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Mark Gatiss’ revival of A Ghost Story for Christmas, a British strand of one-off specials infrequently aired around the holidays since 1971, continues with what is possibly its best entry yet: Lot No. 249. The League of Gentlemen alum has maintained a substantial interest in horror, much like comrades Steve Pemberton and Reece Shearsmith, but unlike the Inside No. 9 duo, Gatiss digs up neglected works from classic British literature — before now, namely M. R. James — and reintroduces them to contemporary audiences.

In Lot No. 249, Kit Harrington plays the prying university student who acts on suspicions about his odd neighbor (Freddie Fox). The Egyptologist in question is not only guilty of certain “perversions” he is also using a reanimated mummy — the story’s otherwise nameless namesake — to carry out his wicked plans. This includes murdering his various rivals on campus. The protagonist later intervenes, only to then make a startling, if not belated realization about his enemy.

Lot No. 249 isn’t as obscure as previous offerings from the Gatiss era of A Ghost Story for Christmas; devoted readers of Sir Arthur Conan Doyle’s oeuvre know it well. Fans of Tales from the Darkside: The Movie would also recognize this late 19th-century short story, seeing as it was the basis of that famous anthology’s first segment. Unlike that version, though, Gatiss’ take is fairly faithful to the original story.

Image: Kit Harrington, Freddie Fox and Colin Ryan respectively as Abercrombie Smith, Edward Bellingham and Monkhouse Lee in Lot No. 249.

To see a mummy on screen these days is a rare treat. After all, these imaginary reworkings of Ancient Egyptian mummies have been used less and less in horror films and television over the years. Compared to their fellow Universal icons, these undead creatures lack the versatility of vampires and werewolves. And to some, they seem silly by comparison and are best left in the past. Admittedly, Lot No. 249 doesn’t forego the most stereotypical depiction of mummies — the mummy here is very much a sinister monster hellbent on killing — but Doyle’s story has layers that give its swathed antagonist more value. And by extension, Gatiss taps into the story’s themes of imperialism and sexuality with insight, skill and, most importantly, a sense of humor.

Gatiss has confessed how difficult it is to get these beloved specials funded. Even knowing the financial limitations going on behind the scenes, Lot No. 249 does a splendid job of world-building, setting the mood, and fleshing out colorful characters in such a short amount of time (barely half an hour, in fact). The leads even start to feel like old and weird friends by the end of this macabre tale. Harrington imbues his character with an unforeseen volume of life and wit, whereas Fox is downright delicious as the mummy’s malicious master. While the superb performances are indeed a large reason as to why this Ghost Story works so well, the monster shouldn’t be overlooked. The mummy is menacing despite its Gothic handling. A desiccated and bandaged hand entering from off screen and reaching for someone’s throat is more effective than initially expected.

Gatiss took creative license with Lot No. 249, particularly in the conclusion (and an unnamed side character who is implied to be Sherlock Holmes). Doyle’s short story doesn’t quite deliver the narrative punch required for a visual adaptation. So this special favorably expands on the original outcome all the while satisfying Gatiss’ wish for dark fun. Before then, A Ghost Story for Christmas had a tendency to be serious. Maybe too much so. This break from routine, however, is a pleasant surprise and a great way to buck tradition.

Image: Freddie Fox as Edward Bellingham in Lot No. 249.