spavero must have been pretty anxious

to get rid of these notes.

He put his head right into a nice little noose to do it.

Let's go, boys.

(dramatic music)

(bright violin music)

- They will not find me.

I swear it.

The police are stupid.

- Not so stupid as one who leaves his hand print

behind him on the wall.

- And they will find you, Jan.

They will find you and they will make you talk.

- No, no, no, no, I swear they will not.

I shall go away and never come back.

- I've spoken with the elders of the tribe, Jan.

They have decided.

- You promised that if I served you faithfully, my princess-

- Don't keep promises, you fools.

You'll bring the police down upon our heads.

- Silence, old one!

- Bianca, leave us.

This much I will promise you, Jan.

You will lie with your ancestors

in the ground selected by my mother.

- No.

No!

(dramatic music)

(wolf howling)

(wolf growling)

(Jan screaming)

(wolf howling)

(Celeste sobbing)

- Weep, child, weep.

You cannot help the things that have been.

Other things that must be, it is your destiny.

You are our high priestess.

The welfare of our tribe is in your keeping.

It was ordained so by your mother

when she placed you in my care.

You are the daughter of a werewolf.

- Daughter of a werewolf.

I am the daughter of a werewolf.

- I like to keep my own private record

of everything pertaining to a case.

My wife pastes them in a scrapbook.

Then I got something to show my kids.

- What makes you think that timber wolves

that some drunken farmer thinks he saw

have got anything to do with this case?

- Well, Dr. Morris was killed by an animal

or animals unknown, wasn't he?

- Or by a certain Jan Spavero

who tried to make it look like the work of an animal.

I wonder what's keeping Pinkie?

(phone ringing)

Yeah? Speaking.

You did? Where?

I'll be right over there.

Come on, they've located Spavero.

- Oh boy, have I got some questions to ask him.

- Oh, I forgot to tell you he's over at the morgue,

ripped to death by a wolf.

- One more question, princess.

Did you have any knowledge that this man Spavero

was wanted by the police when he came to you

begging the hospitality of your tribe?

- As has been told you,

Jan Spavero was not a member of our tribe.

His identity was discovered a day after he'd been with us.

When he was told that he must go,

he protested his innocence, but he left.

The next we knew of him was when he was found dead.

- That'll be all, princess.

You're excused. - Thank you.

- One moment, please, princess.

Mr. Morris wishes to ask you a few questions

for general information.

- I have here, princess, certain notes

that my father had made in preparing a book.

They're rather fragmentary, but you may be able

to help me piece them together

for whatever bearing they might have on the case.

The notes refer to a certain tribe of gypsies

called the Troiga.

Have you ever heard of such a tribe?

- That's the name of my tribe, Mr. Morris.

- Is it true that your people are bound together

by tradition and belief that they'll be together in death

as well as in life?

- There are many things about my people

which may seem strange to you.

We do believe that death will bring us together

and keep us together eternally.

For 11 months, my people roam the roads

and country lanes of this land,

selling toys and trinkets.

Then at this season of the year,

they gather from everywhere to meet and mingle together,

to break the bread of friendship with one another,

to court new sweethearts, to marry,

to christen their babies, and to bury the dead.

- Burying your dead once a year,

is that one of the superstitions of your people?

- What you call superstition, we call religion.

- [Bob] I see.

- I wonder if you do.

- Why does your tribe always return

to this particular place, princess?

- It's tradition.

In some countries, the body is burned.

In our treasured ground it is buried,

but only on the 12th month

during the feast of life and death.

- Has that tradition existed

only since Marie LaTour joined the Troiga tribe, princess?

- Marie LaTour?

- Yes, my father traced her to your tribe.

It's here in his notes.

Have you never heard of her?

- Marie...

- Was she a member of your tribe?

(Bianca groaning)

- The meeting is recessed.

(gentle organ music)

- How do you do, sir?

Adamson & Sons are at your service.

- I'd like to speak to Mr. Adamson or one of the sons.

- Mr. Adamson is dead.

I am the last of the sons.

Is this a professional call?

- Well, not exactly.

The name is Morris.

I'm doing some research on a gypsy tribe called the Troiga.

I'm told that they shipped their dead here,

and then the living members gather from all over the country

about this time of year for one great funeral.

- True, true, Mr. Morris.

We have refrigerated vaults in the basement

and the deceased are kept there

until the time for the funeral.

Would you excuse me a moment

while I switch off the electric organ?

- You probably have records

of when this temporary burial practice began,

records of the early gypsy families.

I wonder if I might see them.

You see, I'm looking for a certain woman

known to have joined the tribe many years ago.

- I'm sorry, Mr. Morris, professional ethics.

The Troiga are very secretive.

They send us their dead.

We keep them, on ice, of course,

and then they come and take them away.

Those old records are stored in the basement.

No one is allowed to see them.

Do you know, I myself am not certain

where the Troiga gypsies find to bury their dead.

I believe they have some sort of secret burial ground.

(buzzer buzzing)

Oh, I have to leave you now.

Someone's being delivered at the service entrance.

I'm sorry I couldn't be of more help to you.

If you care to wait, I'll give you what information I can.

- Thank you, Mr. Adamson, you're very kind.

- Good, good, Mr. Morris.

I'll be back soon.

Just make yourself at home, books, magazines.

What a coincidence,

some of the Troiga gypsies are here now.

Speak of the devil. (chuckles)

Buna zuia, princess.

Buna zuia, Mr. Adamson. - Buna zuia.

- Who is it this time?

- A dear comrade, Jan Spavero.

- Jan Spavero.

Speaking of names, your tribe is attracting

quite a bit of scientific interest.

Yes, there's a young man here now

asking about the history and customs of the Troiga.

It seems he's doing some research.

- What's his name? - Morris.

Yes, that's it, Mr. Morris.

I never forget a name.

I can't remember faces, but I never forget a name.

- You say he's here now?

- Yes, yes, he asked to see the records of the dead

from your tribe.

Naturally I refused, but he's waiting.

I promised to do all I could for him.

Oh, that's all right, you can leave it there.

I'll take care of Mr. Spavero.

- Please, Mr. Adamson, not so loud.

- What's that?

- Oh, nothing.

- There's nobody here but myself.

Mr. Morris is in the reception room.

- I should like very much to meet Mr. Morris.

- Fine, he's quite an interesting character,

talks a lot.

We'll have to go up front anyway to sign the papers.

I know Mr. Morris will be delighted,

such an earnest young man, so eager.

(suspenseful music)

Mr. Morris?

Oh, I say, hello?

Where is Mr. Morris?

Mr. Morris, have you gone?

Isn't that strange?

He said specifically he would wait.

(foreboding music)

(door closing)

(dramatic music)

- Oh, there you are, Mr. Morris.

I've been looking all over for you.

- Have you, princess?

- Yes, I had difficulty finding you.

- I'm sorry, I, I didn't know.

I've been spending some very interesting moments.

- Mr. Adamson tells me you're here

trying to learn more about our tribe.

- That's right, I, I find your customs

completely fascinating, princess.

- Well, perhaps I could help you to understand them better.

- Perhaps. - There you two are

and chatting just like old friends, my, my.

I thought you both had gone.

- We were just going, Mr. Adamson.

If Mr. Morris will drive me back to camp,

I promise to tell him many things

about the customs of my tribe.

- You're very kind, princess.

It's much more than I expected.

- It isn't kindness, Mr. Morris, it's because I like you.

Anyone who finds the customs of my people fascinating,

I find them fascinating, too.

(gentle music)

- You like to look at me.

- Oh, was I looking at you?

- You think I'm beautiful perhaps?

Like you say, easy on the eyes.

- Well, if you put it that way, yeah.

- Mr. Morris, we can be friends.

- Okay.

Please call me Celeste.

- Celeste. - Bob?

Well, that does make a little less formal.

- Bob, you're a little afraid of me.

- No, should I be?

- A woman likes to have a man a little afraid of her.

Who was that pretty girl at the inquest?

- Else Chauvet.

- She's in love with you.

- I hope so.

- Are you in love with her?

- We're gonna be married as soon as I go back to Washington.

- I wonder if she realizes how fortunate she is.

- Well, is there anything to stop you

from being that fortunate?

- I wish I could tell you, but I can't.

(door opening and closing)

- Bob, is that you?

Oh, darling, I was so worried.

I was just this minute dialing the police.

Tell me what happened.

Did you learn anything new at the mortuary?

- Oh, no, not as much as I wanted to.

- What took you so long?

- Well, I ran into that whole gang of gypsies at Adamson's.

Celeste was there.

- Celeste? - Yeah, the gypsy princess.

As a matter of fact, she asked me

to drive her home and I did.

- You drove her to the gypsy camp?

- Yeah, I stayed for tea, too.

It was very interesting.

She, she told me a lot of things

about herself and her tribe.

Did you know that the Troiga tribe

has one of the few forms of matriarchal inheritance

left in the world?

You know, where they pass the title

from mother to daughter instead of father to son,

blood to blood they call it.

- No, I didn't know that.

- Yeah, it's true, Celeste told me.

She inherited her title from her mother.

- Celeste?

- Well, that's her name, darling.

She asked me to call her that instead of princess.

- But I don't understand.

At the inquest this morning,

you were convinced that there was some connection

between these gypsies and your father's death.

And now, you act as though that suspicion

was the farthest thing from your mind.

Darling, what has come over you?

- Nothing, it's just now that I've met

and talked with the gypsies,

I'm convinced they're simple, harmless people.

They may have strange customs and secrets, yes,

but, well, I'm not gonna run around

and make wild accusations against innocent people.

Maybe there's some things we just don't understand.

- I am as certain that that gypsy girl is evil

as I am that I breathe.

Deep in my heart, I know,

and I'm afraid, afraid of what it'll to us, to you.

- Oh, darling, you take things too seriously.

- A love doll.

This I think is yours.

It explains a great deal.

- Why, you've hardly eaten a bite.

- I wasn't very hungry tonight, Raymond.

- Thank you very much.

- You're welcome, goodnight.

- Goodnight.

- Good evening, Elsa. - Hello, Mac.

- If you're looking for Bob,

he just drove off in his car about 10 minutes ago.

- Oh, thank you, I didn't expect to meet Bob.

I came back to do a little work.

- Now, why don't you give up this night?

You're too nice a girl not to be out

having a good time for yourself.

There's plenty of time to go to work

when you get as old as I am.

- Thank you, Mac.

There's some jobs that can't wait until we're older.

(suspenseful music)

If you could speak, Marie LaTour,

you could tell me what I want to know.

What is this evil power?

Where does it come from?

I know that it exists and it's here, in this house.

(door creaking)

(fire crackling)

- Are you admiring my mother's portrait?

- Your mother?

Marie LaTour?

I should have guessed it.

- Of course, you should.

Think of the time and trouble you would have saved

putting Dr. Morris' notes together.

You've been so eager to learn the truth about my mother,

Ms. Chauvet, to reveal the secrets of the Troiga tribe

she fled to when she left this house so many years ago.

Such persistence must not go on rewarded.

To you shall be revealed all these secrets.

You shall be my sister.

It is in my power.

- What is it?

- Are you remembering Dr. Morris' torn body

or do you see Peter Althius' horror-filled face

shocked into madness by a sight

his eyes never should have seen?

Do not fear that, my sister.

Yours shall be a better fate.

I shall teach you a new worship, a new religion.

Your first sacrifice upon its altar

will be the faith of the man you love.

Since I am forbidden to love him, so shall you be.

- Bob, Bob.

- You will learn to live as I must live,

apart, beyond the reach of men and mortals.

And for that love which once shown in a man's eyes,

loathing will be substituted.

You shall be feared and hated.

(Elsa's body thumps)

When you awaken, you, too,

shall be the daughter of a werewolf.

(door creaking)

- Elsa, Elsa?

Elsa, where are you?

Elsa, Elsa?

(door creaking)

(cat meowing)

Well, fancy meeting you here.

How'd you get shut up in there?

Elsa, Elsa?

(foreboding music)

Elsa, Elsa.

(dramatic music)

(footstep creaking)

Elsa.

- Don't come near me.

Don't touch me.

- What's the matter, what's happened?

- Are you still looking for the person

who killed your father?

- Yes, of course, but-

- Stay away from me.

I killed Dr. Morris, I killed him!

- What are you saying?

- I killed him, I killed.

Don't come near me.

Don't touch me.

I killed him.

Don't touch me.

I killed him.

- I tell you she's been hypnotized, bewitched,

down in that basement room.

- I'm not a psychiatrist, I'm only a policeman.

If she says she killed her father,

I have no choice but to take her in,

and the rest is up to the jury.

- Look, Lieutenant, you're dealing with the supernatural.

I tell you that Celeste woman is a devil, a demon.

Those gypsies can cast a spell on you.

I know it , it happened to me.

It was like being drugged.

- [Elsa] I killed him.

- I even tried to convince Elsa

that Celeste was all right

and that she and her tribe were sweet, innocent people.

Well, they're not, they're devil worshipers,

and they've got a secret order

right in the basement of this house.

- I just phoned Dr. Phillips.

He said to give her a sedative

and he'll be here in 15 minutes.

- Stay away from me.

I killed him.

- All right, give her a couple of these.

You may be right.

I got men posted all over the house

and we'll go down and give that secret chamber

a real going over.

Like the professor said, whoever did this

may still be in the house, come on.

- Don't come near me.

- Hey, chief, ain't you supposed to have

some sort of a silver bullet or some other hocus pocus

to kill a werewolf?

- If it will make you feel any better,

we can take the silver fillings out of our teeth

and melt them into a bullet.

- Yeah, okay! - Okay, come on.

- Hey, what happened?

Who hit that light switch?

- Not me. - Not me.

- Nobody touched it.

- Ed, go ask young Morris where the fuse box is.

- [Ed] All right.

Hey, the lights are out all over the place.

- Go do what I tell you.

- All by myself?

- Will you? - Okay.

- Hey, chief, don't you think we oughta wait

until we get the little matter

of the fuses straightened out?

- What's the matter with you guys?

What have you got a flashlight for?

(door creaking)

- Now, this'll have to hold you

till I have a look at them fuses.

How's the little lady feeling?

- She's resting. - Good.

You stick with her, professor,

because if there's any zombie ghost in his place,

we'll get him

or her

or it.

- Thanks

Elsa, Elsa, are you awake?

(suspenseful music)

- [Lieutenant] What have you found up there?

- Some sort of a secret crypt, Chief.

There's a grave and somebody buried up here.

- Is he dead?

- Yeah, yeah, only it ain't a he, it's a woman,

some sort of gypsy queen.

- Well, now that you've crept into a crypt,

would you mind creeping back down here again?

We're looking for a live gypsy, not a dead one.

Hurry it up. - Okay, chief, okay.

(wolf growling)

But now that I'm up here,

don't you want me to look around a bit?

- Do you hear anything?

- Nah, not a thing.

What would your hear in a grave?

(dog paws pattering)

- Look out! - There she is!

(guns banging)

- Cover the exits and watch all the windows.

(guns banging) (wolf growling)

- You all right, chief?

- It's nice of you to inquire.

I didn't know you cared.

What are you doing up there?

- You mean to tell me you didn't see what we saw?

- How can I see anything when you're raining bullets on me

like I was a sleeve target.

Come on down.

- You think the chief will believe us

when he tell him what we saw?

- He'll believe us all right when I show him this.

(guns banging)

- Keep your flashlights dark and aim at its eyes.

We got it trapped.

- I think we hit it, chief.

- Listen. (wolf howling)

- That's it.

Now stay beside me and we'll move in together.

Take it slow.

There it is.

(guns banging)

(Elsa gasping)

My sister, they're trying to kill her, aren't they?

(gun bangs)| (Elsa groaning)

I'm hurt, the bullet. - Elsa.

- They're trying to hurt her, they're trying to kill her.

- Look at that.

Hit it all right.

(door creaking)

- Hey, chief, the door! - Come on!

- I don't think it's in here, chief.

- Now you search that room, I'll try this one.

Homer, take a look upstairs. - Yeah.

(wolf growling)

(door creaking)

(door closes and locks)

- My sister,

the wounds, they burn, do they not?

- You're trapped, Celeste.

You might as well give up.

- Come, Elsa, we must go build ourselves another temple.

The old one has been desecrated.

(suspenseful music)

Kill him.

- Put that gun down, Elsa.

- Kill him, do as I say.

- Elsa, put that gun down.

Put that gun down, Elsa.

- [Celeste Voiceover] This is my voice, Elsa.

My voice says kill him.

- [Bob] Don't listen to her, Elsa, don't listen to her.

- [Celeste Voiceover] Kill him.

- [Bob] Listen to me.

This is Bob talking.

Put that gun down, Elsa.

- [Celeste Voiceover] Kill him.

- [Bob] Put that gun down, Elsa.

Don't listen to her.

Use your own will, Elsa.

(wolf growling)

(gun clattering)

(wolf barking)

(intense music)

- [Lieutenant] Help me break it down.

(wolf continues growling and barking)

(guns banging)

(cat meowing)

- You all right, professor?

- Yeah, I'm all right.

Are you all right, darling?

It's Bob.

(Elsa sobbing)

It's all right, it's all over with.

Nothing can harm you now.

- Say, I had the darnedest time finding that fusebox.

I had...

Hey, what happened here?

- Well, Ed, I never thought I'd be giving lectures

on werewolves to guys like you who won't believe it anyway,

because you were off somewhere fixing fuse boxes,

but we're looking at a real phenomenon,

an ancient legend come true, Ed, right before our eyes.

That wolf used to be a beautiful gypsy girl,

a princess who worshiped evil.

You can tell your grandchildren about it, Ed.

You can say I saw it with my own eyes.

(dramatic music)