The Ghoul (1933) – Boris Karloff British Horror - video Dailymotion

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The Ghoul (1933) is a British supernatural horror film directed by T. Hayes Hunter and starring Boris Karloff. It follows Professor Henry Morlant, an Egyptologist who believes that an ancient jewel known as the Eternal Light will grant him resurrection if offered to the god Anubis. After Morlant dies, the jewel is stolen, and — as he predicted — he rises from the dead under the full moon to reclaim it, killing those who betrayed him.   The film features an ensemble cast including Cedric Hardwicke, Ernest Thesiger, Dorothy Hyson, and Ralph Richardson in his first credited screen role. It was produced by Gaumont‑British Picture Corporation and released in the UK in August 1933. Long believed lost, it was rediscovered decades later through surviving foreign prints and eventually restored by the British Film Institute.   Film Details Title: The Ghoul Year: 1933 Genre: Horror / Supernatural Director: T. Hayes Hunter Writers: Roland Pertwee, John Hastings Turner, Rupert Downing (adaptation) Based on: Play by Dr. Frank King & Leonard Hines Produced by: Michael Balcon Starring: Boris Karloff, Cedric Hardwicke, Ernest Thesiger, Dorothy Hyson, Ralph Richardson Cinematography: Günther Krampf Editing: Ian Dalrymple, Ralph Kemplen Music: Louis Levy, Leighton Lucas Studio: Gaumont‑British Picture Corporation Distributed by: Woolf & Freedman Film Service Release Dates: 6 August 1933 (London premiere) 7 August 1933 (UK) 25 November 1933 (US) Runtime: 77 minutes Country: United Kingdom Language: English Budget: Just under £40,000   #TheGhoul1933 #BorisKarloff #BritishHorror #GaumontBritish #ClassicHorror #CedricHardwicke #ErnestThesiger #RalphRichardson #EgyptianHorror #LostFilmRestored

Transcript

00:00:00The End

00:00:37The End

00:01:01The End

00:01:35The End

00:01:37The End

00:02:02We don't want to buy no line owner nothing

00:02:04Mr. Dragore please

00:02:07Oh, I'm

00:02:16The End

00:02:45No sound please

00:02:47After two years I find you

00:02:50I want the eternal light

00:02:52You found me too late

00:02:54It's no longer mine

00:03:02I can kill with this from the end of the room

00:03:04No lies please

00:03:07You cannot kill in England Mahmood

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

00:03:17The eternal light goes back to the tomb from which you stole it

00:03:21But I tell you, I have not got it

00:03:23Please, I am not a child

00:03:27I sold it

00:03:28I sold it

00:03:29To whom did you sell it?

00:03:31To Professor Morland

00:03:34That robber of the dead

00:03:38Has he sold it?

00:03:39He did not buy to sell

00:03:41What then?

00:03:41Like you, Mahmood

00:03:42She believes

00:03:43Believes?

00:03:45He believes that the eternal light will open for him the gates of paradise?

00:03:49Even so

00:03:50He gave the best part of his fortune for it

00:03:52And very soon he will know whether or not he was right

00:03:56What do you mean?

00:03:58Professor Morland

00:04:00Is 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

00:04:10Until he is dead

00:04:21A newness

00:04:27Opener of the way

00:05:03What's that?

00:05:13Well, what is it?

00:05:14Good evening

00:05:16I happen to be staying in the neighbourhood

00:05:17And hearing of your master's illness

00:05:19I took the liberty of calling

00:05:21How is he tonight?

00:05:23He'll never see the morning

00:05:24He hasn't asked for anyone of my cloth

00:05:26Nor will he

00:05:27He's set in his ways

00:05:29And they are the ways of the heathen

00:05:31I know he won't see the rector

00:05:32But 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

00:05:38As he has lived

00:05:39Still, sometimes at the end

00:05:40Not with him

00:05:42He's stubborn and unbending

00:05:44And will be so at the throne itself

00:05:48Well, I suppose I can be of no use then

00:05:50No manner of use

00:05:55Good night

00:06:09He's asking for you

00:06:13Where can I find Mr. Brabham?

00:06:30Wizard

00:06:31Come in or go out

00:06:42You'll have to go up soon

00:06:44If you want to see him again

00:06:50Curious house, this

00:06:52Curious owner

00:06:53Yes, but I suppose

00:06:54A great Egyptologist

00:06:55Can't be expected

00:06:56To be like other people

00:06:57Well, he'll be like

00:06:58A 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?

00:07:07That's, uh...

00:07:08Across the hall, isn't it?

00:07:10I dare say

00:07:11Thanks

00:07:2175,000

00:07:24September 22nd, 1931

00:07:45Daily journal

00:07:571922

00:08:01The eternal light

00:08:04Mine at last

00:08:32I want to see you there

00:08:36And here

00:08:38Is the door shut?

00:08:44It is

00:08:45No listeners

00:08:47None

00:08:50The curtains

00:08:52They are drawn

00:08:56Come near

00:09:12This man

00:09:13This man

00:09:14Brackham

00:09:16Watch

00:09:18Brackham

00:09:19You were always suspicious

00:09:21Have you ever trusted a living soul?

00:09:24Fool

00:09:25Only fools

00:09:29I trust you

00:09:31Better to trust in the spirit than in the flesh

00:09:35I put my trust

00:09:38In my own gods

00:09:43And now

00:09:45When I am dead

00:09:48My funeral

00:09:51You will bury me at dusk

00:09:53In the clothes

00:09:55I told you

00:09:58You will place the figure of Anubis

00:10:01At the west of the inner chamber

00:10:05I will

00:10:08And on the night

00:10:09Of the full moon

00:10:15At the first hour

00:10:18I will make my offering

00:10:21Of the eternal light

00:10:23To Anubis

00:10:27Opener of the ways

00:10:32If I have done well

00:10:35In his sight

00:10:38Those fingers will close over the jewel

00:10:46And he will open to me

00:10:48The gates of immortality

00:10:51The hand of a heathen image

00:10:54Will now come to life

00:10:55Ah

00:10:56The bandage

00:10:58The bandage

00:11:39Look

00:11:45This

00:11:46Is the eternal light

00:11:52It must rest

00:11:53In my hand

00:11:56A man will no find peace

00:11:58Who robs his heirs

00:12:01Bandage

00:12:02My hand

00:12:03The eternal light

00:12:06Must lie with me

00:12:08In the tomb

00:12:10You are afraid of me

00:12:13I am afraid for you

00:12:16If this should leave me

00:12:20Then you'll have reason

00:12:22To fear

00:12:25For when the full moon

00:12:28Strikes the door of my tomb

00:12:32I will come back

00:12:35You hear?

00:12:37I will come back

00:12:39To kill

00:12:44Bandage

00:12:44My hand

00:12:47My hand

00:12:49My hand

00:13:27Doctor

00:13:29Doctor

00:13:33Doctor

00:13:35Doctor

00:13:35Beep?

00:13:53Windows...

00:13:55Opened...

00:13:57Opened...

00:14:28It's all over.

00:14:34Make out a certificate. Heart failure.

00:14:40What was the idea of bandaging his hand like that?

00:14:44I cannot say. He had many a queer fancy.

00:14:51I'll be around in the morning to sign the certificate.

00:15:00I'll not be leaving my master aside till his body is laid to rest.

00:15:04Ah.

00:15:37Ah.

00:15:44Ah.

00:15:48Ah.

00:15:49Ah.

00:15:50Ah.

00:15:59Ah.

00:16:04Ah.

00:16:55Where are you going?

00:16:57To feed the lamp that is to burn inside.

00:17:33It's all wrong.

00:17:34It's disgraceful.

00:17:36Yes, I agree.

00:17:37It's so disgraceful.

00:18:41You're leaving the key inside.

00:18:43Aye, that 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.

00:19:14Do you know anything about it?

00:19:16Nothing.

00:19:17I advise you to be very careful, Lang.

00:19:20I 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.

00:19:37You may be.

00:19:38You may be.

00:19:39I'm sorry.

00:19:39Let's go.

00:20:08Davis.

00:20:10I want you to stay here and watch that man with a club foot.

00:20:14I'm not a detective, Mr. Burton.

00:20:16One more word from you, Davis, and you're out of work.

00:20:19I have reason to believe that he has stolen a valuable piece of property.

00:20:23He may make an effort to get rid of it.

00:20:25Watch him and telephone me at my office if he leaves the house.

00:20:29Very good, sir.

00:20:58Let's go.

00:20:59Let's go.

00:21:03Let's go.

00:21:07Let's go.

00:21:16Let's go.

00:21:19Let's go.

00:21:29Let's go.

00:21:30Let's go.

00:21:47Let's go.

00:21:48Let's go.

00:21:50Let's go.

00:21:53Let's go.

00:22:08Let's go.

00:22:11Let's go.

00:22:14Let's go.

00:22:16Let's go.

00:22:28Let's go.

00:22:34Let's go.

00:22:35Let's go.

00:22:45Let's go.

00:22:46Let's go.

00:22:46Carry up.

00:22:54From Ramson's.

00:22:57Ten shillings if you'll drive me to Yaksford station in time to catch the five o'clock train.

00:23:01I'll oblige you, Governor. I was going straight back as it was.

00:23:30That's a very old carpet, Mr. Morland. I shall be glad if you will not kick it to pieces.

00:23:34I'm sorry. When I'm angry, I do kick.

00:23:37You're good enough to explain that.

00:23:39Yes, I intend to.

00:23:42By your own statement, Miss Holland and I are the sole heirs of Professor Morland.

00:23:45We were informed neither of his death nor of his funeral.

00:23:47Your uncle died and was buried in a certain way according to his wishes, which need I go on.

00:23:54Almost his last words were a threat to return from the dead.

00:23:59In my opinion, he was mad.

00:24:01Well, that may be so, but Miss Holland and I should have been consulted.

00:24:04But I understood that you and Miss Holland were not on speaking terms.

00:24:07Oh, what of that? You expect quiet at a funeral, don't you?

00:24:09Yes, I also expect it in my office.

00:24:11I'm very sorry, but after all, this means a good deal to both of us.

00:24:14My uncle was worth about four thousand a year.

00:24:16Well, he isn't now.

00:24:18What do you mean by that?

00:24:20He spent a good deal, you know.

00:24:21Well, it may surprise you to know that some time ago he drew a cheque for £75,000.

00:24:28What for?

00:24:30I don't know.

00:24:31You don't know?

00:24:32You were in charge of all his affairs and you don't know?

00:24:34That's what I said.

00:24:37And I advise you to look after the tone of your voice.

00:24:40I'm not at all sure.

00:24:41I haven't much more important things to look after than the tone of my voice.

00:24:44I don't follow you.

00:24:46I'm going to run down to Owlsville House tomorrow morning.

00:24:49Yes, why, I don't think you realise the conditions that you'll find there.

00:24:56No.

00:24:57That's why I propose to go.

00:24:58You won't like it.

00:25:00You'll be most uncomfortable.

00:25:02You don't advise me to go?

00:25:04I think you'll be making a very big mistake.

00:25:08Then I'll go.

00:25:10Oh, by the way, does Miss Harland know anything about this will business?

00:25:14No doubt she will have received a letter from me by now.

00:25:17Do you know, Miss Harland?

00:25:18No.

00:25:20I propose to give myself the pleasure of calling upon her this evening.

00:25:26Hello.

00:25:27Oh, it's you, Davies.

00:25:29Wait a minute.

00:25:29I have a visitor here, but I think he's just going.

00:25:33Thank you very much.

00:25:35If you're going to see Miss Harland tonight, I shall be there myself.

00:25:38No doubt you will succeed in making a painful interview intolerable.

00:25:42Good afternoon.

00:25:44Your manner must help your practice a great deal.

00:25:54Now, Davies.

00:26:05Can you direct me to Blountford Street, please?

00:26:08Follow the tram lines, close on a mile, and then turn right to the church.

00:26:11I'm obliged to you.

00:26:41Oh, hello, Caney.

00:26:43Oh.

00:26:44Oh.

00:26:45Oh.

00:26:47Oh.

00:26:55Oh, it's good to get out of that fog.

00:26:57My dear, a most exciting thing has happened.

00:27:00Oh!

00:27:01Oh, don't let it happen again.

00:27:02No, not that.

00:27:04That's a chestnut.

00:27:05Oh.

00:27:05It's this.

00:27:07It looks like a solicitor's letter.

00:27:09It's just been delivered by hand.

00:27:11Oh, dear.

00:27:12What haven't we paid?

00:27:13I wonder if I'm going to get a shock or not.

00:27:16Oh!

00:27:17Oh, Caney, that is a silly game.

00:27:20After all we've said about Uncle Henry.

00:27:23What do you think he's done?

00:27:24Something nice at last.

00:27:26Oh, he's dead.

00:27:27My dear, I'm sorry.

00:27:30And his solicitor wants to see me.

00:27:32My dear, I'm glad.

00:27:34He was awfully rich, wasn't he?

00:27:36He may have left you a fortune.

00:27:38If he has, I'll buy you a private cinema.

00:27:41Oh!

00:27:42I say, when did this letter come?

00:27:44A few minutes ago.

00:27:45Why?

00:27:46He asked me to telephone him if I could see him here at six.

00:27:50You 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.

00:28:03Yes, sir.

00:28:07Yeah.

00:28:32Thank you, my dear.

00:28:33Thank you, I'm very much.

00:28:44Oh, my God.

00:29:03Oh, my God.

00:29:43Miss Harland?

00:29:45Yes?

00:29:54Oh, my God.

00:30:24What's the matter?

00:30:24What's happened?

00:30:25Somebody attacked me and smashed my bag.

00:30:27Why, good Lord, it's Betty Harland.

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.

00:30:36Well, I'm going home.

00:30:37Wait a minute.

00:30:38I 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.

00:30:44I'm sorry.

00:30:46Oh.

00:31:19Dixie, Cunningham garage, quickly as possible.

00:31:57Oh, 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.

00:32:15Well, our two families are not on speaking terms.

00:32:17Oh, dear.

00:32:18As far as I can make out, it was started by my late uncle as a Christmas joke.

00:32:22Won't you sit down?

00:32:25But now he's dead. The trouble's all over.

00:32:29I'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.

00:32:38Betty!

00:32:38There was a man with a limp.

00:32:40He pushed a note into my hand.

00:32:42I just put it in my bag when somebody snatched the whole affair.

00:32:46What was in it?

00:32:47There's something of value at Owls 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.

00:32:58There's a fox in the cover somewhere.

00:33:00Goodbye.

00:33:03Why 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.

00:33:12What? Alone in a house with a man you're not even on speaking terms with?

00:33:17Oh, don't be so absurd.

00:33:18It's not as if I even liked him.

00:33:20If 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?

00:33:29I'm not so broke I can't hire a car.

00:33:32Oh, all right, you win.

00:33:34But for goodness sake, hurry.

00:33:49Girls, I'm just getting this as best you can.

00:33:51There you are.

00:33:57You first.

00:33:58No, you. Hurry up.

00:34:03Oh, this is an unspeakable car.

00:34:05There's no roof.

00:34:06Come on, babe.

00:34:07All right, girl.

00:34:11All right.

00:34:17It looks as if I'll have to walk.

00:34:20It might do worse.

00:34:21There's a grand moon.

00:34:23It's full.

00:34:42Let's go.

00:34:57I love you.

00:36:01This 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.

00:36:08Here's someone on a bike.

00:36:09Hi there, cocky.

00:36:10Wait a minute.

00:36:12Oh, hello.

00:36:14I'm awfully sorry.

00:36:15I didn't see you were a farson.

00:36:16Oh, that's all right.

00:36:18Any trouble?

00:36:19Oh, no, no.

00:36:20We just want to get to Owls Vale House.

00:36:24Well, this is it.

00:36:25Yes.

00:36:25As a matter of fact, I'm calling there myself.

00:36:27Did you know my uncle?

00:36:29Professor Morland.

00:36:30Oh, slightly.

00:36:31Perhaps I ought to introduce myself.

00:36:32My name's Hartley, Nigel Hartley.

00:36:34I'm down at Raveley.

00:36:36The vicar's ill.

00:36:37How do you do?

00:36:38I'm Rafe Morland.

00:36:40This is Miss Harlem.

00:36:42We're the heirs of the old...

00:36:43Couldn't 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.

00:36:51You go along.

00:36:52I'll follow.

00:36:52All right.

00:37:20Here we are.

00:37:28Carl will be all right here.

00:37:31I'll show you the way.

00:37:39...

00:37:50...

00:37:53...

00:38:23What's up, Haru?

00:38:24It's a horrible house. I wish I was back home in bed.

00:38:30I can hear someone coming.

00:38:40Ah.

00:38:44Well, don't stand about. Come inside.

00:39:20We'll go into the library.

00:39:50We'll go into the library.

00:39:53I may be old-fashioned, but I feel awkward when I'm not introduced to people.

00:39:57I'm sorry. I forgot you didn't know your clients by sight.

00:40:02This is Miss Harlan.

00:40:04How do you do? I was expecting a telephone message from you.

00:40:08Oh, I was on my way to call you up when the most extraordinary thing happened.

00:40:14And this is Miss Kanin.

00:40:18How do you do?

00:40:25You're a surprise, Broughton.

00:40:28I have a great deal of business to clear up down here.

00:40:30This house has needed a woman for about 25 years.

00:40:36Ah, now 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.

00:40:45Whatever do you mean?

00:40:46Really, you're the rudest man alive.

00:40:49Oh, pretty pussy.

00:40:51How horrible.

00:40:52It's stuffed.

00:40:54I dare say you know your own business best.

00:40:57But why you should want to bring a parson?

00:40:59A pure accident. We met at the gates.

00:41:01So naturally, you brought him in.

00:41:02Broughton, I can stand a certain amount, but no more.

00:41:04Ah, come, come. Don't let's make a battle of it.

00:41:16You stay here in the car.

00:41:18No.

00:41:19I shall be among the trees, watching.

00:41:35You may say I have no right to express this opinion, but to my mind, it's a scandalous and disgraceful

00:41:40burial, which 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?

00:41:49The enemy's quicker.

00:41:49Need we have these childish squabbles?

00:41:52We all know the dead men don't come back.

00:41:58Oh, I wish I was back home in bed.

00:42:02Hadn't somebody better answer that?

00:42:04Certainly.

00:42:05And your house?

00:42:06Very well.

00:42:15I'm sorry to disturb you, but I was an intimate friend of Professor Molan.

00:42:21Well, you'd better come in. We seem to be giving a party.

00:42:23Oh.

00:42:25Oh.

00:42:26Oh, thank you.

00:42:38My name is Aga ben Dragore.

00:42:41An Egyptian.

00:42:43An Arab.

00:42:44I don't remember having heard your name.

00:42:46I did not flatter myself that you would, but I knew Professor Molan some years ago, in Egypt.

00:43:02I heard of his death, and of his burial in my own faith, and I hoped, as I am leaving

00:43:09England tomorrow, that 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 friend's tomb?

00:43:19I don't mind him going.

00:43:21I can't believe that you'd willingly encourage paganism.

00:43:25The Egyptians were not pagan, sir.

00:43:28As no doubt you know, Miss, er...

00:43:31Caney.

00:43:33I think you're all being very unkind to Mr. Dragore.

00:43:37I don't think you people realise quite how far Molan's queer ideas took him.

00:43:42He even believed that after his death at a certain hour, the image of Anubis would come to life in

00:43:46his tomb and 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, I'd...

00:43:56It matters a great deal.

00:43:57If my suggestion is likely to hurt anyone's feelings, please forget it.

00:44:03Oh, I think that's very sweet of you, Mr. Dragore.

00:44:07Oh, your sympathy is more than charming.

00:44:11Well, what about a cup of coffee after your cold drive?

00:44:16I dare say we should find some in the kitchen.

00:44:18May I offer my services as pantry man?

00:44:23Quite sweet of you.

00:44:28Come, Mr. Dragore.

00:44:32For sheer speed.

00:44:34If you'll not let him out of our sight for a moment now.

00:44:36Perhaps that's just as well.

00:44:40Come along, Betty.

00:44:41How about making a fire in the library?

00:44:42Yes.

00:44:44I'm sorry.

00:44:45There should be this sort of atmosphere.

00:44:47After all, we're only ships that pass in the night.

00:44:49Hmm.

00:44:50You want a drink or will you pass now?

00:44:53I...

00:44:53Oh, well, thank you very much.

00:45:02There you are.

00:45:16Well, if you build it that way, there won't be any draft.

00:45:19Well, it'll be the only place in this house where there isn't one, then.

00:45:23Oh, don't you think you carry those snappy retorts a trifle too far?

00:45:26Since 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.

00:45:45That'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.

00:46:07Oh, thank you.

00:46:11Then how should I address you?

00:46:14Oh, I'm cutting sandwiches for a sheik.

00:46:18I don't feel quite well.

00:46:21Oh, 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.

00:46:32Oh, down the path of the moon.

00:46:35The noble animal plunging and frothing at the nostrils

00:46:40till it founders at your feet, faithful unto death.

00:46:44Well, not very often.

00:46:45You see, it's rather too expensive.

00:46:48I know it's not your fault.

00:46:50We 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.

00:46:57You never did have a great deal of sense, did you?

00:46:59Oh, that's nice.

00:47:03Rafe, I have a woman's intuition that you and I are up against things.

00:47:08Yes, I'm pretty sure we are.

00:47:09Well, then, let's cut the quarreling.

00:47:12Shoulder to shoulder, eh?

00:47:13All right.

00:47:15Partners.

00:47:16Partners.

00:47:17Ah.

00:47:31Oh, what a wonderful night.

00:47:34It's a full moon.

00:47:52Scared of a dead man in his tomb?

00:47:55Shame on yourself.

00:47:59Are you a child that your knee should rattle at the talk of a madman?

00:48:07Look your enemy in the face.

00:48:10It's the fear the big door has got you.

00:48:13And 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.

00:48:40Let's give a look.

00:48:40Oh, yes.

00:49:00It's a good thing.

00:49:00Yes, I love you.

00:49:00Listen to me.

00:49:03Listen to me.

00:49:04I'm so sorry.

00:49:13Oh, my God.

00:49:34Oh, my God.

00:50:04Oh, my God.

00:50:47Oh, my God.

00:50:50Oh, my God.

00:50:51Oh, my God.

00:50:58Oh, my God.

00:51:09Oh, my God.

00:51:10Oh, my God.

00:51:14Oh, my God.

00:51:43Oh, my God.

00:51:56Where she is finally eaten by locusts, and rightly.

00:52:02Now, take this canister and do exactly as I tell you.

00:52:06Oh, and if I fail...

00:52:10And if I fail...

00:52:10The Yorkshire malls are just behind us.

00:52:14Now, six spoonfuls.

00:52:17One, two, three, four,

00:52:34five, three, four, five, five, five, five, five, five, five, five, five, six, six, six, six, seven, six, seven, six,

00:52:46seven, seven, seven, seven, seven, seven, seven, seven, seven, seven, seven, seven, seven, seven, seven, seven, seven, seven, seven, seven,

00:52:50seven, seven, seven, seven, seven, seven, seven, seven, seven, seven, seven, seven, seven, seven, seven, seven, seven, seven, seven, seven,

00:52:50seven, seven, seven, seven, seven, seven, seven, seven, seven, seven, seven, seven

00:53:00What was the matter with him? Was it drink?

00:53:04No. Terror. Stark terror.

00:53:08Oh, then I've caught it.

00:53:11You stay here. I'll look after him.

00:53:15If you must look after somebody, why look further?

00:53:19Eh? Come on, then.

00:53:28Rafe, that limp, I'd swear to it anywhere.

00:53:47That's the man.

00:53:53Look here, did you give a note to this enemy?

00:53:54Gather up your things and get out of here.

00:53:56The master, I've seen him.

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?

00:54:18Lang, your uncle's servant.

00:54:21Well, he seemed mad to me.

00:54:33Yes.

00:54:34And probably dangerous.

00:54:37You others had better go into the library. I'll have a word with him.

00:54:40Yes, come along.

00:54:41Mr. Broughton understands the man.

00:54:58It would do no harm to warn my man to stand by.

00:55:01Your man? Is he a sheik, too?

00:55:03No.

00:55:04No.

00:55:04No, he's his chauffeur.

00:55:05He's outside now with my car.

00:55:11Oh, you're not leaving us, are you?

00:55:15My dear lady.

00:55:26Not a very courageous person, our foreign friend.

00:55:30You think he's run away?

00:55:33Absurd.

00:55:34I'd like to see you riding your bicycle with a Circassian slave, lovely as sin, across the handlebars.

00:55:40What on earth are you talking about?

00:55:42Now, listen, good people.

00:55:43Good people?

00:55:44Don't you think perhaps we're allowing this thing to get on our nerves?

00:55:47Don't you think perhaps if we took a grip on our self-control?

00:55:50Now, listen, good parson.

00:55:52This is our show, and our nerves are probably just as good as the next man's.

00:55:56So keep that sort of talk for your pulpit.

00:55:58Why?

00:55:59Oh, well, of course.

00:55:59I've no wish to interfere where I'm not wanted.

00:56:01Then don't.

00:56:02This is not a Sunday school.

00:56:09After that, I think I can say good night.

00:56:12As you please.

00:56:19Well, I'm sorry I was offensive.

00:56:20Good 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.

00:57:28No!

00:57:50No!

00:57:51I have no got it. I have no got it.

00:57:56The girl, she has it. I swear it.

00:58:27I want to know what's the matter with you. You look as if you've seen a ghost.

00:58:31I have.

00:58:33I saw Morland as plainly as I see you.

00:58:39I'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.

00:59:35I have an idea they're trying to scare us out of this house.

00:59:36I'm going to mix myself up.

00:59:37I'm going to mix myself up.

00:59:41I'm going to mix myself up.

00:59:44I'm going to mix myself up.

00:59:51I'm going to mix myself up.

01:00:06Now, there's no use blinding ourselves to the facts.

01:00:08There 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?

01:01:05What are we going to do?

01:01:33Who's there?

01:01:39Who's there?

01:01:41Betty, I'm going down to that tomb and find out whether it's the only way we've got of finding out

01:01:45what's going on round here.

01:01:46Well, I don't want to be left here alone.

01:01:48Can I come too?

01:01:50There's nothing wrong with your nerve. Come on.

01:02:04I'll put on a pullover and some thicker shoes.

01:02:06All right.

01:02:07Is this yours?

01:02:08Yes.

01:02:09I'll keep an eye on Broughton.

01:02:25Well, I think you've every chance of seeing things if you lower scotch at that pace.

01:02:31Yes.

01:02:41Yes.

01:02:47Yes.

01:02:50Yes.

01:02:57Yes.

01:03:06Yes.

01:03:07Yes.

01:03:08Yes.

01:03:09Yes.

01:03:19Just come on.

01:03:21Yes.

01:03:24Yes.

01:03:25Yes.

01:03:29Yes.

01:03:31Yes.

01:03:47Oh.

01:03:49Oh.

01:03:50Oh.

01:03:51Oh.

01:03:52Oh.

01:03:59Come on.

01:04:22Come on.

01:04:53Come on.

01:04:56Come on.

01:05:09Come on.

01:05:17Mr. Dregore!

01:05:18Mr. Dregore!

01:05:20Mr. Dregore!

01:05:23Oh, there you are.

01:05:25Oh, Mr. Dregore!

01:05:27I'll come up to you!

01:05:32Wait.

01:05:33I'll come down.

01:05:40What do you want?

01:05:41There was somebody in the library!

01:05:44Who?

01:05:44I don't know.

01:05:46The door!

01:05:47It's shut!

01:05:48It's shut!

01:05:49I...

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.

01:06:02Come 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?

01:06:10What's the matter?

01:06:11What is it?

01:06:11I've seen him.

01:06:19Now, perhaps you believe what I told you.

01:06:22Get me a glass of water quickly, will you?

01:06:24Or do you know?

01:06:40At the end of the day.

01:06:42Or do you know?

01:06:47Where are you?

01:06:47Yeah.

01:06:47Or do you know?

01:06:52I can't see you.

01:06:52I can see you.

01:06:52Oh, I can see you.

01:06:53Oh, my God.

01:07:26Thanks. I wasn't hurt. I'm only frightened.

01:07:30See if you can find Miss Caney, will you?

01:07:37It'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.

01:07:51It comes like poetry.

01:07:55Are you prepared to obey me?

01:07:57In anything.

01:07:59Then close your eyes.

01:08:01And don't speak for ten seconds.

01:08:21If I don't speak for ten seconds, it works.

01:08:27I'm afraid I'm afraid I'm afraid I don't have to behave.

01:08:33And don't speak for ten seconds.

01:08:39And that's true.

01:08:49And I'll try again.

01:08:50I felt his hands on me.

01:08:52That's why I know it was no ghost.

01:08:53It was no ghost.

01:08:56Look at the clock.

01:08:58It's nearing the hour.

01:09:00I know where you'll find him now.

01:09:02He's gone back to the tomb,

01:09:04to his heathen gods.

01:09:08Then you and I will follow in there.

01:09:10Wait a minute.

01:09:12What's his doctor's telephone number?

01:09:14Yaksford, 7-2.

01:09:29Let's go.

01:09:50Come on.

01:09:51Go on.

01:09:53Let's go.

01:10:04Come on.

01:10:08If you're alone,

01:10:13you'll see you.

01:10:13Go on.

01:10:13Come on.

01:10:13Go on.

01:10:21Look, the door's open and there's a light.

01:10:24I'll go no nearer.

01:10:25I'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.

01:11:23It's just fair.

01:11:25I will do it, Betty.

01:11:27I can see a shadow moving.

01:11:28I can see a shadow moving.

01:11:28It's a light.

01:11:28For that, I'm here to take away.

01:11:32I can see a shadowing.

01:11:35See you next time.

01:11:36I can see a shadow of a light.

01:11:42Oh, my God.

01:11:46Oh, my God.

01:12:38Look!

01:12:52Hartley! So you're not a parson, just a dirty crook.

01:13:00You'd better get out of my way.

01:13:03Your hand, eh? So that's how it was done.

01:13:07I wouldn't come any nearer.

01:13:09I don't have to!

01:13:17Look! If you please.

01:13:20Thank you. Come on now.

01:13:38Now!

01:13:45Go!

01:13:47Now!

01:13:48Don't!

01:13:50Go!

01:13:59Go!

01:14:04Go!

01:14:07Go!

01:14:18Go!

01:14:21Go!

01:14:22Go!

01:14:34Go!

01:14:42Go!

01:14:43It's too late. Are you badly hurt?

01:14:44No, no. It's nothing.

01:14:47Come and sit down.

01:14:49Where's the key?

01:14:50He threw it away.

01:14:53Go!

01:15:01When I phoned the doctor, I told him to bring the police.

01:15:04They 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.

01:15:29The doctor in charge didn't understand the case.

01:15:33I'm afraid of catalepsy.

01:15:34Read him.

01:15:35Morlant was buried alive.

01:15:38Oh, Mr. Dragore.

01:15:40What were those shots?

01:15:42Out of my way.

01:15:43Where are the others?

01:15:44Leave me alone!

01:15:45No!

01:16:08I rather thought you might be leaving in a hurry with something in your pocket that doesn't belong for you.

01:16:13Hand it over.

01:16:16You win.

01:16:27That woman!

01:16:28There she is!

01:16:29Come now.

01:16:30Oh, you put up wrong. Come, you fool.

01:16:32I tell you, she's got it.

01:16:37Come, then.

01:16:47Stop!

01:16:49Now, Miss Caney, if you please.

01:16:51I don't think so.

01:16:53You fool!

01:16:54If for either of you two horrible men so much as move, in it goes.

01:16:59But you don't know the value of that jewel.

01:17:01I don't care for the value.

01:17:02It'll go.

01:17:05And if you shoot, I'll go with it.

01:17:08I mean it.

01:17:10Down 30 feet.

01:17:11And about 60 feet of water.

01:17:14And...

01:17:15And...

01:17:16And...

01:17:16And then Australia!

01:17:20I can't see to tie this.

01:17:22That light seems much lower.

01:17:50The door!

01:17:52The door!

01:17:53The door!

01:17:54Look at that. The flames. They mustn't reach the door.

01:18:13It's no good. You can't breathe in there.

01:18:18I can't breathe.

01:18:24You're... only... only...

01:18:32I've had enough of this, Miss Keeney. Supposing 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. Now, look here.

01:18:42That'll do. Now, what's the trouble?

01:18:45This. They're after it. All of them.

01:18:49It belongs.

01:18:53I'll carry her to the house.

01:19:05Get back!

01:19:07Making no corner!

01:19:08Come on!

01:19:12Come on!

01:19:36Come on!

01:19:47THE END

01:20:10THE END

The Ghoul (1933) – Boris Karloff British Horror

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