- hace 1 día
Karloff es un siniestro egiptólogo que pugna por ser enterrado con una preciada joya que él cree le dará vida eterna. Una vez fallecido, alguien roba la valiosa piedra, y Karloff se levanta de la tumba en busca del ladrón.
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00:00:00The End
00:00:30The End
00:01:00The End
00:01:30The End
00:01:59The End
00:02:01We don't want to buy no line owner, nothing.
00:02:05Mr. Dragore, please.
00:02:07Oh, him.
00:02:29No sound, please.
00:02:46After two years I find you.
00:02:50I want the eternal light.
00:02:53You found me too late.
00:02:55It's no longer mine.
00:03:02I can kill with this from the end of the room.
00:03:05No lies, please.
00:03:06You cannot kill in England, Mahmoud.
00:03:10They get their madras here and hang them.
00:03:14I have not come alone.
00:03:15If I hang, there are others.
00:03:18The eternal light goes back to the tomb from which you stole it.
00:03:22But I tell you, I have not got it.
00:03:23Please, I am not a child.
00:03:26I...
00:03:26I sold it.
00:03:29To whom did you sell it?
00:03:30To Professor Morland.
00:03:34That robber of the dead.
00:03:38Has he sold it?
00:03:40He did not buy to sell.
00:03:41What then?
00:03:42Like you, Mahmoud.
00:03:43He believes.
00:03:44Believes?
00:03:45He believes that the eternal light will open for him the gates of paradise?
00:03:49Even so, he gave the best part of his fortune for it.
00:03:53And very soon he will know whether or not he was right.
00:03:56What do you mean?
00:03:58Professor Morland is dying.
00:04:03Then you think it will be buried with him?
00:04:06I'm sure of it.
00:04:08We have only got to wait until he is dead.
00:04:19Unnubious.
00:04:28Opener of the way.
00:04:49What's that?
00:05:13Well, what is it?
00:05:15Good evening.
00:05:16I happen to be staying in the neighbourhood,
00:05:18and hearing of your master's illness, I took the liberty of calling.
00:05:21How is he tonight?
00:05:23He'll never see the morning.
00:05:25He hasn't asked for anyone of my cloth.
00:05:27Nor will he. He's set in his ways, and they're the ways of the heathen.
00:05:31I know he won't see the rector, but though I'm a comparative stranger,
00:05:34I don't like to leave a man to die like that.
00:05:36He'll die in his own fashion, as he has lived.
00:05:39Still, sometimes at the end.
00:05:41Not with him. He's stubborn and unbending,
00:05:44and will be so at the throne itself.
00:05:48I suppose I can be of no use then.
00:05:50No manner of use.
00:05:56Good night.
00:06:09He's asking for you.
00:06:10Where can I find Mr. Brabham?
00:06:30Wizard.
00:06:31Come in or go out.
00:06:33You'll have to go up soon, if you want to see him again.
00:06:50Curious house, this.
00:06:52Curious owner.
00:06:53Yes, but I suppose a great Egyptologist can't be expected to be like other people.
00:06:58Well, he'll be like a great many other people soon.
00:07:00That's not a very sympathetic thing to say.
00:07:02Well, I'm not a sympathetic man.
00:07:05Want a drink?
00:07:06That's, uh...
00:07:08Across the hall, isn't it?
00:07:10I dare say.
00:07:12Thanks.
00:07:1275,000...
00:07:26September 22nd, 1931.
00:07:3575,000...
00:07:37September 22nd, 1931.
00:07:40The eternal light, mine at last.
00:08:05Mine at last.
00:08:07I want to see you, man.
00:08:34And here...
00:08:37And here...
00:08:40Is the door shut?
00:08:44It is.
00:08:46No listeners.
00:08:48None.
00:08:51The curtains.
00:08:52They are drawn.
00:08:56Come near.
00:08:57This man, Bracken.
00:09:16Watch.
00:09:18Bracken.
00:09:19You were always suspicious.
00:09:23Have you ever trusted a living soul?
00:09:25Only fools.
00:09:29I trust you.
00:09:32Better to trust in the spirit than in the flesh.
00:09:35I put my trust...
00:09:38In my own gods.
00:09:41And now...
00:09:44When I am dead...
00:09:48My funeral...
00:09:51You will bury me at dusk...
00:09:54In the clothes, I told you.
00:09:58You will place the figure of Anubis...
00:10:02At the west of the inner chamber.
00:10:05I will...
00:10:06I will...
00:10:07And on the night...
00:10:10Of the full moon...
00:10:12At the first hour...
00:10:18I will make my offering of the eternal light...
00:10:24To Anubis...
00:10:26Opener of the ways.
00:10:28If I have done well in his sight...
00:10:36Those fingers will close over the jewel...
00:10:43And he will open to me the gates of immortality.
00:10:48The hand of a heathen image will now come to life.
00:10:56Ah...
00:10:57The bandage.
00:10:59The bandage.
00:11:18The bandage.
00:11:36I can't wait in the house.
00:11:37Father standing.
00:11:39Look...
00:11:41This is the eternal light.
00:11:52It was wasted in my hand.
00:11:57A man will no find peace who robs his heirs.
00:12:02Bandage my hand.
00:12:05The eternal light must lie with me in the tomb.
00:12:12You're afraid of me.
00:12:14I'm afraid for you.
00:12:17If this should leave me, then you'll have reason to fear.
00:12:26For when the full moon strikes the door of my tomb, I will come back.
00:12:35You hear?
00:12:37I will come back to kill.
00:12:41Bandage my hand.
00:12:47Bandage my hand.
00:12:48Bandage my hand.
00:12:52Without my orcs.
00:12:53Oh, my God.
00:13:23Doctor! Doctor!
00:13:30Doctor!
00:13:35Windows!
00:13:52Open!
00:13:57Open!
00:13:59Open!
00:14:01Open!
00:14:07Oh
00:14:29It's all over
00:14:34Make out a certificate heart failure
00:14:37I
00:14:41What was the idea of bandaging his hand like that? I cannot say he had many a queer fancy
00:14:51I'll be around in the morning to sign the certificate
00:14:59I'll no be leaving me master side till his body is laid to rest
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00:18:47That was another of his queer fancies.
00:19:07When your master died, Lang, I believe him to have been possessed of a jewel of great value.
00:19:13Do you know anything about it?
00:19:15Nothing.
00:19:17I advise you to be very careful, Lang.
00:19:19I have a careful nature.
00:19:21You may be putting yourself perilously near dishonesty.
00:19:25I've seen men nearer.
00:19:35You may regret this, Lang.
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00:26:41Oh hello Caney
00:26:45I
00:26:55Oh, it's good to get out of that fog.
00:26:57My dear, a most exciting thing has happened.
00:26:59Oh! Oh, don't let it happen again.
00:27:01No, not that. That's a chestnut. It's this.
00:27:07It looks like a solicitor's letter. Just been delivered by hand. Oh dear. What haven't we paid?
00:27:13I wonder if I'm going to get a shock or not?
00:27:15Oh! Oh, Caney, that is a silly game.
00:27:19After all we've said about Uncle Henry. What do you think he's done?
00:27:23Something nice at last.
00:27:25He's dead.
00:27:27My dear, I'm sorry.
00:27:29And his solicitor wants to see me.
00:27:31My dear, I'm glad.
00:27:33He was awfully rich, wasn't he?
00:27:35He may have left you a fortune.
00:27:37If he has, I'll buy you a private cinema.
00:27:39Oh!
00:27:41I say, when did this letter come?
00:27:43A few minutes ago.
00:27:45Why?
00:27:47He asked me to telephone him if I could see him here at six.
00:27:49You don't want to miss the chance of a fortune for the sake of tuppence.
00:27:53You better run out and do it now.
00:27:55You're right!
00:28:25This is a story for me, Austan.
00:28:27itively.
00:28:29Well, you prevailed him so with our night.
00:28:31That is my mother.
00:28:33Oh, and I am hungry.
00:28:34When you realise how you are, I'll be whole together.
00:28:36But see, it is no time toENCE.
00:28:38The sight is strong to do, mate.
00:28:39I cannot hold this the latest evolution ofifa,
00:28:42and let's say it's impossible to do, mate.
00:28:44I never do!
00:28:46Let's go.
00:29:16Let's go.
00:29:46Let's go.
00:30:16Let's go.
00:30:24What's the matter? What's happened?
00:30:25Somebody attacked me and smashed my bag.
00:30:28Why, good lord, it's Betty Harlan.
00:30:30Rafe Morland.
00:30:31You would go and get yourself into some kind of mix-up.
00:30:34You would arrive when it's all over.
00:30:37Well, I'm going home.
00:30:38Wait a minute.
00:30:39I was on my way to see you, strictly on business.
00:30:41You wouldn't be allowed in for any other reason.
00:30:43That's good.
00:30:44That's good.
00:30:44That's good.
00:30:45That's good.
00:30:46You wouldn't be allowed in for any other reason.
00:30:52I can't understand.
00:30:53I'm sorry.
00:30:54Let's go.
00:30:55Let's go.
00:30:55I can't understand.
00:30:56Let's go.
00:30:57Let's go.
00:30:58Come on.
00:31:20Dexay.
00:31:22Cunningham-Garrot.
00:31:23Put me as possible.
00:31:53Oh, so you brought him.
00:31:59Dear Mr. Broughton, we're delighted to see you.
00:32:02No, it isn't Mr. Broughton. It's my cousin, Rafe Morland.
00:32:05Dear Mr. Morland, we're delighted to see you.
00:32:09Wrong again. We don't like him very much.
00:32:11Oh, don't we? I didn't realise.
00:32:14Well, our two families are not on speaking terms.
00:32:16Oh, dear.
00:32:18As far as I can make out, it was started by my late uncle as a Christmas joke.
00:32:21Won't you sit down?
00:32:25But now he's dead. The trouble's all over.
00:32:28I'm not sure. It hasn't just begun.
00:32:31Where's Mr. Broughton?
00:32:33Oh, he won't come because I didn't telephone.
00:32:35I nearly got throttled instead.
00:32:37Pity!
00:32:38There was a man with a limp. He pushed a note into my hand.
00:32:41I just put it in my bag when somebody snatched the whole affair.
00:32:45What was in it?
00:32:47There's something of value at Isles Vale.
00:32:50Others are after it.
00:32:52So come.
00:32:53And Broughton was doing everything he knew to keep me away from there.
00:32:57There's a fox in the cover somewhere.
00:33:00Goodbye.
00:33:02Oh, why goodbye?
00:33:04I'm going down there right away.
00:33:06I'll let you know what happens.
00:33:07You're wrong. I'll let myself know.
00:33:09If you go, I go too.
00:33:11You can't do that.
00:33:12Alone in a house with a man you're not even on speaking terms with?
00:33:16Oh, don't be so absurd. It's not as if I even liked him.
00:33:19If another woman was going, perhaps.
00:33:22I suppose that means you want to come too.
00:33:24Well, obviously, it's my duty.
00:33:26And suppose I object?
00:33:28I'm not so broke I can't hire a car.
00:33:31Oh, all right, you win. But for goodness sake, hurry.
00:33:35Sure.
00:33:36I'll let you go.
00:33:37And if I didn't go.
00:33:38You Girls it was getting this best you can, there you are.
00:33:45You first.
00:33:46No you, hurry up.
00:33:48Girls, I was getting this as best you can. There you are.
00:33:57You first. No, you. Hurry up.
00:34:03Oh, this is an unspeakable car. There's no room for my bed.
00:34:07It looks as if I'll have to walk. It might do worse. There's a grand move. It's full.
00:34:37. . .
00:34:52. . .
00:35:35I'll see if there's a name on this gate.
00:36:00No, there's nothing to show. This is the place.
00:36:02But there aren't any other places and I'm frozen.
00:36:06Well, it's no use going to the wrong place.
00:36:08Wait a minute. Here's someone on a bike. Hi there, cocky. Wait a minute.
00:36:13Oh, hello. I'm awfully sorry. I didn't see you were a parson.
00:36:16Oh, that's all right.
00:36:19Any trouble?
00:36:19Oh, no, no. We just want to get to Owls Vale House.
00:36:24Well, this is it.
00:36:25As a matter of fact, I'm calling there myself.
00:36:28Did you know my uncle, Professor Morland?
00:36:30Oh, slightly.
00:36:31As I want to introduce myself.
00:36:33My name's Hartley, Nigel Hartley.
00:36:34I'm down at Ravenly, the vicar's ill.
00:36:37How do you do?
00:36:38I'm Rafe Morland.
00:36:41This is Miss Harlan.
00:36:42We're the heirs of the old...
00:36:44Can we have the rest of the introduction indoors?
00:36:46Yes, yes, of course.
00:36:47You must be cold.
00:36:50All right, straight down this drive.
00:36:52You go along, I'll follow.
00:36:53All right.
00:36:53Here we are.
00:37:21Here we are.
00:37:23The car will be all right here.
00:37:31I'll show you the way.
00:37:53I'll show you the way.
00:38:03Let's go.
00:38:03What a horrible house.
00:38:25I wish I was back home in bed.
00:38:30I can hear someone coming.
00:38:33I can hear someone coming.
00:38:40Ah.
00:38:45Well, don't stand about.
00:38:46Come inside.
00:39:03We'll go into the library.
00:39:18We'll go into the library.
00:39:25Come inside.
00:39:26Come inside.
00:39:27Come inside.
00:39:28Come inside.
00:39:30Come inside.
00:39:31Come inside.
00:39:32Come inside.
00:39:33Come inside.
00:39:34Come inside.
00:39:35Come inside.
00:39:36Come inside.
00:39:37Come inside.
00:39:38Come inside.
00:39:39Come inside.
00:39:40Come inside.
00:39:41Come inside.
00:39:42Come inside.
00:39:43Come inside.
00:39:44Come inside.
00:39:45Come inside.
00:39:46Come inside.
00:39:47Come inside.
00:39:49Come inside.
00:39:50Come inside.
00:39:51Come inside.
00:39:53Come inside.
00:39:54I may be old-fashioned, but I feel awkward when I am not introduced to people.
00:39:56I'm sorry. I forgot you didn't know your clients by sight.
00:40:01This is Miss Harlan.
00:40:03How do you do? I was expecting a telephone message from you.
00:40:07Oh, I was on my way to call you up when the most extraordinary thing happened.
00:40:14And this is Miss Kaney.
00:40:17How do you do?
00:40:18How do you do?
00:40:25You're a surprise, Broughton.
00:40:27I have a great deal of business to clear up down here.
00:40:31This house has needed a woman for about 25 years.
00:40:36Now I've blinded myself.
00:40:39You haven't wasted much time in getting here, Mr. Morland?
00:40:42No. Just a little too much, perhaps.
00:40:44Whatever do you mean?
00:40:45Really, you're the rudest man alive.
00:40:48Oh, pretty pussy.
00:40:51How horrible.
00:40:52It's stuffed.
00:40:54I dare say you know your own business best.
00:40:56But why you should want to bring a parson?
00:40:58A pure accident. We met at the gates.
00:41:00So naturally, you brought him in.
00:41:02Broughton, I can stand a certain amount, but no more.
00:41:04Oh, come, come. Don't let's make a battle of it.
00:41:16You stay here in the car.
00:41:17No.
00:41:19I shall be among the trees, watching.
00:41:34You may say I have no right to express this opinion,
00:41:36but to my mind it's a scandalous and disgraceful burial,
00:41:40which may have disastrous consequences.
00:41:43It would be very disastrous if he came back, wouldn't it?
00:41:46I quite see Mr. Hartley's point.
00:41:48Yes, you make friends quickly, don't you?
00:41:49An enemies quicker.
00:41:50Need we have these childish squabbles?
00:41:52We all know the dead men don't come back.
00:41:54Oh, I wish I was back home in bed.
00:42:01Hadn't somebody better answer that?
00:42:03Certainly.
00:42:05It's your house.
00:42:06Very well.
00:42:15I'm sorry to disturb you,
00:42:16but I was an intimate friend of Professor Molan.
00:42:21Well, you'd better come in.
00:42:22We seem to be giving a party.
00:42:23Oh.
00:42:25Well, thank you.
00:42:38My name is Aga ben Dragore.
00:42:41An Egyptian.
00:42:43An Arab.
00:42:45I don't remember having heard your name.
00:42:47I did not flatter myself that you would,
00:42:49but I knew Professor Molan some years ago,
00:42:52in Egypt.
00:43:02I heard of his death,
00:43:04and of his burial in my own faith,
00:43:07and I hoped, as I am leaving England tomorrow,
00:43:10that I might be allowed to visit his tomb.
00:43:13I must protest against anything of the sort.
00:43:16Why shouldn't the poor man look at his friends, too?
00:43:19I don't mind him going.
00:43:21I can't believe that you'd willingly encourage paganism.
00:43:24The Egyptians were not pagan, sir.
00:43:27As no doubt you know, Miss, er...
00:43:30Caney.
00:43:32I think you're all being very unkind to Mr. Dragore.
00:43:37I don't think you people realize quite how far
00:43:39Morland's queer ideas took him.
00:43:42He even believed that after his death at a certain hour,
00:43:44the image of Anubis would come to life in his tomb
00:43:46and receive his soul.
00:43:48It's horrible.
00:43:50Well, I can't see that it matters.
00:43:52After all, if that sort of mumbo-jumbo gave him any comfort...
00:43:55It matters a great deal.
00:43:57If my suggestion is likely to hurt anyone's feelings,
00:44:01please forget it.
00:44:02Oh, I think that's very sweet of you, Mr. Dragore.
00:44:06Oh, your sympathy is more than charm.
00:44:11Well, what about a cup of coffee after your cold drive?
00:44:15I dare say we should find some in the kitchen.
00:44:18May I offer my services as pantry man?
00:44:22Quite sweet of you.
00:44:27Come, Mr. Dragore.
00:44:32For sheer speed.
00:44:34Shall I have let him out of our sight for a moment now?
00:44:36Perhaps that's just as well.
00:44:39Come along, Reddy.
00:44:40How about making a fire in the library?
00:44:42Yes.
00:44:44I'm sorry.
00:44:45There should be this sort of atmosphere after all.
00:44:47We're only ships that pass in the night.
00:44:49Hmm.
00:44:51You want a drink or will you pass now?
00:44:53Oh, well, thank you very much.
00:45:02There you are.
00:45:15Oh, if you build it that way, there won't be any draught.
00:45:18Well, it'll be the only place in this house where there isn't one, then.
00:45:22Oh, don't you think you carry those snappy retorts a trifle too far?
00:45:25Since we met, I can't remember you saying a kind word to anyone.
00:45:30Perhaps you're right.
00:45:32I'm sorry.
00:45:42Six cups.
00:45:43Six cups.
00:45:45That's just...
00:45:47Just four too many.
00:45:49Eh?
00:45:52Tell me about Egypt.
00:45:54Have you ever seen a sheik?
00:45:58I am one.
00:46:08Oh, thank you.
00:46:10Then how should I address you?
00:46:13Oh, I'm cutting sandwiches for a sheik.
00:46:18I don't feel quite well.
00:46:20Oh, don't be alarmed.
00:46:22We're not quite as uncivilized as people think.
00:46:25Oh, don't say that.
00:46:28Do you ride a white stallion?
00:46:31Sometimes.
00:46:33Down the path of the moon.
00:46:34The noble animal plunging and frothing up the nostrils
00:46:39till it founders at your feet, faithful unto death.
00:46:43Well, not very often.
00:46:45You see, it's rather too expensive.
00:46:47I know it's not your fault.
00:46:49We were taught to hate one another, but...
00:46:51Good Lord, you don't think I hate you, do you?
00:46:53Well, I can't somehow feel I'm your dearest friend.
00:46:56You never did have a great deal of sense, did you?
00:46:59Oh, that's nice.
00:47:01Rafe, I have a woman's intuition that you and I are up against things.
00:47:06Yes, I'm pretty sure we are.
00:47:09Well then, let's cut the quarrelling.
00:47:11Shoulder to shoulder, eh?
00:47:13All right.
00:47:15Partners.
00:47:16Partners.
00:47:17Well, what a wonderful night.
00:47:34It's a full moon.
00:47:47Principal.
00:47:51At Bayou.
00:47:53Scared of a dead man in his tomb?
00:47:55Shame on yourself?
00:47:59Are you a child that your knee shall rattle at the torque of a madman?
00:48:11Look your enemy in the face!
00:48:12has got you, and will hold you fast till you stare it down.
00:48:23Do dead men walk?
00:48:26I'm no thinking a dead man will cross my path tonight.
00:48:42I'm no thinking a dead man is conscious.
00:48:45You can make a dog.
00:48:47I'm nothing to lie.
00:48:50And you don't lie.
00:48:55Now I see nothing stays day
00:48:59and I see something amazing.
00:49:02This is the message to others
00:51:11I was dreaming.
00:51:27Now I will show you how we make coffee in the desert, underneath the stars.
00:51:34But you don't make it yourself, do you?
00:51:36No, of course not.
00:51:39A Circassian slave, lovely as sin, cooks it for us, kneeling.
00:51:45And if it is not to our liking...
00:51:46I know.
00:51:48Now, she stripped to the waist and lashed for miles across the Sahara.
00:51:56Where she is finally eaten by locusts, and rightly.
00:52:00Now, take this canister and do exactly as I tell you.
00:52:06And if I fail?
00:52:09The Yorkshire malls are just behind us.
00:52:12Now, six spoonfuls.
00:52:17One.
00:52:19Two.
00:52:20Three.
00:52:21Four.
00:52:22Five.
00:52:23Two.
00:52:24Three.
00:52:25Four.
00:52:26Five.
00:52:27Two.
00:52:28Three.
00:52:29Four.
00:52:30Five.
00:52:34Five.
00:52:35Five.
00:52:44Leave me alone, you.
00:52:45Get your miles away from...
00:52:47What's the matter with you?
00:52:49Are you mad, eh?
00:52:51What was the matter with him?
00:52:52Was it drink?
00:52:53No.
00:52:54Terror.
00:52:55Stark terror.
00:52:56Oh, then I've caught it.
00:52:58You stay here.
00:53:00I'll look after him.
00:53:01If you must look after somebody, why look further?
00:53:04Eh?
00:53:05A few.
00:53:06A few.
00:53:07A few.
00:53:08A few.
00:53:09A few.
00:53:10A few.
00:53:11A few.
00:53:12A few.
00:53:13A few.
00:53:14A few.
00:53:15A few.
00:53:16A few.
00:53:17A few.
00:53:18A few.
00:53:19A few.
00:53:20Come on, then.
00:53:27Rafe! That limp, I'd swear to it anywhere.
00:53:46That's the man.
00:53:50Look here. Did you give a note to this, Emily?
00:53:54Gather up your things and get out of here.
00:53:56The master. I've seen him.
00:53:59You...
00:54:08Who screamed?
00:54:10I did.
00:54:11That's the last time I'll ever try to make coffee in a strange house.
00:54:15That man with the limp. Who was he?
00:54:17Lang. Your uncle's servant.
00:54:20Well, he seemed mad to me.
00:54:32Yes. And probably dangerous.
00:54:35You others have better go into the library. I'll have a word with him.
00:54:38Yes, come along. Mr. Broughton understands the men.
00:54:44It would do no harm to warn my man to stand by.
00:54:47Your man? Is he a sheik too?
00:54:48No. No, he's his chauffeur. He's outside now with my car.
00:54:49Oh, you're not leaving us, are you?
00:54:54Oh, you're not leaving us, are you?
00:54:55My dear lady.
00:54:59Not a very courageous person,
00:55:02our foreign friend.
00:55:03You think he's run away?
00:55:04No.
00:55:05You're not leaving us, are you?
00:55:06No.
00:55:07No, he's his chauffeur.
00:55:08He's outside now with my car.
00:55:09Oh, you're not leaving us, are you?
00:55:12You're not leaving us, are you?
00:55:15My dear lady.
00:55:25Not a very courageous person, our foreign friend.
00:55:30You think he's run away?
00:55:32Absurd.
00:55:33I'd like to see you riding your bicycle with a Circassian slave,
00:55:38lovely as sin across the handlebars.
00:55:39What on earth are you talking about?
00:55:41Now listen, good people.
00:55:42Good people?
00:55:43Don't you think perhaps we're allowing this thing to get on our nerves?
00:55:46Don't you think perhaps if we took a grip on our self-control...
00:55:49Now listen, good parson.
00:55:51This is our show, and our nerves are probably just as good as the next man's.
00:55:55So keep that sort of talk for your pulpit.
00:55:57Ray!
00:55:58Oh, well, of course, I've no wish to interfere where I'm not wanted.
00:56:00Then don't. This is not a Sunday school.
00:56:09After that, I think I can say good night.
00:56:12As you please.
00:56:18Well, I'm sorry I was offensive. Good night.
00:56:21Oh, well, the tongue is an unruly member, is it not?
00:56:24Yes.
00:56:25Yes.
00:56:35I was tempted.
00:56:38I was tempted, but I did not fall.
00:56:52I did not fall.
00:56:54The thing's safe.
00:56:56I swear it.
00:57:02When you told me you'd come back from the grave, how could I believe you?
00:57:07I never knew such things could be.
00:57:09I never knew such things could be.
00:57:37I have no got it.
00:57:38I have no got it.
00:57:39I have no got it.
00:57:40The girl.
00:57:41She has it.
00:57:42I swear it.
00:57:43Oh.
00:57:44Oh.
00:57:45Oh.
00:57:46What?
00:57:47Oh a enamor.
00:57:48Oh.
00:57:49What?
00:57:50What?
00:57:52Oh a enamor.
00:57:53Uh?
00:57:54Oh.
00:57:55Oh!
00:57:56Oh.
00:57:57Oh, my God.
00:57:58I swear it.
00:58:00What's the matter with you?
00:58:28You look as if you've seen a ghost.
00:58:31I have.
00:58:34I saw Morlant as plainly as I see you.
00:58:40I'm going to mix myself a drink.
00:58:50Betty, just a minute.
00:58:55Well?
00:58:56I have an idea they're trying to scare us out of this house.
00:59:02I have an idea they're trying to scare us out of this house.
00:59:09I have an idea they're trying to scare us out of this house.
00:59:15I have an idea they're trying to scare us out of this house.
00:59:22I have an idea they're trying to scare us out of this house.
00:59:30I have an idea they're trying to scare us out of this house.
00:59:42I can't let them go if they're trying to scare us out of this house.
00:59:51Now, there's no use blinding ourselves to the fact.
01:00:09There must be something pretty big at stake.
01:00:11Something that depends on getting rid of us.
01:00:14That's how it looks to me.
01:00:16Well, what are we going to do?
01:00:21Well, what are we going to do?
01:00:51Well, what are we going to do?
01:01:21Well, what are we going to do?
01:01:22Well, what are we going to do?
01:01:23Well, what are we going to do?
01:01:24Well, what are we going to do?
01:01:25What are we going to do?
01:01:26Well, what are we going to do?
01:01:27Well, what are we going to do?
01:01:28Well, what are we going to do?
01:01:29Well, what are we going to do?
01:01:30Well, what are we going to do?
01:01:31Well, what are we going to do?
01:01:32Well, what are we going to do?
01:01:33Well, what are we going to do?
01:01:34Well, what are we going to do?
01:01:35Well, I don't want to be left here alone.
01:01:36Can I come too?
01:01:37There's nothing wrong with your nerve.
01:01:38Come on.
01:01:39I'll put on a pullover and some thicker shoes.
01:01:40All right.
01:01:41Is this yours?
01:01:42Yes.
01:01:43I'll keep an eye on Broughton.
01:01:44I'll keep an eye on Broughton.
01:01:45I'll keep an eye on Broughton.
01:01:46Come on, come on.
01:01:47Come on.
01:01:48I'll be at the box.
01:01:49All right.
01:01:50I'll be at the market and some thicker shoes.
01:01:51All right.
01:01:52This yours?
01:01:53Yes.
01:01:54Now, what are we going to do?
01:01:55Do you what are we going to do?
01:01:56Why are we giving you anything on round here?
01:01:57Well, I don't want to be left here alone.
01:01:59Can I come too?
01:02:00There's nothing wrong with your nerve.
01:02:01Come on.
01:02:02I'll put on a pullover and some thicker shoes.
01:02:03All right.
01:02:04Is this yours?
01:02:05Yes.
01:02:06I'll keep an eye on Broughton.
01:02:09All right.
01:02:11Is this yours?
01:02:12Yes.
01:02:13I'll keep an eye on Broughton.
01:02:16Well, I think you've every chance of seeing things if you lower scotch at that pace.
01:04:54Mr. Gagore, Mr. Gagore, Mr. Gagore!
01:05:24Oh, there you are! Oh, Mr. Gagore, I'll come up to you!
01:05:32Wait. I'll come down.
01:05:40What do you want?
01:05:42There was somebody in the library.
01:05:44Who?
01:05:45I don't know. The door, it's shut! It's shut!
01:05:49Don't scream!
01:05:50Oh, that's what I need.
01:05:53The command in your wonderful voice.
01:06:00Come with me.
01:06:02I think you've gone far enough with your insinuations.
01:06:05Yes, and I may go a great deal farther.
01:06:10What is it? What's the matter?
01:06:11I've seen him.
01:06:12Now, perhaps you believe what I told you.
01:06:22Get me a glass of water, quickly, will you?
01:06:24Here you go.
01:06:27Here you go.
01:06:31Here you go.
01:07:02Thanks. I wasn't hurt. I'm only frightened.
01:07:28It's wonderful to be with a man who isn't afraid.
01:07:40I am afraid.
01:07:42You, who have ridden barebacked over the desert.
01:07:46If you don't stop chattering, I'm afraid I shall have a knife in my back.
01:07:49But when I'm with you, I have to talk. It comes like poetry.
01:07:55Are you prepared to obey me?
01:07:57In anything.
01:07:59Then close your eyes and don't speak for ten seconds.
01:08:19You, who have ridden barebacked over the desert.
01:08:49We'll all panic sometimes.
01:08:51I've held his hands on me.
01:08:52That's why I know it was no ghost.
01:08:54It was no ghost.
01:08:56Look at the clock. It's nearing the hour.
01:09:00I know where you'll find him now.
01:09:03He's gone back to the tomb, to his heathen gods.
01:09:08Then you and I will follow in there.
01:09:10Wait a minute.
01:09:11What's his doctor's telephone number?
01:09:14Jaxford, 72.
01:09:15Jaxford, 72.
01:09:16Jaxford, 72.
01:09:27Jaxford, 72.
01:09:29Jaxford, 73.
01:09:34The End
01:10:04Look, the door's open and there's a light.
01:10:23I'll go no nearer. I'll go no nearer.
01:10:29I can see a shadow moving.
01:10:31I'll go no nearer.
01:10:33Well, then, go back.
01:10:36What about it, Betty?
01:10:38Do we go on?
01:10:40Yes, of course.
01:10:43Thought you'd say that.
01:11:03There's a light.
01:11:11There's a light.
01:11:13There's a light.
01:11:14There's a light.
01:11:44Oh, my God.
01:12:14Oh, my God.
01:12:44Oh, my God.
01:12:51Hartley.
01:12:52So you're not a parson, just a dirty cook.
01:12:58You'd better get out of my way.
01:13:02Your hand, eh?
01:13:04So that's how it was done.
01:13:06I wouldn't come any nearer.
01:13:08I don't have to.
01:13:16Look.
01:13:17If you please.
01:13:19Come on now.
01:13:20Come on now.
01:13:30Come on now.
01:13:40Come on now.
01:13:42Come on now.
01:13:44Come on now.
01:13:46Come on now.
01:13:48Come on.
01:13:50Come on now.
01:13:54Come on.
01:13:56Come on now.
01:13:58Come on.
01:14:00I...
01:14:03Get out of here!
01:14:30The door!
01:14:40It's too late. Are you badly hurt?
01:14:42No, no, it's nothing.
01:14:44Go to sit down.
01:14:46Where's the key?
01:14:48He threw it away.
01:15:00When I phoned the doctor, I told him to ring the police.
01:15:03They ought to find us somehow.
01:15:05Even if they do come, how could they break down that door?
01:15:13They'll find a way.
01:15:19I'll make a bandage.
01:15:21The doctor in charge didn't understand the case.
01:15:32I'm afraid of catalepsy.
01:15:34Leave him.
01:15:35Morlant was buried alive.
01:15:37Oh, Mr. Dragore.
01:15:39What were those shots?
01:15:41Out of my way.
01:15:42Where are the others?
01:15:44Leave me alone!
01:15:51Oh!
01:16:08I rather thought you might be leaving in a hurry...
01:16:10...with something in your pocket that doesn't belong to you.
01:16:13Hand it over.
01:16:16You win.
01:16:21You win.
01:16:27That woman!
01:16:28There she is!
01:16:29Come now.
01:16:30Oh, you put up wrong. Come, you fool.
01:16:31I tell you, she's got it.
01:16:37Come on, man.
01:16:48Stop!
01:16:49Now, Miss Caney, if you please.
01:16:51I don't think so.
01:16:52You fool!
01:16:53If either of you two horrible men...
01:16:56...so much as move, in it goes.
01:16:58But you don't know the value of that jewel.
01:17:00I don't care for the value.
01:17:01It'll go.
01:17:04And if you shoot, I'll go with it.
01:17:08I mean it.
01:17:09Down 30 feet.
01:17:10And about 60 feet of water.
01:17:13And...
01:17:14And...
01:17:15And then Australia.
01:17:17I can't see to tie this.
01:17:21That light seems much lower.
01:17:23That light seems much lower.
01:17:42Hartley!
01:17:43Quick!
01:17:44Come on!
01:17:45Get out!
01:17:46The door!
01:17:47The door!
01:17:48The door!
01:17:49It's shut!
01:17:50The flames!
01:17:51They mustn't reach the door!
01:17:52It's shut!
01:17:53The flames!
01:17:54They mustn't reach the door!
01:17:55It's no good.
01:17:56You can't breathe in there.
01:17:57I can't reach...
01:17:58It's shut!
01:18:00I can't breathe!
01:18:01It's...
01:18:03It's...
01:18:04The...
01:18:05It's...
01:18:06It's...
01:18:07It's...
01:18:08It's...
01:18:10It's here!
01:18:11It's only...
01:18:13It's no good. You can't breathe in there.
01:18:18The cartridge!
01:18:21It's here. The only...
01:18:26The only...
01:18:31I've had nothing, Mrs. Keeney.
01:18:33Supposing I'm ready to shoot and take the risk?
01:18:36You'd be taking a bigger risk than you think.
01:18:40I'll take that gun, thank you.
01:18:41Now, look here.
01:18:42That'll do. Now, what's the trouble?
01:18:44This. The rafters. All of them. They belong.
01:18:52I'll carry her to the house.
01:19:05Get back!
01:19:07Make in that corner!
01:19:37Be right there, O.
01:19:39Be right there.
01:19:41The rafters.
01:19:43The rafters.
01:19:47The rafters.
01:19:50The End
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