The Ghoul (1933) | Le Fantôme vivant | El resucitado | Old Colorized Movie
"The Ghoul" (1933) is a classic British horror film that showcases a captivating performance by legendary actor Boris Karloff. Directed by T. Hayes Hunter, the film is set in London and revolves around an Egyptologist, Professor Henry Morlant (played by Karloff), who believes he can achieve immortality through an ancient Egyptian artifact known as the Eternal Light. Upon his death, Morlant's body is entombed with the artifact, and he vows to return from the grave to exact revenge on anyone who steals it. His resurrection leads to chaos as various characters, including a band of thieves and relatives, vie for the powerful object.
This early British horror movie is one of the first to bring the genre to UK audiences, standing out due to its chilling atmosphere, gothic setting, and Karloff's eerie portrayal of the vengeful professor. The film also stars notable actors such as Cedric Hardwicke, Ernest Thesiger, and Dorothy Hyson. Despite being lesser-known compared to Karloff’s Hollywood work, "The Ghoul" has gained recognition as an influential piece in the horror genre. The film blends Egyptian mythology with gothic horror, creating an unsettling and suspenseful narrative that captures the eerie fascination with ancient curses.
Alternative titles for the film include "Der Ghoul" in German-speaking countries. For fans of classic horror and those interested in the early work of Boris Karloff, "The Ghoul" remains a significant watch. Its moody cinematography, dark themes, and supernatural storyline provide a haunting experience, making it a favorite for classic horror aficionados.
This early British horror movie is one of the first to bring the genre to UK audiences, standing out due to its chilling atmosphere, gothic setting, and Karloff's eerie portrayal of the vengeful professor. The film also stars notable actors such as Cedric Hardwicke, Ernest Thesiger, and Dorothy Hyson. Despite being lesser-known compared to Karloff’s Hollywood work, "The Ghoul" has gained recognition as an influential piece in the horror genre. The film blends Egyptian mythology with gothic horror, creating an unsettling and suspenseful narrative that captures the eerie fascination with ancient curses.
Alternative titles for the film include "Der Ghoul" in German-speaking countries. For fans of classic horror and those interested in the early work of Boris Karloff, "The Ghoul" remains a significant watch. Its moody cinematography, dark themes, and supernatural storyline provide a haunting experience, making it a favorite for classic horror aficionados.
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Short filmTranscript
00:00:00The American Pronunciation Guide Presents
00:00:05a film by Michael Schumacher
00:00:10with the support of
00:00:15with the support of
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00:00:40with the support of
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00:00:55with the support of
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00:01:15with the support of
00:01:20with the support of
00:01:25with the support
00:01:30We don't want to buy no line owner nothing.
00:01:32Mr. Dragore, please.
00:01:34Oh, him.
00:02:00No sound, please.
00:02:15After two years, I find you.
00:02:18I want the eternal light.
00:02:21You found me too late, it's no longer mine.
00:02:30I can kill with this from the end of the room.
00:02:33No lies, please.
00:02:35You cannot kill in England, Mahmood.
00:02:38They get their murders here and hang them.
00:02:42I have not come alone.
00:02:43If I hang, there are others.
00:02:46The eternal light goes back to the tomb from which you stole it.
00:02:50Mahmood, I tell you, I have not got it.
00:02:51Please, I am not a child.
00:02:55I sold it.
00:02:57To whom did you sell it?
00:02:59To Professor Morland.
00:03:03That robber of the dead.
00:03:06Has he sold it?
00:03:07He did not buy to sell.
00:03:09What then?
00:03:10Like you, Mahmood.
00:03:11She believes.
00:03:12Believes?
00:03:13He believes that the eternal light will open for him the gates of paradise?
00:03:17Even so.
00:03:18He gave the best part of his fortune for it.
00:03:21And very soon he will know whether or not he was right.
00:03:24What do you mean?
00:03:26Professor Morland is dying.
00:03:32Then you think it will be buried with him?
00:03:34I'm sure of it.
00:03:36We have only got to wait until he is dead.
00:03:50A new myth.
00:03:51Opener of the way.
00:04:07What's that?
00:04:33Well, what is it?
00:04:43Good evening.
00:04:44I happen to be staying in the neighborhood and hearing of your master's illness, I took
00:04:47the liberty of calling.
00:04:49How is he tonight?
00:04:50He'll never see the morning.
00:04:53He hasn't asked for anyone of my cloth.
00:04:55Nor will he.
00:04:56He's set in his ways and they are the ways of the heathen.
00:04:59I know he won't see the rector, but though I'm a comparative stranger, I don't like to
00:05:02leave a man to die like that.
00:05:04He'll die in his own fashion, as he has lived.
00:05:07Still, sometimes at the end.
00:05:09Not with him.
00:05:10He's stubborn and unbending and will be so at the throne itself.
00:05:14Well, I suppose I can be of no use then.
00:05:18No manner of use.
00:05:23Good night.
00:05:36He's asking for you.
00:05:41Where can I find Mr. Broward?
00:05:52Who is it?
00:05:59Come in or go out.
00:06:10You'll have to go up soon if you want to see him again.
00:06:17Curious house, this.
00:06:19Curious owner.
00:06:20Yes, but I suppose a great Egyptologist can't be expected to be like other people.
00:06:24Well, he'll be like a great many other people soon.
00:06:27That's not a very sympathetic thing to say.
00:06:29Well, I'm not a sympathetic man.
00:06:31Want a drink?
00:06:33That's across the hall, isn't it?
00:06:37I dare say.
00:06:38Thanks.
00:06:40Seventy-five thousand, September 22nd, 1931.
00:07:11Daily journal.
00:07:221922.
00:07:29The eternal light, mine at last.
00:07:40I don't want to see you there.
00:08:04I'm here.
00:08:10Is the door shut?
00:08:12It is.
00:08:14No listeners?
00:08:16None.
00:08:19The curtains.
00:08:20They are drawn.
00:08:24Come nearer.
00:08:40This man brokens.
00:08:44Watch.
00:08:46Broken.
00:08:48You are always suspicious.
00:08:50Have you ever trusted a living soul?
00:08:53Only fools.
00:08:57I trust you.
00:09:00Better to trust in the spirit than in the flesh.
00:09:03I put my trust in my own gods.
00:09:11And now, when I am dead, my funeral,
00:09:19he will bury me at dusk in the clothes I told you.
00:09:26He will place the figure of Anubis at the west of the inner chamber.
00:09:33I will.
00:09:36And on the night of the full moon,
00:09:43at the first hour,
00:09:47I will make my offering of the eternal light to Anubis,
00:09:55the opener of the ways.
00:10:01If I have done well in his sight,
00:10:06those fingers will close over the jewel,
00:10:14and he will open to me the gates of immortality.
00:10:20And the heathen image will now come to life.
00:10:24Ah, the bandage.
00:10:27The bandage.
00:10:50Look.
00:11:08This is the eternal light.
00:11:17It must rest in my hand.
00:11:22A man will know fine peace who robs his heirs.
00:11:27Bandage my hand.
00:11:30The eternal light must lie with me in the tomb.
00:11:37You're afraid of me.
00:11:40I'm afraid for you.
00:11:44If this should leave me,
00:11:48then you'll have reason to fear.
00:11:53For when the full moon strikes the door of my tomb,
00:12:00I will come back.
00:12:03You hear?
00:12:05I will come back to kill.
00:12:11Bandage my hand.
00:12:41Doctor!
00:12:57Doctor!
00:13:02Doctor!
00:13:10Windows.
00:13:13Open.
00:13:14Open.
00:13:40It's all over.
00:14:03Make out a certificate.
00:14:04Heart failure.
00:14:09What was the idea of bandaging his hand like that?
00:14:13I cannot say.
00:14:15He had many a queer fancy.
00:14:19I'll be around in the morning to sign the certificate.
00:14:28You'll be leaving me master's side till his body is laid to rest.
00:14:33Now.
00:14:50Now.
00:15:14Now.
00:15:44Now.
00:16:14Where are you going?
00:16:26To feed the lamp that is to burn inside.
00:16:44It's all right.
00:17:04Yes, I agree.
00:17:05It's a disgraceful thing.
00:17:34It's a disgraceful thing.
00:18:05Wait!
00:18:07You're leaving the key inside.
00:18:09Aye.
00:18:10That was another of his queer fancies.
00:18:33When your master died, Leng, I believe him to have been possessed of a jewel of great
00:18:40value.
00:18:41Do you know anything about it?
00:18:44Nothing.
00:18:45I advise you to be very careful, Leng.
00:18:47I have a careful nature.
00:18:49You may be putting yourself perilously near dishonesty.
00:18:54I've seen men nearer.
00:19:04You may regret this, Leng.
00:19:33Davis.
00:19:38I want you to stay here and watch that man by the club foot.
00:19:41I'm not a detective, Mr. Broughton.
00:19:43One more word from you, Davis, and you're out of work.
00:19:46I have reason to believe that he has stolen a valuable piece of property.
00:19:50He may make an effort to get rid of it.
00:19:52Watch him and telephone me at my office if he leaves the house.
00:19:56Very good, sir.
00:20:26Harlan.
00:20:44Harlan, 52 Blanford Street.
00:21:14Harlan.
00:21:44Harlan.
00:22:14Carrier.
00:22:23From Ransom.
00:22:25Ten shillings if you'll drive me to Yaxford Station in time to catch the five o'clock train.
00:22:29I'll oblige you, Governor.
00:22:30I was going straight back as it was.
00:22:45That's a very old carpet, Mr. Morland.
00:23:00I should be glad if you will not kick it to pieces.
00:23:02I'm sorry.
00:23:03When I'm angry, I do kick.
00:23:05Be good enough to explain that.
00:23:07Yes, I intend to.
00:23:10By your own statement, Miss Harlan and I are the sole heirs of Professor Morland.
00:23:13We were informed neither of his death nor of his funeral.
00:23:16Your uncle died and was buried in a certain way according to his wishes, which need I go on.
00:23:23Almost his last words were a threat to return from the dead.
00:23:27In my opinion, he was mad.
00:23:29Well, that may be so.
00:23:30But Miss Harlan and I should have been consulted.
00:23:32But I understood that you and Miss Harlan were not on speaking terms.
00:23:35Well, what of that?
00:23:36You expect quiet at a funeral, don't you?
00:23:38Yes, I also expect it in my office.
00:23:40I'm very sorry, but after all, this means a good deal to both of us.
00:23:42My uncle was worth about 4,000 a year.
00:23:44Well, he isn't now.
00:23:46What do you mean by that?
00:23:48He spent a good deal, you know.
00:23:51It may surprise you to know that some time ago he drew a check for 75,000 pounds.
00:23:56What for?
00:23:58I don't know.
00:24:00You don't know? You were in charge of all his affairs and you don't know?
00:24:03That's what I said.
00:24:05And I advise you to look after the tone of your voice.
00:24:08I'm not at all sure.
00:24:09I have much more important things to look after than the tone of my voice.
00:24:12I don't follow you.
00:24:14I'm going to run down to Owlsville House tomorrow morning.
00:24:17Yes, Roy.
00:24:19I don't think you realize the conditions that you will find there.
00:24:24No. That's why I propose to go.
00:24:26You won't like it.
00:24:28You'll be most uncomfortable.
00:24:30You don't advise me to go?
00:24:32I think you'll be making a very big mistake.
00:24:35Then I'll go.
00:24:39Oh, by the way, does Miss Harlan know anything about this will business?
00:24:42No doubt she will have received a letter from me by now.
00:24:45Do you know Miss Harlan?
00:24:47No.
00:24:48I propose to give myself the pleasure of calling upon her this evening.
00:24:54Hello.
00:24:56Oh, it's you, Davies. Wait a minute.
00:24:58I have a visitor here, but I think he's just going.
00:25:01Thank you very much.
00:25:03If you're going to see Miss Harlan tonight, I shall be there myself.
00:25:06No doubt you will succeed in making a painful interview intolerable.
00:25:10Good afternoon.
00:25:12Your manner must help your practice a great deal.
00:25:22Now, Davies.
00:25:25Can you direct me to Bluntford Street, please?
00:25:28Follow the tram lines, close on a mile, and then turn right at the church.
00:25:32I'm obliged to you.
00:26:10Oh, hello, Cainey.
00:26:24Oh, it's good to get out of that fog.
00:26:26My dear, a most exciting thing has happened.
00:26:29Oh, don't let it happen again.
00:26:31No, not that. That's a chestnut.
00:26:34It's this.
00:26:36It looks like a solicitor's letter.
00:26:38Just been delivered by hand.
00:26:40Oh, dear. What haven't we paid?
00:26:42I wonder if I'm going to get a shock or not.
00:26:45Oh, Cainey, that is a silly game.
00:26:49After all we've said about Uncle Henry, what do you think he's done?
00:26:53Something nice at last.
00:26:54He's dead.
00:26:56My dear, I'm sorry.
00:26:58And his solicitor wants to see me.
00:27:00My dear, I'm glad.
00:27:02He was awfully rich, wasn't he?
00:27:05He may have left you a fortune.
00:27:07If he has, I'll buy you a private cinema.
00:27:10I say, when did this letter come?
00:27:13A few minutes ago.
00:27:14Why?
00:27:15He asked me to telephone him if I could see him here at six.
00:27:19You don't want to miss the chance of a fortune for the sake of tuppence.
00:27:22You better run out and do it now.
00:27:24You're right.
00:28:52Miss Harlan.
00:28:53Yes?
00:29:22Help!
00:29:52What's the matter? What's happened?
00:29:53Somebody attacked me and snatched my bag.
00:29:56Why, good Lord, it's Betty Harlan.
00:29:58Ralph Moreland.
00:30:00You would go and get yourself into some kind of mix-up.
00:30:02You would arrive when it's all over.
00:30:05Well, I'm going home.
00:30:06Wait a minute.
00:30:07I was on my way to see you, strictly on business.
00:30:09You wouldn't be allowed in for any other reason.
00:30:12That's good.
00:30:23I'm sorry.
00:30:48Taxi!
00:30:49Cunningham and Garrod, quickly as possible.
00:31:20Oh, so you brought him.
00:31:23Dear Mr. Broughton, we're delighted to see you.
00:31:26Oh, it isn't Mr. Broughton. It's my cousin, Ralph Moreland.
00:31:29Dear Mr. Moreland, we're delighted to see you.
00:31:33Wrong again. We don't like him very much.
00:31:35Oh, don't we?
00:31:36I didn't realize.
00:31:38Well, our two families are not on speaking terms.
00:31:40Oh, dear.
00:31:41As far as I can make out, it was started by my late husband.
00:31:44Won't you sit down?
00:31:47But now he's dead. The trouble's all over.
00:31:50I'm not sure. It hasn't just begun.
00:31:53Where's Mr. Broughton?
00:31:55Oh, he won't come because I didn't telephone.
00:31:57I nearly got throttled instead.
00:31:59Pity!
00:32:00There was a man with a limp.
00:32:01He pushed a note into my hand.
00:32:03I just put it in my bag
00:32:05when somebody snatched the whole envelope.
00:32:07Oh, dear.
00:32:08Oh, dear.
00:32:09Oh, dear.
00:32:10Oh, dear.
00:32:11Oh, dear.
00:32:12I put it in my bag
00:32:13when somebody snatched the whole affair.
00:32:15What was in it?
00:32:16There's something of value at Isle's Vale.
00:32:19Others are after it.
00:32:21So come.
00:32:22And Broughton was doing everything he knew to keep me away from there.
00:32:27There's a fox in the cover somewhere.
00:32:29Goodbye.
00:32:32Why goodbye?
00:32:33I'm going down there right away.
00:32:35I'll let you know what happens.
00:32:36You're wrong. I'll let myself know.
00:32:38If you go, I go too.
00:32:40You can't do that.
00:32:41Alone in a house with a man you're not even on speaking terms with.
00:32:45Oh, don't be so absurd.
00:32:46It's not as if I even liked him.
00:32:48If another woman was going, perhaps.
00:32:51I suppose that means you want to come too.
00:32:53Well, obviously, it's my duty.
00:32:55And suppose I object?
00:32:57I'm not so broke I can't hire a car.
00:33:00Oh, all right, you win.
00:33:02But for goodness sake, hurry.
00:33:11Girls, get in this as best you can.
00:33:13There you are.
00:33:19You first.
00:33:20No, you. Hurry up.
00:33:25Oh, this is an unspeakable car.
00:33:27There's no room for my big.
00:33:29All right, go on.
00:33:31It looks as if I'll have to walk.
00:33:33You might do worse.
00:33:35There's a grand moon.
00:33:37It's full.
00:33:52I'm sorry.
00:33:53It's all right.
00:33:54It's all right.
00:33:55It's all right.
00:33:56It's all right.
00:33:57It's all right.
00:33:58It's all right.
00:33:59It's all right.
00:34:00It's all right.
00:34:01It's all right.
00:34:02It's all right.
00:34:03It's all right.
00:34:04It's all right.
00:34:05It's all right.
00:34:06It's all right.
00:34:07It's all right.
00:34:08It's all right.
00:34:09It's all right.
00:34:10It's all right.
00:34:11It's all right.
00:34:12It's all right.
00:34:13It's all right.
00:34:14It's all right.
00:34:15It's all right.
00:34:16It's all right.
00:34:17It's all right.
00:34:18It's all right.
00:34:19It's all right.
00:34:20It's all right.
00:34:21It's all right.
00:34:22It's all right.
00:34:23It's all right.
00:34:24It's all right.
00:34:25It's all right.
00:34:26It's all right.
00:34:27It's all right.
00:34:28It's all right.
00:34:29It's all right.
00:34:30It's all right.
00:34:31It's all right.
00:34:32It's all right.
00:34:33It's all right.
00:34:34It's all right.
00:34:35It's all right.
00:34:36It's all right.
00:34:37It's all right.
00:34:38It's all right.
00:34:39It's all right.
00:34:40It's all right.
00:34:41It's all right.
00:34:42It's all right.
00:34:43It's all right.
00:34:44It's all right.
00:34:45It's all right.
00:34:46It's all right.
00:34:47It's all right.
00:34:48It's all right.
00:34:49It's all right.
00:34:50It's all right.
00:34:51It's all right.
00:34:52It's all right.
00:34:53It's all right.
00:34:54It's all right.
00:34:55It's all right.
00:34:56It's all right.
00:34:58It's all right.
00:35:22I'll see if there's a name on this case.
00:35:27No, there's nothing to show. This is the place.
00:35:31But there aren't any other places and I'm frozen.
00:35:34Well, it's no use going to the wrong place.
00:35:36Wait a minute, here's someone on a bike. Hi there, cocky. Wait a minute.
00:35:41Oh, hello. I'm awfully sorry. I didn't see you were a parson.
00:35:44Oh, that's all right.
00:35:47Any trouble?
00:35:48Oh, no, no. We just want to get to Owlsvale House.
00:35:52Well, this is it.
00:35:54As a matter of fact, I'm calling there myself.
00:35:56Oh, did you know my uncle, Professor Morland?
00:35:58Oh, slightly.
00:36:00As I ought to introduce myself, my name's Hartley, Nigel Hartley.
00:36:03I'm down at Raveley, the Vicar's Hill.
00:36:05How do you do? I'm Rafe Morland.
00:36:09This is Miss Harlan. We're the heirs of the old...
00:36:12Couldn't we have the rest of the introduction indoors?
00:36:15Yes, yes, of course. You must be cold.
00:36:19Right, straight down this drive. You go along, I'll follow.
00:36:21All right.
00:36:26Here we are.
00:36:57It can't be all right here.
00:37:00I'll show you the way.
00:37:26Sit down.
00:37:52What a horrible house!
00:37:55I wish I was back home in bed.
00:38:00I can hear someone coming.
00:38:09Ah.
00:38:13Well, don't stand about. Come inside.
00:38:25Come.
00:38:49We're going to the library.
00:38:55Come.
00:38:56Come.
00:38:57Come.
00:38:58Come.
00:39:23I may be old-fashioned, but I feel awkward when I'm not introduced to people.
00:39:27I'm sorry. I forgot you didn't know your clients by sight.
00:39:31This is Miss Holland.
00:39:33How do you do?
00:39:34I was expecting a telephone message from you.
00:39:37Oh, I was on my way to call you up when the most extraordinary thing happened.
00:39:44And this is Miss Kaney.
00:39:48How do you do?
00:39:50You're a surprise, Broughton.
00:39:53I have a great deal of business to clear up down here.
00:39:56This house has needed a woman for about 25 years.
00:40:02Oh, now I've blinded myself.
00:40:05You haven't wasted much time in getting here, Mr. Morland.
00:40:08No. Just a little too much, perhaps.
00:40:10Whatever do you mean? Really, you're the rudest man alive.
00:40:14Oh, please.
00:40:16Really, you're the rudest man alive.
00:40:18Oh, pretty pussy.
00:40:21How horrible.
00:40:22It's stuffed.
00:40:24I dare say you know your own business best.
00:40:26But why did you want to bring a parson?
00:40:28A pure accident. We met at the gates.
00:40:30So naturally, you brought him in.
00:40:32Broughton, I can stand a certain amount, but no more.
00:40:34Oh, come, come. Let's make a battle of it.
00:40:46You stay here in the car.
00:40:47No. I shall be among the trees, watching.
00:41:04You may say I have no right to express this opinion,
00:41:06but to my mind, it's a scandalous and disgraceful burial,
00:41:10which may have disastrous consequences.
00:41:12It would be very disastrous if he came back, wouldn't it?
00:41:15I quite see Mr. Hartley's point.
00:41:17Yes, you make friends quickly, don't you?
00:41:18And enemies quicker.
00:41:19Need we have these childish squabbles?
00:41:22We all know the dead men don't come back.
00:41:28Oh, I wish I was back home in bed.
00:41:31Hadn't somebody better answer that?
00:41:33Certainly.
00:41:34It's your house.
00:41:36Very well.
00:41:38I'm sorry to disturb you.
00:41:40But I was an intimate friend of Professor Morland.
00:41:44Well, you'd better come in.
00:41:46We seem to be giving a party.
00:41:47Oh.
00:41:49Oh, thank you.
00:41:51My name is Agah Ben Dragore.
00:41:54An Egyptian.
00:41:56An Arab.
00:41:57I don't remember having heard your name.
00:41:59I did not flatter myself that you would.
00:42:01But I knew Professor Morland some years ago.
00:42:04I'm afraid I should have known you by now.
00:42:06I'm sorry, I'm afraid I don't.
00:42:08I see.
00:42:10Well, I shall be among the trees, watching.
00:42:13I shall be among the trees, watching.
00:42:15I shall be among the trees, watching.
00:42:17I shall be among the trees, watching.
00:42:19Some years ago, in Egypt.
00:42:31I heard of his death and of his burial in my own faith.
00:42:35And I hoped, as I'm leaving England tomorrow,
00:42:38that I might be allowed to visit his tomb.
00:42:42I must protest against anything of the sort.
00:42:44Why shouldn't the poor man look at his friend's tomb?
00:42:47I don't mind him going.
00:42:49I can't believe that you'd willingly encourage paganism.
00:42:53The Egyptians were not pagan, sir.
00:42:56As no doubt you know, Miss...
00:42:59Caney.
00:43:01I think you're all being very unkind to Mr. Dragore.
00:43:05I don't think you people realize quite how far Morland's queer ideas took him.
00:43:09He even believed that after his death, at a certain hour,
00:43:12the image of a nubis would come to life in his tomb and receive his soul.
00:43:15It's horrible.
00:43:17Well, I can't see that it matters.
00:43:19After all, if that sort of mumbo-jumbo gave him any comfort...
00:43:22It matters a great deal.
00:43:24If my suggestion is likely to hurt anyone's feelings, please forget it.
00:43:29Oh, I think that's very sweet of you, Mr. Dragore.
00:43:34Oh, your sympathy is more than charming.
00:43:38Well, what about a cup of coffee after your cold drive?
00:43:42I dare say we should find some in the kitchen.
00:43:45May I offer my services as pantry man?
00:43:49Quite sweet of you.
00:43:54Come, Mr. Dragore.
00:43:58For sheer speed.
00:44:00She'll not let him out of her sight for a moment now.
00:44:02Perhaps that's just as well.
00:44:05Come along, Betty. How about making a fire in the library?
00:44:08Yes.
00:44:09I'm sorry. There should be this sort of atmosphere.
00:44:11After all, we're only ships that pass in the night.
00:44:15Do you want a drink or will you pass now?
00:44:18Oh, well, thank you very much.
00:44:27There you are.
00:44:40Oh, if you build it that way, there won't be any draft.
00:44:43Well, it'll be the only place in this house where there isn't one, then.
00:44:47Oh, don't you think you carry those snappery torts a trifle too far?
00:44:50Since we met, I can't remember you saying a kind word to anyone.
00:44:55Perhaps you're right. I'm sorry.
00:45:10Six cups.
00:45:12That's just... just far too many.
00:45:19Tell me about Egypt.
00:45:22Have you ever seen a sheik?
00:45:26I am one.
00:45:35Oh, thank you.
00:45:39Then how should I address you?
00:45:42Oh, I'm cutting sandwiches for a sheik.
00:45:46I don't feel quite well.
00:45:48Oh, don't be alarmed.
00:45:50We're not quite as uncivilized as people think.
00:45:53Oh, don't say that.
00:45:56Do you ride a white stallion?
00:45:59Sometimes.
00:46:00Oh, down the path of the moon,
00:46:03the noble animal plunging and frothing at the nostrils
00:46:07till it found us at your feet, faithful unto death.
00:46:11Well, not very often.
00:46:12You see, it's rather too expensive.
00:46:15I know it's not your fault.
00:46:17We were taught to hate one another, but...
00:46:19Good Lord, you don't think I hate you, do you?
00:46:21Well, I can't somehow feel I'm your dearest friend.
00:46:24You never did have a great deal of sense, did you?
00:46:26Oh, that's nice.
00:46:28Rafe, I've a woman's intuition that you and I are up against things.
00:46:33Yes, I'm pretty sure we are.
00:46:34Well, then, let's cut the quarreling.
00:46:37Shoulder to shoulder, eh?
00:46:38All right.
00:46:40Partners.
00:46:41Partners.
00:46:42Ah.
00:46:59Oh, what a wonderful night.
00:47:01It's a full moon.
00:47:19Scared of a dead man in his tomb?
00:47:22Shame on yourself.
00:47:24Are you a child that your knee should rattle at the talk of a madman?
00:47:32Look your enemy in the face.
00:47:35It's the fear the big door has got you
00:47:38and will hold you fast till you stare it down.
00:47:48Do dead men walk?
00:47:51Do dead men walk?
00:47:54I'm no thinking a dead man will cross my path tonight.
00:48:21Oh.
00:48:52Oh.
00:48:53Oh.
00:48:54Oh.
00:48:55Oh.
00:48:56Oh.
00:48:57Oh.
00:48:58Oh.
00:48:59Oh.
00:49:00Oh.
00:49:01Oh.
00:49:02Oh.
00:49:03Oh.
00:49:04Oh.
00:49:05Oh.
00:49:06Oh.
00:49:07Oh.
00:49:08Oh.
00:49:09Oh.
00:49:10Oh.
00:49:11Oh.
00:49:12Oh.
00:49:13Oh.
00:49:14Oh.
00:49:15Oh.
00:49:16Oh.
00:49:17Oh.
00:49:18Oh.
00:49:19Oh.
00:49:20Oh.
00:49:21Oh.
00:49:22Oh.
00:49:23Oh.
00:49:24Oh.
00:49:25Oh.
00:49:26Oh.
00:49:27Oh.
00:49:28Oh.
00:49:29Oh.
00:49:30Oh.
00:49:31Oh.
00:49:32Oh.
00:49:33Oh.
00:49:34Oh.
00:49:35Oh.
00:49:36Oh.
00:49:37Oh.
00:49:38Oh.
00:49:39Oh.
00:49:40Oh.
00:49:41Oh.
00:49:42Oh.
00:49:43Oh.
00:49:44Oh.
00:49:45Oh.
00:49:46Oh.
00:49:47Oh.
00:49:48Oh.
00:49:49Oh.
00:49:50Oh.
00:49:51Oh.
00:49:52Oh.
00:49:53Oh.
00:49:54Oh.
00:49:55Oh.
00:49:56Oh.
00:49:57Oh.
00:49:58Oh.
00:49:59Oh.
00:50:00Oh.
00:50:01Oh.
00:50:02Oh.
00:50:03Oh.
00:50:04Oh.
00:50:05Oh.
00:50:06Oh.
00:50:07Oh.
00:50:08Oh.
00:50:09Oh.
00:50:10Oh.
00:50:11Oh.
00:50:12Oh.
00:50:13Oh.
00:50:14Oh.
00:50:15Oh.
00:50:16Oh.
00:50:17Oh.
00:50:18Oh.
00:50:19Oh.
00:50:20Oh.
00:50:21Oh.
00:50:22Oh.
00:50:23Oh.
00:50:24Oh.
00:50:25Oh.
00:50:26Oh.
00:50:27Oh.
00:50:28Oh.
00:50:29Oh.
00:50:30Oh.
00:50:31Oh.
00:50:32Oh.
00:50:33Oh.
00:50:34Oh.
00:50:35Oh.
00:50:36Oh.
00:50:37Oh.
00:50:38Oh.
00:50:39Oh.
00:50:40Oh.
00:50:41Oh.
00:50:42Oh.
00:50:43Oh.
00:50:44Oh.
00:50:45Oh.
00:50:46Oh.
00:50:47Oh.
00:50:48Oh.
00:50:49Oh.
00:50:50Oh.
00:50:51Oh.
00:50:52Oh.
00:50:53Oh, I was dreaming.
00:50:54Now I will show you how we make coffee in the desert, underneath the stars.
00:51:01But you don't make it yourself, do you?
00:51:06No, of course not.
00:51:11Her sin cooks it for us, kneeling, and if it is not to our liking...
00:51:16I know.
00:51:18She's stripped to the waist and lashed for miles across the Sahara.
00:51:25Where she is finally eaten by locusts, and rightly.
00:51:30Now, take this canister and do exactly as I tell you.
00:51:35No.
00:51:37And if I fail?
00:51:39The Yorkshire Moors are just behind us.
00:51:43Now, six spoonfuls.
00:51:48One.
00:51:52Two.
00:51:57Three.
00:52:00Four.
00:52:03Five.
00:52:09Six spoonfuls.
00:52:13Take me in, Lord, will you?
00:52:15You're miles away from me.
00:52:20What's the matter with you? Are you mad, Ed?
00:52:29What was the matter with him? Was it drink?
00:52:33No. Terror.
00:52:35Stark terror.
00:52:37Oh, then I've caught it.
00:52:40You stay here. I'll look after him.
00:52:43No. If you must look after somebody, why look further?
00:52:48Eh? Come on, then.
00:52:57Rafe! That limp, I'd swear to it, anywhere.
00:53:07That's the man.
00:53:13Look here. Did you give a note to this young lady?
00:53:15Gather up your things and get out of here.
00:53:18The master. I've seen him.
00:53:20You...
00:53:24Rafe! Rafe! Rafe!
00:53:31Rafe!
00:53:38Who screamed?
00:53:39I did. That's the last time I'll ever try to make coffee in a strange house.
00:53:44That man with the limp, who was he?
00:53:47Lang. Your uncle's servant.
00:53:50Well, he seemed mad to me.
00:54:02Yes. And probably dangerous.
00:54:06You others had better go into the library. I'll have a word with him.
00:54:09Yes, come along. Mr Broughton understands the man.
00:54:27It would do no harm to warn my man to stand by.
00:54:29Your man? Is he a sheik, too?
00:54:32No. No, he's a chauffeur. He's outside now with my car.
00:54:40You're not leaving us, are you?
00:54:44My dear lady.
00:54:55Not a very courageous person, our foreign friend.
00:54:59You think he's run away? Absurd.
00:55:03I'd like to see you riding your bicycle with a Circassian slave,
00:55:07lovely as sin, across the handlebars.
00:55:09What on earth are you talking about?
00:55:11Now, listen, good people.
00:55:12Good people?
00:55:13Don't you think perhaps we're allowing this thing to get on our nerves?
00:55:16Don't you think perhaps if we took a grip on our self-control...
00:55:19Now, listen, good parson.
00:55:21This is our show, and our nerves are probably just as good as the next man's.
00:55:25So keep that sort of talk to your pulpit.
00:55:28Well, of course, I have no wish to interfere where I'm not wanted.
00:55:30Then don't. This is not a Sunday school.
00:55:38After that, I think I can say good night.
00:55:41As you please.
00:55:48Well, I'm sorry I was offensive. Good night.
00:55:50Oh, well, the tongue is an unruly member, is it not?
00:55:54Yes. Yes.
00:55:58I was tempted.
00:56:01I was tempted, but I did not fall.
00:56:16I did not fall.
00:56:18The thing's safe. I swear it.
00:56:23I did not fall.
00:56:27I did not fall.
00:56:34When you told me you'd come back from the grave,
00:56:37how could I believe you?
00:56:39I never knew such things could be.
00:56:57I never knew such things could be.
00:57:21I have not got it. I have not got it.
00:57:25The girl. She has it.
00:57:28I swear it.
00:57:56Now, what on earth's the matter with you?
00:57:58You look as if you'd seen a ghost.
00:58:00I have.
00:58:03I saw Morland as plainly as I see you.
00:58:08I'm going to mix myself a drink.
00:58:19Betty, just a minute.
00:58:22Well?
00:58:24I have an idea. They're trying to scare us out of this house.
00:58:51Come on, let's go.
00:59:21Now, there's no use blinding ourselves to the fact.
00:59:24There must be something pretty big at stake.
00:59:26Something that depends on getting rid of us.
00:59:29That's how it looks to me.
00:59:31Well, what are we going to do?
01:00:21Come on, let's go.
01:00:52Who's there?
01:01:00Betty, I'm going down to that tomb and find out whether...
01:01:02What are you still...
01:01:04It's the only way we've got of finding out what's going on around here.
01:01:06Well, I don't want to be left here alone.
01:01:08Can I come, too?
01:01:10There's nothing wrong with your nerve.
01:01:12I don't want to be left here alone.
01:01:14I don't want to be left here alone.
01:01:16I don't want to be left here alone.
01:01:18I don't want to be left here alone.
01:01:20You don't have to be afraid of yourself.
01:01:22Come on.
01:01:34I'll put on a pullover and some thicker shoes.
01:01:36All right.
01:01:38Is this yours?
01:01:40Yes.
01:01:42I'll keep an eye on Broughton.
01:01:51Well, I think you have every chance of seeing things...
01:01:53if you lower Scotch at that pace.
01:02:20Come on, let's go.
01:02:50Oh!
01:03:20Oh!
01:03:50Oh!
01:04:20Oh!
01:04:46Mr. Grigori!
01:04:48Mr. Grigori!
01:04:50Mr. Grigori!
01:04:52Oh, there you are!
01:04:54Oh, Mr. Grigori!
01:04:56I'll come up to you.
01:05:00Wait.
01:05:02I'll come down.
01:05:08What do you want?
01:05:10There was somebody in the library.
01:05:12Who?
01:05:14I don't know.
01:05:16It's shut! It's shut!
01:05:18Don't scream.
01:05:20Oh, that's what I need.
01:05:22The command in your wonderful voice.
01:05:28Come with me.
01:05:30I think you've gone far enough...
01:05:32with your insinuations.
01:05:34Yes, and I may go a great deal farther.
01:05:38What is it? What's the matter?
01:05:40I've seen him.
01:05:47Now perhaps you believe...
01:05:49what I told you.
01:05:51Get me a glass of water quickly, will you?
01:06:16Oh!
01:06:46Thanks.
01:06:48I wasn't hurt.
01:06:50Only frightened.
01:06:52Right.
01:06:54See if you can find Miss Caney, will you?
01:07:00It's wonderful to be with a man...
01:07:02who isn't afraid.
01:07:04I am afraid.
01:07:06You, who have ridden barebacked...
01:07:08over the desert.
01:07:10If you don't stop chattering...
01:07:12I'm afraid.
01:07:14If you don't stop chattering...
01:07:16I'm afraid I shall have a knife in my back.
01:07:18But when I'm with you...
01:07:20I have to talk.
01:07:22It comes like poetry.
01:07:24Are you prepared to obey me?
01:07:26In anything.
01:07:28Then close your eyes...
01:07:30and don't speak...
01:07:32for ten seconds.
01:07:44Ten seconds.
01:08:14We all panic sometimes.
01:08:16I felt his hands on me.
01:08:18That's why I know it was no ghost.
01:08:20It was no ghost.
01:08:22Look at the clock.
01:08:24It's nearing the hour.
01:08:26I know where you'll find him now.
01:08:28He's gone back to the tomb...
01:08:30to his heathen gods.
01:08:34Then you and I will follow in there.
01:08:36Wait a minute.
01:08:38What's his doctor's telephone number?
01:08:40Yaxford, 7-2.
01:08:42What's his telephone number?
01:08:44Yaxford, 7-2.
01:09:12Go!
01:09:42Look!
01:09:44The door's open and there's a light.
01:09:46I'll go no nearer.
01:09:48I'll go no nearer.
01:09:52I can see a shadow moving.
01:09:54I'll go no nearer.
01:09:56Well, then, go back.
01:10:00What about it, Betty?
01:10:02Do we go on?
01:10:04Yes, of course.
01:10:06I thought you'd say that.
01:10:36I thought you'd say that.
01:11:06Betty!
01:11:36Betty!
01:12:06Look!
01:12:20Hartley!
01:12:22So you're not a parson, just a dirty crook.
01:12:28You'd better get out of my way.
01:12:30You're handy.
01:12:32So that's how it was done.
01:12:36I wouldn't come any nearer.
01:12:38I don't have to.
01:12:46Look, if you please.
01:12:48Thank you. Come on now.
01:13:06Now!
01:13:14Go!
01:13:36Go!
01:14:06Morris, too late. Are you badly hurt?
01:14:08No, no, it's nothing.
01:14:10Come and sit down.
01:14:12Where's the key?
01:14:14He threw it away.
01:14:24When I phoned the doctor,
01:14:26I told him to bring the police.
01:14:28They ought to find us somehow.
01:14:30Even if they do come,
01:14:32they'll never find us.
01:14:34They'll find a way.
01:14:40I'll make a bandage.
01:14:50The doctor in charge
01:14:52didn't understand the case.
01:14:54I'm afraid of catalepsy.
01:14:56I'm afraid of catalepsy.
01:14:58The doctor in charge
01:15:00didn't understand the case.
01:15:02I'm afraid of catalepsy.
01:15:04Borlant was buried alive.
01:15:06Oh, Mr. Dragore!
01:15:08What were those shots?
01:15:10Out of my way!
01:15:12Where are the others?
01:15:14Leave me alone!
01:15:32I rather thought
01:15:34you might be leaving in a hurry
01:15:36with something in your pocket
01:15:38that doesn't belong to you.
01:15:40Hand it over.
01:15:42You win.
01:15:54That woman!
01:15:56There she is!
01:15:58Come now.
01:16:00You put up your gun, you fool.
01:16:02I tell you, she's got it.
01:16:06Come on, then.
01:16:16Stop!
01:16:18Now, Miss Cayley,
01:16:20if you please.
01:16:22I don't think so.
01:16:24You fool!
01:16:26If either of you two horrible men
01:16:28shoot me, it goes.
01:16:30You don't know the value of that jewel.
01:16:32I don't care for the value.
01:16:34It'll go.
01:16:36And if you shoot,
01:16:38I'll go with it.
01:16:40I mean it.
01:16:42Down 30 feet
01:16:44and about 60 feet of water
01:16:46and then Australia.
01:16:50I can't see to tie this.
01:16:52That light seems much lower.
01:16:58Hardly!
01:17:00Quick, come on, get up.
01:17:02Get him out of here.
01:17:04Right.
01:17:08The door!
01:17:10The door!
01:17:12It's shut!
01:17:14The flames!
01:17:16They mustn't reach the door.
01:17:18The flames!
01:17:20The flames!
01:17:22The flames!
01:17:24The flames!
01:17:26They mustn't reach the door.
01:17:42It's no good.
01:17:44You can't breathe in there.
01:17:48The cartridge!
01:17:52It's here.
01:17:54It's here.
01:18:02I've had enough of this, Miss Peeny.
01:18:04Supposing I'm ready to shoot and take the risk.
01:18:06You'd be taking a bigger risk
01:18:08than you think.
01:18:10I'll take that gun, thank you.
01:18:12Now look here.
01:18:14Now, what's the trouble?
01:18:16This. They're after it.
01:18:18All of them.
01:18:20It belongs to them.
01:18:22I'll carry her to the house.
01:18:34Get back!
01:18:36Make no corner!
01:18:52Make no corner!
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