I Eat Your Skin (1971) - full transcript

[dramatic orchestra music]

[rhythmic drumming]

[harmonized grunting]

[rhythmic drumming]

[thunder booming]

[rhythmic drumming]

[tense piano melody]

[slow jazz music]

[light Caribbean music]

- He looked up and
there she stood

on the balcony as
nature meant her to be.



The blood began
beating in his temples.

Her eyes were blue, black,

gorgeous beads of
beautiful ebony.

They called, demanded
him to come to her.

He was up the stairs in
a few bounds and before

he knew it he was
standing in her doorway.

- Well go on, go on.

- Where was I?

Let's see.

Oh yes, yes.

There he stood framed
in the doorway.

She was on the bed.

Her breath was coming heavy
now, in short abrupt bursts.

The veins in his
throbbing temples



were beating as if
they would burst.

- So he picked up
the pulsating pail

of ice water and dreamily
dumped it on her.

That's right out of your
second novel, Hot Lips.

- Hey, old buddy.

Welcome home.

Did you lose all your
millions at Monte Carlo?

- Where have you been?

I've been trying to get in touch

with you since I came back.

- Well to tell you
the truth, old buddy,

I was hold up in my
room all this time

working on this great story.

- You haven't turned in
one word in three months.

Where is this "great story"?

- Up here, old guardian
of my mental treaders.

Up here.

- Okay, "Hairy" Harris.

You've got exactly 30
seconds to get out your can.

I've got a job for you.

You've got 15 seconds
to get up from here.

- Why you.

- [Duncan] Five seconds.

- Oh no.

There's my husband.

[screaming]

- Hey Dunc, did you say
something about a job?

Cool it, buddy.

Cool it.

[music warbling]

[laughing]

[screaming]

[laughing]

- Enrico, come.

- Wait a minute, that's my
suitcase and my typewriter.

- I'll explain later.

- Look, Dunc, wait a minute.

- Am I late, T.H.?

- Oh no, of course not.

Dunc, this is my secretary.

We've got some dictating to do.

- [Husband] Hey Harris!

- Oh, honey, keep your
pencil sharp will you?

I'll be right back.

- But honey, you
don't understand!

- [Tom] Sorry, old man.

No room, no room.

- [Husband] Harris,
I'm gonna kill you!

- It's a little drafty in here.

- I'm gonna kill you, Harris!

[music warbling]

[laughing]

- [Enrico] Where to, sir?

- Straight to the airport,
Enrico, and step on it.

- Wait a minute, wat
do you mean airport?

- When I was in
Monte Carlo I met

a Lord Carrington at the casino.

He had a most
interesting tale to tell.

- Was he winning or losing?

- With his wealth Tom,
it really doesn't matter.

Lord Carrington
inherited an island

in the Caribbean, and
this island is so remote

that only he could
approximate its location.

- What, pray tell, does all
this have to do with me?

- You, playboy writer,
my card-playing wife

and I are going to this island.

You're starting on
your next best-seller.

- Oh no.

Enrico, pull over.

- Now wait just a minute.

Let me finish.

If you don't like my
story, I'll take you back

to the hotel and you can
continue your debauchery.

The more that I heard what was

happening on Voodoo Island--

- Voodoo Island?

- Yes, that's the
name of the island.

The more I began to think
what a wonderful background

this would make for
an adventure novel.

In the first place, the
natives practice voodoo.

- So they practice voodoo.

- [Duncan] Secondly,
there's a large quantity

of highly poisonous
snakes in the island.

- You're hurting your cause.

- Now listen, please.

Lord Carrington has
set up a foundation

to perform experiments
with the snake venom.

There's been a famous
scientist there for years

trying to find a
cure for cancer.

- Interesting, but not
interesting enough.

Sorry.

Now wait, let me finish.

I haven't gotten to the
most important part yet.

These voodooists actually
perform human sacrifices.

And that there's
some superstition

about an army of walking dead.

I presume you would call them...

Zombies.

- You actually
contemplate taking

that lovely voluptuous
kook of a wife whom

you claim to love, and
me your breadwinner

whom you claim to
be your best friend,

to an Island overrun
with dead people

practicing human
sacrifices and voodoo

for the sake of a good book?

- There is one important
thing I did leave out.

- [Tom] What is that?

- [Duncan] Girls.

- Girls?

- Virgin natives.

Just waiting for some
sophisticated swinger

like you to come
along and pluck them

off their tropical vines.

[laughing]

It was very funny,
Lord Carrington said

that a few years ago all
the men of the island

were out to sea fishing
when a hurricane struck

and it left the island populated

with five girls
to every one man.

- Five to one?

[chuckling]

Interesting.

[rhythmic drumming]

[slow jazz music]

- Baby!

Did you miss me?

- Oh Tommy, I longed for
your arms, your lips, your...

All right, will
you please tell me

what this cockamamie
thing is all about?

- You won't believe it.

Let money bags explain.

- Hi, love.

- All right, okay, what
the hell is this all about?

- Now Coral, calm down.

- I'm right in the
middle of the greatest

canasta game ever,
I've got Sophie into me

for $3.42, and a
beach boy walks by

and says that this
schmoe calls and says

pack for a week and to
meet him at the airport.

Now get with the explanation.

- Coral, lovely.

Because I love you so much
and because I want you

to have everything,
I'm taking you

and your best lover
away on a vacation.

Just think, four or five
hours across that lovely

blue Caribbean lies a land
of every man's dreams.

Where we can lie in
the hot sun all day

and drink long, cool,
exotic rum drinks, hmm?

- I can do that at
The Fountain Blue.

- Okay, big mouth.

Just get in the plane.

- But--

- Just get in the plane.

- Don't talk to me like that!

- If you don't get in the
plane this very minute,

I'm going to cancel
every one of your

charge accounts in
every department store,

couturier, salon
in this country!

And in Paris and in London!

- Well you don't have
to get dirty about it.

- In!

[jazzy atmosphere music]

[gasping]

- What am I doing up here?

I get sick in elevators.

- [Duncan] Coral.

- [Coral] It's all
right, darling.

We'll be there soon.

- Can you see it?

- [Enrico] It doesn't
seem to be where

we marked it on the map, sir.

- I don't understand.

Lord Carrington
marked it himself.

- Well we better
find something soon.

- Look!

- [Duncan] You think
you can make it?

- [Enrico] We'll
make a go at it, sir.

- [Duncan] Well switch
over to the emergency tank.

- [Enrico] We are on the
emergency tank now, sir.

- Here, let me take over.

Maybe I can make the beach.

All right, hold on!

Here we go, we're going in!

[music warbling]

[brakes screeching]

[light Caribbean music]

Well let's see where we are.

- [Duncan] I wonder where
the inhabitants are, Tom.

- Well I spotted a
glimpse of a house

up at that end of the island.

- Hey, would you bring me a
banana or coconut or something?

Well I get hungry
with excitement.

- You could do with a
little dieting, honey.

- Well get a load
of talking tubbo.

- Look, none of that.

You stay with the plane.

I'll be back as
soon as possible.

Enrico, you better
give me my gun.

- Hurry back.

[rhythmic drumming]

[birds chirping]

[gentle Caribbean music]

[tense atmosphere music]

[rhythmic drumming]

- Hey, look out!

[suspenseful atmosphere music]

Buenos dias, senor.

- Ah, buenos dias, senor.

- We've been forced
to land on the beach.

Can you tell me where
I can get some help?

- Si, senor.

Follow me.

[speaking in foreign language]

- Here, let me
take those for you.

[rhythmic drumming]

What are those drums?

- [Fisherman] Senor,
they are voodoo drums.

[speaking in foreign language]

- Sacrifice?

[speaking in foreign language]

- What's going to be sacrificed?

[speaking in foreign language]

[rapid rhythmic drumming]

[suspenseful atmosphere music]

[screaming]

[gun firing]

[car honking]

[speaking in foreign language]

- Mr. Fairchild!

Mr. Fairchild, if
you can hear me!

Don't be frightened.

We're friends.

We won't hurt you.

Oh, Mr. Fairchild.

Thank goodness you're all right.

- I'm not Mr. Fairchild.

I'm Tom Harris.

- Oh yes, Mr. Harris.

I'm Charles Bentley.

Mr. Fairchild radioed
you'd be coming.

Terribly sorry this
had to happen to you.

We've been hunting the man

who killed him for over a week.

He's violently insane of course.

Suddenly went berserk,

slaughtered his wife
and child, and now this.

I hope he didn't hurt you.

- Not for the want of trying.

- Tomas, Mario.

[speaking in foreign language]

- He ran in that
direction didn't he?

- Yes, he went that way.

- Cuidado!

- Okay.

- We have to get to him
before his own people do.

If they got him first, I'd hate

to think what they'd do to him.

- You see Mr. Harris, these
are very simple people.

They understand only
that deed, not the cause.

Deranged mind, a
homicidal maniac.

It's quite beyond
their comprehension.

I saw your plane coming in.

I couldn't tell where it landed.

- We ran out of gas and we
had to land on the beach.

- You had two narrow escapes.

Let's hope the rest of your stay

on the island isn't
quite so hazardous.

Come on.

[speaking in foreign language]

[dramatic atmosphere music]

[speaking in foreign language]

- Mr. Fairchild!

- [Duncan] What?

- Look!

- Hey quick, get in the plane!

Lock the door!

[suspenseful atmosphere music]

[speaking in foreign language]

- Mr. Fairchild,
I'm Charles Bentley.

- How do you do.

- I'm Lord Carrington's overseer

on the plantation
here on the island.

- Mr. Bentley, this
is my wife Coral.

- Am I glad to see you, honey.

- Well it's my pleasure.

Well welcome to our island.

Let's go up to the house,
you can freshen up.

And then we'll
celebrate your arrival.

- [Duncan] Thank you.

- [Tom] What about the plane?

- Robey and his
men will roll it up

on the beach and tie it down.

[gentle orchestra music]

- This is Juarita,
my housekeeper.

- Welcome.

- [Charles] She'll
take good care of you.

- Thank you, honey.

Oh Mr. Bentley, what a
lovely house you have.

It's so tropical!

- Well come in, come in.

Now please, all of you.

Mi casa es su casa.

My house is your house.

- This way please.

[slow jazz music]

this way please.

- All right, come on honey.

Oh Dunc, Tom, look.

What a glorious tropical sunset.

- Look you two,
there's something

very strange going
on in this Island.

I don't know what it
is, but this afternoon

when I was coming up to...

Juarita?

- Si, senor.

- Juarita, is it true there
is to be a sacrifice tonight?

- Sacrifice?

Who's sacrificing what?

- I do not understand, senor.

I'll show you to your room.

This way please.

- We'll talk about this later.

[tense atmosphere music]

[easy listening piano music]

[clapping]

- You frightened me.

- Oh I am sorry.

What part of Heaven
did you fly down from?

- Oh boy.

Mr. Harris, I've read
some of your books

and I only hope you're
more original in person.

- Well I'm afraid
that's one of the

occupational hazards
of being a writer.

You stand naked
before the world.

Well the least you can
do is tell me your name.

- Only on one
condition, if you mix me

something very cold to drink.

- Well lead the way.

[romantic atmosphere music]

Well?

- I'm Janine Biladeau.

My father, Dr. August
Biladeau, is here

on the island doing some
experimental research.

- Oh, so your father's the
man that's going to find

the cure to the world's
deadliest disease.

- Let us say, Mr.
Harris, that my father

is doing his very best.

He works hard.

Too hard perhaps.

- Well here.

- Salud.

I see you at least mix an
excellent drink, Mr. Harris.

What is it?

- A Rob Roy.

- Oh.

Well what brings
such an important

person such as yourself
to Voodoo Island?

- To find you.

A wandering sailor came
by one day and told me

of a beautiful blonde goddess
who inhabited this island.

- From which one of your
books was that line?

- A toxic narcotic.

And for centuries the natives

have used this as
we use alcohol.

But excessive use of
this narcotic sets up

a strong chemical reaction
in the body tissues.

Maybe that can explain
the abnormal appearance

of the native and
his deadly intent.

- Well I see you've
started without us.

- Hi everybody.

- I must apologize.

We had a little trouble
deciding what to wear.

- Enrico, make that a double.

I feel like swinging tonight.

Well who's this
pretty little thing?

- [Tom] Coral and
Duncan Fairchild,

This is Janine and
Dr. August Biladeau.

- Charmed, I'm sure.
- How do you do.

- Dinner's served, senor.

- Gracias, Juarita.

Venimos.

If you want those
cocktails, I'm afraid

you'll have to bring them
to the table with you.

Juarita is a magnificent cook.

One thing she will not
tolerate is food getting cold.

- Thank you, honey.

- Perhaps it's just as well.

I have a [mumbles]
I'm very proud of.

Hard liquor would
just dull the palette.

[ominous atmosphere music]

[snarling]

- The only smoke that's ever

gonna be saved is a good cigar.

- [August] Oh I disagree.

Someday they're
gonna get the clean

tobacco in the right filter.

Now you mark my words.

- Gentlemen, gentlemen, shall we

continue this in the other room?

- [August] That's
a very good idea.

[guests chattering]

- Mr. Harris.

What do you think
of our island now?

- Oh it's beautiful.

Almost unreal.

[rhythmic drumming]

What are those drums?

That fisherman told
me this afternoon

that there would be
a sacrifice tonight.

- Sacrifice?

Nonsense.

In your cosmopolitan
cities, when you want

to enjoy yourself,
you go to a nightclub.

Even in your small
towns you have

bars and movies and dances.

Well here on the
island, when the natives

want to have fun, they
beat on drums and dance.

- Well why do this call
they island Voodoo Island?

- Any voodoo that's
practiced on this island

today is quite
harmless, I assure you.

- Oh really?

Mr. Bentley, I
notice that you had

quite an interesting
library, and especially

the section on local
religions and customs.

- Oh yes, that's
one of my hobbies.

- I was wondering if you minded

if I browsed around a while.

- Not at all.

Help yourself any time.

- Thank you very much.

- Well if you'll
excuse me, I'm afraid

I have to be in the fields
rather early in the morning.

- And I to my laboratory.

- I was wondering if
you allowed outside

observers to enter your domain.

I'd like very much to
see your laboratory.

- Well maybe in the
morning after I finished

my rounds I could give you
all a tour of the island.

- I would like that very much.

- Well goodnight.

- Goodnight.

- Anyone for a nightcap, hmm?

- Not for me.

I feel slightly dizzy as it is.

- I'm game if you are, honey.

- Okay, cutie.

[chuckling]

- Care to take a walk?

- Okay.

But I warn you, I've
studied jujitsu.

- You two care to come?

[chuckling]

- Now wouldn't you
hate us if we did.

No, we're just gonna
stay here and get loaded.

- Dunc.

- Hmmm?

- Don't you feel
tired or something?

- Coral.

[tense atmosphere music]

[growling]

- [Tom] Oh, look at that moon.

- [Janine] That's nice.

Whoops!

Bread and butter.

- [Tom] Don't you
ever get lonely

with no other young
people down here?

- Sometimes.

But I paint.

And I swim.

And I horseback ride.

And I go to San Juan
about twice a year.

- [Tom] Maybe I can talk you
into coming to Miami soon.

- [Janine] Perhaps.

If only I could get my
father to leave this island.

- [Tom] Why?

Is there something wrong?

Maybe I can help.

- If only you could.

[rapid rhythmic drumming]

[growling]

[shrieking]

Help!

Help!

[suspenseful atmosphere music]

Tom!

[snake hissing]

- Good lord, what
happened to you?

[speaking in foreign language]

[sobbing]

- I'll be fine.

I'll be all right.

- What's happened?

- That's what I'd
like to find out.

We were out there walking
in the garden when three

of these creatures with
the eyes jumped on us.

- Three of them?

I had no idea the natives were

using the drug so extensively.

I'll post guards
around the house.

First thing in the morning,

my men and I will go after them.

Now I think it might be best

if all of us try
to get some sleep.

- Mr. Bentley, perhaps you could

answer one question first.

- Well I'll try, but
I'm not sure I know

what's going on
right under my nose.

- Well these men or
creatures or things

or whatever they
are murdered a man

this afternoon and
tried to kill me.

Tonight they did everything
possible to kidnap Janine.

Now why?

What do they want?

- Mr. and Mrs. Fairchild,

would you take Janine
upstairs please?

- Certainly.

Come along, darling.

- I didn't want
to frighten them.

But you certainly have a right
to know as much as I know.

Now I don't pretend
to know the subtlety

of these people's religion.

I don't think any outsider does.

Here.

Why these creatures want Janine?

I can only guess.

My guesses frighten me.

This book was written
by one of the foremost

experts on voodooism
in the world.

In it he tells the story
of a medical missionary

in Africa whose daughter was
killed by the local tribe.

Yes, here it is.

Dr. Jacobson had been treating
the natives for a disease

which they had been
stricken with for some time.

So many of them were dying

that they were willing
to try anything.

All the young virgins
of the tribe had been

sacrificed to their
God, Dombella Ouita.

The only girl left was Dr.
Jacobson's blonde daughter.

One night, the
son of the tribe's

chief was stricken
with the disease.

The chief had the blonde girl

sacrificed and
his son recovered.

The fact that the doctor
had treated the boy

of course is the thing
that saved his life,

but the tribe believed
that the sacrifice

of the young blonde girl
had saved the boy's life.

Now I know that the
descendants of that tribe

are the natives on this island.

They were brought here by the
slave traders centuries ago.

- You mean to tell
me that the natives

on this Island
today still believe

they can avoid a
catastrophe by sacrificing

a young blonde virgin,
in this case Janine?

- It seems to fit.

- Well can't you
put a stop to this?

Don't you have any control
over your own people?

- Mr. Harris, these
people have had

their superstitions
for centuries.

Now you can't expect them

to drop them in a
matter of decades.

- I thought you said, Mr.
Bentley, earlier this evening

that the voodoo practiced
on this island was harmless.

- I don't know.

I don't know what to think.

I'll go post those guards.

Goodnight.

[dramatic atmosphere music]

[crickets chirping]

[gasping]

[shushing]

- What are you doing here?

Please go.

- Look, I'm sorry, I didn't mean

to frighten you, but
I have to talk to you.

Now I don't know what's
going on in this island,

but I do know you're
in serious trouble.

I want you to leave with us

tomorrow afternoon at low tide.

- I can't.

I can't go without my father.

I'm all he has in the world.

- Well your concern
is very commendable,

but I think this is
a little one-sided.

If you're all he
has in the world,

I should think he'd
want to protect you.

- He's a dedicated man.

You don't understand
that do you?

Without his work
he'd be nothing.

It's his whole life.

- I thought you told me
you were his whole life.

- Please, I don't want
to talk about it anymore.

- I don't know why
I'm getting involved

in something that's
none of my business.

- Tom!

I'm sorry.

I realize you're
just trying to help.

I need you.

[upbeat orchestra music]

[rhythmic drumming]

[singing in foreign language]

[thunder booming]

[speaking in foreign language]

[dramatic atmosphere music]

- Gracias, Fernando.

- Good morning, Mr. Harris.

- Oh good morning, Mr. Bentley.

- Un cafe, por favor.

You seem to have found
food for thought,

I hope you've done as
well by your stomach.

- Oh yes, I've been very well
taken care of, thank you.

- Where are Mr.
and Mrs. Fairchild?

- They haven't come down yet.

What time is it?

- Just after 10.

You either work very quickly,

or you got up very
early this morning.

- When a story interests
me I move right along.

- This one must be fascinating.

- Yes it is.

I'm writing about
what's happened

to us since we arrived
on this island.

But I'm afraid, like
so much of life,

no one will believe it.

- I don't like to
seem inhospitable,

but in view with
what's happened,

I think it might be best
for you and your friends

to leave the island
as soon as possible.

- Oh I quite agree.

I've instructed Enrico to
locate gas for the airplane.

- Terribly sorry this
had to happen right now.

- Last night you
said you'd show me

Dr. Biladeau's laboratory.

- I'm afraid I'll
have to declare

the laboratory out of bounds.

If you'll excuse me,
I'll get back to work.

[car revving]

- Ah, good morning, Tom.

Coffee please.

- Morning, Dunc.

- Well well, good morning lover.

- Hi, sweetie pie.

- Look Dunc, your
genius has been working.

- Hey buddy boy, it
looks like you've

jumped off the mental
wagon with vengeance.

Oh boy, I love you, I love you.

- Hey lay off.

You'll get the paper all soggy.

If you're gonna wear that,
I can't stay around here.

- You're sweet, honey.

- I'll see you two
children later.

- Hey, listen.

After what happened
last night, do you think

it's a good idea to go
wandering around this island?

- [Tom] I've got to find out
what's going on around here.

- [Duncan] But don't you
want me to go with you?

- No, you stay here with Coral.

And be ready to leave at
3 o'clock this afternoon.

I've got Enrico loading
the plane with gas

and we'll try to take
off on the wet sand.

- All right.

[romantic atmosphere music]

- Hi.

- Sleepyhead, do you
know what time it is?

- You'll be happy to
know that I've given

our conversation of last
night a great deal of thought.

I've decided to ask a father

if he'll leave the
island with us.

That is, if you want us to come.

- You know I do.

I suppose we can get
everybody into the plane.

Of course Coral
will have to leave

some of her luggage behind.

[giggling]

Come on.

You get dressed and we'll
go tackle your father.

[upbeat orchestra music]

[rhythmic drumming]

What is this place?

- I don't know.

I've never seen it before.

- These are symbols
that are used

in voodoo sacrificial rites.

[growling]

- What was that?

- I don't know.

- I can't see a thing.

- [Tom] Light this.

[tense atmosphere music]

[dramatic sting]

[shrieking]

- Oh how horrible.

What are they?

- I don't know.

But I know you're coming
with us this afternoon.

Where's your
father's laboratory?

- This way.

- Come on.

- This is it.

- This is your father's lab?

- Yes.

During the war, the Navy
built a gun emplacement

and the clips to
protect the bay.

My father built it
over into his lab.

- Come on.

Hurry!

- Wait, Tom!

Tom!

I know him.

He's my friend.

Fernando, what on earth
are you doing here?

- I'm sorry, Miss Janine.

I wanted to warn you.

You must leave the island.

- Why must she leave the island?

- She's in great danger.

She must leave now, today.

- In danger from whom, Fernando?

- Papa Neybo.

He wants to mate with
the goat without horns.

What do you mean
goat without horns?

- I must leave now.

Please miss, you must go.

[ominous atmosphere music]

- What's in here?

- I don't know.

[growling]

[snakes hissing]

[machine whirring]

[alarm blaring]

[dramatic atmosphere music]

- Janine!

What are you doing here?

I told you never to come here.

Mr. Harris!

I thought I left word that
I wasn't to be disturbed.

- Father, please!

I've never seen you
like this before.

Tom and I came to ask you
to leave the island with us.

You've been wanting to
leave for a long time.

Now's your chance.

- Come with us, doctor.

I have reason to
believe your daughter

will be in serious trouble
if you stay on here.

- Please leave at once!

Janine, you go to the
house and go to your room.

- Father, please--

- Do as I say!

It's too late.

- Why?

- Believe me, it is too late.

I know I was very
selfish in wanting

to keep you here with me.

Mr. Harris, I'd appreciate it

if you took Janine with you.

- Of course, but what's
going on in here?

What are you people up to?

- It's best that you don't know.

There's nothing anyone can do.

I think you'd better go now.

- Father, please.

Please come with us.

I can't live without you.

- Goodbye, baby.

- It's late, we're
going to have to leave

if we're gonna catch that tide.

- No.

No Tom, I'm not leaving!

No!

[dramatic atmosphere music]

[growling]

[shrieking]

[gun firing]

[suspenseful atmosphere music]

- Where are they, sir?

- It's past 3 o'clock.

- Here they come now.

- You girls stay here.

Enrico, Dunc, come with me.

Come on, let's get
this thing airborne!

[screaming]

[speaking in foreign language]

[growling]

[plane revving]

- Mr. Harris!

Look out!

[gun firing]

[shouting in foreign language]

[suspenseful atmosphere music]

- There's nothing else for it.

See you, buddy.

[speaking in foreign language]

[rhythmic drumming]

- No!

No!

No!

No!

[speaking in foreign language]

- No!

No!

No!

No!

[screaming]

[speaking in foreign language]

[rhythmic drumming]

- Hey.

Where are we?

Where'd that boat come from?

- Shh.

- [Duncan] What are you
gonna do with a flare gun?

- [Tom] I don't know, but
it's better than nothing.

[tense atmosphere music]

- [Duncan] I wonder
where this leads.

- [Tom] I don't know, but
we haven't got much choice.

[tribal dance music]

- What are they doing?

- Wait a minute,
I've got an idea.

Put these on.

Come on, come on!

Look comedian, put it on.

[shrieking]

[dramatic sting]

[screaming]

[suspenseful atmosphere music]

- You get Coral and meet
me at the lab entrance!

My god, it's Bentley.

- Get me down!

- Open up the door.

[shouting in foreign language]

[machine whirring]

[alarm blaring]

- What happened?

What's that noise?

- It's the end of Voodoo Island

and Charles Bentley's
dream of conquering

the Earth with an
indestructible army.

- Come on.

- Oh Janine.

- Hurry, hurry.

Janine, hurry.

Come on.

- Thank you.

[shouting in foreign language]

- Where are they?

- I don't know.

[shouting in foreign language]

- [Tom] Cast off that line!

[alarm blaring]

- [Duncan] What's the matter?

- The damn thing won't start!

[shouting in foreign language]

[boat revving]

[shouting in foreign language]

[screaming]

- Tom!

[screaming]

Father!

[gun firing]

Father!

Father!

Tom!

Tom!

- [Tom] Dunc, take over!

- Please don't touch it.

[alarm blaring]

[dramatic atmosphere music]

I was getting no place with
the injections of the animals.

So I started using natives
as human guinea pigs.

And instead of getting
closer to a cure for cancer,

the bombarded snake
venom was setting up

a curious reaction
in the body tissues.

Making the subject
devoid of will.

A human vegetable.

- Please doctor, don't talk.

- Three natives died because
of my futile attempts.

And when he found the
results of my experiments,

Bentley became
obsessed with the idea

of creating an army of
these unfortunate people.

And he threatened to expose
me to the authorities

unless I helped him
with his mad scheme.

- [Tom] But why did
Bentley try to kill Janine?

- Bentley needed father.

With me out of the
way, he wouldn't

have any fear of him leaving.

- Oh my baby.

What a life I've given you.

Mr. Harris.

- [Tom] Yes sir?

- Perhaps...

- Father.

[sobbing]

[dramatic atmosphere music]

[light Caribbean music]

- Then he reached the top
of the trellis which led

to her bedroom and
cautiously he peeked inside.

There she was on the bed naked.

Her bed clothes thrown
off because of the heat.

His heart stopped
at her magnificence.

He climb through the window

and stood there looking at her.

Slowly she stirred in her sleep.

Slowly her eyes began to open.

And they looked at each other.

At that rare moment they knew
they must have each other.

He stripped off his clothes

and was about to
go to her when--

- Oh you, you...

- Oh hi.

- You...

- Whoa!

[laughing]

[upbeat orchestra music]