Dracula's Daughter Page #5

Synopsis: Prof. Van Helsing is in danger of prosecution for the murder of Dracula...until a hypnotic woman steals the Count's body and cremates it. Bloodless corpses start appearing in London again, and Hungarian countess Marya Zaleska seeks the aid of Jeffrey Garth, psychiatrist, in freeing herself of a mysterious evil influence. The scene changes from foggy London back to that eerie road to the Borgo Pass...
Genre: Drama, Fantasy, Horror
Director(s): Lambert Hillyer
Production: Passport
  1 nomination.
 
IMDB:
6.4
Rotten Tomatoes:
46%
APPROVED
Year:
1936
71 min
773 Views


Nothing to fear.

We're here to protect you.

Take it away from my eyes.

It hurts.

The light?

The ring.

The ring on your hand.

Whose hand?

Your hand, ma'am.

Your eyes.

I don't want to pose.

"Pose"?

Think I'll go,

if you don't mind.

Please.

Please let me out, I...

Where are you?

You know.

You remember now.

Your studio.

What studio?

Where?

In Chelsea.

I know that.

I used to live here.

Whereabouts in Chelsea?

You must remember.

The bookshop's closed.

I don't want to go up

those dark stairs.

Let go of my arm.

You're hurting me!

Please!

She's dead.

I think I know where to find

the one who's responsible.

Countess Zaleska!

Closing for the night.

Scotland Yard.

That's different.

What can I do for you?

I'm looking for the studio of a woman

who calls herself Countess Zaleska.

Dark, aristocratic.

There's a woman with

a place on the third floor.

That ain't her name, but there's

some strange goings-on up there.

Let me use your telephone.

On the desk. There.

Beg pardon, sir. Yes, Hobbes, yes,

what is it? Can't you see I'm busy?

Dr. Garth on the wire, sir. He says...

Oh, don't stand there telling me

what he says. Give me the telephone!

Yes. And Hobbs? Just have a

look in that lot there, will you?

See if you can find

my Bolivian Blue?

Hello, Hello, Jeffrey. Yes,

yes, what is it? What is it?

- What do you want? - Take down this

address, and bring Von Helsing with you.

Chelsea? Well, what on earth are you

doing in Chelsea at this time of night?

- Running down a vampire.

- Vampires. Oh, my...

- Are you drunk?

- Not likely. Will you hurry, please?

All right. All right. I'll

get there as soon as possible,

but it's all

a pack of nons...

The Bolivian Blue, sir!

Idiot, that's a Guatemalan Red.

Clear away this stuff, will you? Yes, sir.

Will you take your

barley water now, sir?

Barley water, barley water. Get

me my heavy topcoat and revolver.

I'm going out after vampires! Vampires?

Vampires!

Ha, ha, ha!

Well, I always understood you went

after them with checkbooks, sir.

Hobbs, don't be facetious.

N- N-No, sir.

It took you longer

than I expected.

- What's all this mean?

- As I told you, I'm leaving tonight,

and you're going with me.

No.

- You're coming with me... to Scotland Yard.

- I think not.

I've just come from the bedside of

the girl you brought here last night.

Well, she's dead.

What a pity.

She seemed so healthy.

Another victim,

last week... a man.

You're no longer the sympathetic

Samaritan, are you, Dr. Garth?

Now you're a policeman.

Nevertheless,

you can still help me.

And you shall.

Then you must be insane.

Desperate, rather. There isn't

anything I won't do now...

to enlist your aid in freeing

me of the curse of the Draculas.

"Draculas"?

Yes.

I am Dracula's daughter.

Miss Blake.

What about Miss Blake?

Do you know where she is?

Yes,

Sir Aubrey Bedford's.

Are you quite sure?

Positive.

She returned to your study

after you left.

We talked,

but not too long.

I don't believe you.

Why don't you telephone

and find out?

- There's one in that desk.

- Very well.

Hello, Jeffrey, old fellow. Where have

you been? When are you coming over?

Pretty soon.

- Is Janet there?

- No, she phoned, about half an hour ago...

What?

- She did what?

- I said, she phoned about half an hour ago.

Said she was meeting you somewhere

in Chelsea, of all places.

Some studio or other. I say, what's it

all about? Have you found a better party?

Countess Zaleska!

Well, this must be

the place.

Look here, Jeffrey. Just what

new piece of asininity is this?

She's gone. She's taken Janet with her.

Gone? Who's gone?

Countess Zaleska.

- Dracula's daughter.

- "Dracula's daughter"?

Now, look here, you two. If

you're still playing games with me,

if you routed me out of my bed

in the middle of the night...

to dash down here on

some confounded hoax, I...

This is no hoax,

Sir Basil.

Exactly what happened? She

came to the hospital tonight.

Said she was leaving London.

She begged me to go with her.

Go with her?

Well, I refused of course.

Later, after I had examined the

girl and traced Zaleska here,

she still insisted...

she said she'd force me.

How she got hold ofJanet I don't

know, but we've got to find them!

Janet's in danger! Think of

what happened to those others.

No, wait. As long as this

woman wants to control you,

she won't harm her. What are you

standing there for? Do something!

They're still in London. Send out a general

alarm. Throw a dragnet around the city.

Where's the telephone?

In there.

Zaleska has a flat in Russell

Square. Oh, she won't be there.

If she manages to slip out

of England tonight,

there's only one place in this

world to which she'll go...

her castle in Transylvania.

Hello, hello, hello!

Scotland Yard?

Sir Basil Humphrey speaking.

Yes! Get me Squires.

I want a general broadcast.

Scotland Yard requests reports

about the following...

Uh, I knew I should have turned

off my telephone last night.

Yes, well?

What about it?

What did you find? Oh. Nothing, sir.

Nobody at the Russell Square

flat, everything torn up...

no letters, no nothing.

Huh.

- Dr. Garth was there.

- Where is he now?

I don't know, sir. He went

away somewhere in his car.

Hello. Yes.

Hello? Uh...

What?

Well, why wasn't it followed?

Somebody'll lose his skin

for this, all right.

Dover reports an unidentified plane, no lights,

taking off across the Channel an hour ago.

Of course, she'd have made

all preparations.

Get me the Paris

police headquarters.

Well, what are you

standing there for?

We must find Jeffrey, and break

the news as gently as possible.

Just came, sir.

Thank you.

More good news.

Listen to this.

"Chartered plane leaving for Transylvania.

Will keep in touch. Jeffrey Garth. "

Stop him!

He's going to his death.

Get me Croydon Airport!

At once, you hear? At once!

Well, Zoltan, Magdalena...

a fine wedding!

Uh, soon,

it will be night.

A wolf!

The castle!

- The light!

- Dracula!

He's come back!

The light in the castle...

Dracula!

What is this? The inn, mein Herr.

As far as we dare go until morning.

What? The vampire. She walks

tonight with her unhallowed father!

Are you quite sure? Let's get along. Ja, ja!

You're just in time. In a few minutes,

the doors will be barred until daylight.

I tell you what I'll do.

I'll give you... five pounds...

if you take me as far

as Borgo Pass, no farther.

But not further than Borgo

Pass! That's more like it.

There. And I'll ride in

the front seat with you.

Will you take care of my bag

until I come back? Yes, sir.

Come along.

He must be mad.

Beautiful... and helpless. Yes.

Why have you

left her unharmed?

It's the only way

I can be sure of Garth.

What do you want of Garth?

Release?

Still, release?

No, I know

that's impossible now.

- I want him.

- What do you mean?

His life,

in exchange for hers.

His death. No. No, not death.

Life...

eternal life... with me.

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Garrett Fort

Garrett Elsden Fort (June 5, 1900 - October 26, 1945) was an American short story writer, playwright, and Hollywood screenwriter. He was also a close follower of Meher Baba. Fort made his screenwriting debut with the silent film, One of the Finest (1917). Early in his career, Fort co-wrote the Broadway play Jarnegan (1928), based on the novel by Jim Tully. Fort's first talkie effort was the ground-breaking Rouben Mamoulian production Applause (1929). In 2006 Applause was recognized as a culturally, historically and aesthetically significant film by the National Film Registry.Fort was adept at alternating horrific highlights with bits of unexpected humor. As a screenwriter he is best remembered for his work on the original screen adaptations of such horror / melodrama films as Dracula (1931), Frankenstein (1931), Dracula's Daughter (1936), and The Mark of Zorro (1940). more…

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Submitted on August 05, 2018

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