Original subtitles

(frenetic drumming)

- Jonas, | command you to arise from the grave.

Do you hear me?

Jonas, | command you to arise.

(faint drumbeat)

(dramatic, eerie music)

(dramatic, eerie music continues)

(dramatic, eerie music continues)

(frenetic drumbeat continues)

Jonas, | command you to walk.

lam giving you strength to live and to walk.

Hand me the girl.

(drumbeat speeds up)

My brother,

a woman is coming to Kenilworth.

She's a menace to us all.

When you again hear the beat of the drums,

you'll go to her in the main house

and kill,

kill, (drums beat a flourish)

kill. (drums beat a flourish)

Do you hear me?

Kill!

Kill!

Kill!

Kill!

Kill!

(organ plays Wedding March)

- Here they come!

- There they go!

(indistinct chattering and shouting)

- [Voiceover] Wait.

Wait, wait, wait!

- I've got it!

- [All] Bye!

(indistinct happy shouting)

- [John] Ah, there you go.

All right, Mrs. Carlton, now I'm gonna show you New Orleans.

- [Guests] Bye!

- [Voiceover] Bye, Linda.

- [Voiceover] Bye!

- [Voiceover] Have a good time!

- [Voiceover] Bye, John!

(indistinct happy shouting)

(car horns honk)

(indistinct jazz music)

- Come on, let's go in here.

| want you to meet Joe Burton.

Now, remember, he's a good friend and a good pianist,

but he's also a very important client.

Come on.

(jazz music)

(jazZ music continues)

(jazZ music continues)

(jazZ music continues)

(audience applauding)

- Um, Linda, this is Lacey.

- Hello, Linda. - Hi.

- Hey, Joe!

- [Joe] Hey, Johnny, what's happening, daddy?

- Beautiful, man, beautiful.

- What's with the beautiful? Where is the loot?

- You're already making more money

than anybody in town.

What do you got to worry about?

- Like this is nice to worry about.

- (laughs) Joe, | got a little shock for you.

- What, no record, babe?

- You got married!

- You're right.

Joe, | want you to meet Linda.

We just got married this afternoon.

- Hello, Joe.

- He always brings me shocks like you.

- Were you a friend of Johnny's?

- Who wasn't?

| sure hate to see a good man like Johnny

go out of circulation.

(Johnny groans softly)

- Like this chick is always screaming

about men out of circulation.

You want a little, maybe? Like so?

- No, no, no, no. We haven't got time.

Just came in to see you for a second.

- Johnny promised to show me Bourbon Street.

- Oh, yeah?

- Excuse me, | have a customer.

Johnny, she's very nice.

Good luck.

- Thanks.

- Like, before you make the scene out,

like, | want you to hear a little jazz.

And maybe you can finally get me a contract to record.

- Right, will do.

- Later.

Honey, you're a gas, baby.

- Bye-bye, Joe. Nice meeting you.

(Joe starts romantic piano tune)

(band falls in with fast jazzy music)

- Later, man.

- [Voiceover] Finest show on the French Quarter,

and he's up to 7,500.

Talent here, ladies and gentlemen.

Come right over, young lady.

Famous girls in the street,

the biggest show on the French Quarter.

Step this way, folks.

- You all like to go in?

(indistinct jazz trumpet)

- Hi, Bella.

- Hi, Bob.

- Hey, it's your last night.

Yes, I'm leaving for Baton Rouge tonight after the show.

- We are gonna miss you around here.

- Oh, I'll miss New Orleans,

and I'll miss you, too, Bob.

But when the agents say "Go," | go.

- [Voiceover] Hey, Bob, how you doing?

- Hey, how you doing?

All right, pal.

(sultry swing music)

(audience applauding)

- Give the girl a round of applause, folks.

Hey! Why Johnny, you old son of a gun.

Where have you been, lover boy?

| haven't see you around here in a long time.

We missed you.

- Well, I've been pretty busy.

| just got married today.

- Married! Wonderful.

That calls for a celebration.

How about a drink on the house?

- Why, thanks.

- What'll it be? - Couple of vodkas.

- Alrighty.

Is this the bride? - Yeah.

- She's pretty.

(Johnny chuckles)

Where you going for your honeymoon?

- Oh, we're going up the river to Kenilworth.

- Kenilworth? Why there?

- Well, under the terms of my grandfather's will,

when | got married, | inherited it.

So, my cousin Monica's been living up there,

and she's not very happy about all this.

So, well, we're gonna kill two birds with one stone.

One, we'll have our honeymoon,

and two, we'll get all my legal business straight.

- Oh, wonderful. | hope you two will be very happy.

- Thanks.

- You'll excuse me for just a moment, huh?

Now, ladies and gentlemen, may | have your attention

for just a minute, please?

It's time for the second show,

so if you want to drink, order up now.

For all you lovers of high class music and art,

the Dream Room has a special treat for you.

We have, | want you to know, imported

from King Farouk's harem, the exciting,

delighting Bella Bella.

| want everybody to get together

and give her a rousing welcome.

Come on, boys, she'll really work for it if you applaud.

Let's hear it.

Come on, everybody.

(exotic Middle Eastern music)

(exotic Middle Eastern music continues)

(exotic Middle Eastern music continues)

(exotic Middle Eastern music continues)

(exotic Middle Eastern music continues)

Oh, let's hear it, everybody.

(audience applauding)

(drums and jazz music)

(MC speaks indistinctly)

(band plays Dixieland music)

(Dixieland music continues)

(audience applauding)

- Oh, Johnny, all this is so wonderful, and I'm so happy.

Couldn't we wait 'til tomorrow to go out to Kenilworth?

- Oh, honey, | know three days isn't much of a honeymoon,

but, well, | have to be back on Monday,

and I've gotta get this business with plantation

straightened out with my cousin.

| never paid much attention to it.

But now that it's mine, well,

| have to go out there and find out what we're gonna do.

Besides, it's only a couple hours away.

| haven't forgotten it's your wedding night.

- Oh, gee, am | glad to see you!

- (chuckles) What's the trouble?

- | don't know what the trouble is.

- Hmm.

Hey, aren't you Bella?

- Yes.

- Oh, | caught your act tonight, you were great.

- Thank you. - Wait a second.

Hey, honey, I'll just be a minute.

Hm.

Oh, have you got any gasoline?

- Yes, it's over half full.

- Oh.

Well, why don't you get in and start it up?

Okay, start her up.

(engine grinds)

(engine grinds)

(engine grinds)

Wait a minute, it's no use.

Well, the trouble's in your ignition,

but | don't know enough about electricity

to be able to help you out.

| guess you'll just have to wait

and get a garage man in the morning.

- Gee, what am | going to do?

The nearest motel is 30 miles away.

- I'd take you there myself, but,

well, it's kinda late at night and...

Well, frankly, | got married this afternoon.

I'm on my honeymoon.

Look, | live about five miles down the road.

Why don't you come and spend the night with us,

and then you can phone a garage man in the morning?

- | guess I'll have to.

- Got any bags?

- Yes, one in the back.

- Hi. - Hello.

- Well, honey, there's not much we can do

with that car tonight,

so I've asked Bella to spend the night with us.

She can get hold ofa garage man in the morning.

You don't mind, do you?

- Oh, of course | don't mind.

- Gee, thanks. Very nice of you.

| Know I'm not exactly one of those things

a blushing bride needs to take along on her honeymoon.

(John laughs)

- Oh, don't be silly. Come on, get in.

(crickets chirping)

- [John] Hello, Ben, how are you?

- Good evening, Mr. Johnny.

Been expecting you.

- Good. Ben, would you get the bags out of the car?

- You live here? It's spooky.

- (laughs) No, | don't live here yet.

| will soon. Just inherited the place from my grandfather.

Well, come on, let's go in.

Just put your things down here.

Good evening, cousin Monica.

Glad to see that you're still up.

- Good evening.

- Want you to meet my wife, Linda,

and my friend, Miss Bella Bella.

- It isn't very considerate of you to come so late.

- I'm sorry if we've inconvenienced you.

Just tell us which rooms we're to have

and we'll go directly to bed.

- I've prepared the south bedroom

for you and your wife.

| didn't know you were bringing a guest.

- The young lady's car broke down,

so | invited her to spend the night.

- Ben, you can fix the blue room for her.

- [Ben] Excuse me.

- Oh, just a second, Ben.

The south room has two beds in it, doesn't it?

Then put our stuff in the blue room.

- Yes, sir.

- You wouldn't want us to start our married life

in separate beds, would you?

- Of course not.

Good night, Miss Bella.

- Good night.

- Linda.

Good night, cousin John.

- Good night, cousin Monica.

Oh, here, I'll take those, Ben.

Thanks, and would you take that brown bag

down to Miss Bella's room, please?

Oh, Ben, if I'm not up at 10 o'clock,

would you call me?

- All right, good night. - Good night.

- [Bella] Good night! - [Linda] Good night.

- Gee, this is all right.

| hope mine is this soft.

It's a lot better than that old fleabag hotel

I've been staying in in New Orleans.

All right, | know when I'm not wanted.

Thanks a lot for everything, kids.

I'll see you both in the morning.

Good luck, honey.

(door shuts)

- Let's unpack.

- Yeah, honey.

| don't Know why everybody has to make gags

about honeymooners.

- Oh, | don't care, Johnny.

At least we're alone for a while.

(Johnny whistles)

(chuckles)

(sighs)

- Oh, heck, I'll just leave this 'til tomorrow.

Oh, I'm sorry about the way cousin Monica acted.

| think she's upset because she thinks

she's gonna lose the house.

- Oh, well, let's not worry about that, either.

- Shall | call a meeting?

- No, it's much too late,

because it's almost dawn.

And you know that Jonas can't exist in the sunlight.

We'll have to wait.

- There's two of them now.

What is he gonna do?

- In the morning, the other girl will be gone.

And after the other guests have gone to their rooms

tomorrow night, you'll call the meeting.

Do you understand?

- Yes, ma'am.

(birds chirp and twitter)

- It's a cracked distributor or something like that.

They have to send to New Orleans for a new one.

They won't be able to get it here until

tomorrow morning by bus.

So, do you suppose | could impose on you for another day?

- Oh, it's really no imposition.

Of course you can stay.

- Okay, I'll leave the car here.

When | get the part tomorrow,

I'll come out and fix it for you.

- All right, thank you, sir.

Oh, it's been a hot morning.

| think I'll take a shower.

- Okay, we'll see you at lunch.

- All right.

- I'm gonna show Linda around the place.

Come on, babe.

You know, it's funny how a childhood memory

will make things seem much larger than they really are.

When | was a kid, this place looked

like the whole universe to me.

Now | can see it's nothing

but just another ordinary plantation.

There's still a good living to be made from it, though.

Oh, hey, there's something interesting.

Those are the slave quarters.

That's where they kept them chained up at night

when they first brought them over from Africa.

Come on, I'll show you.

Come on.

(distant noises and banging)

- You ain't going in there, are you, Mr. John?

You know what happened with your granddadady.

Well, it's the same with Miss Monica now.

- What's he mean?

- Oh, when | was a kid, | was never allowed

to play around in the slave quarters.

Thought it might interfere

with the voodoo spirits or something.

Now, my grandfather believed in it enough

to keep me from playing around here.

Come on, let's go in.

- Well, maybe we better not.

- Well, | can't let you go in there, Mr. John.

- What's your name?

- George.

- Look, George, | don't know what the policy has been

around here in the past.

From now on, this place is gonna be

run in a businesslike manner.

There'll be no more of this voodoo nonsense.

Now, I'm sure you have something better to do

than to stand here all day.

Come on.

- Is this really where they kept those poor people?

- Yes, itis.

- You mean they kept them chained up like dogs?

- Well, that was a long time ago.

- Gee, that must have been awful.

What's that?

- Oh, that's some sort of old voodoo item.

- Johnny, did they really do

what people said they used to do?

- Of course not.

That's just a lot of silly superstitious nonsense.

Oh, speaking of weird things,

we'll go over to the family vault now,

and then we'll go to lunch after, okay?

- Okay.

Wait a minute, Johnny.

Isn't this place supposed to be deserted?

- Yeah.

- Well, look at the walls and the floors.

It looks like somebody's been here recently.

- It's probably the voodoo spirits

of all the old slaves come to haunt me.

- Oh.

- Come on, let's go.

Here it is.

The burial place of eight generations of Carltons.

I've always thought this worship of the dead

was a little insane.

But it's one of the prices you pay for tradition.

Some people build bridges, some people build hospitals.

The Carltons build crypts.

When | was a kid, cousin Monica and | used to play out here.

She used to use this place as a kind of a fort.

Well, come on.

- Oh, Johnny, | don't wanna go in there, it's creepy.

- (scoffs) They're all dead, they can't hurt you.

Besides, they weren't such bad guys.

Come on.

- Do they always light the candles?

- Yes, it's an old family custom.

Well, here he is,

the founder of it all, John Jackson Carlton.

And as nice an old gentleman as you'd ever wanna see.

He'd turn over right here in his grave if he knew

that his dynasty had come down to Monica and me.

He was a real aristocrat.

He believed that he was going to found

a great feudal system here in the New World.

- Captain William Jonas Carlton.

What did he do?

- Anybody and anything he could.

He was something.

Before the Civil War, he was a Slave trader.

And during the war, he was a blockade runner,

and not above taking money from both sides.

- Johnny, what about Monica's brother?

- Well, his remains are over there.

About 10 years ago, he and Monica got involved

with some Creoles who claimed to have gotten

the voodoo secrets from the original slaves.

Monica and Jonas, he's named for the captain over there,

they took more than an average interest in it.

In fact, they became deeply involved.

One of the Creole girls fell in love with Jonas.

But he brushed her off in favor of a beautiful girl

from an old Louisiana family.

They live nearby here.

But before the wedding, Jonas took ill

and just started wasting away.

Not even the best doctors in the city

could find out what was wrong with him.

Finally, he became a helpless invalid.

They had to call off the wedding.

But his fiancee stayed right there at his bedside,

up until the day he died in his sleep.

- Well, what did he die of?

Nobody knows.

- | know why he died.

He died from a power that's stronger

than anything your stupid religions have ever known.

He died of a voodoo spell cast by that woman.

Oh, | know you don't believe it.

But | know they exist.

They killed my brother Jonas,

and they can bring him back to life again.

- Oh, what a horrible thought.

- Yes, it is, isn't it?

What are both of you doing here, anyway?

- Oh, | thought I'd show Linda

what a band of cutthroats she married into.

- | don't think you should joke here.

Don't we have business to discuss?

- Yes, we do, after lunch.

Let's get out of here.

Now this place is giving me the creeps.

(children squealing)

- What's the matter?

- [Voiceover] A dead man! A dead man! He's gonna get us!

- Back, back, get back, get back.

Go, go.

- [Bella] What did they play?

I'm sorry, ma‘am, I'm sorry they bothered you.

- Oh, no bother at all.

What kind of game were they playing?

- Nothing, ma'am. Nothing, ma'am. Nothing, ma'am.

- | wonder what that was all about.

- Monica, I'm not trying to push you away from Kenilworth.

- Well, then what are you doing here now?

- I'm proud of the old place. | wanted Linda to see it.

Besides, there's so much

of the family background in evidence here.

It's like giving her a shortcut to know me better.

- So you came here on your honeymoon.

- Naturally.

And it also gives me a chance to work out some agreement

with you on how the place is gonna be run,

what improvements are gonna be made.

- That's what | thought.

The only thing you had in mind was coming out here

and crowding me out of my own home,

trying to change things so that there wouldn't be

any memories of grandfather here at all.

The plantation runs very smoothly, thank you, cousin John,

just as it has for many generations.

Grandfather had great confidence in the way

brother Jonas and | feel about Kenilworth.

That's why he willed it to us.

- | know why grandfather's will read the way it did.

And | remember his obsession with keeping everything

just as it used to be.

And I'm sure that you and Jonas did a wonderful job.

But now I'm married, and the part of the will

that affects me has now come into being.

- Brother Jonas and | still rule Kenilworth.

- If you mean the memory of Jonas stays on here with you,

well, then | understand.

Look, Monica, | Know how you feel.

| want you to stay on here.

| Know you wouldn't be happy anywhere else.

Besides, Kenilworth needs you.

| have another job in New Orleans,

and | won't be able to spend very much time here.

- Then stay away and leave us alone.

- Now, Monica, hear me out.

| want you to stay on here and be the mistress of Kenilworth,

just as you were in the past.

Now, let me finish, please.

We can form a corporation, and it can run Kenilworth.

We can share equally in the proceeds,

and we'll have more than enough for our needs.

The title will be in my name,

but I'll let you live here just as you have in the past.

- Cousin John, you are a contemptible man!

- But I'm offering you half a plantation.

- The plantation is not yours to offer!

It belongs to Jonas and me.

| already own half the plantation!

- Monica, Jonas is dead.

Now, look, our grandfather's will provided that

if Jonas ever married, he was to have

full title to Kenilworth.

Well, now in Jonas’ case, that event never happened.

So the same provision now applies to me.

Yesterday, | was married.

Now the place is mine.

- As you said of brother Jonas, the event never happened.

Well, it's the same in your case.

The event of transferring the deed to your name

has never happened.

You have no legal right to take possession of Kenilworth.

It's not yours.

- But you know very well what the will states.

- And what if your wife should die

before you get possession of the deed?

- Oh, stop talking nonsense.

- Nonsense?

Stranger things than that have happened to the Carltons.

- Oh, that sounds like some of that voodoo nonsense

of yours again.

- I'm glad you still remember the voodoo, cousin John.

- Oh, look, this is getting us nowhere.

Look, why don't we both sleep on it,

and tomorrow, we'll talk it over before | leave

and arrive at a decision, all right?

- All right.

A good night's sleep will help us all.

Ben, we'll have coffee in the library.

- Yes, ma'am.

- Bring it in right away, though, we don't have much time.

- Yes, ma'am.

- Oh, Monica.

Well, there's one tradition around Kenilworth

that should not be changed.

The dinner was excellent.

- Cousin Monica, do you prepare all the meals yourself?

- I'm afraid | can't take the credit for the kitchen.

Sally's in charge there.

She's an old woman, but still likes

to prepare all the meals herself.

- Oh, may | serve the coffee?

- You may.

| have other things to attend to.

- Just put it here, Ben.

- That's all, Ben.

- | know, it's a silly old game,

but | started playing in my dressing room between shows.

| can't seem to stop.

- Never play the game myself.

Red jack on the black queen.

- Spread the word to meet,

but don't start the drums until | get there.

(tense music) - Your brother's here?

- Jonas will know.

- There's so many things about Kenilworth that intrigue me.

- Oh, sit down, Monica.

- Like that old place where they kept the slaves chained up.

- Hmm.

- You mean the voodoo cell.

- Voodoo?

- Yes, the people here are the descendants

of the original slaves, and they still believe in voodoo.

- Have you ever watched a real meeting?

- Many times.

It has great power.

- Oh, hush, Monica.

It's just a lot of silly nonsense.

The red nine on the black ten.

- Oh.

(Knocks rap)

- Come in.

What is it, Ben?

- It's the time.

- I'm going.

- Where's Daddy going?

- Hush, now.

(tense, suspenseful music)

- Black eight, red nine.

Black six, red seven.

- Hey, don't tell me you read in bed.

- | used to.

- [Bella] This is a silly game, isn't it, Monica?

(suspenseful music)

- Mama, is he walking tonight?

- You all go to sleep.

(door clatters) (suspenseful music)

- | wonder if it's the way | shuffle the cards.

Nothing seems to come out right.

(suspenseful music continues)

I'd have won if | hadn't cheated.

| think I'll go to bed, if you'll excuse me.

- Oh, wait just a second, we'll go up with you.

You coming up, Monica?

- No, I'll stay and see that everything's all right.

- [John] Okay. - [Monica] You go ahead.

- Good night.

- [Monica and Linda] Good night.

- Good night.

- | don't know how to thank both of you

for being so nice to me.

Oh, Linda honey, you don't know how lucky you are,

getting a setup like this.

- Oh, | know how lucky | am.

- Oh no, | mean really.

You not only got a nice guy,

but you got this wonderful old house, too.

- It wasn't easy.

- No, all you did was let me chase you

until you caught me.

Now I'm the lucky one, | got you.

The only thing that's unlucky

is having you along on the honeymoon, Bella.

- Have pity, mister.

This may be as close as I'll ever get to a happy marriage.

(John chuckles)

Johnny, seriously, before | say goodnight,

| like your cousin Monica, but isn't she a bit kooky?

- Well, | suppose to outsiders she does appear

a little strange, but, well, she's lived here all her life,

and then the death of her brother hit her pretty hard.

Underneath, though, she's a very good person.

- But does she believe in all that voodoo

that she says she does?

- | don't think she believes in the voodoo.

She just does that so she gets along better with the help.

No intelligent person believes in voodoo.

Good night, Bella!

- Oh, all right, I'm going.

- Be careful, Linda, he'll put a voodoo spell on you.

- Good night, Bella. - [Bella] Good night.

- I'm completely in his power, anyway.

- Now you're the one that's cast a spell on me,

you little witch.

(tense music)

(tense music continues)

- Tonight, we're going to save Kenilworth.

Do you hear me?

Tonight, we're going to save Kenilworth!

(suspenseful music)

(drumbeat starts slow, then speeds up)

(faint drumbeat)

- Strange.

(loud frenetic drumbeat)

(tense music continues)

- Walk, Jonas.

Walk, Jonas.

| command you to walk.

Jonas, | command you to walk.

- What is it, Johnny? Why are they beating those drums?

- It's part of the voodoo ritual.

| wonder why so late.

(drumming continues)

(suspenseful music)

- Give me the girl.

Jonas, | command you to kill.

Jonas, | command you to kill her.

Jonas, | command you to kill her!

- | feel like I'm having my honeymoon

in the jungles of Africa.

- Monica's been too lenient.

Think | better go downstairs and find out what's going on.

- Wait, please don't leave me here alone.

Those drums are creepy.

- Oh, honey, | can't take you out all dressed like that.

- Oh, | don't care.

I'm afraid to stay here alone.

- All right, come on.

(tense music)

- [Monica] Faster!

(drumbeat speeds up)

(tense music)

(tense music continues)

(frenetic drumbeat continues)

(tense music continues)

- Johnny, it's Monica.

(tense music continues)

- Who is it?

(suspenseful music)

- You're going to die.

(drumming intensifies)

- | don't understand, Johnny. Why is she doing it?

- | don't know.

She used to like to dance in these voodoo rituals

when she was a little girl, but not like that.

Come on, let's go back to the house.

(suspenseful music)

(wild, frantic drumbeat)

(drumming stops)

(insects chirping)

- | wouldn't have believed cousin Monica

could do something like this.

- Hell, | can't understand it myself.

| thought she'd outgrown things like that,

but seems to have gotten worse and stronger.

Well, I'm gonna have to have a long talk with her

about this in the morning.

- Gee, | was afraid at first,

but I'm not anymore.

(Johnny chuckles)

Oh, I'll be right back.

- Where are you going?

- Oh, Bella offered me some exotic perfume,

and | wanna be exotic.

(both chuckle)

(whistles)

Johnny!

Johnny!

Johnny!

Johnny!

Johnny?

- What is it, baby? What's the matter?

- Johnny, Bella's gone.

- Did you look in the bathroom?

- Yeah.

- Maybe she got curious about the voodoo

and went out and took a look.

- No, Johnny, we'd have seen her

out there when we came back.

- Hey, that's right.

Hm.

- What do you think happened to her?

- Maybe some of those guys got carried away

by their voodoo ritual and decided to--

- Decided what?

- | don't know, but | think we'd better find out. Come on.

(sharp bang)

Bella!

Bella, where are you?

Bella!

- [Linda] Look, Johnny, over there.

- [Johnny] Come on.

(Linda gasps)

(insects chirping)

She's dead.

- But can't we help her?

- No. No, there's nothing we can do about her now.

Come on, let's call the police.

- George! George!

- What is it, Miss Monica?

- She's still alive.

- How?

- He was confused by the other woman.

Get the people together, start the drums again.

We have to hurry.

- The name is Carlton, C-A-R-L-T-O-N,

out at the Kenilworth plantation, on Highway 46.

One of my house guests has been murdered, | think.

Yes, a dancer named Bella Bella.

(slow drumbeat)

(drumbeat speeds up)

You'd better get out here as fast as you can.

| think there may be more trouble.

Right.

(phone bangs)

It's gonna take them quite a while to get out here.

We're a long ways from town.

- What are we gonna do now?

- I'm going to take you upstairs

and give you my gun. Come on.

- The guy walking again.

- Baby, you know how to shoot a gun?

- Yeah.

- All right.

Now, you take this.

Now, when | leave-- - I'm going with you.

- No! No, honey, you've got to stay here this time.

| don't know what's going on out there.

Until | do, | want you safe right here.

- | can't stay here alone.

Look what happened to Bella.

- Look, her door wasn't locked.

Now, you lock that door behind me after | leave.

| have to get to the bottom of this

before something else happens.

- Oh, Johnny, please don't go.

(wild frenetic drumming)

- Now, as soon as | leave here,

you lock that door behind me. You'll be all right.

- What if somebody comes?

- Nobody will.

But in case they do, you just shoot.

You remember, lock that door behind me.

(drum beats frantically)

(tense, suspenseful music)

(frantic drumbeat continues)

(soft thud)

- Who's there?

(door rattles)

Johnny?

(door rattles)

- Monica, tell him to stop that drumming!

(door crashes) (Linda screams)

(Linda gasps)

- Stop!

Stop, don't come near me, please!

Stop.

Stop, I'll shoot.

(shot crashes)

- [Monica] Hold him, George!

- Let go, George!

- Stop!

(gasps)

- Let go, George!

- Stop!

Stop! Stop or I'll shoot!

(shot crashes)

- Kill, Jonas.

Kill, Jonas!

Kill! (crashing window drowns out speech)

(suspenseful music)

The drums, we have to have the drums back!

(footsteps thump on door)

- What are you trying to do?

- So you didn't believe in voodoo, cousin John?

- Stop talking nonsense. Bella is dead.

- | know, he got the wrong one.

- Who? Who got the wrong one?

- Our Dead One, brother Jonas.

- Is somebody trying to harm Linda?

- Too late, cousin John.

Brother Jonas has already taken care of her.

(insects chirping)

- [John] Linda, Linda!

Linda!

Linda, are you all right?

(Linda sniffles)

What happened, baby, what happened?

- | don't know. It was this horrible--

- Don't worry now, take it easy.

What horrible thing?

- Oh, a monster, a mummy or something,

he came through the door.

- You mean a man dressed up to look like a mummy?

- No, no, no, | saw his eyes.

His hair and his skin,

he looked like he'd been dead for years.

- Brother Jonas!

- What?

- Oh, it's a trick.

They've got some guy dressed up to look like brother Jonas.

- It wasn't a trick.

| shot him and he didn't feel them.

- Here, let me see.

(gun clicks)

Two shots fired.

Look, you could have missed.

- | didn't miss.

He didn't feel the bullets, Johnny!

- Oh, | can't believe it.

- How do you know it can't be?

Let's go to the burial vault. You'll see.

- All right, come on.

(insects chirping)

(suspenseful music)

You've gone too far this time.

(insects chirping)

(tense music)

- You see, he's gone.

It was him, he came to kill me.

- An empty coffin doesn't prove a thing.

They could have rigged this up

for the benefit of the local police.

They'd write this off to voodoo in a minute.

Half this parish believes in it, or would like to.

- Oh, Johnny, I'm scared.

- Okay, come on. I'll take you back to the house.

- [Linda] Johnny!

- [John] Good God!

| don't know who you are, but don't come any closer!

(shot crashes)

(sirens wail)

- Jonas!

Jonas, get back in the coffin before the sun comes up!

Jonas, get out of the sunlight!

Jonas, get out of the sunlight!

(shot crashes)

Brother Jonas, you have to get out of the sunlight.

- It's over there.

- Johnny, don't, he's got to get back in the coffin.

The sun is coming up.

Jonas, the sun is coming up.

Johnny! Jonas, he has to get back in the coffin.

- What's going on here?

- Jonas, don't bother with him.

- Stop or I'll shoot.

(shots crashing)

(Monica gasps)

(dramatic music)

(Jonas groans)

(shot crashes)

(Jonas growls)

- Johnny, what happened to him?

- | don't know.

But | guess that was brother Jonas, all right.

She had some extraordinary power, all right.

But whatever it was, it didn't do her

or this place any good at all.

Come on, let's get out of here.

(footsteps thumping)

(birds chirp and trill)

Uh, now the girl | called you about,

she's up behind the house.

And the girl in there was my cousin Monica.

That creature you saw disappear was a corpse

that was brought to life by voodoo ritual.

Couldn't stay alive in the sunlight.

Is there anything else you wanna know?

- [Cop] Yeah, how would you have explained this

if we hadn't gotten here in time to see it?

- | don't know.

| don't think very many people would have believed us.

(somber music)

(car engine turns over)

(car engine turns over)

(car engine turns over)

(dramatic music)