Mark of the Vampire Page #4

Synopsis: After Sir Karell Borotin is found dead in his study, drained of his blood, the local doctor determines that he was killed by a vampire. The coroner and police Inspector Neumann dismiss the suggestion but a year later, Sir Karell's daughter is attacked and bite marks are found on her throat. Neumann calls in the eminent Professor Zelin who thinks the story of vampires is true. The locals are convinced that Count Mora and his daughter Luna are the perpetrators of the crime, creatures of the night that can turn themselves into bats. There may be another solution however and the Professor sets a trap.
Genre: Horror, Mystery
Director(s): Tod Browning
Production: MGM Home Entertainment
  1 nomination.
 
IMDB:
6.3
Rotten Tomatoes:
79%
PASSED
Year:
1935
60 min
194 Views


The dust lies thick and undisturbed.

That's what makes it so difficult

to find the vampire's hiding place.

Well, don't let's stand here talking.

Let's go on looking for them.

You're quite right, Inspector.

Have you some matches?

Yes.

Oh, look.

No, no, no, no, no. Up there on the rod.

Stop, you fool.

Would you destroy

what might give us a clue?

Smash it. Take no chances.

No, no, no. That would do no good.

It's only in its own corpse-like state

that it can be destroyed.

Now, we must search the vaults

beneath the old ruins.

Come, we have not much time left

before sunset.

- You have matches, Inspector?

- Yes, Professor.

Yes.

Professor Zelin, are you all right?

- Professor. Professor Zelin.

- Here. Please, hurry.

Quick, Inspector, get the candle.

We must find the others.

No, no. Don't leave. Destroy him first.

Stop him!

Have you gone mad?

One more stupid act and we'll be lost.

Please, please don't leave him like this.

And expose ourselves to the vengeance

of the others?

Why, their fury would follow us

to the ends of the earth.

No, we must destroy them all together.

Come.

Inspector, put a mark on that door

so we'll know his hiding place.

- Quick, matches.

- Wait, please.

We'll be trapped in here. Hurry.

The sun is going down.

I'm staying here until you come with me.

I won't leave you.

Fedor, you must go.

If you love me, please do as I ask.

Inspector.

Inspector.

The fool.

Fedor, we're being silly.

Don't let's argue, darling.

We'll just forget all about it.

Now, you run along downstairs.

I want to get out of this negligee.

I haven't had a dress on for ages.

- Irena, I don't understand you.

- You silly boy, what's wrong?

Last night you were terrified

and tonight you're...

- You're gay and cheerful.

- Are you sorry because I'm happy?

Yes? Come in.

Those doors. Those doors.

They shouldn't be open.

They should be closed. The bat thorn.

Oh, Miss, you know

the Professor said that you shouldn't...

Go away, Maria. Leave us alone.

It's all right, Maria. You can go.

I'm with her.

- Oh, mister. But, mister...

- No, run along. Just run along, okay?

What's the matter with everyone,

worrying about a silly weed?

Irena, I've got to know

why you're acting like this.

What are you hiding from me?

- Don't ask me, please.

- But I have a right to know.

There's something wrong with you.

You're not yourself.

Irena, look at me.

Irena, I feel that I'm losing you.

Fedor, forgive me.

Forgive me for what I am doing.

- Darling, tell me. Tell me.

- Fedor, I...

- No, no, no, no.

- Irena.

Irena! Irena!

Inspector Neumann.

Inspector Neumann.

Be brave, my child.

I'll try.

Then go with Luna.

No, no. Don't go up.

But don't you see?

If Sir Karell was in life

the kindly, benevolent person

you describe,

your lifelong and devoted friend,

you could go to him.

You could appeal to him.

No, no. I can't.

Go away, Fedor! Go away! Go away!

Irena. Irena!

Everything is getting cloudy.

Getting cloudy.

You understand?

Getting cloudy.

You're going upstairs.

You understand?

You're going upstairs.

- No, no. I can't do it.

- But, Miss Borotyn.

I can't go on.

But you must. You wouldn't fail us now.

- Miss Borotyn.

- Inspector.

Inspector Neumann,

I can't go through with it.

He looks so much like Father,

even his voice.

I've been willing to do all the other things

you've asked of me, but this...

This is more than I can endure.

But don't you see this is our last chance?

Everything else has failed.

But you both said Baron Otto

would break down and confess

if we confronted him with this gentleman

pretending to be my father.

I know, we all thought

our vampire scheme was so simple,

so certain of success.

We never thought we'd fail.

I'm sorry.

But, Miss Borotyn,

after the attack on Mr. Vincent,

it was you who first suspected the Baron

of the crime.

We are positive you are right,

but we lack definite proof.

If you fail us now, we will never know.

But to live through those moments again,

to act as if you were my father,

alive and with me...

Don't you see the horror of it?

It's one year ago.

One year ago. You understand?

One year ago.

You're going to see Sir Karell.

You understand?

You're going to see Sir Karell.

Miss Borotyn, get ready.

Baron Otto will be here any moment.

I'm afraid you can't count on me.

Oh, no, no, no, my dear child,

you must be courageous.

I admit what we're trying to do

is only an experiment,

but I feel certain,

now that we have the Baron hypnotized,

he will reenact his crime if he's guilty.

Baron Otto is at the door, sir.

Oh, please. Without you, we're helpless.

I'll do my best.

Inspector.

Jan,

I want you to do exactly as you did

the night of the murder.

- You understand?

- Yes, sir.

- Omit nothing.

- No, sir.

Let him in.

- Good evening, Jan.

- Good evening, Baron.

- How's your rheumatism?

- It's gone, sir.

- Thanks to the fine weather we're having.

- That's good.

Now, we'll soon know

if my theory is correct.

I hope you're right.

I'm anxious to know

how he drained that body of its blood.

Yes.

- Irena, I've never seen you more lovely.

- Oh, thank you, dear Baron.

- No, Karell, I'm only staying a moment.

- It will do me good to stop for a smoke.

Speaking of smoke, that reminds me,

those pipes I ordered from London

have come.

Yes, they came this afternoon

and they are beautiful.

- Well...

- Now,

- any three of them are yours.

- Three? I'll be satisfied with one.

Now that's like the one you gave me

two years ago.

- Now, Father, don't work too late.

- No, no.

- And don't forget your medicine.

- I won't.

- She knows you, Karell.

- I know you both.

- Good night, Father.

- Good night.

- Good night, Baron.

- Good night, Irena.

Put it here on the desk, Jan.

Jan, three drops of this in a glass of water.

- Yes, sir.

- Now, what about the third one?

There, there, there.

- Now...

- Karell,

I was surprised when Irena told me

this afternoon.

I thought you weren't going to consent

to her marriage to that boy.

Well, now, if I weren't here,

you'd be her guardian.

What would you have done?

I would have said no.

I never would have given my consent.

I've always hoped that we had other plans.

What do you mean, other plans?

Well,

that she would marry someone

more worthy of her,

someone nearer her station in life,

who could give her

what she's accustomed to.

Why, you know she'll always have

more than enough.

Haven't I arranged for that?

- How soon is the wedding?

- Within a fortnight.

A fortnight?

Karell, will you let me have

Irena's ruby necklace?

There may be time to have

bracelet and earrings made to match.

And you would have said no?

Why, you've spoiled her

since the day she was born.

Jan, help me here.

Now, where did I put that necklace?

- There it is, my good friend.

- Thanks, Karell.

I've been keeping you from your work

long enough.

- No, no. I'm glad you came over.

- Good night.

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Guy Endore

Samuel Guy Endore (July 4, 1901 – February 12, 1970), born Samuel Goldstein and also known as Harry Relis, was an American novelist and screenwriter. During his career he produced a wide array of novels, screenplays, and pamphlets, both published and unpublished. A cult favorite of fans of horror, he is best known for his novel The Werewolf of Paris, which occupies a significant position in werewolf literature, much in the same way that Dracula does for vampire literature. Endore is also known for his left-wing novel of the Haitian Revolution, Babouk: The Story of A Slave. He was nominated for a screenwriting Oscar for The Story of G.I. Joe (1945), and his novel Methinks the Lady . . . (1946) was the basis for Ben Hecht's screenplay for Whirlpool (1949). more…

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Submitted on August 05, 2018

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