All language subtitles for Barry Mahon - The Dead One (1961)

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

Do you hear me?

Jonas, | command you to arise.

Jonas, | command you to walk.

lam giving you strength
to live and to walk.

Hand me the girl.

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,

kill.

Do you hear me?

Kill!

Kill!

Kill!

Kill!

Kill!

- Here they come!

- There they go!

- Wait.

Wait, wait, wait!

- I've got it!

- Bye!

- Ah, there you go.

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

- Bye!

- Bye, Linda.

- Bye!

- Have a good time!

- Bye, John!

- 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.

- Um, Linda, this is Lacey.

- Hello, Linda.
- Hi.

- Hey, 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.

- 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.

- 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.

- Later, man.

- 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?

- 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.

- Hey, Bob, how you doing?

- Hey, how you doing?

All right, pal.

- 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.

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.

Oh, let's hear it, everybody.

- 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!

- 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.

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.

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

- 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.

- 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.

- 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.

- Good night!
- 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.

- 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.

- 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.

- 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.

- 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.

- 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.

- What's the matter?

- A dead man!
A dead man! He's gonna get us!

- Back, back, get back, get back.

Go, go.

- 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.

- 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.

- Come in.

What is it, Ben?

- It's the time.

- I'm going.

- Where's Daddy going?

- Hush, now.

- Black eight, red nine.

Black six, red seven.

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

- | used to.

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

- Mama, is he walking tonight?

- You all go to sleep.

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

Nothing seems to come out right.

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.

- Okay.
- You go ahead.

- Good night.

- 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.

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.
- Good night.

- I'm completely in his power, anyway.

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

you little witch.

- Tonight, we're going to save Kenilworth.

Do you hear me?

Tonight, we're going to save Kenilworth!

- Strange.

- 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.

- 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.

- Faster!

- Johnny, it's Monica.

- Who is it?

- You're going to die.

- | 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.

- | 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.

Oh, I'll be right back.

- Where are you going?

- Oh, Bella offered me
some exotic perfume,

and | wanna be exotic.

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.

Bella!

Bella, where are you?

Bella!

- Look, Johnny, over there.

- Come on.

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.

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

| think there may be more trouble.

Right.

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.

- 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.

- Who's there?

Johnny?

- Monica, tell him to stop that drumming!

- Stop!

Stop, don't come near me, please!

Stop.

Stop, I'll shoot.

- Hold him, George!

- Let go, George!

- Stop!

- Let go, George!

- Stop!

Stop! Stop or I'll shoot!

- Kill, Jonas.

Kill, Jonas!

Kill!

The drums, we have to
have the drums back!

- 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.

- Linda, Linda!

Linda!

Linda, are you all right?

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.

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.

You've gone too far this time.

- 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.

- Johnny!

- Good God!

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

- Jonas!

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

Jonas, get out of the sunlight!

Jonas, get out of the sunlight!

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.

- 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.

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?

- 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.