All language subtitles for W05E02 Dead and Buried_track3_[eng]

-Is it just me or has the art
of lying through your teeth

become increasingly popular
in the past few years?

I know this sounds impossible.

I know that lying should be like

all the other great sins --
adultery, murder, gluttony,

watching too much TV.

And if it is,
then it's universal.

And if it's universal,
then everybody does it

all the time in all ages,
under all circumstances,

even when they're
not in divorce court.

In other words,
we always have liars, right?

So how could we have more liars?

I'm lost.

I forgot to say
I'm Joe Bob Briggs

and this is Part 2 of
"The Last Drive-In"

celebration of the horror
subgenre called

People You Don't Want to
Meet in the Boonies,

and the movie
is a neglected classic called

"Dead & Buried" that many
people think was written by

Dan O'Bannon, of "Alien" fame,

and "Return to the Living Dead"
fame,

and "Lifeforce" fame, but was
actually written by Ron Shusett.

And it's one of the best movies
of the '80s.

See, I'm lying.

I just -- I just lied,
just right there.

It's actually
a pretty decent movie

that came out in 1981,

but it wouldn't make
anybody's top 10 '80s list.

Despite its originality,

it's almost impossible
to describe the plot

without spoiling the plot,
so I won't.

But anyway, I have evidence that
we're reaching critical mass

on lying through your teeth.

Like, my late dad
was an IRS agent.

He could always tell
who was lying.

He could tell just
by talkin' to em.

He could tell more
by talkin' to em,

in fact, than he could tell by

spending 30 hours
with their CPA.

Now today I have friends
at the IRS

who tell me impossible.

They can't pick out
the liars at all.

There's way too many of 'em,
and they talk just like us.

But example numero two-o,
for about 40 years

there was
this sheriff in East Texas

who arrested people by phone.

He would call up a guy and say,

"Willie,
I know you took them hubcaps.

Come on down to the jail."

And they would all come
down to the jail.

Every time he did this.

And he thought it was a great
law-enforcement technique,

because if you said to a guy,
"We know you did it,"

and then he came down
to the jail

by himself,
then by-God he did it.

The trial is just gonna take
about 10 minutes.

But then the DEA came
to work on a case

in this particular county,

and they were about
to make a drug arrest,

and the sheriff said,
"Lemme just call that ole boy up

and have him come in
and bring the drugs with him."

And the DEA guys freaked out.

They insisted that they stake
out the house

and make the arrest,
and try to seize the drugs.

And then they stirred up a lot
of trouble for the sheriff,

called him a lunatic for wanting
to arrest people that way

because they were sure
that criminals would lie to him.

And, of course,
they would lie to him,

'cause in 2020,
even in the deep

piney woods of East Texas,

there are a lot more liars
than there used to be.

People lie about
being unemployed.

People lie about
their family history.

People lie about
their college degree.

People lie about their income,
their age,

their dog's pedigree,
the novel that they're writing

or not writing, and that's not
so strange, I guess,

because that's
the same ole stuff

people have always lied about.

But I guess the difference is
that, later on, they just come

right out and say,
"Well, I had to lie,

you know
For business reasons."

Or, "Well, I had to lie
about that

to protect her feelings."

Or, "Well, I had to lie
about that

because I was going through
a lot of personal problems

at the time
so it helped to lie."

And nobody ever says,
"Well, you dirty scumdog.

You told a giant whopper,
didn't you?"

Everybody just goes, "Yeah,
o-okay, yeah, okay,

of course you did.

Well, it don't mean nothin."

He had to.
He had no choice.

Which is kind of leading into
the theme of tonight's movie,

where you have
a whole town of liars.

This is one of those "town with
a terrible secret" movies,

and the terrible secret
just keeps getting

more and more terrible.

Fortunately, we have Darcy
the Mail Girl with us

to answer all the lies that
you're gonna send us

through social media,
and we'll answer them

with lies of our own.

She's available on Twitter,

available by email,
available on Instagram.

Dar-- Darcy's just generally
available.

And by the way, Darcy,
I was lying.

I know I told you
we would soon be moving out

of this cramped cabin
and back to our

spacious studio in Dallas,

but that was only
to give you false hope

so that you wouldn't despair.

-I so appreciate that.

-Well, it was a white lie.
[Laughter]

Or kind of a polka-dot lie,
you know?

I know you hate it
that they don't have

fitness centers out here.

-Oh, my God. I'm suffering.

You know, but later we'll go out
and cut down some huge trees

with chainsaws,
and that'll be great exercise.

-Really?
-No, I'm lying again.

-Maybe you should introduce
the movie?

-Alright, excellent idea.

"Dead & Buried,"
it's the old story

of unsuspecting tourists

who pull into a seaside town
in Maine

and get sliced and diced by
the local welcoming committee,

only to turn up
later in a form

that makes you think
the title should actually be

"Dead & Unburied"
or "Undead & Buried"

or "Alive & Buried"
or "Dead and Walking Around,"

which is a peculiar problem
for the sheriff,

played by James Farentino,

and his rather gloomy
school-teacher wife,

played by Melody Anderson,
since it's his job to find out

who's murdering the visitors
and why the killings

are so lovingly preserved
on Kodak Instamatics.

Sure we've seen it before,
but have we seen it

with Jack Albertson
as the big-band-loving coroner

who thinks embalming
is an art form?

I think not.

Let's look at those
drive-in totals

and a one,
and a two, and a...

13 dead bodies.

3 mob beatdowns,
with shovel bashing.

1 upside-down head incineration.

1 picturesque-as-fuck town,
with rocky beach.

2 motor vehicle crashes.

Throat slicing.

Hitchhiker head bashing.

Face carving.
Harpoon to the chest.

Aardvarkus interruptus,
with knife-plunging.

Involuntary acid embalming.

Grave robbing.
Syringe to the eyeball.

Face flaking.
Heads roll.

Arm rolls.
Heart rolls.

"Drive-In" Academy Award
nominations

for Christopher Allport

as the beret-adorned
Playboy photographer;

Lisa Blount,
as the aggressive beach babe;

James Farentino as
the college-boy sheriff;

Melody Anderson
as the voodoo-loving wife;

Jack Albertson as
the deranged mortician

who says "Look at them, Daniel,

look at my children,
they had to be disfigured";

and Gary Sherman, the director,

for doing things
the drive-in way.

Three stars.

Joe Bob says check it out.

♪♪

The girl on the beach
in this very first scene,

that's Lisa Blount, Arkansas
girl from Fayetteville.

Supposedly, the whole crew
fell in love with her

[laughing] while they were
filming the movie.

And you can see why.

I was in a movie with her
a few years later after this,

and even though
she was sort of turning

into a scream queen by then,

she had a big following.

She was still living
right there in Arkansas,

and I thought that was cool
because she was like,

"Okay.
You want to hire me?

You want to fly me out
from Little Rock?

Fine. Otherwise,
I have stuff to do."

[Laughter]

She had that great scene
in "An Officer and a Gentleman."

Um, her boyfriend flunks
out of fighter-jet training

and she says "Well,
I can't marry you now.

I don't want some
Okie from Muskogee."

And so David Keith
has to kill himself.

That's how hot Lisa Blount was.

[Laughter]

[Static]

♪♪

[Static]

[Thunder crashing]

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

[Waves crashing]

♪♪

♪♪

♪♪

[Wind gusting]

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

[Camera shutter clicks]

♪♪

[Camera shutter clicks]

♪♪

[Camera shutter clicking]

♪♪

♪♪

[Camera shutter clicks]

♪♪

[Camera shutter clicks]

♪♪

♪♪

♪♪

-That's a really good camera,
isn't it?

♪♪

♪♪

You gotta be
a professional photographer

to have that camera like that.

-Uh-huh.

-Are you really?

Oh, that's exciting.

-Yeah, sometimes.

Pays well anyway.

-Are you here on, uh,
assignment?

♪♪

-No.

♪♪

Just a vacation.

-Are you famous?

♪♪

-I'm from St. Louis.

Photographers don't get famous
in St. Louis.

-[Chuckles]

-Successful maybe,
but not famous.

♪♪

-What's your name?

-My name is --
-No, no, wait.

Let me guess.

You look like a...

Fred. [Giggles]
-Oh.

-No, no, let's see.

Freddie.
-Okay.

-Yeah. Yeah, I think you look
like a Freddie.

-Alright. Okay, okay.

I'll be Freddie,
and you can be...

Lisa.

I've always wanted
to meet a Lisa.

♪♪

-That's a really pretty name.

Lisa,
you're a very pretty lady.

♪♪

-[Chuckles]

Pretty enough to...

be a model?

-Absolutely.

♪♪

Now I want you to give me
a nice smile, Lisa, okay?

Alright, here we go.

Come on, look at Freddie.

[Camera shutter clicks]

♪♪

[Camera shutter]
That's beautiful.

That's great.
That's great.

You're so pretty.

♪♪

[Camera shutter clicks]
Oh, you're wasting

your time here, Lisa.

Mm, you are so pretty.

Come on, come on,
smile at Freddie.

[Waves crashing,
camera shutter clicks]

-You like that?
-Great, that's wonderful!

I'm gonna put this in "Playboy".
[Camera shutter clicking]

Yes.
Oh, that is nice, Lisa.

Beautiful.

Right in the camera.
Look right in the camera.

Oh, very nice. Very nice.
Have fun.

Have fun.

Lisa, Lisa, Lisa.

-How's this, Freddie?

♪♪

-That's great.

-Do I look good to you,
Freddie?

-You look wonderful to me.

♪♪

-Do you want me, Freddie?

♪♪

-Right here?

♪♪

♪♪

-Hey! What's happening?
-Smile, Freddie.

[Camera shutter clicks]

-[Grunts]

[Groans]

What are you doing to me?!

Ah!

[Groaning]

[Screams]

♪♪

[Groans]

[Shovel clanks]

♪♪

♪♪

[Gasping]

[Camera shutters clicking]

♪♪

Welcome to Potters Bluff.

♪♪

-[Whimpering]

♪♪

♪♪

[Camera shutter clicks]

[Gasping]

♪♪

[Match strikes]

♪♪

[Screaming]

♪♪

[Camera shutter clicks]

[Screaming continues]

[Camera shutter clicks]

♪♪

♪♪

[Fire crackling]

[Indistinct conversations]

-He's deader than hell.

[Water hose roaring]

-Hey, ho, whoa!
-I got it, I got it!

-Hello, Betty?

Come in, Betty!

-Go ahead, Unit 1.

-Betty, we're still
waiting for Dobbs

to show with the meat wagon.

You did call the
funeral home, didn't you?

-Ten-four, Unit 1.

I reached the funeral home
half an hour ago.

Mr. Dobbs said he'd come out
just as soon as he could.

-You better try him again.
Tell him to hurry it up.

-Unit 1 clear?

-Yes, Betty, Unit 1 clear.

Betty and her toys.

Nobody else to talk to
on that damn police channel,

and she can't call me
by my name.

-It's TV cop shows, Harry.
That's what does it.

You think the County'd let me
have this rig for salvage?

-Anyhow, she said
he's on his way.

-Well, no hurry.

Fella's definitely a goner.

Did you get a gander
at that face, Danny?

-Yes, Harry. I did.

-Pretty, huh?

[Car radio blaring]

♪♪

Here comes Dobbs.

♪♪

-Talk about an entrance.

♪♪

♪♪

Dobbs, where the h--

-Shh.

"And The Angels Sing".
1938.

-A little before
my time, Dobbs.

-Well, Dan, William G. Dobbs
is now at your service.

Let me get to work.

Here.

[Indistinct conversations]

[Car door creaks]

-About 30 minutes, I'd imagine.

-[Coughs]

-Well, Mr. Dobbs, as our
official coroner/mortician,

what'd you say
the cause of death was?

-[Screaming]

[Bell tolling]

[Indistinct conversations]

[Door opens, closes]

-Daniel.
-Morning, boys.

Midge, cup of coffee, please.

-Sure, Dan.
-I was telling these boys

about that accident last night.

Find out who that guy is yet?

-No, not a thing.

No I.D., no license plates,
nothing.

-Well, old buddy,
with the fancy salary

the city of Potters Bluff
pays you

and the amount of money
the State spent getting you

educated, you ought to be
able to find clues.

-If you can't solve
an accident,

what'll you do
if a crime happens?

-Very funny.

-Now, boys, don't be riding
Danny here too hard.

He's apt to leave us.

We're lucky to have him.

He's got, what is it,
a master's degree

in criminology.

Big cities fighting over him,

and he comes back
to his old hometown

to help the poor folks out.

-That's right.
You people are very lucky.

Hey, Midge!
How about that coffee?

-Coming right up, Dan.
-Hospital find out

about this fella yet?

Give you any idea
when he might come to?

-They're not sure he will.

-My God! It's just awful!

Just terrible.

You got enough cream there,
Dan?

♪♪

[Waves crashing, man singing]

♪♪

[Buoy Bell dinging]

♪♪

[Singing continues]

♪♪

♪♪

[Man singing indistinctly]

♪♪

♪♪

-[Coughing]

[Buoy bell dinging]

[Slurring]
Alright, Alright, then.

Alright, then.

Stayin' outta your teeth.

Don't tell me.

Don't tell me anything
about boats, my friend

because I've spent
my entire life on boats.

Big boats! All boats!

All I've got is a boat.
[Laughs]

Too damn many boats.

That's enough of that.
[Groans]

-Just remember who you're
talking to around here.

[Laughs]

Whoo! [Grunts]

You know, dry on dry land
[Growls]

You're alright.

♪♪

[Gasping]

[Laughs]

Oh.

Goodbye, old friend!

[Laughs]

And keep away from boats!
[Laughs]

You know, me, my friend,
I know about boats.

I've been about boats
all of my life.

[Laughs]

[Panting]

♪♪

I decide the discussion
is terminated,

as far as I'm -- I'm concerned.

Boats.

[Wood smashes]

[Screaming]

-Smile.
[Camera shutter clicks]

[Straining]

[Camera shutter clicks]

♪♪

[Screaming]

[Camera shutter clicks]

♪♪

[Record player playing]

♪♪

♪♪

-[Humming]
[Door opens, closes]

[Record playing]

-♪ To renew old memories ♪

♪♪

♪♪

-Mr. Dobbs?

-What is it, Jimmy?
I'm busy.

-Yes, sir, I know.

Only it's Sheriff Gillis,

and he says he needs
to talk to you.

Ahh, he says he needs
to talk to me.

The truth is, he's in pursuit

of an immodest amount
of that curious weed,

which you and your school chums
seem to find so fascinating

and of which, it is rumored, you
are the town's leading merchant.

Now send him in,
and fear not, Jimmy,

I'll never tell him you keep it
in the reposing room

under a stiff.

-[Chuckles]

-Yes, sir.

♪♪

-Now, good afternoon, Sheriff.

-Dobbs.

-I hope you don't object
to my using you

for light-hearted banter
with my assistant.

-Don't think it was
so light-hearted.

I did catch him
with couple joints once.

-Never let it be said I denied
employment to an ex-convict.

-No big deal. He wasn't dealing.
Just a couple of joints.

He's a good kid, Dobbs.

♪♪

-♪ Gonna set my heart at ease ♪

♪ Gonna take.. ♪

Dobbs?

Dobbs?

♪♪

[Music stops]

-Forgive my preoccupation.

Mrs. Collins proved to be
a little more difficult

than I anticipated.

-Why should she be any trouble?
She died in her sleep.

-Poor Mrs. Collins.

She looked as though
she'd been in a fist fight.

-So you put on a lot of makeup.

-A lot of makeup?

A lot of makeup
would be appropriate

for the final viewing
of a streetwalker.

The deceased was, I believe,
a retired music teacher.

-Congratulations.
-Oh, Officer.

This is child's play.

I've replaced missing eyeballs
with sawdust

and glued the lids together.

I've used bent aluminum combs
for dentures.

I've used the back part
of the scalp

when there was no front part.

And I folded one hand
over wadded-up newspapers

when the other hand
had no fingers.

You find all this obscene,
Sheriff?

Do you know
what's really obscene?

Look at this.

Look at the work I've done.

This is an art,
and I am the artist!

What can you remember
about a sealed box?

A sealed casket,
that is obscene.

That is the death of memory.

The cosmetologist gives birth.

I make souvenirs.

Alright, Jimmy!
Move it!

And now, Sheriff,
precisely what can I do for you?

-Dobbs, I just wanted your
professional opinion

about a hunch I got.

-A hunch?

-Something just keeps going
around in my head.

From what you saw at the
crash site, is it possible

the guy we fished out
of the wreck...

could've been burned
somewhere else and placed

in the car to make it seem
like an accident?

-Frankly, I have
no real basis for --

[Telephone rings]

Thank you.

Dobbs Mortuary.

-Dobbs, is Sheriff Gillis
still there?

-Just a moment, please.
It's for you, Sheriff.

-Thank you.

Yeah.
-Dan? Betty here.

They found a dead body
at the boatyard.

-What?
-You better get down there.

-Betty, I'll be right over.

Dobbs, meet me at the boatyard
as soon as possible.

♪♪

[Indistinct conversations]

-Well, Dan, this is certainly
not an accident.

-That's right, Dobbs.
It's a murder.

And I bet you I'm right
about the guy

in the hospital, too.

♪♪

[Static]

-Okay, well,
most people wouldn't

recognize him in a role so small

and playing a cop, but Harry,
the guy who's in the diner

with Sheriff Dan Gillis,
is played by Robert Englund,

who was still three years away
from becoming Freddy Krueger.

There wasn't much for him
to do in this movie,

but director Gary Sherman
wanted to use him

because he'd made
a TV movie with him

and thought he was
a great actor.

I also wanna mention Jimmy,
the kid who works at the morgue

and apparently deals drugs
on the side,

that actor
is Glenn Morshower,

who made his film
debut five years earlier

as the star of
"Drive-In."

"Drive-in" not a great movie

but, come on,
he starred in "Drive-In,"

we have to mention that,
so this was his second film.

But he would go on
to 250 more roles.

He's still working today.

He's been on every TV show
known to man.

And, of course, Lisa Blount
as the femme fatale.

She would go on
to several horror roles --

Catherine Danforth
in "Prince of Darkness,"

Angela in the "Starman"
TV series,

Miranda in the
"Deadly Nightmares" series,

Miranda in "What Waits Below,"

but this was pretty
much her film debut.

She had been in a hometown movie

directed by James Bridges
called "September 30, 1955,"

which was the day
of James Dean's death,

and she played
a goth fangirl in that.

So technically she'd done
one movie earlier,

but this was the first one
of any size or stature.

Okay, I'm gonna tell you
something

that burns my bacon
about film criticism.

This is one of those movies
that they call atmospheric,

it's moody, and so they talk
about the art direction

and the fog and the oppressive
claustrophobic feel of it.

Ambience is the French word
for it,

and they're not talking
about the story.

They're talking about --

they're talking about movies
like "Daughters of Darkness,"

which we had
on our original marathon,

or the John Carpenter movie
"The Fog,"

or "The Witch Who Came
from the Sea,"

and Curtis Harrington's
"Night Tide."

And they'll compliment
the director

and they'll compliment
the cinematographer

and they'll compliment the
writer, and they will not even

mention the creative person
responsible for ambience --

the production designer!

I mean, we live in this world
where they'll write entire books

about the special effects guy

with no love whatsoever
for production design.

So I'm gonna tell you the name
of the guy who was mentioned

in absolutely zero
of the reviews of this film,

and that would be
William Sandell.

He had worked as an assistant
art director

on a couple
of exploitation flicks --

"Invasion of the Bee Girls"
and "Zombie Prom,"

and then his first credit where
he ran the production design

was two years before this movie
in "The Promise,"

which was
a Kathleen Quinlan love story,

directed by --
actually directed Gil Cates,

who's mostly known for producing
the Academy Awards,

although his day job was dean
of the film school at UCLA.

So, anyway, Bill Sandell
did the production design

on this movie,
and he would go on to be

the main production designer
for Wolfgang Petersen.

He did "Air Force One"

and "The Perfect Storm,"
and created the town of Bedrock

for the "Flintstones" movie.

He was working
for Paul Verhoeven

on "Total Recall" and "Robocop."

He won an Oscar for

"Master and Commander:
The Far Side of the World."

So he went to the very top
of his profession,

but all these guys
who talk about

what a creepy eerie atmosphere
this movie has,

and what a spooky little town
it is, don't bother to say,

"Future superstar Bill Sandell
did the production design."

I'm just saying, you don't
have to mention anybody,

but it kind of pisses me off.

Okay, that's enough
grumpy remarks.

Back to the movie.

Critics love to praise
the cinematographer, you know?

They say, "Oh, the
cinematography."

[Laughter]

He may not be making any
decisions, that guy.

For example, this movie
has a blue tint

and the director of photography,
Steven Poster,

who would go on to shoot
many great movies.

He shot "Donnie Darko,"
"Rocky V,"

and "Amityville: The Awakening,"

so he was instructed
to get rid of all reds.

Red was to be used
for blood only

so that it would pop out
at any moments of violence,

but that was a Gary Sherman
decision, that wasn't him.

But with production design,

you have a general idea
of what the director wants,

but you're pretty much the
Michelangelo of that process.

Right? Even if you can be
overruled at some point.

Alright, I'll stop bitching.
[Laughter]

Nobody ever listens
to my rant

on production design.

I've tried it once before.

That topic -- you mention
production design,

people don't want to hear
what you're talking about, so...

Like the 1954 film
"A Star Is Born."

George Cukor, right?

But it was the first
Cinemascope picture

that George Cukor
had ever directed,

and [rambling]

You know what they said
about Cinemascope

when it first came out?

It's only good for snakes
and parades, you know?

Long skinny screen,

and this was a tragic
love story musical.

So, who figures out
how to do it?

The production designer
Gene Allen,

legendary Hollywood
production designer.

He finds Chinese triptychs,

you know,
those three-screen paintings.

H studies the painting styles
of the guys who designed

all those three-panel screens,
and he says,

"Look, here's what we do.

We divide the Cinemascope
screen into triptychs,

and see how these artists --
they took a single action

but they looked at it
as three different visions

of the same event,
and they populated

the side screens
with these secondary images."

And if you look at the film,
that's exactly how they did it.

Watch the flick, divide
the screen into three,

you'll see that Judy Garland
is in the middle

but there's a trombone
angling up on the right

and there's a piano that's in
weird perspective on the left.

And there are always perfectly
balanced compositions because

production designers,
that's what they do.

Okay, I really will shut up now.

[Laughter]

[Static]

♪♪

[Static]

♪♪

-Morning, Ben.
-Dan! How you doin'?

-Alright.
-Ben, have you recently had

anybody check out
without paying

or...just disappear?

-No.

Now, wait a minute.

There was a guy checked
in here yesterday.

Said he'd be here
a couple of days.

Now he hasn't checked out,

and I haven't seen him
nor his car since.

But I noticed this morning
his suitcase is still here.

-What's his name?
-[Chuckles]

I don't bother much
with registrations anymore.

-Well, we better check
his things.

-Oh, God.

I hope nothing happened to him
while he was checked in here.

It's a jinx.

This sort of thing
scares off your business.

Just kills the tourist trade.

-I didn't know
we had a tourist trade.

-Don't rub it in.

I'm telling you,
it's tough makin' it these days.

♪♪

[Keys jingle]

♪♪

-He's a photographer.
Lot of camera books.

Not a damn thing
with his name on it.

-For Christ's sakes!

-What?

Ask your wife.

-My wife?

-She knows him.

-My wife?
What are you talking about?

-Well, I just remembered.

-Remembered what?

-The maid, Edna Jo.

She says...

-What did she say, Ben?

-She says...
[Horn honks]

that your wife dropped
over yesterday to see him.

That's right.

-[Chuckles]
Of course, of course.

Thanks, Ben.

I'll talk to Janet
about it tonight.

This is not important.

[Vehicle approaching]

[Wind blowing, birds chirping]

-[Humming]

-Hi, honey!
I want my kiss.

Uh-oh.

-What's "uh-oh"?
[Chuckles]

Something's wrong.
-Nothing's wrong, Janet.

-You can talk to your wife.

-I'm just tired, that's all.

-Come on. You know
what you're like

when you keep it inside of you.

-Who's the guy you went
to see at the hotel?

-[Laughs]

"Who's the guy you went
to see at the hotel?"

I was warned. I was warned
against marrying a cop.

You can't keep
anything a secret.

-What secret?
-[Chuckles]

I was joking, you crazy cop.

There's no secret.
He's George what's-his-name.

He sells photographic equipment
to the school.

-Oh.
-What?

Did -- did Ben tell you
that I'd been seen

in a man's hotel room?

-Oh, Ben didn't mean
anything by it.

-And why did he say it, then?

-I think it's the guy
we found at the car wreck.

-Oh.

The one who was all burnt.
Ehh.

-Is he a friend
of yours, Janet?

-Not really.
It's... [Groans]

It's just that it's the kind
of thing you think

happens to other people.

Not to somebody you know.

-Yeah.

-George.
George Le Moyne was his name.

-Excellent, at least
we know his name.

Do you know where he's from?
-No, honey, I don't.

I just --
I just saw him at school.

I feel a little shaky.

Can I get a hug, Danny?

-It's alright.
It's alright.

Are you alright?
-I'm okay.

-You know what's funny, though?

-What?

-You were jealous.

A little bit.

-Well, I guess I was.

-I love you, Dan.

-I love you, Janet.

[Bell dings]

-Mr. Haskell? Mr. Haskell?

-Why, hello, Dan.

-How are you, sir?
-Fine.

-Maybe you could
give me information

about the guy who's in the
hospital, George Le Moyne.

-Yes.
-He sold photographic equipment

to the school I understand,
but Janet couldn't --

-What?
What are you talking about?

-You did buy photographic
equipment

from George Le Moyne --
-No.

We not only didn't buy it
from him,

we didn't buy it at all.

-Is it possible
this is a transaction

you didn't know about, sir?

-I know everything
that's done at the school.

I am the principal.

-Yes, of course. Thank you.

-Alright, Dan.

[Machine beeping]

-Mr. Le Moyne's signs are much
more stable today, doctor.

-Good.
Let me see the chart.

It's time for his medication
now, isn't it?

-Mm-hmm, it is.

-Hmm.

Well, I think I'll cut it down.
Mm-hmm.

Just give him 50 cc's now.

I'll be back within an hour.

-Yes, doctor.

-Doc?
-It's okay, Dan. Come on in.

They told me downstairs
he pulled out of coma.

How's he doing?
-[Sighs]

It's touch and go.

We might pull him
through, but...

even if we do, there's not much
the best plastic surgeon can do.

You saw him.

His entire face
is one charred mass.

And the right eye,
I'm afraid that's lost.

-Doc, is there any chance
I could talk to him?

-Even --
-Briefly.

Just for a moment.

-Let's go outside.

Come on, let's sit down.

-Well, when'll I be able
to talk to him, Doc?

Look, Doc, I've got to find out
what the hell really happened!

-Sit down, Danny.
Sit down.

-I'm sorry, Doc.
This...

[Sighs]

This thing got me spooked.

Look, has he said
anything at all?

-No. Not a thing.

And I'll tell you, Dan,

I'm afraid he's gonna be
difficult to understand.

-Understand?

-Well, you see...

he has no lips.

[Machines beeping]

♪♪

-[Whispering] Hello, Freddie.

-[Panting]

♪♪

Hi.

I'm so glad to see
that you're feeling better.

You had a very close call,

but you're gonna be alright.

Now just lie still.

-[Shuddering]

-I'm gonna give you something.

It's gonna make you feel
even better.

♪♪

[Machine beeps rapidly]
-[Gasps]

[Bell ringing]

♪♪

-Oh, Daniel, Daniel, Daniel.

You're a great
disappointment to me.

A whole week and you're still
unable to establish

that poor man's true identity.

-What's it to you, Dobbs?

-What's it to me?
A sealed casket.

That's what you have me
burying there.

A sealed casket.

Now if you had been able
to find that poor boy's family,

they might've asked me
to perform some of my magic.

-You know, Dobbs,
sometimes you make me sick.

-Sick? You bring me a body
that smells like burnt steak,

you force me to keep it
till it begins to rot,

and then you have the nerve
to tell me

that I make you sick?!

-Two murders, Dobbs!
Both strangers.

Two murders in a town
no bigger than a postage stamp.

Now you leave me the hell alone.

[Wind blowing]

♪♪

[Brakes squeak]

♪♪

[Engine shuts off]

♪♪

♪♪

[Car door opens]

♪♪

[Car door closes]

♪♪

♪♪

♪♪

[Keys jingle]

♪♪

[Door creaks]

-Dan? Honey, I'm home!

♪♪

-Where have you been?

-Oh, honey,
I'm sorry I'm late.

I had a million errands.

Paul Haskell had
another staff meeting,

and tonight is PTA.

Wanna come?

Oh, I know how much
you'll enjoy it.

I mean, darling, think how much
fun you'll have with me.

-I'd rather not.

-Okay,
but if you want dinner,

you have a choice of fish sticks
or beef stroganoff,

and both come out
of the package,

but, darling, I'll pre-heat
the oven for you anyway.

Honey?

Dan? What happened?
You look so down.

-It's nothing.

Janet, I...

It's nothing. It's just
those murders, you know?

-Oh, my God, yeah, the murders.
That's horrible.

Listen, honey, I've gotta go.

Oh, shoot.
Look what I forgot.

Would you please drop this off
at Ernie's for me?

-Why? What is it?

-It's some film
my students shot.

It's their new class project.

I'd figured would be
a good way to teach them

about narrative.

Hey.

You don't mind, do you?

-No, no, no, it's alright.

Honey.

You'll catch the murderer.
I know you will.

Okay.
Listen, I'll be back early.

-Okay.
-Okay?

[Door opens, closes]

[Car door closes, engine starts]

[Brakes squeak]

-Engine shuts off]

-I'll go inside
and ask for directions.

-Okay.

-Be right back.
-Alright.

Ron?

-What?

-Don't forget to ask
about the gas.

-Right.

-[Imitating airplane]

♪♪

[Indistinct conversations]

[Door creaks]

[Clears throat] Excuse me.

-Good evening.
Can we help you?

-[Laughing] I hope so.
I'm lost.

-Well, you're in Potters Bluff.

Where did you wanna be?

-The Sea view Lodge.

-No, you're not lost.

Just take that highway, uh,
Highway 12 over there.

-Oh, thanks.

-My, what a cute little boy.

-Oh, Jamie has to go
to the bathroom.

-Well, come on, honey.
I'll show you where it is.

You want your Mommy and Daddy
to take you, right?

Well, what is it
that you want?

-Ice cream.

-[Chuckles]

I'm sorry, we just don't happen
to have any.

-That's alright. We'll get you
some ice cream later, okay, pal?

Let's go.

-Oh, Ron, gas.

-Is there a gas station nearby?

-Hey, Freddie.

Can you sell
these folks some gas?

-Sure thing.

It's just down the street.

-I'm sorry. Didn't mean to
disturb your dinner.

-No problem.
Happy to help you out.

♪♪

-And thank you.

-You folks must be
from the city.

Not used to all this
small town hospitality, right?

-Yeah, that's right.

[Laughter]

Come on.

♪♪

[Door closes]

[Knife clinks]

♪♪

[Hatch creaks]

[Car door closes]

[Engine starts]

♪♪

♪♪

I can't see a thing
in this stuff.

-Neither can I.

♪♪

You want some gum, honey?

-Jesus!
[Tires squeal]

-[Screams]

[Car crashes]

Why did you swerve
car like that, Ron?

-Somebody ran in front
of the car, that's why.

-Jamie, are you alright?
-[Sobbing]

-Here, son.
Come on up with Mommy and Daddy.

That's a boy.
[Horn honks]

There you are.
-Honey, are you all right?

-[Indistinct talking]

-Let me see
Let me see that.

-Honey, he hurt his head.

-Ah, let me see, son.

-Look, there's a light.

-Where?
Honey, I don't see any light.

-I saw a light, Ronny!
I just --

-Honey,
there's no light up there.

-I saw a light!
-You're being silly.

There's no light there.
I don't see any light.

-Alright, well, I didn't see
anybody run across the road.

-Oh, okay, honey.

We'll have a look.

-Don't cry, you'll be fine.

-Come on, fella.
There we go.

-Maybe they have some ice
or something

that can keep the swelling down,

you know, make a cold compress
or something.

-Alright.
-Or we can use the telephone.

-Sure.
-Jamie, are you alright, honey?

-Boys bump their heads
all the time. Right, son?

♪♪

His head hurts.

-Honey, maybe you're right.
This place looks abandoned.

You're the one
who saw the light.

-Go ahead, knock.

-Let's go back to the car.
-I'll knock.

[Knock on door]

[Door creaks]

-Uh, h-hello?

Listen, uh, we -- we just had
an accident

out in the street,
and if we could get some help...

[Door creaks open]

-Anyone in there?

-No.

-The lights don't work.
There's no one here.

-Maybe they're upstairs.
-There's no light, honey.

-We -- we need some help.
Hello?

-There's nobody here.
-Is anybody here?!

Ron, I saw a light!

Try in there, then,
for Christ's sake.

-[Sobbing]

-Is there anyone here?
Hello?

Hello?

Uh, listen, we have a son
who's injured,

and if you could help us
or something...

-No!
I saw a light in this house.

Let's get ice or a compress.

-Baby, come on,
look at this place.

It's been abandoned for years.

Let's go!
-I saw a light!

I know I did!

-You thought you saw it.

-I didn't imagine it, Ron.
I saw it!

-Well, I wanna get out.
-I'm telling you I saw --

[Piano lid crashes, tone plays]

-[Sobbing]
-Jamie, you okay?

-Didn't mean to scare you.
It's alright.

Now let's get outta here,
alright?

No buts.
[Clanking in distance]

-[Sighs]
-It's the house.

-There is somebody here.
No.

-It's the house, let's go!
-No, there is somebody here.

-There's nobody here.
Now, let's get outta here!

I don't like it.
The place is not safe!

-They're fixing the fuses
in the basement!

-Fine, okay, fine.

Go with your mom, alright?

I'll find the basement,
wherever that is.

I'll show you
there's nobody here.

You stay here
-Okay, okay.

-Christ!

-Listen, hurry up, okay?

-Alright!

♪♪

[Footsteps departing]

♪♪

[Door creaks]

Anybody here?

[Low whirring]

[Door closes]

♪♪

♪♪

-Ron?

-[Whimpering]

♪♪

-Ronnie?

♪♪

♪♪

Ronnie?

God!

♪♪

Okay, come on, let's -- let's
look inside the refrigerator.

Let's see what's in here.

Here we go.

-Where's Dad?
-Okay, come on, sweetie.

There's not any ice in here
for your head.

♪♪

[Screams]

-[Laughing] What's the matter?

-You scared me, honey.

-There's nobody in the basement.
-Oh, God.

-Come on, let's get outta here.
Alright?

[Glass shatters]

What?!
-[Screams]

-Welcome to Potters Bluff.
[Camera shutter clicking]

-What's going on here?
-Give me the boy! Run!

-Ronnie!

-Come on, run!

Get in!
-Where?!

[Screaming]

♪♪

-Mommy! Mommy!

-[Screams]

[Slams door]

-Jesus Christ,
how many are there in here?!

God! Take Jamie! Hurry up!

In here!

[Banging]

Leave us alone!

-Honey, no, I can't!

-There's a balcony here,
let's go!

You can make it!
Get out there!

Get out there! Here!
-Oh, no, no, no!

[Items crash]

-I'll carry Jamie.
Honey, get going!

♪♪

-Where are we going?
[Screams]

-Come on!

Hold on!

Hurry up, honey!

Honey, hurry up!
-[Screams]

[Sobbing] Help me, help me!
-Come on!

Come on!

Hang on!
-[Screams] No!

-Come on!
-Where?!

♪♪

[Screams]
-Get in the car!

Come on! The door!

-Give me Jamie!

♪♪

[Whirring]

♪♪

[Engine sputtering]

-They're coming!
They're coming!

Start the car!

They're coming!
They're coming!

-Come on.
-Start the car!

[Sputtering continues]

-[Screams]

-Where you going?!
-[Screams]

♪♪

-Get out of here!
-[Screams]

-Get out!
-Lock the door, lock the door!

-Here, take him!
[Car door closes]

-Alright, get up there!
Here we go!

-My God, honey!

Start the car!
[Engine sputtering]

Start the car.
-Come on.

I got it, I got it!

[Engine revs, tire squeal]

-They were trying
to kill us, Ronnie!

[Tires squeal]

[Banging on glass]
-Get off!

Get off!
[Tires screeching]

♪♪

♪♪

[Engine revving]

[Tires screech, car thuds]

♪♪

-Oh, my God.

♪♪

[Car bangs]

♪♪

[Groans]

[Footsteps departing]

♪♪

Stop!

♪♪

[Static]

-Okay, first of all,
Stan Winston,

who did the practical effects

for the movie,
he was really, really proud

of that hypodermic
to the eyeball.

If you asked him any question
about "Dead & Buried,"

he would tell you
exactly how he did that.

And, of course, he would go on
to do the "Terminator" movies,

the first three
"Jurassic Parks,"

the first two "Predators,"
"Inspector Gadget,"

"Iron Man,"
"Edward Scissorhands."

He went about as high as you
can go in the effects world,

but he always remembered
that Lisa Blount needle

to the eye of...

There's anybody who the needle
to -- who had the eye?

Has anybody noticed
who plays Freddy,

the guy who turns out
to be George La Moyne,

who turns out
to be Freddy again

when the stranded family
gets to the diner?

-I don't know.

-It's Christopher Allport!

Star of "Jack Frost,"

one of Darcy's favorite
Christmas movies.

You guys were less
enthusiastic about it,

but it was kind of a love/hate
flick when we showed it

at the "Joe Bob's Red Christmas"
special in 2019.

Anyhow, the scene-stealer
in this movie

is obviously Jack Albertson
as the whimsical mortician

who wants to make
every dead body beautiful.

Sadly, this was Jack's
last movie,

but he gave it his all.

He was best known as the grandpa

in "Willy Wonka
and the Chocolate Factory"

and in more recent years,
who as the Man

in "Chico and the Man."

Jack Albertson,
he had movie credits

going back to the '30s.

He worked in six decades.

He started in vaudeville,

he worked in burlesque,
he did radio drama,

did live television
in New York,

and he is one of the few people
in history to win the Oscar,

the Tony and the Emmy
all in the same year.

He got the Oscar and the Tony
for "The Subject Was Roses,"

and he got the Emmy
for "Chico and the Man."

Chico, of course,
was Freddie Prinze.

Jack was suffering all through
the filming of this movie.

He was dying of cancer,
and he would pass away

about a month
after this movie was released.

I should also mention
Melody Anderson,

who plays the wife
of James Farentino

who seems to spend
too much time

visiting strangers
at the local hotel.

She came up through
the modeling world.

She was the poster girl
for Ridgid Tools,

and I'm not sure if you don't
live in Texas

and work in the oil industry,

I'm that you know
what Ridgid Tools is,

but Ridgid Tools
was this company,

they made regular power drills
and saws and stuff,

but they also made sophisticated
oil field drilling equipment.

And so since most of the buyers
of that stuff were male,

the Ridgid Tools models
were famous

at conventions and trade shows.

Melody was also a model
for the very first

Victoria's Secret
catalog in 1977,

and she was probably
best known as Gale Arden

in the "Flash Gordon" movie.

She did several TV movies,
lots of guest spots on TV,

she later became a regular
on "All My Children,"

and then around 1995
she just quit the business.

She was one of those who
just walked away

and never looked back.

Last seen as a substance
abuse counselor

and social worker
in New York City.

Alright.

People are dying,
and yet they're not dying.

I think you can see
where this is going,

or maybe not,
so back to the flick.

♪♪

We have this show in Houston,

it's called the Offshore
Technology Conference.

I think it's the biggest
convention in the world,

I used to go every year.

It was originally
in the Astrodome,

and the girls
from the Ridgid Tool calendar,

they were always mobbed
like movie stars.

Bikinis and high heels,
12 girls, 40,000 men.

do the math.

[Laughter]

♪♪

[Static]

♪♪

[Static]

[Indistinct chirping]

♪♪

[Bang in distance]

♪♪

[Bang in distance]

[Door creaking]

♪♪

♪♪

♪♪

♪♪

♪♪

[Bang in distance]

♪♪

[Floor creaking]

♪♪

♪♪

♪♪

[Wind gusting, bang]

-[Grunts]

[Wood creaking]

[Screeches]

[Glass shatters]

[Chicken clucking]

[Bang in distance]

[Insects chirping]

[Wood creaking]

♪♪

[Wood creaks]

[Sighs]

Janet?
-Yeah, honey?

-Janet, I had some
shells in the drawer.

Have you seen them?

-Shells?
When were you at the beach?

Bullets, Janet, bullets.

♪♪

♪♪

"An ancient folklore
has they can only be made

from persons dying...

violent deaths."

♪♪

♪♪

♪♪

Janet!

♪♪

What the hell are you
doing with these?

-It's for my class.

I'm gonna give a lecture
on witchcraft.

-Witchcraft?

And why in God's name
would you wanna teach them that?

-Kids love creepy things.

Keeps them from being bored
in my class.

-So, you picked witchcraft.

-[Sighs]
I just thought of it.

[Scoffs] I don't know why
I'm defending myself to you.

You're grilling me
like a suspect.

-[Sighs] Sorry, Janet.

I've just been under a lot
of pressure, you know?

-Speaking of the kids, Dan,

did you drop the film
off at Ernie's?

-I forgot.
-Oh, Dan.

Those kids worked
hard on that film.

I'll take care of it, Janet.

-By the way,
I found your bullets.

They were in the cabinet...

where you left them.

Have a good day, ladies.

-Morning, Ernie.
-Dan.

-Ernie, I want this film
developed as soon as possible.

-Police business.

When's the earliest
I can have it?

-On Wednesday.

It oughta be back
by then, I hope.

-Okay. Ernie...

nobody picks this up but me,
you understand?

-Okay.

-Nobody.

[Door opens, bell dings]

Yeah, yeah, the fisherman's
on the County too, Dobbs.

Poor bastard was just passing
through town.

-Say, Dan, you think you could
get the County to pay me

to reconstruct
his mutilated face?

-Don't get greedy, Dobbs.

Just seal him in a box
and bury him!

Now, what about that hunch
I had on George Le Moyne?

-After careful consideration,

I've come to the conclusion
you may be right.

It's very possible he was
disfigured somewhere else

and then placed
in the wrecked car

to make it look
like an accident.

-Then why wouldn't he make
the fisherman

look like an accident?

-How should I know?
I'm not the detective.

You are.

And keep up the good work.

Bye, bye.

[Telephone clicks]

-[Chuckles]

"Good work."

[Wind blowing, birds crying,
metal clinking]

-Danny? Harry here.

-Yeah, Harry?

-Listen, I just pulled
a late model Ford

out of the water down
by South Beach.

-Yeah.

-Appears she come off the bluff.

-Off the... Oh, no.

Is there anybody in it?

-No.
Just a kid's toy airplane.

♪♪

♪♪

♪♪

♪♪

-I have to find out
if any of these particles

contain traces of human skin.

I scraped it off a car
that might've been involved

in a hit-and-run.

-Hit-and-run?

Sure, Dan,
I'll give the full workup.

Uh, can you get it over
to me fairly soon?

-Dan?! Dan!

-Come on in, Ben.
-Okay.

See you later, then.
-Yeah, Doc.

I'll drop it off some time
this afternoon. Thank you.

[Telephone clanks]

Sit down, Ben.
What's wrong?

-That guy.

The one you came to see me
about last week...

the one that died
after the car wreck.

-Yeah?
-I just saw him.

-[Chuckles] Ben, what are
you talking about?

-He's over at the station,
pumping gas!

-Ben, he's dead!

-You go over there
and take a look!

-I never got a look
at his face, Ben.

Obviously it's a guy
who looks just like him.

-It's the same guy!

-Ben, would you just --

-Dan, I was standing next
to that man.

-Calm down.

-You ask your wife!

-So, voodoo [chuckles]
is basically religion.

Belief and conversion
are absolutely necessary

for its practices to work.

-Hi, Sheriff Gillis.
-Good afternoon, girls.

[Girls giggling]
-But, despite what you might

have seen on the late show

when you were watching what
your parents told you not to,

they do not
walk around like this.

[Screams]
[Girl screams]

[Laughter]

-Yes.
-You sure?

-You scared us.

Now --

You okay? [Laughs]

Now, although they are
conventionally dead,

they're capable of very closely
imitating the living.

There are even reports,

not substantiated
but not discredited

of a tribe in central Peru

whose residents included
a great number

of these walking dead

who were completely
at the will of their master,

and they roamed around the
mountains killing strangers

and bringing them back
to their master.

Now, you wanna hear
the really creepy part?

-Yeah.
-Okay.

In order for the master
to retain control

over the souls of his undead,

he had to cut out their heart...

[Children groaning]

and keep it...hidden.

[Children groaning]

♪♪

[Bell rings]

-Janet, honey, how come
Paul Haskell didn't know

about George Le Moyne
and the camera equipment?

-Oh, so you're the big mouth!

Dan, The PTA was buying that
equipment as a surprise.

-Oh, I'm sorry.

-Well, you didn't know.

Hey, we don't need gas. I just
filled it up this morning.

-[Laughs] Janet, I realize that.

If I told you once...

Look, this is a piece
of machinery.

It takes a lot more
than just gas to run it.

[Knock on window]
Once in a while, you gotta check

the oil, you gotta check
the water --

-I'm not a mechanic, dear.
I'm a teacher.

-What can I do you
for, Sheriff?

-Yeah, Freddie, would you check
the hood, please?

-Sure thing.

-[Humming]

Listen, I'll check the oil,
I'll check the water,

just give me a kiss.

[Hood pops]

♪♪

-Hey!
You sure you wanna ride with me?

How do you know
I'm not a dirty old man?

[Laughs]

-They call me Chance.
How far are you goin'?

-Oh, I'm goin' up here to
Potters Bluff,

but I have to stop
at my place up the road here.

Hey, you wanna come on up
with me to Potters Bluff?

It's a real nice little town.
You ever been up there?

-Never heard of it before.
-Oh, well, come on in

outta the rain, honey.

There we go.

♪♪

Alright!

Ho, ho, ho, lip, ding, dong

♪ We won't get home
until the dawn ♪

[Both laugh]

Hey now, where are you heading?

-Oh, no place in particular.

-Well, then I'd think about
staying a spell up there

in Potters Bluff.

You know, I'd damn sure
rather live

in a nice
little town like that

than in some big city full of
killers and muggers, you know?

-Yeah.

-Well, there's my boat
right there.

-You live on a boat?
-Oh, hell, all my life.

Okay now,
I'll just be a second, honey.

I'm gonna pick somethin' up.

Excuse me,
I wanna get something

right out of
this glove box here.

♪♪

-[Chuckles]

♪♪

-Smile.

[Camera shutter clicks]

-[Screams]

What are you doing?!

-Smile.
[Camera shutter clicking]

-No! No, please! No!

[Screams]

No, please! No!

No! No!

[Screams]

[Rock smashes]

[Birds chirping]

-Ah, so lovely.

So frail.

So young.

How could anyone
mar such loveliness?

My dear...

I will make you beautiful again.

♪♪

Even more beautiful than before.

♪♪

[Air hissing]

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

[Chord strikes]

♪♪

♪♪

[Squelches]

♪♪

♪♪

♪♪

Another masterpiece,
complete and beautiful.

♪♪

♪♪

Now you can sleep peacefully.

[Record playing]

♪♪

[Record player stops]

[Air hissing, whirring]

[Switch clicks, whirring stops]

[Door creaking]

♪♪

♪♪

♪♪

♪♪

♪♪

[Static]

-So, one day they were shooting
a long scene in the funeral home

between James Farentino
and Jack Albertson,

and since you have to turn the
camera around to do closeups,

and since one actor
is not seen

when you're doing
the other actor's closeup,

Jack Albertson would
sometimes fall asleep

dur-- during because he was
so sick with cancer.

James Farentino had just
lost his own father

to cancer a few weeks before,

and he had sat
in the hospital with him

and seen him
repeatedly fall asleep

in the middle
of a conversation,

and so Jack Albertson's
decline created

all these memories
and eventually Farentino

couldn't take it anymore
and he ran off the set

and sat in his trailer
just sobbing,

and Gary Sherman had
to go to his trailer

and talk to him for a while
about his father

before he finally came back out
and finished the scene.

And on that note, let's return
to the sequence

where I think a light bulb

is about to go on
in Farentino's head,

so roll the flick.

Just as a practical matter,

if your wife turned zombie
on you,

wouldn't you know
that every time you made

the Sign of the Burrowing Bunny
Bumper in the marital bed?

Wouldn't it make things
a little difficult for you?

You know, I'm just wondering.

I guess the sheriff
just has no time

for conjugal Mad Monkey Kung Fu,

if you know what I mean,
and I think you do.

[Laughter]

[Static]

♪♪

[Static]

-You couldn't have mixed
that with another

piece of evidence, could you?

-No way.
-Well, I checked it

three times, and it keeps
coming out the same.

-That's impossible.

-Look, if you don't
believe me,

send it upstate somewhere,
but I'm telling you

that these bits of flesh
have been dead at least three

or four months!

Why? When did you think
this hit-and-run happen?

Huh?
It wasn't recent.

-You're absolutely sure?

-Of course I'm sure.

-Oh, you're wrong, Doc,

I know you're wrong.

[Machine whirring]

♪♪

♪♪

[Switch clicks]

[Liquid pours]

[Switch clicks]

♪♪

♪♪

[Whirring]

♪♪

[Acid hissing]

♪♪

♪♪

-It can't be.

♪♪

It can't be.

♪♪

[Telephone clicking]

♪♪

-Potters Bluff Sheriff's Office.

-Betty?
-Oh, Hi, Doc! How are you?

-Yeah, yeah. Is Dan there?

-No, it's too early for him.
-Well -- well, where is he?

I gotta -- I gotta speak to him.

-I don't know, but I can try
and find him for you.

I just know --
-No, no, no, never mind.

I'll go find him myself.
I'll --

-[Gasps]

[Grunting]

Harry, what're you doing?
What's going on?

Jill, what are you doing?
That's acid!

No, Don't -- don't do that!

What are you doing?!
You're insane!

Stop that!
No! No, no, let go!

Don't do it! [Grunting]

[Screaming]

[Acid hissing]

[Gasping]

[Camera shutters clicking]

♪♪

[Rambling]

♪♪

[Grunts]

-What are you doing here, Dobbs?

Dobbs,
what are you doing here?

-Morning, Daniel.

-Dobbs, I don't have time --

-Let's not get all pushy
and policeman-like, Dan.

This is very embarrassing
for me.

-What is?

-Well...

I'm here to report a theft.

-What, somebody steal a body?
-Yes.

-What?

-That pretty young
waif you found brutalized.

-You mean somebody dug
up her grave?

-Well, this morning
I would've laid her to rest,

but she was gone.

-What the hell is going on
in this town?!

What kind of a maniac
is loose out there?

First murderers,
now body snatching!

My God, I can't believe it!

-Okay, come on,
we'll go to your office.

-No!

We can't do that.

-Why can't we?

-We can't let anybody know.

My reputation.

Now, who would entrust
a deceased loved one

to a mortician
known to have lost a body?

Would you, Dan?

-This is ridiculous.

-Well, maybe I am panicking.

Maybe -- maybe my young protegé
slipped her into a drawer

and forgot to tell me.

I'll go check.
I'll talk to you later.

-Yeah, I hope you find her.

With three murders and my wife,

I've got enough problems
of my own.

-Yeah. Janet has been
acting strange.

-You hardly know her.

-She comes to visit me
all the time.

Didn't you know that?

-Dobbs, you wouldn't
have anything to do

with her sudden interest

in witchcraft and voodooism,
would you?

-Certainly not.

And you can tell her
I was more than mildly insulted.

Just because I'm a mortician,

she had the audacity
to insinuate

that I might have knowledge
of the black arts.

-Ah.

Dobbs, you don't believe
the dead can come back, do you?

-Back to life?

Well, in my profession,

that's a rather unpleasant
thing to think about.

Come on, Dan.

You're not gonna tell me you
believe that missing corpse

just got up and walked away.

-I don't know
what to believe anymore.

[Telephone ringing]

Just a minute.

Hello.
-Hi, Dan. I'm late.

-Yes, Betty. I did notice
you were late again.

-My car wouldn't start,
and I waiting for help.

-Okay, okay, okay.

-I have to leave, Dan.
I'll talk to you later.

-Betty, just --
as soon as you can,

and on your way over,
stop off at Ernie's

and see if that film
is ready that I brought in.

-Dan, did you look
at that telex?

-What telex?
-From St. Louis.

-From St. Louis?
-It's about George Le Moyne.

-Why didn't you tell me, Betty?

-It's on your desk, Dan.

-It's on my desk.

[Telephone clanks]

"Close to positive ID on your
so-called George Le Moyne.

Facilities here better equipped.
Request body be transported."

♪♪

♪♪

♪♪

♪♪

Dobbs?

[Door bangs open]

Jimmy, what the hell
are you doing?

-Nothing.

I gotta go now.

[Door opens, closes]

♪♪

♪♪

-Dobbs!

♪♪

[Wheelbarrow squeaking]

♪♪

♪♪

♪♪

Sam?

♪♪

Sam!

Where's Dobbs?

♪♪

-I ain't seen him yet today.

♪♪

Get your shovel, Sam,
we're gonna have to dig him up.

-Dig up? I don't dig them up.
I just bury them.

-This is one
you're gonna dig up.

-Mnh-mnh. Not without
Mr. Dobbs' permission.

-Now, Sam, you don't need
Dobb's permission.

I'll take responsibility.

Now get started!

♪♪

♪♪

Dobbs?!

♪♪

♪♪

♪♪

[Door closes]

♪♪

[Rope creaking]

Come on, Sam.
I'll help you with that.

-I don't need no help.

-Come on, I'll help you with it!

♪♪

I gotta get
this damn box open!

Alright, now open it!

-Are you crazy?

I don't wanna see
no rotting corpse.

-Sam, This box doesn't weigh
enough to have a corpse in it.

Now open it!

-No.
No, Mr. Dobbs sealed it.

♪♪

[Wood cracking]

♪♪

♪♪

♪♪

♪♪

♪♪

[Chord strikes]

♪♪

[Camera shutter clicking]

[Tires squeal, bell dings]

[Static]

-So, it gets kind
of murky in here

as James Farentino
races around town

trying to connect the dots,

but one thing he knows,
whoever's robbing

the graves
doesn't need the heart!

A lot of the reviewers in 1981
thought the scene

where they pump the acid
into the doctor's veins

was a little over the top
and in bad taste.

Especially incensed
was Gene Siskel

of the Chicago Tribune,

who said the film was,
"disgusting"

and "a complete waste
of anyone's time and money."

You know, we always talk about
how Roger Ebert

didn't really appreciate horror,

but Gene Siskel
was equally benighted.

Those guys just hated
the whole genre.

They certainly
weren't doing tributes

to the effects work
of Stan Winston

in the embalming-needle
acid scene.

By the way, another guy
that Siskel and Ebert

didn't much care
for, Dan O'Bannon.

Said publicly that he had

absolutely nothing to do
with "Dead & Buried,"

even though
it's frequently mentioned

him in the early
'80s in the ads and things.

It's true that his name
is on it,

but apparently
that was just a ploy.

They got notes from him
for a script rewrite,

and they paid him $10,000
for the notes,

but they just ignored the notes

so that they could put
his name on the picture.

He regretted taking the money,

and said he would never
do anything like that again.

The actual writer
was Ron Shusett,

who got story credit on "Alien"
but he never got --

he didn't get writing
credit on "Alien."

O'Bannon got the writing credit.

Shusett was a producer
turned writer whereas

O'Bannon was a pure writer.

Shusett got the writing job
on "Total Recall,"

but that was only
because he had optioned

the story by Phillip K. Dick.

Another guy who doesn't
get mentioned very much

when people talk about
horror is Gary Sherman,

the director of "Dead & Buried."

He had made a pretty
decent horror flick nine years

before this in London,

with Donald Pleasence,
originally called "Death Line,"

but most people know it as
"Raw Meat."

It's about a serial killer
on the subways,

and even though
"Dead & Buried"

has a lot of admirers,
Gary Sherman's reputation

gets canceled out
by "Poltergeist III,"

which Sherman made in 1988

and which is considered so lame
that it killed the franchise.

He made the great crime thriller
"Vice Squad" though

with Wings Hauser,
and the action pic

with Rutger Hauer,
"Wanted: Dead or Alive."

He made a stalker movie

called "Lisa" in 1989
that's pretty good.

He's done a lot of TV directing
including several TV movies.

He's been active in building up
the film industry in Chicago,

and you know that A&E series
"The First 48,"

one of my favorite
true crime shows?

And believe me,
I know my true crime.

Gary Sherman did a spin-off
of that show, same format,

called "The First 48:
Missing Persons,"

which was damn good.

I hope they keep that
thing going.

Alright, James Farentino
is about to figure out

what's going on
in Potter's Bluff,

and he's not gonna like what
that means for his marriage.

So roll the film.

I think I'm the only person
who watches "The First 48"

and constantly yells
at the screen going,

"Get a lawyer!

Lawyer up!

Do not talk to that
police detective!

Do not put yourself
at the scene!" You know?

It's not that I don't think
the guys who confess

in those little rooms
are guilty,

it's just that I'm thinking,
"A lawyer could have got

your sentence down
to 20 years, you know,

giving you a chance to do
something with your life,

but now you got life
without parole

because you sat there in your
dirty sweatshirt trying

to explain it was the other guy
who pulled the trigger."

You know, a lot of these 17, 18,
19-year-old criminals,

they would do better
by their families

if they would just watch
a few episodes of "The First 48"

And then they would know,
ask for a lawyer.

It all shuts down
if you ask for a lawyer.

Is that so hard?

They go,
"Sure, I'll talk to you.

You seem nice enough."

No! They're cops,

They're not paid to be nice.

[Laughter]

[Static]

♪♪

[Static]

-Betty.
-Hi.

-Betty, get on the telex.

Come on, come on!

-Okay, Dan.

-Records Division,
Police Department,

Providence, Rhode Island.

"Request immediate check
on arrest records...

and/or convictions of one
G. William Dobbs,

male, approximately
70 years of age,

six feet, weight, 140 pounds.

Present occupation:
funeral home owner.

Resident here since
approximately spring 1970.

Uh, Betty.
[Typewriting things]

Betty?

When you finish that, I want you
to send this photograph

to the police in St. Louis.

I wanna know if he's
their missing person.

-Anything else, boss?

-Yeah. Send the telex.

-Okay, okay.
[Typewriter things]

Wait a minute!

Ernie said your film was ready.

-Thank you, Betty.

[Door closes]

[Door creaks opens]

Ernie, have you got
that roll of film?

-Yeah. I got it right here.
[Door closes]

That'll be $5.40.

[Cash register dings]

-My, things keep goin' up.

-Sorry it took so long.

♪♪

[Hand crinkles]

♪♪

[Door slams]

-Doc, Sorry.

-Not another hit-and-run,
I hope.

-You okay?
-But are you?

-To tell you the truth,
I'm not so sure.

-And you police work's
a high-stress occupation.

You gotta watch yourself.
-Doc, can I talk

to you a minute, please?

-Why? I can't talk long.

-Just a minute. It's important.

-Alright, Dan.
What is it?

♪♪

In your professional opinion,

is there any way whatsoever
to reanimate people

after they have died?

And to...

to get them to walk around?

-[Chuckles] You have been
working too hard.

-I'm not joking.

-My God, you're serious.

♪♪

-You remember what you said
after examining

that particle of human skin

from the supposed hit-and-run?

-Sure.
I said it'd been dead months.

-Well, it wasn't months.

It was my car,
it was my accident.

It happened the night before.

-Couldn't be.
-I'm telling you it was.

-Listen, maybe Norman
was giving you

a tune-up three months ago,

and he scraped his arm
on your grill!

-Corp--

Doc, corpses have been
disappearing from their graves.

-Well, if that's true,
that's very distasteful,

but they have not -- they're not
being restored to life.

That's for sure.

♪♪

-Dan!

Dan, the telex
from Rhode Island!

-Where is it?

-Hold your horses.
We're standing by.

[Item clatters]

[Telex clicks]

[Telex whirring]

"Subject: G. William Dobbs.

Dismissed 10 October '69

as Chief Pathologist,
Providence City of.

Evidence indicated
subject made

unauthorized use...

of dead bodies...

in County Morgue.

Note billed by Grand Jury.

Censured and ejected by
Rhode Island Medical Society...

30 November '69.

[Whirring continues]

Subject left RI
shortly thereafter."

[Whirring stops]

Oh, my goodness.

Our Mr. Dobbs?
Where are you going?

-Janet?

Janet!

Janet, you home?

Janet!

♪♪

[Chord strikes,
film projector clicking]

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

Oh!

♪♪

[Screams]

♪♪

Dobbs!

[Door slams]
What did you do to her, Dobbs?

Goddamit,
what did you do to my wife?!

-Good evening, Constable.

-What did you do to my wife?

-Janet, my crown jewel.

My very first, my seedling.

-Where is she?!

[Film projector clicking]

-Look at them, Daniel.

Look at my children!

-Oh, my God.

-They had to be disfigured.
Don't you see?

I have to make them look like
they used to look.

That's my art.

-[Softly] Where is my wife?

-Janet, I found her
in Harris Creek in her car.

She had drowned.

-You're crazy.

You're totally insane!

-Not even her injuries

or her bloated condition
could hide her beauty.

-My God, she can't be dead.

-Yes, she was. She is.

Like all the others, like that
man you ran over in your car.

He was dead long
before you hit him.

-How did you do it?

-Call it black magic.

Call it a medical breakthrough.

I'll take my secret
to the grave.

-Oh, my God.

[Screaming]

It's a nightmare!
No!

-I've always liked you, Daniel,
so I gave her to you as a gift.

-No, no.

-Most of the others,
I gave back

a little of their lives,

but for Janet, I gave her fear
and sex and love.

The others would fall apart
in a week

if I didn't touch them up,
but Janet --

Janet could go three weeks,
a month!

The others, drawings.

Janet, ooh,
Janet was a painting.

My masterpiece.

-Why are you doing all this?

Because when people are dead

they don't get sick,
they don't age,

and after I work on them,
they look so good, so healthy,

I can't bear to bury them!

They're even more beautiful
than the living!

-You evil son of a bitch!

-You will try to kill me, Dan,
but you can't.

You can only make me dead.

[Gun cocks]

Go on, pull the trigger.

Help me become
one of my own children.

Oh, Daniel.

I enjoy these
little chess games with you.

Perhaps you need
a little more motivation.

[Door opens, closes]

-Hello, baby.
How was your day?

You wouldn't believe mine.

Paul Haskell had another locker
check 10 minutes before lunch.

-Janet!
-Had everybody go

and stand out in the hall
next to their lockers.

-Janet.
-It was enough

to drive me crazy.

Baby, what what would you
like for dinner tonight?

-I'll get you
for the things you've done.

-The dead have no memory
except what I give them.

She only appears alive.

♪♪

-You are alive.

-She's dead, Dan.

♪♪

She's dead.
-Oh, no.

♪♪

-You can have anything
you want for dinner,

if you don't mind
fixing it yourself.

But I'll fix it for you.
-She's dead.

You have a choice
between minute steak...

-Baby, please.

Die.
-She's dead.

[Gunshot]
-Also, you have pork chops...

-Die!
-...or beef stroganoff,

the last of which
I must warn you...

-Please!

-...it's out of the package.

[Gunshots]

♪♪

♪♪

Dan, I'm dead.

♪♪

Please bury me.

♪♪

Please.

♪♪

Dan, bury me!

♪♪

[Gunshots]

-[Gasps]

♪♪

[Body thuds]

♪♪

♪♪

-[Grunts]

[Items crash]

[Wind blowing]

[Panting]

♪♪

Janet!

Janet!

[Film projector clicking]

-Groans]

[Groans]

Janet!

-[Sobbing]

♪♪

♪♪

Oh, bury me.

♪♪

Please.

♪♪

Please, Dan.

[Casket creaks]

♪♪

♪♪

♪♪

♪♪

[Record plays peaceful music]

♪♪

[Ominous music plays]

♪♪

-I love you, Dan.

♪♪

♪♪

♪♪

♪♪

[Air hissing]

♪♪

[Flesh tears]
-[Groans]

♪♪

[Film projector clicking,
record spinning]

♪♪

-May she rest in peace, Dan.

-Ernie?

[Voice echoing]

-Betty.

♪♪

Ben.

-[Indistinct talking]

♪♪

-Dan, old buddy.

-Oh, no.

-[Indistinct talking]

-Phil.

-If you can't solve an accident,
what'll you do

if a crime happens?

-Harry, Harry.

♪♪

Freddie.

-[Echoing] What can I do you
for, Sheriff?

-[Indistinct talking]

♪♪

-Midge!

♪♪

-[Indistinct talking]

Midge?

♪♪

-Jimmy.

-[Echoing] I gotta go.

♪♪

-[Echoing] You know police
work's a high-stress occupation.

♪♪

No, not Doc.

-[Echoing] They're not being
restored to life.

-[Gasps]
-[Echoing] That's for sure.

-Be happy for her, Dan.

-Smile.
[Camera shutter clicks]

-[Screams]

No!

Don't touch me!
[Voice echoing]

Oh, dear God!

Get back!
Keep away from me!

God, no, please!

No!
Don't touch me!

No! Not me!

Not me!

-Don't let him get away!

♪♪

[Film projector clicking,
air hissing]

♪♪

-There's one more thing
you should know, Dan.

♪♪

-[Screaming]

♪♪

[Gasps]

♪♪

♪♪

♪♪

-Come, Dan.
Let me fix those for you.

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

[Static]

-"You can try to kill me, Dan,
but you can't.

You can only make me dead."

Jack Albertson's best line
in the whole movie.

Not sure what it means,
but yeah.

Censured by the Rhode Island
Medical Society

and ejected from his job
at the Providence county morgue.

Some people love
the final twist,

some people hate it,
the one about Dan has been

a zombie throughout the movie.

Don't think about
that one too much either

because if you go back
over the storyline

you'll find some plot holes
as big as Freddie's open grave.

Unfortunately,
the original director's

cut of "Dead & Buried"
does not exist.

The film was cut
and recut so many times

that we can't see Gary Sherman's
original intention.

What we know is they got
the financing

from the Guinness beer company,

but halfway through filming,
Guinness sold the movie

to another company.

The first screening
was a huge success,

but the film had been
sold a third time

to Producers Sales Organization,
headed by Mark Damon.

You've heard me talk
about Mark Damon before.

And so after the initial
screening,

that had people
screaming in delight,

Damon pulls Gary Sherman aside

in a corner
of the screening room and says,

"If I wanted Ingmar Bergman
to make a horror film for me,

I would hire Ingmar Bergman.

Now let's get rid of
all this bullshit

and make it into
a horror film."

So he demanded all kinds of
changes that Avco Embassy,

the domestic distributor,

did not agree with,
that was Bob Rehme,

who would later be head
of New World Pictures

after Roger Corman
sold New World Pictures.

And Bob Rehme wanted to help

Gary Sherman restore the picture
to its original form,

but then Mark Damon threatened
to sue both of them

and so the final version
was kind of a hybrid

of what four
different companies

thought the movie
should look like.

And that original director's
cut by then was gone.

If you read stuff on the
Internet about the film,

a lot of people say
it got no theatrical release,

it went straight to video.

Well, that's definitely
not true,

because I saw it at the drive-in
at least twice.

They released it,
and then they released it again.

In 1983, England put it
on the Video Nasty

list of censored films,
which just kind

of blows my mind,

and then apparently
somebody pointed out to them

that it wasn't that bad
and it was not exactly

"Cannibal Holocaust,"

and so it was dropped
from the list in 1985.

Jack Albertson came to the world
premiere of it in a wheelchair

with an oxygen tank,
and died shortly thereafter.

Lisa Blount,
the girl on the beach,

she went on to a fairly
successful career,

and then developed
a rare disease,

and I had to -- I can't say it.

It was called idiopathic
thrombocytopenic purpura,

and she died in Little Rock
in 2010.

She was just 53 years old.

There are people
in Mendocino, California,

who still remember the film.

They remember that film,
and they remember

James Dean in "East of Eden."

It was also shot in Mendocino.

And Robert Englund
is very fond of the flick,

even though he doesn't
have much to do in the flick.

So, Darcy, come on up.

Oh, my God, Darcy.
[Cheering, whistling]

Or should I say Lisa Blount.

-[Laughs]
-The girl on the beach

and the evil hypodermic nurse.

That's a great effort.

It's kind of --
it's kind of a gloomy

picture though, don't you think?

Partly because of the way
they shot it.

-I love that atmosphere though.

I love the gore in this,
and I love Lisa Blount.

That's why I had
to dress like this.

-Okay. Sounds like we pretty
much agree.

I remember thinking it was
slow the first time

I watch-- I watched it,
but it kind of grew on me.

-I can see that.

Jack Albertson
is super-creepy.

I feel like it's kind
of an Italian horror

made by Americans.

-Okay, yeah.

I never thought of that,
but yeah,

I could see how that would be

because of the quirkiness.

So, what you got for me?

-It's time for
the Silver Bolo Award

for excellence in horror media,
and this week's winner is...

"Knight Light,"
a horror movie podcast.

It's San Francisco-based,
weekly,

and hosted by Prince Jackson,

a.k.a, David Celarie
and Freddy Nuti.

-And what's their take
on the genre?

-They are dedicated to
discussing

the ultimate question:
Why horror?

-Wow, so they're philosophers.

That's a big topic.

And how do they do that?

-They pick subgenres and devote
a whole month to that theme,

like family horror,
black horror, female horror,

creature features,
home-invasion horror.

But what's interesting is that
the podcast sort of emerged

from Black Lives Matter.

-Oh, then I know this story,
but go ahead.

-So, Bloody Disgusting
sent out a tweet

saying they wanted to boost
underrepresented voices

in the podcast network,

and the "knights"
of this podcast,

the three founders
call themselves knights,

threw their names into the pot,

and they say
the whole experience

has been life-changing
because they're bringing

all these black voices
into the horror community.

-Which is great, yeah.
-Totally.

They break down each film
scene by scene.

Great discussions,
great chemistry.

Big fans of "Scooby-Doo
on Zombie Island,"

so clearly they are
men of culture.

[Laughter]
-Okay, sounds like it.

Okay, well, Yuki, please take
this silver bolo,

verify that the silver
is pure, please?

And send it --
[Can rattling]

send it to Prince Jackson
in Chicago

and his colleagues David Celarie

and Freddy Nuti
at "Knight Light."

That's K-N-I-G-H-T, right?

K-N-I-G-H-T Light.

They're bringing a whole
new group of people

into the Mutant family,
and that's about it.

What was scarier tonight?

The zombies in "Dead & Buried"

or the hippie religious
cult in "Mandy"?

-I've to go with the cult.
-Yeah. Me, too.

Because of the horrendous level
of the violence in that movie.

I'm surprised that video
nasty censor in England

didn't rise up out of his grave
just to put "Mandy" on the list.

-Oh, he would.

-And I'm Joe Bob Briggs,
speaking for

Darcy the Mail Girl and the
remote "Last Drive-In" crew,

reminding you that sometimes
the best answer

is silence.

The drive-in will never die.

Man walks into a bar
with his pet octopus.

-You've heard this one?
-No.

-Okay.

The guy says, "I bet 50 bucks
that nobody here

has a musical instrument
that this octopus can't play."

So people in the bar
look around,

they talk among themselves,
somebody finds an old guitar.

Octopus takes a look at it,

picks it up,
tunes up the strings,

starts playing a folk song
on the guitar.

Owner of the octopus
pockets 50 bucks.

Next guy comes up
with a trumpet.

Octopus takes the trumpet,
loosens up the keys,

licks his lips,
starts playing

a jazz solo in the trumpet.

Owner of the trumpet forks
over another 50 bucks.

So the bar owner's
watching all this.

So he disappears out
the back of the bar,

comes back a few minutes later
with a set of bagpipes.

And he puts the bagpipes
on the bar and says,

"Now, if your octopus
can play this,

I'll give you $100."

So, the octopus takes a look
at the bagpipes,

lifts 'em up,
turns 'em over,

has another look
from another angle,

turns them back this way,
looks at them this way.

The owner of the octopus
is getting impatient.

He says, "Stop messing around.

Hurry up and play
the damn thing."

Octopus says, "Play it?

If I can figure out how to get
its pajamas off,

I'm gonna fuck it."

[Laughter]

♪♪

-♪ We are drive-in mutants ♪

-♪ Drive-in mutants ♪

-♪ We are not like
other people ♪

-♪ Other people ♪

-♪ We are sick ♪
-♪ Sick ♪

-♪ We are disgusting ♪
-♪ Disgusting ♪

-♪ We believe in ♪

♪ Yeah, we believe in ♪

-♪ Blood ♪

♪ And breasts ♪

♪ And beasts ♪

-♪ Yeah, we believe in ♪

-♪ Blood ♪

♪ And breasts ♪

♪ And beasts ♪

-♪ If life had a vomit meter ♪

-♪ Vomit meter ♪

-♪ We'd be off the scale ♪

-♪ Off the scale ♪

-♪ As long as one drive-in
remains on the planet Earth ♪

♪ We will party
like jungle animals ♪

♪♪

♪ We will boogie till we puke ♪

-♪ Boogie till we puke ♪

-♪ The drive-in will never die ♪

♪ We will boogie till we puke ♪

-♪ Boogie till we puke ♪

-♪ The drive-in will never die ♪

-♪ We believe in ♪

♪ Blood ♪

♪ And breasts ♪

♪ And beasts ♪

-♪ We believe in ♪

-♪ Blood ♪

♪ And breasts ♪

♪ And beasts ♪

-♪ Yeah, we believe in ♪