The Curse of the Mummy's Tomb

Synopsis: When European Egyptologists Dubois, Giles and Bray discover the tomb of the Egyptian prince Ra, American entrepreneur and investor Alexander King insists on shipping the treasures and sarcophagus back to England for tour and display. Once there, someone with murderous intent has discovered the means of waking the centuries dead prince...
Genre: Horror
Director(s): Michael Carreras
Production: Columbia Pictures
 
IMDB:
5.6
NOT RATED
Year:
1964
81 min
133 Views


What time is it now, John?

It is exactly ten minutes since

the last time you asked, darling.

I'm sorry, but it's not like father

to be so late at the diggings.

These old tombs

give me the shivers.

Well, perhaps he's found

something of special interest.

Yes, that canopic jar.

He said he'd assemble it.

Darling, I meant

something of real interest.

Like a beautiful desert maiden.

The only maiden my father

would be likely to meet

would be mummified, and

at least 3,000 years old.

Yes, well I suppose that would be

too old even for your father.

- That's better. Can I get you another drink?

- Please.

- Unless you are trying to get me drunk.

- What?

No, not tonight. But I will

once we get back to Paris.

When we get back

to Paris, I will let you.

Do you promise that?

Annette, my dear.

Oh, mon dieu!

No, John. Leave her.

He did that deliberately.

I am sure you're wrong.

It is not our way to be

disrespectful to the dead.

I know all about your ways.

Stealing our stores, inciting

our labour force to desert us.

Oh yes, you were grateful at first.

Until we found the tomb of ra-antef.

Then you took one look inside, and

decided you wanted it for yourselves.

Now you're trying to frighten us

away from here, aren't you?

How dare you speak

such accusations?!

My government and I have given

every possible cooperation.

- You've given us no...

- Gentlemen! Gentlemen!

This is no way to hallow

the memory of professor Dubois.

We'll strike camp tomorrow.

We're returning to Cairo.

- What's that, sir giles?

- But your work is not finished here yet.

For the safety of the

treasures and ourselves

we'll complete our tabulations

at headquarters.

It seems that your tactics

have worked after all, hashmi.

Now, we fold our tents

and run away!

You cannot run away from

the curse of the mummy's tomb!

We're all doomed to die

for this act of desecration!

You're a fool, hashmi!

If you believe that you can pull the wool

over my eyes with these old legends...

It is not wool that has obscured

your eyes, mr bray, but a lack of vision!

The tomb holds no curses, hashmi.

Only the bones and belongings

of an ancient prince!

Good can come of this

discovery, but not evil!

Annette, what is it?

Hussein, lower him down.

Hussein, you are too quick.

You are your mother's son.

- All clear your end, John?

- Yes, all clear here, sir.

Gently, now. Gently.

Gently. That's it!

- Well done, Ahmed.

- Good.

Well, that's the last. I never

thought we'd do it in a week.

Everything recorded and accounted for.

Annette, put these somewhere

safe, would you please?

- Well, sir giles, you look five years younger.

- I feel it.

We've made archaeological history.

We can present to the museum the finest

mummified specimen ever known.

And treasures from the tomb

far beyond our wildest expectations.

It's a moment of triumph.

For you, for me, for all mankind.

Come in, hashmi! We were

just going to celebrate.

Your government must be

very pleased with you.

Perhaps they'll pay for the champagne.

Gentlemen, before you get too full

of high spirits, you have a visitor.

- Your benefactor, mr Alexander king.

- Mr king? What, here?

This is a surprise - but only fitting that

he should be here to join us.

He's in the office.

- Here you are, John.

- Thank you.

If you'd only learn to play chess,

we could make a fortune.

Mr king, this is a pleasant surprise.

Giles, baby! Good to see you!

Hashmi. Hold this a minute,

will you? Thank you.

Got a little present here for you.

Brought it from constantinople.

Turkish candy. Go on, try a bit.

You, too, old inscrutable.

You too, go ahead.

Take a piece. I want your opinion.

That's enough of that. No, no, no.

- Well, what do you think?

-Lt's, er... delightful.

That's it! Delightful.

De-light-ful.

Full of delight!

We'll call it turkish delight!

Well, how are things going?

Well, mr king, as you are the

financial backer of our expedition,

I am very happy to

tell you that hashmi bey

has obtained a handsome

offer from the Cairo museum.

How handsome is handsome?

For the complete contents

of the tomb of ra,

70,000!

70,000?!

70,000! Did you hear that?

You must be out of your mind.

No, I'm going to roadshow

this mummy throughout the world.

- That way we'll make 700,000!

- You can't, sir.

What do you mean can't?

Don't tell me I can't!

Oh, you kids stick with me!

You'll see some real money!

But this is unheard of.

Relics of this importance and value

cannot be treated as a sideshow!

It's blatant sacrilege.

Oh! Nothing sacrilegious

about making money.

If this is your serious intention,

and not some form of humour

then I shall be forced to discuss

the matter with my superiors.

Good. You go right ahead and

do that little thing, buddy boy.

Sir giles, I trust that your integrity and

good taste will finally prevail in this matter.

Then there are certain steps I must take.

So, if you would excuse me, sir.

Bye!

They're all alike. Always getting

in a stew over something.

Well, let him check!

He'll find out there isn't a

cotton pickin' thing he can do about it.

Now then, let's get down to details.

Oh, this is for you.

- We open in London on the third of march.

- You really are serious?

Well, sir giles, like I said, we've

got to go where the money is.

- But this!

- You remember when they opened the tomb?

I was standing right beside you.

I was as excited as a kid

with a double sarsaparilla.

You told me we'd made a great discovery.

For the good of all mankind.

Well, who's in a better position

to do that good, you or me?

You'll put it in some stuffy museum

in a one camel town

where nobody will see it except

a few tourists on a wet afternoon.

I can show it to the world.

If people want to be

educated, I'll educate them.

At ten cents a time.

Mr king, if you persist in this

childish exhibitionism,

I shall have no alternative

but to withdraw

from any further responsibility

in this matter!

Now then, who's being childish?

Well, hello there.

Still having fun, I see.

- Hello, mr king.

- Good to see you again.

Glad to hear you say that. We're going to

be seeing a lot of each other from now on.

What do you mean?

The job's nearly finished.

There's been a slight change in plan.

We're all going on to London.

- What?

- With you in charge.

Hey, wait a minute.

Sir giles is in charge.

He's leaving the buggy ride here.

- I don't follow.

-Lt's true, John. I've resigned.

And in the interests of the expedition,

i suggest you accept mr king's offer.

Yes, but what's happened?

I think it's better if mr king

explains it to you.

Okay. Have dinner with me tonight.

I'll fill you in.

I know a place where we can

sample all the local delicacies.

That's what I like to see:

People enjoying themselves.

Oh, we're going to get along fine.

You have made up your mind to

stick with me on this, haven't you?

Yes, I think so, mr king.

And I am very glad,

but it is a pity that sir giles

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Michael Carreras

Michael Carreras (21 December 1927, in London – 19 April 1994, in London) was a British film producer and director. He was known for his association with Hammer Studios, being the son of founder James Carreras, and taking an executive role in the company during its most successful years. As producer, he worked on The Curse of Frankenstein (1957), Dracula (1958) and The Curse of the Werewolf (1960) and She (1965) among over sixty other films. He also wrote a smaller number of screenplays. He later turned his hand to directing, with The Savage Guns / Tierra brutal (1961), Maniac (1963), The Curse of the Mummy's Tomb (1964), Slave Girls (1967), The Lost Continent (1968) and Shatter (1975) among others. In 1971, he took over directing Blood from the Mummy's Tomb after director Seth Holt died partway through filming. more…

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