Dead One, The (1961)

[bunniefuu]

[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 k*ll,

k*ll,
[drums beat a flourish]

k*ll.
[drums beat a flourish]

Do you hear me?

k*ll!

k*ll!

k*ll!

k*ll!

k*ll!

[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.



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?



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 g*n.

Where have you been, lover boy?


here in a long time.

We missed you.

- Well, I've been pretty busy.



- 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 k*ll
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.



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.



But now that it's mine, well,


find out what we're gonna do.

Besides, it's only a couple hours away.


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.



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.



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.


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.



- 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.



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.


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.



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.



- 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 sl*ve 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,


to play around in the sl*ve 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 sl*ves 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 w*r,
he was a sl*ve trader.

And during the w*r, 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 sl*ves.

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 k*lled 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.


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.




happy anywhere else.

Besides, Kenilworth needs you.



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

- Then stay away and leave us alone.

- Now, Monica, hear me out.


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.



- 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.



- 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.



- 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 sl*ves chained up.

- Hmm.

- You mean the voodoo cell.

- Voodoo?

- Yes, the people here are the descendants

of the original sl*ves, 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.


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,


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.



Jonas, | command you to walk.

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

- It's part of the voodoo ritual.



[drumming continues]

[suspenseful music]

- Give me the girl.

Jonas, | command you to k*ll.

Jonas, | command you to k*ll her.

Jonas, | command you to k*ll 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.



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 m*rder*d, | think.

Yes, a dancer named Bella Bella.

[slow drumbeat]

[drumbeat speeds up]

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



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 g*n.
Come on.

- The guy walking again.

- Baby, you know how to sh**t a g*n?

- 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.



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.



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 sh**t.

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 sh**t.

[shot crashes]

- [Monica] Hold him, George!

- Let go, George!

- Stop!

[gasps]

- Let go, George!

- Stop!

Stop! Stop or I'll sh**t!

[shot crashes]

- k*ll, Jonas.

k*ll, Jonas!

k*ll! [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.



- Here, let me see.

[g*n clicks]

Two shots fired.

Look, you could have missed.

- | didn't miss.

He didn't feel the b*ll*ts, 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 k*ll 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!


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 sh**t.

[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.


people would have believed us.

[somber music]

[car engine turns over]

[car engine turns over]

[car engine turns over]

[dramatic music]