Ghosts on the Loose (1943)

No renewal found Free in the US since 1 January 1972, on the registry's reading: registration LP12102 of 1943 by Monogram Pictures Corp was not renewed in the volumes searched. Record.

Copy: GhostsontheLoose on the Internet Archive; registered 1943
Read: 420 shots over 1:04:42 · 1046 transcript lines · JSON
Record: Ghosts on the Loose No renewal found
Poster: Wikimedia Commons, public domain
Wrong?: Report a problem

Check before citing the shot count. A 2:31 shot at 9:42 (shot 27): either a static hold or a run of missed cuts. Treat it as unverified.

How this page was made

420 shots over 1:04:42, read from the Internet Archive copy GhostsontheLoose (GhostsontheLoose.mp4, 640×480, 23.98 fps). Shot boundaries by PySceneDetect's adaptive detector; each frame links to the Archive's player at that second. Registry dossier: Ghosts on the Loose No renewal found. JSON

Measurements: colour film on its keyframes (365 of 420 shots judged colour), average shot 9.2s long, a frontal face detected in 31% of keyframes. Shots are detected automatically and each is represented by its midpoint frame.

Transcript

Machine transcription of the Archive copy's audio with Whisper large-v3-turbo (temperature 0); the model heard it as en. 1046 segments kept, 281 dropped as the kind of hallucination the model produces over music and silence. Each timestamp links to the Archive's player at that second. This has not been checked against the film and can be wrong.

0:59 Bring to me only with thy night, that I will bless with my heart.
1:14 For leave a kiss within the cup
1:21 And I'm not asked for why. The first that from...
1:31 The soul does rise.
1:34 The faster drink divine. But mine I up to nectar's cup.
1:48 I would not say for thine.
1:57 It's a beautiful example of musical expression.
2:00 Sounded like a broken down surge.
2:08 Hey, Dave!
2:10 Hey!
2:13 What color are your eyes?
2:15 Hmm.
2:16 If you don't want them to be black, you better keep them open. I want you to pay some attention to this lethargy in opera.
2:22 Finny!
2:23 You're dimming a little on your dimuendo.
2:25 Oh, that's fine.
2:26 Yes.
2:27 Great.
2:28 You, from you, I want a little more sweetness.
2:31 But I'm singing sweet. If you can't sing any sweeter than that, you better hum.

1026 more segments

2:35 And Rocky?
2:37 M.F.
2:38 That's for you.
2:39 M.F., what does that mean?
2:41 Well, uh, I don't know. Look, it says MF there. What do I know from those Latin abbreviations?
2:46 Hey, um...
2:47 I, uh...
2:48 I think it means misfeeling, misfeeling.
2:52 Danny, you let me sound the worst of all.
2:54 Your moderato obligato was just a little bit, uh, staccato, uh,
3:01 Oh.
3:02 What?
3:03 I can't walk from the side. But I got a cold.
3:06 Quick.
3:06 Quick Ethan, boys, play it again, play it again. Play it again, I say.
3:11 Come on, once more.
3:12 Sing to me only with thy life, and I will bless with mine. For he that is within the cup, and I'll ask for wine.
3:42 - I'm a red.
3:42 Lovely boy! Perfectly lovely!
3:45 The rosary's always been one of my favorite hymns. Oh, you ain't heard nothing yet. Why don't we polish it off a little? Oh, good!
3:54 Is she kidding? He must have a tinny ear. Yeah, we're pretty good.
3:58 Cold.
3:59 I'm gonna tell you something.
4:00 This thing must have some more crescendo.
4:03 If you ask me, it's a little bit on the Sencaro side.
4:06 You know what I mean?
4:08 Uh, Schuno and Glippi, let's have your voice into this number.
4:12 Break.
4:13 To me only with thine eyes and a hymn, yeah. See what I did? You know what you've told me for?
4:23 Yeah. You see what they're doing now? Yeah.
4:25 Well, I want you to reach a happy medium.
4:27 Now,
4:28 Hit that last note.
4:30 - What are you doing? - You threw me to hit it!
4:32 He's gonna jail him, a miner.
4:33 Give him a pick and send him home. Get him a pick out of the head. Come on, more music.
4:38 Sing to me only with thy light and I... Sing it, Pete, and you'll get a draw.
4:48 Now, don't let me stop. He keeps right on with her seat.
4:50 It's getting better all the time. Oh, Marlowe, what's that? Let's go to my house. It's quiet today. We'll never get rehearse. Hey, look.
4:58 Why can't I sing in that quartet? I used to sing in a quartet with six members. I can sing in those four kissy malls and loud poop. You can't sing at this ceremony. You're the best man.
5:06 I wouldn't say that.
5:07 I'm pretty good.
5:09 You're only the best man because your sister's getting married. It don't mean you're the best, or it don't even mean you're a man.
5:14 Now, do you know what you do when this ritual starts?
5:16 Yeah, when a guy asks me for the ring, I run home and get it. What do you mean, you run home and get it? You already got it.
5:20 I don't see it.
5:22 Did you heart that ring?
5:25 Oh, Muggs, you cut me to the quick.
5:27 Here, your video, dear.
5:30 Oh.
5:31 Baby.
5:32 Oh, you look.
5:33 Oh, dear, Mommy, you promise not to cry.
5:36 So I know, I know.
5:38 But when I think of you moving clear out in the sky,
5:40 country.
5:41 into a strange house you've never even seen.
5:43 It isn't so far. It's only two miles from the end of the subway. And Jack's this is beautiful. We were lucky to get it so cheap. I suppose so, but when I think it is-- The owner promised to be out today and we can move in tonight.
5:55 Oh, yeah, Mommy, don't cry. You get your nose already. Come on, let's try on the day.
6:02 Stop.
6:02 I would not take for mine.
6:15 What is it. So be savered. I. I didn't ask you guys to put all this trouble.
6:20 You ain't seen nothing. This is going to be the most pretentatious wedding that Avenue A ever witnessed.
6:24 Where's Betty? Eh, she's in her room seeing which window curtain looks best on her.
6:28 Yeah, put you off my glasses.
6:30 You want a police escort at this wedding? I'm afraid they only go to society weddings, Muggs.
6:34 You want a police escort?
6:35 For sure.
6:36 I'll get it.
6:37 How do you like the police?
6:38 How does it look? Oh, it looks
6:39 Fine.
6:41 I think it needs a few more declarations.
6:43 Hey, stay! Skinny! Scudo! Yeah! Get out there and rustle up some more flowers!
6:47 Oh, that's fine. More flowers right now. All right, let's go. Snap-on. Give me a particular, will you, bud?
6:53 What's the matter, Jack? Are you nervous? Oh, not at all. I thought I would be.
6:57 Oh, oh, Glumpy, before I forget it, here, you'd better take this ring.
7:00 Oh, he didn't know. Just look at his hands.
7:02 but it's still coffee.
7:03 Hold it and don't lose it. Oh, I won't lose it. I'll put it right here so you can go.
7:06 You'll lose it if you put it there. Here, keep it on your finger. There.
7:10 You won't lose it.
7:11 Does this mean we're engaged?
7:13 What are you wearing this afternoon? I'm gonna wear my black and white check on sambo. You can't wear that zoot suit. This is serious occasion.
7:20 - What are you wearing, Jack? - A tuxedo.
7:22 All right, Candy, Rocky, go out and get Clippy a tuxedo or a reasonable facsimile.
7:26 Right.
7:26 On our way, Mudd. Hey, you think I'm wearing one of the monkey suits with a collar and tie? You wear what I tell you, and you'll like it.
7:32 Okay, will he get it or will it? Say, has the agent been here with the papers on my house yet? No, Chet...
7:36 You know, I wish I was a big airplane engineer so I could find one of those houses in the suburbs.
7:41 Well, how did the steel mugs? I couldn't have bought it.
7:43 I only hope there isn't anything wrong with it.
7:45 What makes you think there's anything wrong with it?
7:47 too good to be true.
7:48 Oh, you just got those before the wedding jitters. You'll get over that. You need a little more experience.
7:52 You really think the place looks pretty nice, huh? Oh, it's fine, Muggs. Yeah, it could look better with some of them pictures on the wall, those paintings, those morales. Not morales, moral. Look, do you guys mean...
8:03 Murals? Oh, yeah, yeah, yeah, that's right. He threw me off. You know, he's dumb sometimes. Look, I gotta go make a postball. I'll see you later. Okay. Hey, Muggs, what is it with those super? What are they?
8:13 Superbs.
8:13 Well, that's a place where you got no running water, you got no trolley cars, you got nothing. Oh, poor people, huh? That's right. Let's go.
8:19 Hey, Dave.
8:23 Dave!
8:39 Hey fellas, look here, look!
8:41 - I got some power. - Put 'em back, put 'em back. Oh, they need a little water, that's all.
8:45 Put 'em back!
8:46 Oh.
8:58 Look at that. That's supposed to bring good love. Oh, that's fine.
9:02 Now, Muggs said we got to keep the wedding on us. Didn't he? Yeah. Anybody got any strength?
9:11 I'm going to go.
9:13 I'm going to go.
9:16 Come on.
9:27 Man, look at all of them pretty posers laying there.
9:30 Must have fallen out of the truck. Yeah. Should I call him back?
9:33 Yeah, you better.
9:35 Hey, mister.
9:36 You dropped your flowers.
9:38 I guess it didn't hear me.
9:40 bad.
9:41 Shall we?
9:47 Well, I guess that's everything, Mr. Gibson. You have the papers.
9:50 the keys to the house
9:51 I hope you'll both be very happy. Thank you very much. Oh, how about the present owners? They moved yet? Oh, they'll be out plenty of time for you to move in. I hope so. After all, it's our honeymoon, you know. Oh, sure, sure. I understand. I was married myself once.
10:05 Boy, will I ever forget that?
10:07 Well, maybe you'll have better luck. I hope so. Oh, how about the house? You say it's in pretty good condition. Well, it could stand a little fixing up, maybe.
10:16 By the way, you're not superstitious, are you?
10:18 Why?
10:18 Well,
10:19 The old couple are trying to tell me that the house next door is haunted.
10:22 on it yes but you know how old people are always imagining things of course it's a lot of nonsense well goodbye mr gibson goodbye and that may the house soon be filled with many pleasant memories
10:55 Okay, come on, Rock. Right, Danny.
11:08 What's the matter, Jack?
11:09 Oh, nothing, Mr. Williams. Nothing at all.
11:12 Can I see Betty just for a minute? Oh, I should say not. Why don't you know it's bad enough for the groom to see his bride before the wedding? Oh, Mom, just for a minute. No, you'll be seeing her soon enough. Now you and I'll tell you people. Okay.
11:22 We was just downtown and we heard some detectives down there talking about a mob gonna break in on Jack Gibson's wedding.
11:28 We didn't think you'd like any of those downtown guys coming up here making a pinch right under your nose.
11:32 I see.
11:33 Whose mob is it?
11:34 Well, we didn't get none of the details. We was in a hurry.
11:36 I think he said it was one of the catchman mob.
11:39 Okay, I'll have a couple of them then. Take care of it.
11:41 The dress is 32 East 33.
11:44 Thirty-two.
11:46 - 33rd. - Yeah, it's five o'clock. Five o'clock.
11:49 All right, boy.
11:50 Thanks, Lieutenant. We'll return the favor someday.
11:58 Hey, Shawty, would you mind sitting over there that chair is reserved for the bride's mother?
12:13 Stand still, will ya?
12:16 Oh, you look swell, Glippi. What's the trouble? Oh, we can't get this collar on.
12:21 Can't get the color run, huh?
12:22 Stand back. Let me take a crack at it.
12:25 Get him from the back, Danny.
12:27 Now push in a little bit.
12:29 Take a deep breath.
12:30 Now hold it.
12:32 Let's see, this one goes in here.
12:34 Right now.
12:35 That's what I told you to hold.
12:37 What do you think I am, a oil diver? Look, don't give me no opposition. Just do like I tell you.
12:42 Now pull in your Adam Sapple.
12:44 Who let it?
12:45 - I'm getting it. I'm getting it. Don't move. Don't. I'm stuck like that.
12:50 I...
12:51 Out!
12:51 I told you to hold your breath. Pull in your rat and zap off.
12:55 Yep.
12:56 They are free!
12:57 I got it. He's all right. Get him up. Let him relax his muscles. All right. Pull him up.
13:03 Phew. You all right? How's that?
13:04 Up.
13:05 Good.
13:06 How's your voice, Danny?
13:08 It's much better than I think. Well, don't use it till you have to sing.
13:15 Tight.
13:16 Oh, it's all in your mind. That's not tight. You got lots of room there.
13:20 There you are. You see that?
13:27 Mark!
13:27 Look what we got.
13:29 Yeah, mother's with a bitch. Oh, that's beautiful. Now, that's got some class.
13:35 What's that?
13:36 What?
13:38 Rest in peace.
13:45 In loving memory,
13:46 to Louie the Lug from the gang.
13:49 We didn't mean to shoot you, Louie.
13:51 Honey.
13:54 Where did you get that?
13:56 On the street.
13:57 On a truck.
13:59 Fell off.
14:02 You know that Sacralurius?
14:04 No kin?
14:06 Take it back.
14:08 I think I know conscience.
14:10 You're making a thing like this.
14:12 Hey, wait a minute.
14:14 command.
14:17 I don't suppose there would be any more secularists if we bought it back.
14:20 After the wedding.
14:21 Put it in a parlor.
14:23 Wait a second.
14:26 Got to return that here for the witness.
14:28 Take it away.
14:32 Here, hold on to those.
14:33 Hey, that's funny.
14:35 This is Louie's suit.
14:37 What are you doing? I ain't wearing this.
14:39 Don't worry about nothing. Louie don't need that suit until tomorrow. Yeah, but can't I wear my check suit with the belt in the back? No, you can't. It's a high-class wedding. You're going to wear that suit right there. Oh, but, Marge, this suit belongs to Louie.
14:50 I bet I know what killed him.
14:52 This collar choked him the dead.
14:54 What are you taking a collar off for? What's the matter with you? Ah, grab it! Hey, you fellas! I didn't mean to get him! I'm sorry! Everything's getting attacked, guys!
15:02 He must not move him to that house, I tell you.
15:05 You made one mistake for me.
15:07 but not buying it from the Elwood.
15:09 I don't make another mistake.
15:11 Get that piece from Gibson.
15:13 Yeah, but Gibson's getting married today.
15:15 Why don't we just wait?
15:17 Do you question my god, Dr.?
15:19 No, it isn't that, Emil. It's just that, uh...
15:22 I can't see why this guy would be any worse than that house in the Elwoods.
15:25 Cuts.
15:27 That old couple was too frightened to interfere.
15:30 Nobody knows what this young fool will do.
15:33 All right, Amon.
15:34 I'll get it. And try to use your hand.
15:36 Get him alone.
15:37 All right.
15:41 Come on.
15:41 Now don't take that off again.
15:43 The collar's ready yet. It's about time to get started. What's the matter? Clippy's neck was a little bit too big for the collar, but it's okay now.
15:49 Oh, well, where's the tie?
15:50 - Great, dear. - Oh, good luck. - There's a fellow outside that says he has to see you.
15:55 I can't see him now. I'm getting married. I'm getting married.
15:57 He says it's important.
15:58 Who is it?
15:59 I don't know, but he says it'll just take a few minutes. Okay.
16:02 I'll be right back, fellas.
16:11 Hi, Jack.
16:12 Oh.
16:13 Tony, I haven't seen you for a long time. Where have you been?
16:16 I've been very.
16:17 I know you're in a hurry and it won't take a bunch of your time.
16:20 I want to buy that house on Elm Street.
16:22 Don't be crazy, I just bought it myself.
16:24 I know you did, and I know what you paid for it.
16:26 I represent a party that, uh...
16:29 Well, they're willing to double what you gave for.
16:31 Why?
16:33 What do they want in my place?
16:34 Whatever's it made.
16:35 They want it?
16:36 Well, I can pay for it.
16:38 - Now the answer's no. - Oh, wait a minute.
16:41 You can't take a bride in a house like that.
16:45 Suppose you tell me what all this mystery about that house is.
16:48 Haven't you heard?
16:50 You know that big estate next door? Uh-huh.
16:53 taught it
16:55 What do you know?
16:56 All right, laugh as you like, but, uh...
16:59 Why do you think they sold it to you so cheap?
17:02 The whole room that's next door, and...
17:05 And why did he want my place?
17:07 Well, let's say that they are...
17:09 Rick Shumper.
17:10 They don't like neighbors.
17:11 All right, now that's perfect. Don't touch nothing.
17:19 Okay, line up like I told you.
17:22 And don't forget you crescend those and dim you in those, and I don't want no altercations in the lyrics.
17:27 Let's go.
17:28 Hm.
17:31 You're out of step, you lug.
17:41 - Would you like to go back? - Yes, sir.
17:54 So you can see why you don't want to take your wife to a place like that.
17:57 No, I guess I don't, but...
17:59 She has a heart said I'm going there tonight. I understand it. Look, Jack.
18:03 It's $500 to find the deal.
18:06 Why don't you take your wife away for a few days, you know, on a honeymoon?
18:09 You have to do that anyway.
18:10 Explain about the house when you get back.
18:12 If I had more time, I... Oh, look. Get all about business till you come home.
18:16 Yeah.
18:17 When you get ready to close the deal,
18:19 Write me at this address.
18:20 They'll get in touch with me.
18:23 This is what the place makes the mine, huh?
18:25 A haunted house.
18:27 Okay.
18:29 What, Jack?
18:30 Just a word of warning.
18:32 When you do get back, write to her.
18:34 Don't drop.
18:35 Yeah, okay, I'll see you later.
18:42 Hey, Dave.
18:44 Date.
18:52 I'm going to go.
19:00 Bring to me only with thine eyes, and I will bless with my heart.
19:14 Oliver, fill
19:16 within the cup and i'll not have for a while the thirst that from the soul does rise the fastest drink of wine
19:46 I will not pay for thine.
19:55 Are you ready, Glimping?
19:58 Yeah, I don't know if I won't do it again.
20:06 *pick*
20:21 I'm going to go.
21:02 Oh, my God.
21:07 Dearly beloved,
21:09 We are assembled here today
21:11 to join this man
21:13 and this woman in Holy Mary.
21:16 For as much as these two persons have come hither to be made one in the holiest state,
21:21 If there be any here present who know any just cause why they may not lawfully be joined in marriage,
21:28 I require him now to speak.
21:31 or forever hold his peace.
21:37 I now pronounce you
21:39 Man and wife.
22:16 Again, let me get this place here suffocating.
22:25 You're right now.
22:37 You feel good? Fine.
22:50 Betty, why don't you invite us all over to your new home?
22:53 We could have a party.
22:55 Well, I'd like to very much, Daddy, but... Well, it's all right, darling. We're not going out there at night anyway.
23:00 Not going to our new house, but...
23:02 Jack, why not? Well, it's...
23:03 Come on.
23:05 Well, I made some extra money, so...
23:07 I thought we'd take a little trip first.
23:09 You know, honey.
23:11 You know anything about that, Klimpy?
23:13 It's news to me.
23:15 Well, the place needs an awful lot of fixing up, you know. Oh, yeah?
23:19 Aye.
23:21 I hope you don't mind, darling.
23:22 Oh, no, darling. Anything you want to do is all right with me.
23:27 Okay, let's take all of these. Oh.
23:33 Come on.
23:34 322 Elm Street.
23:36 That must be his new house. Certainly is me.
23:38 Well, folks, I guess we'd better go. Come on, darling.
23:54 What do you got there, Scurino?
23:59 Man, this is a rice. What's the idea of the plan?
24:02 Nothing. I just had my mama to cook it so it'd be nice and nice.
24:05 Oh, I see what you mean. May I?
24:08 Hey, where are those gangsters that are supposed to be here? Gangsters? Yeah, gangsters. Well, maybe they lost the address or...
24:18 Maybe you scared him away.
24:19 Yeah, you look like an old-time scarer.
24:21 Why don't you use some diplomacy?
24:23 I got my diploma when I graduated from school. When did you graduate? Kindergarten?
24:27 I skipped kindergarten. I was too old.
24:44 More vanilla. Louisa's gonna like this.
24:53 You shouldn't have sold that nice young couple the house without warning them.
24:57 Now, Sarah, there's no use starting something that we can't actually prove.
25:01 You know in your heart, John, there's something going on in that house next door that isn't strictly honest.
25:06 But we don't know positively, Sarah.
25:08 Why, Don Elwood.
25:10 How can you say that after all we've seen and heard in the last six months? Now, now, let's not talk about it anymore.
25:16 We're out of there and finished with the whole thing. But I've not finished with it.
25:23 What are you going to do?
25:24 Phone the police.
25:27 Now, wait a minute, wait a minute.
25:30 still ask a lot of questions and the first thing you know we'd be held as material witnesses.
25:34 They don't have to know who gave them the information.
25:37 I wouldn't do it now, Sarah.
25:39 Well, I would.
25:42 Give me the police.
25:48 Police department.
25:50 Lieutenant Brady speaking.
25:51 This is Mrs. John G. Oh, look.
25:57 I wish to report the mysterious goings-on at
26:00 322 Elm Street.
26:02 322 L.
26:05 What kind of goings-on?
26:07 Oh, there's noises.
26:09 streams and people going in and out all hours of the night.
26:12 All kinds of funny businesses.
26:14 Who is this speaking? This is Mrs. John G.
26:22 Hello?
26:23 Hello?
26:26 Take that call.
26:29 Then in Mulligan and O'Brien.
26:34 Well?
26:35 I think that's the place. Don't look very cheerful though, does it?
26:38 You certainly do not.
26:40 Come on, get your tools. We got a hard night's work.
26:42 Come on, William.
26:47 Come here.
26:51 Oh, look at the beautiful flowers.
26:53 Can't put ketchup on clothes.
26:56 It is a pretty big place for two people, ain't it? Yeah.
27:00 Hey, there's a house on there. Looks more like the place Jack was in.
27:05 Yeah, so's it that.
27:08 What did I do with that card?
27:11 Hey, Climpy, my eyes ain't so good. What's the number on that house?
27:14 I'm going to go.
27:19 Well, what's the number on that card?
27:24 - That must be the place then. - Looks like it.
27:26 Hey, what are you guys waiting for? We want to decorate this house tonight, not tomorrow. Let's go. We're coming. We're coming. Come on, guys. Let's go. All right.
27:36 You got all the accessories? Yeah, we got everything, Buck. Okay. Okay.
27:40 Come on.
27:44 Hey, Clippy, give me the key.
27:46 Me, me, me, me. Great Romeo.
27:51 The key to the house.
27:52 Oh, gee, you crazy?
27:53 Look, I got the address.
27:55 Just a little detail we overlooked, I guess. Well, let's go home. Yeah, we'll see how we're back here.
28:00 Ain't she got no ingenuity?
28:02 Give me that hammer.
28:09 Remind me to put a new glass in there in the morning.
28:11 Hey, Muggs, watch out. You might cut your juggle a bit.
28:16 I'm going to go.
28:20 No matter what you guys.
28:21 - Oh, I'm not a bit.
28:23 All right, then go on in.
28:25 The rest of you lies can't precede me. What's eating you?
28:29 Man, if I get lost in there, ain't nobody ever gonna find me. Yeah, find you, don't worry, and you go. Then who goes?
28:36 In we all go. Come on, quit stalling. Come on. What? Look at your brave pipes.
28:42 I'm going to go.
28:42 Well...
28:43 Go ahead, Ted.
28:44 Don't you think the lawn needs mowing or something like that? What are you going to do? Take the water off your knees? Get in there!
28:50 Come on.
28:53 Come on.
28:55 I'm sorry.
29:00 Hey, can I miss the in here? Anybody got a match?
29:03 Watch out you'll scare the bats.
29:07 Mm-hmm.
29:15 That's better.
29:16 Take a look in here.
29:18 I'm going to go.
29:19 Oh, my God.
29:24 I'm going to go.
29:32 I'm.
29:37 Jack wasn't kidding when he said this place is need to pick it up.
29:40 Look at that.
29:42 No quidin'.
29:43 Good drink.
29:44 No lambs, no knickknacks, no mutt.
29:46 Where are we going to get some coinage here?
29:48 What about that house next door? What a party.
29:51 Well, I saw a sign that says, "You see how completely funny?"
29:54 What do you want us to do, buy another house?
29:56 Oh, just by the financial. It's someone else by the house.
29:58 That's good.
29:59 It's the best idea you had in 10 years.
30:02 Let's go take a look, fellas. Put that stuff down. Okay. I'll give you a little water for that.
30:08 Come on.
30:11 Monk, there's boys in the house. What do we do?
30:16 Come on.
30:22 We'll make that place look like a million bucks. Oh, you are.
30:30 Where's the door?
30:41 Hey, the door's open.
30:42 Hmm.
30:43 They must trust their neighbors.
30:52 Oh, this is really nice.
30:55 Lamp?
30:55 Great.
30:56 books, everything.
30:58 I wonder why he bought that old house next door instead of this one.
31:00 Yeah, I guess there wasn't enough room in a yacht for victim guns, huh?
31:04 You'll make some improvements over there with this stuff. Yeah, but do you think we should really take these?
31:08 At least lightning. Jack can pay for it later.
31:10 I'm a slut of a law.
31:13 It's good enough for me, it's good enough for my sister. Stop moving. Don't pick up nothing heavy. I don't have any strange facts.
31:27 Good evening, sir.
31:28 Good evening.
31:29 - Oh, boy.
31:30 Can you give us a room and a bat?
31:31 Yes, sir.
31:32 What's funny, dear? Oh, well, that's an old joke.
31:37 I say, can you give us a room and a bath? And he's supposed to say,
31:40 Well, I can give you room, but...
31:42 You love to take the bath yourself.
31:44 Really? Yes.
31:46 Would you care to register, sir?
31:55 Yeah.
31:57 How does that look, Mrs. Gibson?
31:59 I like it.
32:00 All right.
32:02 Oh, are you Mr. John Gibson?
32:04 Oh yeah.
32:05 Sure, look here.
32:07 Got my, uh, my...
32:09 Draft card?
32:10 Social Security, driver's license,
32:13 Automobile Club.
32:16 You want to see the marriage certificate?
32:19 I have a message for you.
32:20 Messy.
32:25 Call Chelsea 5518-9988.
32:28 Apartment 243.
32:30 - Keep a dickinson.
32:31 Chelsea 5518.
32:32 I don't recognize the number. It sounds like a hotel.
32:35 They said it was most urgent.
32:37 I did, huh?
32:38 Well, where the phone goes?
32:39 Right over there, sir.
32:40 Oh, uh, well, come on, darling.
32:42 Hold everything, huh?
32:57 I'm not.
33:01 Hello.
33:03 Yes.
33:04 This is room 243.
33:06 Well, this is John Gibson.
33:08 What can I do for you?
33:09 Oh!
33:10 Mr. Kips?
33:11 It's about your house.
33:13 This is Mrs.
33:15 Jan G. Elwood.
33:17 I thought you should know the truth about it.
33:19 What do you mean?
33:23 Uh-huh.
33:26 Amen.
33:29 When we go there, I'll take along a big box of ghost powder.
33:33 Well, I just wanted you to know that I'd reported it to the police.
33:36 And they should be out there by now.
33:38 Well, what did you do that for?
33:40 Well, of course I mind. I don't want a lot of cops poking around out there.
33:44 Oh, OK, OK. Well, just forget it.
33:47 All right, goodbye.
33:49 What's the matter, darling? That was Mrs. Elwood. She sent the police to investigate the place next door to our house.
33:54 There's something fishy about the whole thing. I'm glad we didn't go out there now.
33:57 Well, I'm not.
34:00 I think we ought to go out there right now.
34:01 Right now? Yep.
34:03 But, honey-- Come on, darling. Don't be frightened.
34:05 Who said anything about being frightened?
34:09 Yeah.
34:10 Good, darling.
34:12 Oh, you got a nice hotel here. We sure enjoyed our stay. Come on, darling.
34:24 Short day.
34:27 All right, come on, step on it. You ain't getting no overtime for this.
34:31 Help me.
34:31 Hey, Dave!
34:32 Come on, wake up. Come on. Get out of there and take that chair with you. I'll carry the bag straight.
34:37 Watch out for the glass on the way out.
34:39 Come on.
34:41 Let me get back in the car.
34:47 Come on.
34:51 - We'll carry some more. - Let's go!
34:52 Yes, right in the living room.
34:54 It always is the same thing to do.
35:00 Okay, lay it down right here.
35:03 Now we got something to wait with.
35:05 You two fellas start to put up the wallpaper over there, and Rocky and Danny, you put up the curtains and drakes. Just get them nice and cylindrical.
35:12 - Flippi, you can sweep. - Thanks, Chief!
35:23 What are you doing?
35:25 Can you tell me I could sleep?
35:27 Not.
35:28 Weed.
35:29 Now get up close there and go to work. Just off that rut.
35:32 Chief.
35:33 What are you gonna do?
35:34 I gotta think.
35:35 by his head.
35:36 Oh, what do I always have to do stuff for? I'll give you a consolidation.
35:39 Do a good job and I'll reduce your dues for the next three months. Thanks, Chief.
35:45 Oh, my God.
35:46 Now don't split that wood with those screws.
35:48 What is this, Bob?
35:50 And don't get too much glue on that paper. It sticks out through there. It makes lumps.
35:53 Okay, okay.
35:54 That goes under the drapes, not over them. Did you ever dress no houses?
35:58 No.
36:02 I'm sorry.
36:07 Come on.
36:19 What are those lights, Negon?
36:22 All right.
36:29 I'm sorry.
36:34 who that was there.
36:36 It's a gang of kids.
36:37 They're friends with Jack Gibson.
36:39 You know, the guy that bought the house next door.
36:41 Is it some more of your bunglings, you stupid fools?
36:45 How do I know that we're coming out of here?
36:47 I'll get rid of them, though.
36:49 Come on, Bruno. - Yeah, let me get my hands on that.
36:52 Wait a minute.
36:55 Why do I have such idiots around me?
36:59 Let's find out what Fylda knows about it.
37:02 I'm
37:28 -Archel, let's get him to house. -They're broken. There's no help. -Yes, where's Monk?
37:32 I don't know you.
37:33 Idiot.
37:35 - Imbissar, it's all of you.
37:36 Hancor!
37:50 Oh, my God.
37:53 Come on.
38:12 Come on.
38:18 Oh, shit!
38:20 What's that?
38:26 Mmm.
38:29 Oh, maybe a train might fit up. - What's the matter? Do you have the suit too much for you? - No, no, no, no, no.
38:39 That picture up there.
38:40 He's alive. Who's alive? Here, meet him. Up there.
38:44 I'm sorry.
38:46 First place, it's not a him, it's a her.
38:55 Please believe me.
38:57 There was a hymn a minute ago.
38:59 I, uh, see and think.
39:01 Really?
39:02 Man, I heard him growl.
39:04 All right.
39:05 All right, just take it easy now. Relax.
39:07 You've been drinking too much coffee.
39:09 What's going on?
39:10 Hey, where'd you get it? Where'd you get it? Go, don't worry.
39:12 Come on, step on it.
39:15 Come on, Danny, get those toiletries hung.
39:18 Maybe we should have put a spirit level to make sure it was even.
39:23 I'm sorry.
39:27 Coffee drinker.
39:30 Whistling
39:34 I mean, Napoleon must be awful hot with that coat on.
39:40 That's the best example of slow motion I've ever seen. Come on, hurry up.
39:44 Amen.
39:46 I
39:48 Limpy.
39:49 We'll play statues later.
39:51 Get back on that broom. I'm just trying to figure out where I, uh...
39:54 actually
39:55 Here into the hole or the dust from the hole into here? Just sweep it clockwise.
40:01 Whistling
40:03 Come on.
40:04 Come on.
40:05 I'm sorry.
40:07 The poet!
40:18 Feminine! Hey, Fox!
40:20 You're warm, you're warm. No, I'm not warm. Why?
40:23 He had it on, he took it off.
40:28 He took his coat off, huh?
40:31 You love it.
40:36 Well, what do you know? Put it back on.
40:38 What's going on around here anyway? You going goofy too? Don't answer that.
40:42 Just go over and lie down next to Scrono.
40:45 Wait a minute. - Shut up. I thought I'd have any animosity.
40:50 I'm sorry.
40:50 I'm going to go.
41:00 He's good.
41:02 Are you sure you saw what you saw?
41:04 Sure, I'm sure. But I, I tried to come once.
41:08 I came back in the sleep and I got a boom in my hand. I look up at the little pony. He's got a coat on. He's standing like that.
41:14 He's turned around and he's got...
41:21 Oh.
41:28 Where are you gone?
41:31 What are you doing up there?
41:41 Hey, look!
41:42 Now he's in his long drawer.
41:44 Come on.
41:46 I'm not.
41:49 Get down off there. I'm gonna send you to an optimist and have your eyes examined.
41:54 Come on down.
41:56 Huh?
41:57 If I have to go up there and get you, I'll stab you at one of those horns.
42:04 And I want you two to quit clowning.
42:06 Clowning, who's clowning? Quit clowning. The thing was like...
42:11 Come on!
42:13 Stop acting like a couple of hysterical dames. Who's acting like hysterical dames?
42:17 I saw it in school and saw it too, didn't you? Never now, but come on, let's go home. I oughta slugged up both of you. You're imagining things, it's all in your mind.
42:29 Now.
42:29 Whose mind is that him?
42:32 You hear that?
42:33 Certainly I heard it. You think I'm thief? Come on, let's go home.
42:36 We ain't gonna go no place.
42:38 We're gonna find out what that was.
42:39 Hear what he said?
42:40 We're going to find out what it was.
42:41 When you guys find out what it was, I'll be in the car waiting for you.
42:45 You wait right there. I said we were gonna find out what it was and I meant it.
42:48 Take Lumpy.
42:49 Chief.
42:50 You go crazy.
42:54 What am I saying?
42:55 What's the matter, you scared? Scared? I'm not scared of nothing, but I'm not going out there. You wanted to go out, so you go out,
43:00 You're gonna let me go up there all alone?
43:02 Yeah.
43:04 Remind me when we get back to town to give you the Iron Cross for bravery.
43:07 Right over the skull.
43:09 Sure, I'll go find out what it was.
43:14 What are you doing?
43:15 The noise came from that direction.
43:18 Ed.
43:20 - Sorry, I thought to make a shortcut over there, if I hear you.
44:07 One o'clock.
44:08 and all aid well and know how.
44:11 Pa's nothing to worry about.
44:16 Come on.
44:19 I'm sorry.
44:25 Come on.
44:28 Oh, my God.
44:38 Steady, steady. Mom!
44:41 Let's go home now. Come here.
44:44 you're gonna go first.
44:45 - Me? - Yeah, you. Now go on. Get up there. We'll let you go home later. Go on. Go up there, all of you.
44:52 Hi.
44:53 I'm gonna be last for a change.
44:56 Let me.
44:58 Get up, kid.
45:01 up.
45:13 Well, do you see anything?
45:16 No.
45:17 No.
45:20 Cool it.
45:21 Who dat?
45:22 Huret se huret, bra se huret.
45:25 Who said "who dat" when I say "who dat"?
45:28 What's the matter with you?
45:30 That's just an echo.
45:31 Get the netto.
45:33 See that? What I tell you?
45:34 There's nothing to be scared of.
45:36 That's what you've seen.
45:38 Good boys, here we go again. Don't wait for me!
45:50 Open that door! Oh, there too! That echo is here!
45:56 Get it!
46:00 I'm
46:07 - Captain Gordon? - Yes, we need a cellar.
46:10 Come on.
46:11 Oh, that's very whoop.
46:12 Get them out of there, quick.
46:14 Open the door.
46:18 No.
46:21 Hey, Pat, give me a hand.
46:27 Come on.
46:28 Take a look in there.
46:40 Come on.
46:42 Come on.
46:43 All right.
46:44 What's that mug?
46:46 Looks like a printing press. The truck never told me he had a printing press.
46:49 Heh!
46:50 Out of the sporty allies.
46:57 No.
46:59 What the new order means to you.
47:03 How to destroy the Allies.
47:07 What are they doing here?
47:13 Matt!
47:15 The kids have found...
47:16 Prince Express and everything.
47:18 Shall I take care of them?
47:19 We have company upstairs too, the police.
47:22 The Gestapo.
47:23 Did you hear the Gestapo? No, yes to American detectives.
47:27 probably done once too.
47:29 Don't worry about them.
47:33 Gee, that sounds like spikes.
47:34 Yeah, do you think Jack's mixed up with him?
47:37 I don't know. This is his house.
47:38 Ah, Jack won't have nothing to do with the Nazis.
47:41 I hope not.
47:43 What do you mean, man?
47:44 Well, he told us not to come out here, remember?
47:46 Yeah, you're right.
47:47 He had a lot of extra dough when he left, too. Where did he get that?
47:50 That's probably where this stuff comes in.
47:52 Ken, how could he buy a big house like this if...
47:54 Why do you shut your big mouth? You want to be able to punch her right in the nose? Oh, stop drooling.
48:00 We gotta figure this thing out. This is no time to argue.
48:07 Your brother-in-law.
48:08 can't believe it.
48:09 I'll be able to face the boys' custody.
48:11 I don't think.
48:12 - What are you doing here, Climpy? We're not sure it was your burglar. Well, we're only guessing. - What are you got in your mind, Buck?
48:17 I don't know. If anybody else found that stuff here, I know what they think.
48:21 Yeah, that's right.
48:23 Maybe we'd better get it out of here.
48:25 Where are we going to take it?
48:26 Why don't you put it in the house next door?
48:28 Don't hit me. Don't hit me.
48:30 Well, you actually think I was a bully or something. That's a good idea. Put it in the house next door.
48:34 Go on, move it, boy. Go on, guys. Watch your hands under there, too.
48:39 They're taking the press out.
48:41 That's a good one.
48:42 But they're taking a piss.
48:43 Let them take the evidence next door.
48:47 Remove all suspicions.
48:49 You find anything in there?
48:50 No, nothing there.
48:52 Oh, we better take a look upstairs.
48:54 Great.
49:01 Go to room thoroughly.
49:02 ...and nothing is left to incriminate us.
49:04 Yes, sir.
49:06 Morning.
49:07 Come with me.
49:09 Get up!
49:23 I'm sorry.
49:25 Come on.
49:27 Come on.
49:29 It was okay letting Gibson buy that house, huh?
49:33 Yes.
49:34 That was a lucky mistake you made.
49:40 Nothing in there. Huh? Nothing in there. Oh, we'd better take a look downstairs then.
49:51 I'm
49:54 Oh, my God.
49:56 Now that door wasn't open before, was it?
49:59 Is that door there when we come in?
50:01 What was that door there when we came in?
50:04 Now!
50:05 It just this minute grew.
50:09 Come on. Let's go.
50:17 I sure hope Jack appreciates what we're doing for him. Me.
50:20 You certainly should.
50:31 Nothing down here.
50:33 - I don't know.
50:39 Hey, I got a good idea.
50:41 Let's call the cops.
50:42 What, with our fingerprints all over there? The best idea you can get is not to get any more ideas.
50:51 Come on.
50:54 Oh, my God.
50:55 Come on.
51:00 Come on.
51:03 Let's see if the people in that little place know anything about it.
51:11 I'm going to go.
51:15 Wish I'd have left that door open.
51:21 is Jack and Betty.
51:24 Well, we sure got them out of a tight spot just in time.
51:28 Well, darling?
51:30 Here's our little love mess.
51:32 Oh, Jack.
51:34 It's wonderful.
51:36 Yeah.
51:37 *knock*
51:40 with a couple of cops hammering at the door.
51:43 I wonder who that is.
51:45 Let's have a look.
51:50 I'm going to go.
51:50 Well...
51:51 Find anything?
51:52 No.
51:53 No, there's no one around here.
51:55 Say, by the way, who might you be? I'm Jack Gibson. This is my wife.
51:58 We just bought that little place.
51:59 Oh, I see.
52:01 Uh-uh.
52:02 We got our signals crossed.
52:04 Jack bought that little house, not the big one.
52:07 I got both.
52:09 You're right.
52:10 Better get that press back out of there.
52:12 Let's go.
52:16 Come on.
52:16 Well, we were sent out to look over that big place there.
52:19 Miss, I know the people we bought our house from seem to think something funny is going on.
52:23 Couldn't find anything wrong. It's probably their imagination. You know how old folks are.
52:27 Well, we'll be heading back to the...
52:28 If you hear anything, give us a ring. Well, I don't think we'll bother you tonight.
52:32 - Well, good night. - Good night.
52:36 Hey!
52:37 What are you listening?
52:38 Ouch!
52:40 I'm going to tear your head.
52:50 Come on.
52:52 Well...
52:53 Let's go.
52:59 Come on.
53:01 See now.
53:07 It's open.
53:15 This is for luck.
53:22 Hello, Alan.
53:23 Here we are. Look at old.
53:28 Come on.
53:30 Okay.
53:31 put that press back where it was and show it to the cops.
53:37 Come on.
53:41 Come on.
53:43 Car 17, Mulligan speaking.
53:45 We just looked the place all over.
53:47 There's nothing here but a couple of newlyweds.
53:50 Looks a little bad, doesn't it?
53:53 Can't understand it.
53:55 There should be more furniture here.
53:56 - Yeah.
53:57 What help, but...
53:58 I still think it's awful cute.
54:01 Easy.
54:04 Need some help?
54:06 There you are.
54:12 Leave it just the way it was now.
54:14 Okay, let's tell the law.
54:15 Come on.
54:19 Guess I may as well get the grips.
54:20 I'm not.
54:22 Okay, we're coming right in.
54:25 Let's go, man.
54:26 Hey!
54:32 Hey!
54:37 What do you think of that? Their car's gone. Who? The cops.
54:41 Isn't that awful?
54:43 Hey, Mugg!
54:45 I'll just leave you.
54:48 What are you doing here? Well, just what I was about to ask you. Oh, that's a long story. We was decorating that house. Yeah, we thought it was yours. We found a printing press with a lot of nasty propaganda. Yeah, we thought it was yours, so we moved it over here. Yeah, then we found out that was yours, so we moved it back again. Nasty propaganda. Sure.
55:02 So that's why they didn't want us to come out here.
55:04 Why didn't you phone the police? We thought it was yours.
55:06 Is there a phone next door? Yeah, but that ain't yours. Well, come on.
55:11 - How long can't you use it though? - I won't take a glass.
55:14 What?
55:20 There it is!
55:25 - Kennedy Police Headquarters.
55:30 Hello? This is 322 Elm Street.
55:33 I'll send a couple of men out here right away. Yeah, tell them about the Nazis.
55:37 Yes, I know they've been here, but...
55:38 Send them back.
55:40 Yes, they're going.
55:41 That's right. Thank you.
55:43 Richard, you must get the press back to the cottage. They're calling the police.
55:48 Hurry up.
55:53 Come on, let's go. Pick it up. Calling car 17. Calling car 17. Return at once to 322 Elm Street. Urgent. That is all. We just came from there.
56:08 Let's go.
56:09 All right.
56:11 Come on.
56:23 - They ought to be here any minute. - Who?
56:27 Right?
56:29 Oh, my God.
56:31 Eddie, I know.
56:32 Come on, Jack.
56:33 OK.
56:34 I'm sorry.
56:36 We tried to call you back, but you didn't hear us. There's a lot of intimidating evidence in that house.
56:40 Hey, what is it? It's a gag? Well, these boys have found a printing press in the basement with a lot of subversive literature all over the place.
56:45 Must be a Nazi hideout. How about the people? Seen any signs of them around? Heard a lot of noises. Didn't see no people.
56:50 We better take a look. Yeah, follow me.
56:52 We got all the evidence down this down. It's a potty! It's a potty! It's a potty!
56:59 I love it.
57:13 Who is that?
57:16 I'm going to go.
57:19 Come on.
57:25 How can you picture that? I must be having optical delusions.
57:29 What's the matter? Well, it was a print and press here 10 minutes ago. Just got up and walked away, huh? Well, if ink can run, I guess a print and press can walk. That's right. You can still see the ink on our hands from where we touched it. That dirt could have been on your hands for the last six months, for all we know.
57:43 Come on, we better get out of here before we start seeing things ourselves. I'm telling you, it was bad, right? I don't know. I don't know what. It's a police officer right there.
57:58 Amen.
57:59 All right, all right. It was there and you saw it. But it ain't there now.
58:05 They can't figure this thing out.
58:07 We've seen that press with our own eyes.
58:09 - So did I. - That's what I said.
58:11 disappear.
58:13 Somebody must have taken it out of here.
58:15 You know, I think... Yeah, I'll do all the thinking around here. All right, go ahead and think. You're always thinking, think. Think a while. You're such a smart guy. We should think.
58:25 Hey, Mom!
58:27 Fuck you.
58:31 What do you think that's for?
58:32 Meister.
58:34 Oh, my God.
58:35 You'll never learn nothing, will you?
58:37 Hey!
58:38 I bet that's how they got that press out of here.
58:42 Just keep quiet.
58:44 You follow me.
58:48 I'm going to go.
59:02 Nobody here. Let's go home.
59:12 - I'm telling you, a coward.
59:14 - You can win there already. What are you talking about? - Hey!
59:18 There it is, got my hand. I'll put you right in the road.
59:20 Come on, Pat. Hey, wait a minute.
59:24 That's funny.
59:26 Now what?
59:28 those lights in my cottage.
59:29 I turn them off.
59:31 Now the lights are turning themselves on and off.
59:34 Come on, Pat. Go ahead if you want to. I want to see for myself. Come on, Betty. I'm going to find out for himself, too. Come on.
59:40 I'm not sure.
59:41 I don't know.
59:50 All right.
59:52 But go, go!
59:53 Fellas, look here.
59:56 Mmm.
59:57 What's this? Looks like the printing press.
1:00:00 So it does.
1:00:01 So it does.
1:00:04 Ah, what are these? What do these look like? You got them same things we all have been telling you all about.
1:00:09 Yes, sir.
1:00:09 What's it doing here? That's something you'll get a chance to explain and you'd better think fast.
1:00:15 for him.
1:00:16 Oh, look, he's...
1:00:17 You don't think this belongs to me?
1:00:19 This is your house, isn't it? Yes, but...
1:00:21 We'd better find Milton. Tell him. You ain't kidding. Come on.
1:00:26 Come on.
1:00:28 Get him, Bruno! Back! Get him!
1:00:40 - Take it easy! - Take it easy!
1:00:43 Stop!
1:00:45 Benny!
1:01:07 You look like a gorilla.
1:01:11 Why you bustin' my... Come on, Benny. You fight, sir. We'll talk your thing over. Get the rest of the police, David. Listen, officer, this is absolutely ridiculous. All I know is the pressure's on your property. I'll have to take you to headquarters to talk to the lieutenant.
1:01:27 Hey, fellas!
1:01:28 Jack, come here!
1:01:31 They got mugs and glippy and they took them to a room. All right, but this is the last time I'll believe any of you.
1:01:37 O'Brien, feed it back to the house.
1:01:39 Go down to basement.
1:01:40 I'll look down the tunnel.
1:01:42 It's the first time since I knew you that you couldn't say nothing.
1:01:46 Are you kidding?
1:01:48 You better go here, honey. You boys stay with us. OK, Jack.
1:01:56 Hurry up, they got Mug and Glimpy in there. Let me have a try, sir. Hey, what's that?
1:02:03 There must be somebody in there.
1:02:06 There must be some way to get in there.
1:02:08 Yeah.
1:02:09 Look around here. We'd better get out of here, boss. Left!
1:02:16 I'm going to go.
1:02:31 Come on.
1:02:36 Get ready.
1:02:38 Come on.
1:02:49 Hey, look! Look! Look!
1:02:53 Hey, Mark! Mark!
1:02:57 Hey, Cliffy!
1:02:59 Get off!
1:03:00 I'm going to go.
1:03:03 Come on.
1:03:07 It's murder!
1:03:10 Hey, Marceau!
1:03:12 Why don't you go home and get dressed?
1:03:16 Glimpy, look!
1:03:18 Oh, my God.
1:03:20 Fine time they play a leapfrog. Let me have him. In shape, honey? Let's go. Whoop. Hello. Come on, I can't-- you feel good?
1:03:29 Come on, come out of it. Smoke. You all right, kid? Steady? Wake up.
1:03:38 The winner! A new champ!
1:03:40 I knew you could do it, kid.
1:03:44 What a honeymoon.
1:03:57 You always got to do everything the hard way.
1:03:59 Everybody else...
1:04:00 Plain, ordinary, common measles. So you gotta go out and dig up German measles.
1:04:07 What are you picking on me for?
1:04:08 I know them guys were Nazis.
1:04:10 Did you know I'm sick?
1:04:15 I'm forward on you.
1:04:15 Don't let me. I apologize.
1:04:20 And remember, you've got seven days more to go.