🧟‍♂️ The Ghoul (1933) Full Movie | Boris Karloff’s Undead Revenge 💀 Gothic Horror Classic - video Dailymotion

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🔔💀 Boris Karloff returns from the grave… with vengeance in his heart.  In The Ghoul (1933), horror legend Karloff stars in this atmospheric British horror masterpiece, blending ancient Egyptian curses with gothic chills. Buried with a sacred amulet, a dead Egyptologist rises to claim what is rightfully his!   📽️ Plot Summary:  Professor Morlant, obsessed with eternal life, is entombed with a magical jewel believed to grant immortality. But when it’s stolen, he rises from the dead to retrieve it—bringing terror to all who cross his path.   🕰️ Year Released: 1933  🎭 Genre: Horror, Mystery, Gothic  🎬 Directed by: T. Hayes Hunter  🎞️ Starring: Boris Karloff, Cedric Hardwicke, Ernest Thesiger, Ralph Richardson   🎯 Why Watch It?  ✔️ One of Karloff’s most underrated performances  ✔️ Gothic set design dripping with atmosphere  ✔️ A rare British horror entry from the early sound era  ✔️ A hidden gem for fans of Frankenstein and The Mummy   🔔 Don’t forget to LIKE 👍 | COMMENT 💬 | SUBSCRIBE 🔔 for more vintage horror, gothic gems, and Boris Karloff classics!   👇 Explore More Public Domain Horror & Classic Films Here:  📺 https://www.youtube.com/playlist?list=PLYSxyPafGbnQOHVjtutbCJoNsaOS4Vh54  ━━━━━━━━━━━━━━━━━━  🎞️ #TheGhoul1933 #BorisKarloff #ClassicHorror #GothicHorror #EgyptianCurse #PublicDomainMovies #VintageTerror #HorrorClassics  ━━━━━━━━━━━━━━━━━━  💎 Unearthed horror from the grave… The Ghoul (1933) delivers vengeance from beyond death!  ________________________________________

Transcript

00:00:00You

00:00:30You

00:01:00We don't want to buy no line owner nothing. Mr. Dragore, please owe him.

00:01:30No sound, please. After two years, I find you.

00:01:59I want the eternal light. You found me too late for mine.

00:02:06I can kill with this from the end of the room. No lies, please.

00:02:14You cannot kill an Ingrid Mahmood. They get down.

00:02:19If I hang, there are others. The eternal light goes back to the tomb from which you stole it.

00:02:25But I tell you, I have not gotten it. Please, I am not a child.

00:02:30I... I sold it. To whom did you sell it?

00:02:35Professor Marlon.

00:02:38That robber of the dead. Has he sold it?

00:02:43He did not bite yourself. What then?

00:02:45Like you, Mahmood. He believes?

00:02:48He believes that the eternal light will open for him on the gates of paradise?

00:02:53Even so, he gave the best part of his fortune for it.

00:02:56And very soon, he will know whether or not he was right.

00:02:59What do you mean? Professor Marlon is dying.

00:03:06Then you think it will be buried with him?

00:03:09I am sure of it. We have only got to wait until he is dead.

00:03:14A new place. Open out of the way.

00:03:44What's that?

00:04:14Well, what is it?

00:04:17Good evening. I have been in the neighborhood, and hearing of your master's illness, I took the liberty of calling.

00:04:23How is he tonight?

00:04:24He will never see the morning.

00:04:26He hasn't asked for anyone of my clock.

00:04:28Nor will he. He's set in his ways, and they are the ways of the heathen.

00:04:32I know he won't see the rector, but though I'm a comparative stranger, I don't like to leave a man to die like that.

00:04:37He'll die in his own fortune, as he has lived.

00:04:40Till sometimes at the end.

00:04:42Not with him. He's stubborn and unbending, and will be so at the throne itself.

00:04:49Well, I suppose I can be of no use then.

00:04:51No manner of use.

00:04:57Good night.

00:05:10Good night.

00:05:11Good night.

00:05:12Good night.

00:05:13Good night.

00:05:14Good night.

00:05:15Good night.

00:05:16Good night.

00:05:17Good night.

00:05:18Good night.

00:05:19Good night.

00:05:20Good night.

00:05:21Good night.

00:05:22Good night.

00:05:23Good night.

00:05:24Good night.

00:05:25Good night.

00:05:26Good night.

00:05:27Good night.

00:05:28Good night.

00:05:29Good night.

00:05:30Good night.

00:05:31Good night.

00:05:32Good night.

00:05:33Good night.

00:05:34Good night.

00:05:35Good night.

00:05:36Good night.

00:05:37Good night.

00:05:38Good night.

00:05:39You'll have to go up soon if you want to see him again.

00:05:47Curious house, this.

00:05:49Curious owner.

00:05:51Yes, but I suppose a great Egyptologist

00:05:53can't be expected to be like other people.

00:05:55Well, he'll be like a great many other people soon.

00:05:57That's not a very sympathetic thing to say.

00:05:59I'm not a sympathetic man.

00:06:01Want a drink?

00:06:03That's, uh...

00:06:05Across the hall, isn't it?

00:06:07I dare say.

00:06:21September 22nd, 1931.

00:06:35The Daily Journal.

00:06:491982.

00:06:57The eternal light,

00:06:59my last.

00:07:05I'm Gil.

00:07:31I'm Gil.

00:07:35The door shut.

00:07:37Your tears?

00:07:39No listeners.

00:07:41None.

00:07:43They are drawn.

00:07:45You were always suspicious.

00:07:47Have you ever trusted a living soul?

00:07:51Only fools.

00:07:55I trust you.

00:07:57Better to trust in the spirit than in the flesh.

00:08:01I put my trust

00:08:03I put my trust

00:08:05in my own gods.

00:08:09And now,

00:08:11when I am dead,

00:08:15my funeral,

00:08:17you will bury me at dusk

00:08:19in the clothes I told you.

00:08:23You will place the figure of Anubis

00:08:27at the west of the inner chamber.

00:08:31At the west of the inner chamber.

00:08:33I will.

00:08:35And on the night

00:08:37of the moon.

00:08:41At the first hour,

00:08:45I will make my offering of the eternal light

00:08:49to Anubis.

00:08:51To Anubis.

00:08:53Opener of the ways.

00:08:59If I have done well in his sight,

00:09:01those fingers will close over the jewel.

00:09:07And he will open to me

00:09:09the gates of immortality.

00:09:13The hand of the heathen image

00:09:15will now come to life.

00:09:17Ah.

00:09:19The bandage.

00:09:21The bandage.

00:09:23The bandage.

00:09:37The bandage.

00:10:04Look.

00:10:05This is the eternal light.

00:10:17It was worth in my hand.

00:10:22A man will no find peace who robs his heirs.

00:10:27Bandage my hand.

00:10:30The eternal light must lie with me in the tomb.

00:10:35You're afraid of me.

00:10:38I'm afraid for you.

00:10:41If this should leave me, then you'll have reason to fear.

00:10:51For when the full moon strikes the door of my tomb, I will click.

00:10:59You hear?

00:11:02I will come back to kill.

00:11:05My hand, bandage, my hand.

00:11:10Bandage, my hand.

00:11:35Doctor.

00:11:36Doctor.

00:11:37Doctor.

00:11:38Doctor.

00:11:40Doctor.

00:11:42Doctor.

00:11:43Doctor.

00:11:44Doctor.

00:11:45Doctor.

00:11:46Doctor.

00:11:47Doctor.

00:11:48Doctor.

00:11:49Doctor.

00:11:50Doctor.

00:11:51Doctor.

00:11:52Doctor! Doctor!

00:11:58Doctor!

00:12:16Wimito!

00:12:18Wimito!

00:12:49It's all over.

00:12:58Make out a certificate. What failure?

00:13:00What was the idea of bandaging his hand like that?

00:13:06How can I say? He had many queer fancies.

00:13:12I'll be around in the morning to sign the certificate.

00:13:16I'll be leaving my master aside till his body is laid to rest.

00:13:46There was no time to go.

00:13:47Mr.

00:13:48Timothy.

00:13:49Would you like him?

00:13:50The opposite?

00:13:51That's right.

00:13:52Ken.

00:13:54Do?

00:13:56The close.

00:13:58Don't see.

00:14:00Do?

00:14:02No.

00:14:03There.

00:14:04Is he this one?

00:14:06T-Cut?

00:14:07I he had a letter.

00:14:10I'm dressed.

00:14:11It's just a nice guy.

00:14:13THE END

00:14:43THE END

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00:16:47Wait.

00:16:49You're leaving the key inside.

00:16:51Aye.

00:16:53That was another of his queer fancies.

00:16:55Yes, sir.

00:17:15I want you to stay here and watch that man with a club foot.

00:17:18I'm not a detective, Mr. Broughton.

00:17:20One more word from you, Davis. You're not at work.

00:17:22I have reason to believe that he has stolen a valuable piece of property.

00:17:26May make an effort to get rid of it.

00:17:28Watch him and telephone me at my office if he leaves the house.

00:17:52You're out.

00:17:53Let's see.

00:17:54Let's see.

00:17:55Let's see.

00:17:56Let's see.

00:17:57Let's see.

00:17:58Mr. Harlan.

00:17:59To.

00:18:00Lansford Street.

00:18:02Mr. Harlan, to Lansford Street.

00:18:32Mr. Harlan, to Lansford Street.

00:19:02Mr. Harlan, to Lansford Street.

00:19:32Carry up!

00:19:46From Rhapsody.

00:19:47Shillings, if you'll drive me to Yaksford Station in time to catch the five o'clock train.

00:19:51I'll oblige you, Governor. I was going straight back as it was.

00:20:02That's a very old carpet, Mr. Morland. I should be glad if you will not kick it to pieces.

00:20:22I'm sorry. When I'm angry, I do kick.

00:20:25You could love to explain that.

00:20:27Yes, I intend to.

00:20:29By your own statement, Miss Harlan and I are the sole heirs of Professor Morland.

00:20:33We were informed neither of his death nor of his funeral.

00:20:36Your uncle died and was buried in a certain way according to his wishes, which need I go on.

00:20:42Almost his last words were a threat to return from the death.

00:20:46In my opinion, he was mad.

00:20:48Well, that may be so. Miss Harlan should have been consulted.

00:20:51But I understood that Miss Harlan were not on speaking terms.

00:20:54Oh, what of that? You expect quiet at a funeral, don't you?

00:20:56Yes, I also expect it in my office.

00:20:58I'm very sorry, but after all, this means a bill to both of us.

00:21:01My uncle was worth about $4,000 a year.

00:21:03Well, he isn't now.

00:21:05What do you mean by that?

00:21:07He spent a good deal, you know.

00:21:09It may surprise you to know that some time ago he drew a cheque for £75,000.

00:21:15What for?

00:21:16I don't know.

00:21:18You don't know? You were in charge of all his affairs and you don't know?

00:21:21That's what I said.

00:21:23And I advise you to look after the tone of your voice. Follow you.

00:21:27I'm going to run down to Alsvale House tomorrow morning.

00:21:30Yes, well, I...

00:21:32I don't think you realize the conditions that you'll find there.

00:21:37No. That's why I propose to go.

00:21:39You won't like it.

00:21:40You'll be most uncomfortable.

00:21:42You don't advise me to go?

00:21:44I think you'll be making a very big mistake.

00:21:48Then I'll go.

00:21:51Oh, by the way, does Miss Harlan know anything about this will business?

00:21:55No doubt she will have received a letter from me by now.

00:21:58Do you know Miss Harlan?

00:21:59No.

00:22:00I propose to give myself the pleasure of calling upon her this evening.

00:22:07Hello.

00:22:08Oh, it's you, dear minute.

00:22:10I have a visitor here, but I think he's just going.

00:22:13Thank you very much.

00:22:15If you're going to see Miss Harlan tonight, I shall be there myself.

00:22:18No doubt you will succeed in making a painful interview intolerable.

00:22:22Good afternoon.

00:22:24Oh, man, I must help your practice a great deal.

00:22:34Now, Davis.

00:22:43Can you direct me to Blountford Street, please?

00:22:46Follow the tram lines, close on the mile, and then turn right at the church.

00:22:49I'm obliged to you.

00:23:13Let's go.

00:23:14Let's go.

00:23:19Oh, it's good to get out of that fog.

00:23:20My dear, a most exciting thing has happened.

00:23:22Oh!

00:23:23Oh, don't let it happen again.

00:23:24No, not that.

00:23:25That's a chestnut.

00:23:26It's this.

00:23:27It looks like a solicitor's letter.

00:23:28It's just been delivered by hand.

00:23:29Oh, dear.

00:23:30What haven't we paid?

00:23:31I wonder if I'm going to get a shock or not.

00:23:32Oh!

00:23:33Oh, Canie, that is a silly game.

00:23:34I've dropped what you said about Uncle Henry.

00:23:35What do you think he's done?

00:23:36Be nice at last.

00:23:37Oh, he's dead.

00:23:38My dear, I'm so sorry.

00:23:39My dear, I'm so sorry.

00:23:40My dear, a most exciting thing has happened.

00:23:41Oh!

00:23:42Oh, don't let it happen again.

00:23:43No, not that.

00:23:44That's a chestnut.

00:23:45It's this.

00:23:46It looks like a solicitor's letter.

00:23:47It's just been delivered by hand.

00:23:48Oh, dear.

00:23:49What haven't we paid?

00:23:50I wonder if I'm going to get a shock or not.

00:23:51Oh!

00:23:52Oh, Canie, that is a silly game.

00:23:54I've dropped what you said about Uncle Henry.

00:23:57What do you think he's done?

00:23:59Be nice at last.

00:24:00Oh, he's dead.

00:24:03I'm sorry.

00:24:04And here's the solicitor who wants to see me.

00:24:06My dear, I'm glad.

00:24:08He was awfully rich, wasn't he?

00:24:10He may have left you a fortune.

00:24:12If he has, I'll buy you a private cinema.

00:24:15Oh!

00:24:16I say, if this letter comes, a few minutes ago, what?

00:24:20He asked me to telephone him if I could see him here at six.

00:24:24You don't want to miss the chance of a fortune for the sake of something.

00:24:27You better run out and do it now.

00:24:29You're right.

00:24:33I'm glad you came along.

00:24:35I'm glad we were all here.

00:24:36I'll take you back.

00:24:37Yeah, my little정을 came.

00:24:38I have nothing I'm angry with you.

00:24:39You didn't think there was a happy� put in me.

00:24:40Like me?

00:24:41My little old wig is pretty young.

00:24:42I kind of feel comfortable…

00:24:43Oh, dear.

00:24:44You'll see this wasn't funny.

00:24:45Uh huh.

00:24:46What's your journey going on?

00:24:47Oh, dear.

00:24:48Oh, dear.

00:24:49I'm Earl.

00:24:50I saw the stock put in me.

00:24:51Thirdly went.

00:24:52What's your worth of money?

00:24:53Be good first.

00:24:54We can beg.

00:24:55Or in fact, to guess you to like...

00:24:57Why don't you think?

00:24:58Jasper got gifted.

00:25:29What's the matter? What's happened?

00:25:53Somebody attack me. It'll smash my back.

00:25:56Why, good lord, it's Betty Harlan.

00:25:58Grace Morland.

00:26:00You would go and get yourself into some kind of mix-up.

00:26:02You would arrive when it's all over.

00:26:05Well, I'm going home.

00:26:06Wait a minute.

00:26:07I'm going to wait.

00:26:28Excuse me.

00:26:34Yes.

00:26:35Yes.

00:26:36There's no need for it.

00:26:38I'm going home.

00:26:39You know, you're just going to go.

00:26:40You're not going home.

00:26:41You'll have to work.

00:26:42Cunningham-Garrot, quickly as both.

00:27:12Oh, so you brought him.

00:27:20Dear Mr. Broughton, we're delighted to see you.

00:27:23No, it isn't Mr. Broughton. It's my cousin, Rafe Morland.

00:27:26Dear Mr. Morland, we're delighted to see you.

00:27:30Wrong again. We don't like him very much.

00:27:32Oh, don't we? I didn't realize.

00:27:35Well, our two families are not on speaking terms.

00:27:37Oh, dear.

00:27:38As far as I can make out, it was started by my letter as a Christmas joke.

00:27:41Oh, won't you sit down?

00:27:45But now he's dead. The trouble's all over.

00:27:48I'm not sure it hasn't just begun.

00:27:50Where's Mr. Broughton?

00:27:52Because I didn't telephone. I nearly got throttled instead.

00:27:56Betsy!

00:27:57There was a man with a limp. He pushed a note into my hand.

00:28:00I just put it in my bag when somebody snatched the whole affair.

00:28:04What was in it?

00:28:05There's something of value at Isles Vale.

00:28:08Others are after it.

00:28:10So come.

00:28:11And Broughton was doing everything he knew to keep me away from there.

00:28:14Why goodbye?

00:28:15I'm going down there right away.

00:28:17I'll let you know what happens.

00:28:19You're wrong. I'll let myself know.

00:28:20If you go, I go too.

00:28:22You can't do that.

00:28:24Alone in a house with a man you're not even on speaking terms with.

00:28:28Oh, don't be so absurd. It's not as if I even liked him.

00:28:31If another woman was going, perhaps.

00:28:33I suppose that means you want to come too.

00:28:35Well, obviously it's my duty.

00:28:37And suppose I object.

00:28:39I'm not so broke I can't hire a car.

00:28:42Oh, all right. You win. But for goodness sake, hurry.

00:28:46I bet you can. There you are.

00:29:02There you are.

00:29:03Oh, it's an unspeakable car.

00:29:04But no joke. Come on.

00:29:05Come on.

00:29:06Come on.

00:29:07Come on.

00:29:08Come on.

00:29:09Come on.

00:29:10Come on.

00:29:11It looks as if I'll have to walk.

00:29:12It looks as if I'll have to walk.

00:29:23It might do worse.

00:29:24There's a grand move.

00:29:26It's full.

00:29:42It's full.

00:30:12It's full.

00:30:42I'll see if there's a name on this gate.

00:30:56No, there's nothing to show this place.

00:31:04But there aren't any other places and I'm frozen.

00:31:07Well, it's no use going to the wrong place.

00:31:09Wait a minute.

00:31:10Here's someone on a bike.

00:31:11Hi there, cocky.

00:31:11Wait a minute.

00:31:12Oh, hello.

00:31:15I'm awfully sorry.

00:31:16I didn't see you were a parson.

00:31:17Oh, that's all right.

00:31:20Any trouble?

00:31:21Oh, no, no.

00:31:22We just want to get to Owls Vale House.

00:31:25Well, this is it.

00:31:27As a matter of fact, I'm calling there myself.

00:31:29Did you know my uncle?

00:31:31Professor Morland.

00:31:31Oh, slightly.

00:31:33Professor, I want to introduce myself.

00:31:34My name's Hartley, Nigel Hartley.

00:31:36I'm down at Ravenly, the vicar's ill.

00:31:38How do you do?

00:31:40I'm Rafe Morland.

00:31:42This is Miss Holland.

00:31:44We're the heirs of the old...

00:31:45Couldn't we have the rest of the introduction indoors?

00:31:47Yes, of course.

00:31:48You must be cold.

00:31:49All right, sit down this drive.

00:31:53You go along, I'll follow.

00:31:54All right.

00:32:19Here we are.

00:32:29Car'll be all right here.

00:32:32I'll show you the way.

00:32:49I'll show you the way.

00:33:19What a horrible house.

00:33:22I wish I was home in bed.

00:33:26I can hear someone coming.

00:33:35Ah.

00:33:39Well, don't stand about.

00:33:41Come inside.

00:33:49You're going to the library.

00:34:16You're going to the library.

00:34:39You're the rudest man alive.

00:34:41Oh, pretty pussy.

00:34:43How horrible.

00:34:45It's stuffed.

00:34:47I dare say you know your own business best.

00:34:49But why you should want to bring a parson?

00:34:51A pure accident we met at the gates.

00:34:53So naturally, you brought him in.

00:34:55Broughton, I can stand a certain amount, but no more.

00:34:57Oh, come, come. Don't let's make a battle of it.

00:35:09You stay here in the car.

00:35:10No.

00:35:11I shall be among the trees, watching.

00:35:26You may say I have no right to express this opinion,

00:35:29but to my mind it's a scandalous and disgraceful burial,

00:35:32which may have disastrous consequences.

00:35:34It would be very disastrous if he came back, wouldn't it?

00:35:37I quite see Mr. Hartley's point.

00:35:39Yes, you make friends quickly, don't you?

00:35:40And enemies quicker.

00:35:41Need me to have these childish squabbles?

00:35:43We all know the dead men don't come back.

00:35:46Oh!

00:35:47I wish I was back home in bed.

00:35:49Hadn't somebody better answer that?

00:35:51I'm sorry to get an intimate friend of Professor Mullen.

00:35:58Oh, you'd better come in.

00:35:59We seem to be giving a party.

00:36:00Oh.

00:36:01Oh.

00:36:03My name is Aga Ben Drury.

00:36:04An Egyptian.

00:36:05An Arab.

00:36:06I don't remember having heard your name.

00:36:08I did not flatter myself that you would.

00:36:09But I knew Professor Mullen some years ago.

00:36:10In Egypt.

00:36:11Oh!

00:36:12Oh!

00:36:13Oh!

00:36:14Oh!

00:36:15Oh!

00:36:16Oh!

00:36:17Oh!

00:36:18Oh!

00:36:19Oh!

00:36:20Oh!

00:36:21Oh!

00:36:22Oh!

00:36:23Oh!

00:36:24There's a Sharon Goodman, thanks.

00:36:25He's a monk.

00:36:26I am a M 달�ry.

00:36:27An Egyptian.

00:36:28An Arab.

00:36:29I don't remember having heard your name.

00:36:31I did not flatter myself that you would.

00:36:32But I knew Professor Mullen some years ago in Egypt.

00:36:46I heard that you are tomb.

00:36:47I must protest against anything of the sort.

00:36:50Why shouldn't the poor man look at his friend's tomb?

00:36:53I don't mind him going.

00:36:55I can't believe that you'd willingly encourage paganism.

00:36:59The Egyptians were not pagan, sir.

00:37:01As no doubt you know, Miss...

00:37:04Kayleigh, I think you'll all be unkind to Mr. Dracore.

00:37:10I don't think you people realize quite how far Moland's queer ideas took him.

00:37:15He even believed that after his death at a certain hour,

00:37:17the image of a new beast would come to life in his tomb and rule.

00:37:20It's horrible.

00:37:22Well, I can't see that it matters.

00:37:24After all, if that sort of mumbo jumbo gave him any comfort, I'd...

00:37:28It matters a big deal.

00:37:29If my suggestion is likely to hurt anyone's feelings, please forget it.

00:37:34Oh, I love you, Mr. Dracore.

00:37:37Oh, your sympathy is more than charming.

00:37:41Well, what about a cup of coffee after your cold drive?

00:37:45I dare say we should find some in the kitchen.

00:37:48May I offer my services as pantry man?

00:37:52Quite sweet of you.

00:37:58Come, Mr. Dracore.

00:38:02For sheer speed.

00:38:04You'll not let him out of our sight for a moment now.

00:38:06Perhaps that's just as well.

00:38:08About making a fire in the library?

00:38:10Yes.

00:38:11I'm sorry there should be this sort of atmosphere.

00:38:14After all, we're only ships that part in the night.

00:38:17Hmm.

00:38:18You want a drink or will you pass now?

00:38:20I...

00:38:21Oh, well, thank you very much.

00:38:30There you are.

00:38:31Well, if you build it that way, there won't be any draft.

00:38:44Well, it'll be the only place in this house where there isn't one, then.

00:38:48Oh, don't you think you carry those crappy retorts that travel too far?

00:38:52And since we met, I can't remember you saying a kind word to anyone.

00:38:56Perhaps you're right.

00:38:57I'm sorry.

00:39:09Six cups.

00:39:11That's just...

00:39:13Just four too many.

00:39:15Eh?

00:39:17Tell me about Egypt.

00:39:20Have you ever seen a sheik?

00:39:24I am one.

00:39:27Oh, thank you.

00:39:36Then how should I address you?

00:39:39Oh, I'm cutting sandwiches for a sheik.

00:39:43I don't feel quite well.

00:39:46Oh, don't be alarmed.

00:39:48We're not quite as uncivilized as people think.

00:39:50Oh, don't say that.

00:39:53Do you ride a white stallion?

00:39:56Sometimes.

00:39:58Oh, down the path of the moon.

00:40:01The noble animal plunging and frothing up the nostril,

00:40:05till it's found at your feet, faithful unto death.

00:40:09Well, not very often.

00:40:11You see, it's rather too expensive.

00:40:13Why, it's not your fault.

00:40:15We were taught to hate one another, but...

00:40:16Good Lord, you don't think I hate you, do you?

00:40:18Well, I can't somehow feel I'm your dearest friend.

00:40:21You never did have a great deal of sense, did you?

00:40:24Well, that's nice.

00:40:28I have a woman's intuition that you and I are up against things.

00:40:30I'm pretty sure we are.

00:40:33Well then, let's cut the quarreling.

00:40:36Shoulder to shoulder, eh?

00:40:37All right.

00:40:39Partners.

00:40:40Partners.

00:40:41Ah.

00:40:56Well, what a wonderful night.

00:40:57It's a full moon.

00:41:16Scared of a dead man in his tomb?

00:41:19Shame on yourself.

00:41:20Are you a child that your knee should rattle at the talk of a madman?

00:41:31Look your enemy in the face.

00:41:34It's the fear of the big door has got you,

00:41:38and will hold you fast till you stare it down.

00:41:40Do dead men walk?

00:41:41I'm no thinking a dead man will cross my path tonight.

00:41:48Do dead men walk?

00:41:50I'm no thinking a dead man will cross my path tonight.

00:42:10You now go in, too.

00:42:11Do dead men walk?

00:42:12I'm no thinking a dead man.

00:42:13You're all thinking...

00:42:14I'm not thinking a dead man.

00:42:15But you don't go...

00:42:17I get some car, you still need to die.

00:42:19My baby is not very shy.

00:42:20Jeśli we have to leave, I'm only a Syrian woman.

00:42:22I'm not sure you want to die.

00:42:24You, we got you.

00:42:25I'm you only.

00:42:27My baby's a man!

00:42:30I'm not a addict.

00:42:31Oh, my God.

00:43:01Oh, my God.

00:43:31Oh, my God.

00:44:01Now I will show you how we make coffee in the desert, underneath the stars.

00:44:19But you don't make yourself, do you?

00:44:23Oh, of course not.

00:44:26A circassian slave, lovely as sin.

00:44:29Ripped to the waist.

00:44:31Unlashed for miles across the Sahara.

00:44:35Where she is finally eaten by locusts, and rightly.

00:44:40Now, take this canister and do exactly as I tell you.

00:44:50Two.

00:44:51Four.

00:44:57Five.

00:44:59Five.

00:45:01What's the matter with you?

00:45:03Are you mad, eh?

00:45:13What was the matter with him?

00:45:15Was it Rick?

00:45:17No.

00:45:19Tell him.

00:45:21What was the matter with him?

00:45:23Was it Rick?

00:45:25No.

00:45:27Tell him.

00:45:29Stark, tell him.

00:45:31Oh, then I've caught it.

00:45:33You stay here.

00:45:35I'll look after him.

00:45:37If you must look after somebody, why look further?

00:45:41Eh?

00:45:43Come on, then.

00:45:53Ray, that limp, I'd swear to it anywhere.

00:45:55That's the man.

00:45:57Look here, did you give a note to this gentleman?

00:45:59Now, let up your things and get out of here.

00:46:01The master, I've seen you.

00:46:03I've seen you.

00:46:05I've seen you.

00:46:07I've seen you.

00:46:09I've seen you.

00:46:11I've seen you.

00:46:13I've seen you.

00:46:15I've seen you.

00:46:17I've seen you.

00:46:19I've seen you.

00:46:21I've seen you.

00:46:23I've seen you.

00:46:25I've seen you.

00:46:27That's the last time I'll ever try to make coffee in a strange house.

00:46:29Man with a limp.

00:46:31Who was he?

00:46:32Lang.

00:46:33Your uncle's servant.

00:46:35Well, he's been mad to me.

00:46:39Yes.

00:46:41I've seen you.

00:46:43I've seen you.

00:46:45I've seen you.

00:46:46I've seen you.

00:46:47I've seen you.

00:46:48I've seen you.

00:46:49Yes.

00:46:51And very dangerous.

00:46:53You others have better go into the library.

00:46:55I'll have a word with him.

00:46:56Yes, come along.

00:46:57Mr. Broughton understands her then.

00:47:13It would do no harm to warn my man to stand by.

00:47:16Your man?

00:47:17He is chic too.

00:47:18No, he's his chauffeur.

00:47:19He's outside now with my car.

00:47:26You're not leaving us, are you?

00:47:30My dear lady.

00:47:35Not a very courageous person, our foreign friend.

00:47:38You think he's run away?

00:47:41Absurd.

00:47:42I'd like you riding your bicycle with a Circassian slave, lovely as sin across the handlebars.

00:47:48What on earth are you talking about?

00:47:50Now listen, good people.

00:47:51Good poor...

00:47:52Don't you think perhaps we're allowing this thing to get on our nerves?

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

00:47:58Now listen, good parson.

00:47:59This is our show and our nerves are probably just as good as the next man's.

00:48:03Now keep that sort of talk for your pulpits.

00:48:05Ray!

00:48:06Oh, and of course I have no wish to interfere where I'm not wanted.

00:48:09Then don't.

00:48:10This is not a Sunday school.

00:48:17After that I think I can say goodnight.

00:48:19As you please.

00:48:27Well I'm sorry I was offensive.

00:48:28Goodnight.

00:48:29Oh well the tongue is an unruly member, is it not?

00:48:32Yes.

00:48:33Yes.

00:48:39Tempted.

00:48:42I was tempted but I did not fall.

00:48:49I did not fall.

00:48:50The thing's safe.

00:48:51I swear it.

00:48:52When you told me you'd come back from the grave, how could I believe you?

00:48:55I never knew such things could be.

00:48:56I never knew such things could be.

00:49:19I was tempted by that.

00:49:20Let's go.

00:49:50I have no got it, I have no got it.

00:49:55The girl, she has it, I swear it.

00:50:20What on earth is the matter with you?

00:50:22Look as if you've seen a ghost.

00:50:24I have.

00:50:27I saw Morlant as plainly as I see you.

00:50:32I'm going to mix myself a drink.

00:50:43Betty, just a minute.

00:50:46Well?

00:50:49I have an idea they're trying to scare us out of this house.

00:51:16Okay.

00:51:21Sure, I'm good.

00:51:24This house, I got you.

00:51:25Didn't you hear a hat?

00:51:26Kannada, I don't know.

00:51:28I'll try to give you something as an example.

00:51:31Last place?

00:51:32Next place.

00:51:33That is, why is it here?

00:51:36No, no, no, no, no.

00:51:38No, no, no, no, no, no.

00:51:40No, no, no, no, no, no, no, no.

00:52:00There's no use blinding ourselves to the fact.

00:52:02There must be something pretty big at stake.

00:52:04Anything that depends on getting rid of us.

00:52:06Pardon me.

00:52:08What are we going to do?

00:52:34I'll take a look.

00:52:36I'll take a look.

00:52:38All right.

00:52:40Is this yours?

00:52:41Yes.

00:52:42I'll keep an eye on Ralph.

00:52:44Well, I think you've every chance of seeing things if you lower scotch at that pace.

00:53:00I'll take a look.

00:53:02Everything's a few lower scotch at that pace.

00:55:40Mr. Degore!

00:55:41Mr. Degore!

00:55:42Mr. Degore!

00:55:45Mr. Degore!

00:55:46Oh, there you are!

00:55:48Oh, Mr. Degore!

00:55:49I'll come up to you!

00:55:54Wait.

00:55:55I'll come down.

00:55:58What do you want?

00:55:59There was somebody in the library!

00:56:05Who?

00:56:06I don't know!

00:56:07The door!

00:56:08It's shut!

00:56:09It's shut!

00:56:10It's shut!

00:56:11I...

00:56:12Don't scream!

00:56:13Oh, that's what I need!

00:56:15The command in your wonderful voice!

00:56:18Come with me.

00:56:23What is it?

00:56:24What's the matter?

00:56:26I've seen him.

00:56:35Now perhaps you believe what I told you.

00:56:37Get me a glass of water quickly, will you?

00:56:39I'll come up.

00:56:40I'll come up.

00:56:41I'll come up.

00:56:42I'll come up.

00:56:43I'll come on.

00:56:49Tom?

00:57:02I'll come up.

00:57:04Oh, Joe!

00:57:06Let's

00:57:11The End

00:57:41It's wonderful to be with a man who isn't afraid. I am afraid. You, who have ridden bareback over the desert. If you don't stop chattering, I'm afraid I shall have a knife in my back. But when I'm with you, I have to. It comes like poetry. Are you prepared to obey me?

00:58:11In anything.

00:58:14Then close your eyes. And don't speak for ten seconds.

00:58:41You don't take it easy.

00:58:42I don't Metire.

00:58:51Let's do it.

00:58:55We all panic sometimes.

00:59:05I've had his hands on me.

00:59:06That's why I know it was no ghost.

00:59:08It was no ghost.

00:59:11Look at the clock.

00:59:12It's nearing the hour.

00:59:14I know where you'll find him now.

00:59:17He's gone back to the tomb.

00:59:19To his heathen gods.

00:59:23And you and I will find...

00:59:23Wait a minute.

00:59:24What's his doctor's telephone number?

00:59:27Yucks for 72.

00:59:54I'll find you.

00:59:56I'll find you.

00:59:57I'll find you.

00:59:58I'll find you.

00:59:59I'll find you.

01:00:00I'll find you.

01:00:01I'll find you.

01:00:02I'll find you.

01:00:04I'll find you.

01:00:05I'll find you.

01:00:06I'll find you.

01:00:08I'll find you.

01:00:09I'll find you.

01:00:10I'll find you.

01:00:11I'll find you.

01:00:13I'll find you.

01:00:14I'll find you.

01:00:15I'll find you.

01:00:17I'll find you.

01:00:18I'll find you.

01:00:19I'll find you.

01:00:20I'll find you.

01:00:22I'll find you.

01:00:23I'll find you.

01:00:24I'll find you.

01:00:25I'll find you.

01:00:26I'll find you.

01:00:27I'll find you.

01:00:28I'll find you.

01:00:29I'll find you.

01:00:30I'll find you.

01:00:31I'll find you.

01:01:01Oh, my God.

01:01:31Look!

01:02:01You're not a parson, just a dirty crook.

01:02:11You'd better get out of my way.

01:02:16In your hand, eh?

01:02:18Well, that's how it was done.

01:02:21I wouldn't come any nearer.

01:02:23I don't have to.

01:02:26Look, if you please. Thank you. Come on now.

01:02:56Get out of here.

01:03:26Excuse me.

01:03:33It's too late. Are you going to be hurt?

01:03:35No, it's nothing.

01:03:38Clear the drum.

01:03:39Where's the key?

01:03:40He's throwing away.

01:03:41Where is it?

01:03:43No, no.

01:03:44It's nothing.

01:03:46Where's the key?

01:03:47You throw it away.

01:03:48No.

01:03:49No, no, it's nothing.

01:03:51Oh, no.

01:03:52Where's the key?

01:03:53He's thrown away.

01:03:54When I phoned the doctor, I told him to bring the police.

01:04:06They ought to find us, Carl.

01:04:07If they do come, how can they break down that door?

01:04:15They'll find a way.

01:04:21I'll make a bandit.

01:04:24The doctor in charge didn't understand the case.

01:04:34I'm afraid of catalections.

01:04:35Leave him.

01:04:36Morlant was buried alive.

01:04:39Oh, Mr. Trepley.

01:04:41Look for those shots.

01:04:42Out of my way.

01:04:44Where are the others?

01:04:45Leave me alone.

01:04:46Oh, no.

01:04:50Oh, no.

01:04:51Oh, no.

01:04:52Oh, no.

01:04:54I'd rather thought you might be leaving in a hurry with something in your pocket that doesn't belong for you.

01:05:13Hand it over.

01:05:14Well, you win.

01:05:28That woman! There she is!

01:05:30Come now. Oh, you put up your gun, you fool.

01:05:32I tell you, she's got it.

01:05:38Come on, men.

01:05:44Now, Miss Caney, if you please.

01:05:46I don't think so.

01:05:48You fool.

01:05:50If either of you, two horrible men,

01:05:52so much as more, in it goes.

01:05:54You're not the value of that, you.

01:05:56I don't care for the value, it'll go.

01:06:00And if you shoot, I'll go with it.

01:06:02I mean it.

01:06:04Down 30 feet.

01:06:06And about 60 feet of water.

01:06:08I mean it.

01:06:10Down 30 feet.

01:06:12And about 60 feet of water.

01:06:14And...

01:06:16And then Australia.

01:06:20I can't see to tie this.

01:06:22That light seems much lower.

01:06:42I can't see.

01:06:43Quick.

01:06:44Come on.

01:06:45Get out.

01:06:46Get him out of here.

01:06:51The door.

01:06:52The door.

01:06:53Shut.

01:06:55The flames.

01:06:57They mustn't reach the door.

01:07:12The door.

01:07:13No good.

01:07:14You can't see it in there.

01:07:18The cartridge.

01:07:29I've had enough of it, Miss Caney.

01:07:31Supposing I'm ready to shoot and take the risk.

01:07:33You'd be taking a bit of risk than you think.

01:07:34I'll take that gun, thank you.

01:07:35Now look here.

01:07:36That'll do.

01:07:37Now what's the problem?

01:07:38This.

01:07:39They're after it.

01:07:40All of this.

01:07:41Belong.

01:07:42I'll carry her to the house.

01:07:43Get back.

01:07:44Send her to the corner.

01:07:45Get back.

01:07:46Send her to the corner.

01:07:47Get back.

01:07:48Get back.

01:07:49Send her to the corner.

01:08:17All right.

01:08:41You.

01:08:45You

🧟‍♂️ The Ghoul (1933) Full Movie | Boris Karloff’s Undead Revenge 💀 Gothic Horror Classic

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