Original subtitles

-♪ I been thinking 'bout my trailer ♪

♪ And the way it used to sway ♪

♪ When the mattress springs were squealin' high ♪

♪ And the roaches ran away ♪

♪ But now you're gone to Memphis... ♪

-Yeah. So...

Why do all moms tell you don't rest your elbows on the table?

Is there, like, a dirty elbow virus or something?

-♪ ...roaches... ♪

♪♪

-♪ Hey, everybody, have you heard the news? ♪

♪ Joe Bob is back in town ♪

♪ He's over at the drive-in, hanging around ♪

♪ Watching crazy movies, so come on down ♪

♪ To Joe Bob's "Last Drive-In" show ♪

♪ Blood, beasties, boobies, and more ♪

♪ Joe Bob's "Last Drive-In" show ♪

♪ It's a spooky good time with monsters and ghosts ♪

♪ Crazy, kooky fun with the world's greatest host ♪

♪ Joe Bob's "Last Drive-In" show ♪

♪ It's gonna be legendary ♪

♪ Joe Bob's "Last Drive-In" show ♪

♪ It's gonna be very scary ♪

♪ Joe Bob's "Last Drive-In" show ♪

♪ Let's go ♪

♪♪

-I'm Joe Bob Briggs.

And for the final night of the season,

we are headed for the land of the flat cap,

Northern England,

to celebrate some Italian zombies

who were invented by Spanish filmmakers

who had to flee zombie persecution

in a fascist totalitarian state.

You know, we should be grateful that we live in a time

and a culture that allows zombies to be depicted

in all media at all times.

We have achieved zombie freedom here,

and by God, we're not giving that up.

Joining me, as usual, will be the beautiful

and talented Darcy the Mail Girl.

Probably... -Yeah.

-...you know, the most influential woman

in cheap horror.

And she will be shepherding the social media

as it pours in from our friends in Manchester

and other European capitals of zombie chaos.

And, Darcy, I know we've had hundreds,

if not thousands of letters asking us to play the movie

"The Living Dead at Manchester Morgue."

People from Manchester, people from Madrid,

people from Rome. Because each of those cities

claims pride of ownership in that film.

-No, not really. -No?

-No. -So where does the groundswell

of support for this film come from?

-Only from you. -That is not true.

This is a classic of Euro horror.

-It's completely true. But go ahead.

-Okay. So the wonderful thing about the flat cappers

in "The Living Dead at Manchester Morgue"

is that they give us an explanation for the zombies.

George Romero never told us exactly where the living dead

came from or what caused them to turn nasty.

Lucio Fulci suggested it had something

to do with Caribbean voodoo,

but he didn't really carry his research far enough

to identify the origin.

The great thing about this movie

is that they tell us exactly what happened.

Zombies were created by flat cappers

in the United Kingdom Ministry of Agriculture.

[Laughter]

-You keep saying that. What are you talking about?

-I keep saying what? -"Flat cappers."

-Oh, you know, those guys who wear the hats

that are flat on top, you know, an ivy cap, Gatsby?

-No. -Driving cap.

You know, London cabbies wear those things.

Duckbill. Paddy.

-Oh, okay. Duckbill. I get it. Like a golf hat kind of.

-Well, if it was a golf hat, it would --

This is Northern England. If it was a golf hat,

it would be from Scotland.

So that would not be a duckbill. That would be a bunny.

-A bonnet? -No, a bunny.

You have to say it in Scottish. -[Laughs]

There's no such thing as a Scottish language.

-Have you seen "Trainspotting," Darcy?

There is a Scottish language.

-Is there? I haven't, actually.

I'm sorry. -Oh, okay.

-Maybe tam-o'-shanter, you know, is a better word.

-I'm sorry I asked about this.

-It's not really a tam-o'-shanter 'cause --

It can't be a tam-o'-shanter

because those have the fluff ball on the top, so...

-The fluff ball?

-Yeah. A flat capper would not tolerate a fluff ball.

They actually -- In London, they look down on you

if you wear any kind of duckbill, you know.

You're like low class, you're outdated.

You know, it's an old man thing.

But if you wear one on the PGA golf tour,

you are the coolest guy out there.

You know, it's kind of like cowboy boots.

If I wear these boots...

-Close up, please. -Yeah. Look.

If I wear these boots to the Chrysler Building

on Lexington Avenue,

you know, just walk through the revolving doors.

Which, by the way, the Chrysler Building

is where the winged serpent lives.

If you've been watching all the movies on "The Last Drive-In."

-We know.

-If I wear these boots into the Chrysler building,

it's considered cool.

But if I wear this exact same pair of boots

into the Bank of America Plaza in downtown Dallas --

you know, that skyscraper that turns green at night? --

you know, I'm considered a hick.

So why is that?

Why is it that the closer you are

to where people actually do wear cowboy boots for their jobs,

the more people look down on it, you know?

So it's the same thing with other kinds of clothes.

You know, those antique golfing duds

with the blousy shirt

and the puffy sleeves and the high socks and all that?

That comes from Scotland. But nobody in Scotland wears it.

You know, only Americans wear that stuff in golf tournaments.

The Scots think that's dorky. -And your point?

-Well, my point is that

"The Living Dead at Manchester Morgue" tells us

and shows us what causes zombieism.

-Wearing bad hats?

-No, pay attention. The Ministry of Agriculture

was trying to get rid of crop-killing insects,

but they were no longer allowed to use DDT,

so they invented this machine that makes a sound

that drives the bugs crazy,

and they start eating one another.

-So, then, why did you talk about their hats

for 10 minutes?

-Because haberdashery in England

is a clue to their origin.

Like, all right, what do you associate with Manchester?

What do you -- -Soccer. I mean, football.

-And why is that? -Manchester United.

It's like -- It's one of the soccer football teams

that everyone's heard of.

-Okay. All right. -Right? Is that wrong?

-And what does the coach of Manchester United wear?

-I'm going to guess it's a flat cap.

-Well, yes, he does, but that's not what I'm talking about.

Manchester is known for pollution.

It's famous for pollution, dirty belching smokestack pollution.

And you'll see, in the opening scenes of this movie,

everybody's wearing a surgical mask just like in COVID.

But this was 1974, and everybody

on the street wore these masks

because they lived in the dirtiest city in Europe.

So it makes sense, then, that the flat cappers in Manchester

would invent the machine that creates zombieism.

Zombies are eco horror creatures.

-No, it doesn't make sense,

but go ahead and introduce the movie, please.

-Okay. -Please.

-That's exactly what I'm about to do.

-Thank you.

-So, remember Generalissimo Francisco Franco?

Remember him? -No. No.

-Well, actually, he was dead before you were born, but,

well, he was the totalitarian dictator of Spain,

and he did not allow horror movies in Spain.

Or let's say he frowned on him.

But if you set your -- If you were a Spanish filmmaker

and you set your horror movie in some country

that he didn't like, like England or France,

he would approve it.

-So you're telling me that the leader of Spain

was dictating who made horror movies?

-He was dictating who made movies at all,

but horror was especially frowned on,

and he couldn't stand the idea of Spaniards

being in horror movies.

So flat cappers in Northern England, not a problem.

So that's how the Spanish director, Jorge Grau,

ends up in the Peak -- what's called the Peak District

of Northern England making a zombie movie.

Jorge Grau would never be caught dead in a flat cap.

He would most likely be sporting a berettina

because he was from Catalonia.

-Dude, if you start talking about another hat,

I'm going to have to kill you.

-Well, that's a little harsh. Okay.

No berettina digression, I promise.

-Thank you.

-But "The Living Dead at Manchester Morgue"

is the second great zombie movie,

following in the tradition of George Romero's

"Night of the Living Dead," and it's the sensitive story

of a motorcycle-riding antiques dealer

who tries to get away for a quiet weekend

in the Pennines.

The Pennines... are --

-No, no.

-Okay. Well, he has a cottage in the Pennines,

which is this range of hills.

-No, no. -All right.

All right. A quiet weekend when he has an accident

and is forced to hitch a ride with a nervous woman on her way

to help her heroin-addicted sister,

leading to a series of misadventures

in which the two of them get blamed for a murder

while encountering a shuffling zombie named Guthrie,

who unleashes a churchyard full of living dead,

creating a zombie pandemic exacerbated by the nurse-eating

babies at a nearby hospital.

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

five-time Academy Award-nominee Arthur Kennedy

as the police inspector

allegorically drawn to resemble Generalissimo Francisco Franco?

I think not.

Let's look at those Drive-In Totals and get started.

We have...

[Laughter]

Drive-In Academy Award nominations for

Ray Lovelock as the smart-mouth urban hippie antiques dealer

trapped in a small town nightmare

who says, "The dead don't walk around

except in very bad paperback novels."

Cristina Galbó as the dingbat American

who backs over a motorcycle

and ends up getting lost with a hippie

and attacked by the undead.

José Lifante as the balding nature photographer

with a drug addict wife and a cigarette holder.

Jeannine Mestre as the whimpering Katie,

who likes to shoot up in the dark.

Arthur Kennedy as the bitter detective

who likes to rough up suspects and says,

"You're all the same, the lot of you with your long hair.

I wish the dead could come back to life, you bastard.

Because then I could kill you again."

Vera Drudi as the kimono-clad owner of the Owl Hotel

who says, "You would not be

the people involved in the murder, would you?"

And Jorge Grau, the writer-director,

for bringing the zombie from Pittsburgh to Europe.

Four stars. Joe Bob says check it out.

Although the berettina would have been an intriguing subject

if you had let me talk about it.

-It's unfortunate we missed out.

-Because it's the opposite of the flat cap.

-Okay.

-Like a giant bag of apples on top of your head.

-Don't exaggerate.

-Bright red, puffs up on top of your head.

-You already agreed.

-It's kind of the national hat of Catalonia.

-Stop.

♪♪

-You know where we should go sometime?

Sitges. Sitges, Spain. It's in Catalonia.

They have the oldest horror film festival in the world.

-Yeah. Let's go.

-It's in Catalonia. -I already said I'd go.

-We'd have to wear berettinas.

-Please stop saying "berettina."

-Okay. All you had to do was ask nicely.

-Oh, okay.

♪♪

[Distant traffic noises]

[Bell chimes]

[Key turns in lock]

[Motorcycle starts]

♪♪

♪♪

♪♪

♪♪

[Voice moaning]

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

[Siren wailing]

♪♪

♪♪

♪♪

♪♪

♪♪

[Motorcycle approaching] -That'll be three quid, miss.

-Sorry. How much? -Three pounds, please.

Thank you.

-Give us a fill-up.

[Car engine revving]

[Loud banging]

[Engine stops]

-I'm so sorry. I must be a little tired.

I put it into reverse.

-Yes, I can see that.

-Of course I'm insured. And whatever expense --

-Of course, darling.

After all, it could have been worse.

Couldn't it? -Yes.

-There's even a garage. How long will it take?

-Well, you'll need a new wheel.

We'll have to get that from Glasgow.

And it's the weekend.

Earliest will be Monday evening.

-Okay, it's yours.

I'll see you on Monday then. And don't bugger me about.

Are you going to Windermere?

-Not into the town exactly. Nearby.

-Well, you'll take me there just the same, won't you?

It's the least you could do.

Right?

I'll drive.

I mean, we don't want to go all the way in reverse, do we?

-Actually, you'll be doing me a favor.

You see, I've driven all the way from London,

and I do feel a little tired.

-Then go to sleep.

Thank you.

-Aren't you taking a lot for granted?

-Look, darling, you don't have to worry.

I mean, I'm not gonna jump you or something.

The name's George.

-And I'm Edna Simmonds.

-Hmm. You look a little like an Edna.

You up from London for the weekend?

-More or less.

My sister has a cottage near here at Southgate.

-Hmm.

-It is a warning against hysteria

when confronted by ecological problems,

many of which have been exaggerated.

And this so-called Project for Survival

by Goldsmith and Allen has been signed by 33

English scientists, among them Julian Huxley.

-What rot. Ecological problems exaggerated.

You know, of course, when we all die,

only the scientists will survive.

[Honks horn]

[Honks horn] Oh, charming.

[Honking]

-What's so important about Windermere?

A girl?

-Beautiful country, low industry...

and an isolated little house all mine...

where, from Saturday to Monday, I'll listen to the grass grow.

Very restful.

-Stop!

Please.

Listen. I must be in Southgate this evening.

And if I take you to Windermere, I'll be late.

-What's so important about Southgate?

A man?

-Uh, no.

I have to see my sister before...

-Before what?

-Look, I have a suggestion.

Take me there.

Keep the car to go to Windermere,

and I'll send someone for it.

-Oh, then I'll be late. Look, the house is new.

And I have an appointment with some friends to fix it up.

-Oh, please!

-Okay. Show me the way.

[Engine starts]

[Pulsing]

[Bird squawking]

-I've only been there once.

I remember a stream, but all these country roads look alike.

-[Sighs]

Well, there's a stream all right, but the road ends here.

[Sighs]

Hang on a sec. I'll go and ask.

-Hey, what are you doing with the key? Why?

-Not that I don't trust you, but I really can't risk

your leaving me here on foot, can I?

Don't get your knickers in a twist. I'll be back soon.

-George!

Ask for the Madison's house.

[Animal chirping]

[Chickens clucking, cows mooing]

-Hello? Anyone around?

[High-pitched hum resonating]

[Hum continues]

-There. For the prescribed area,

keep it on an emission of 17 megahertz. Try it.

-Right.

[Hum resonating]

Ta very much.

-Excuse me. The road to the Madison's place?

-Hang on a second. I'll show you.

-Now, before you lower it, I'll just adjust

the cycle convergence. -All right.

-Okay, sir, let's give it a whirl.

-What is this thing?

-It's supposed to destroy insects and parasites.

It was sent by the Department of Agriculture.

It's still experimental.

-I'd send it right back where it came from

and keep the insects and parasites nature's given you.

-What are you talking about?

-Just another machine to pollute the Earth.

Till now, at least, this part of the country's been left alone.

-What do you mean, "pollute the Earth"?

We're here to demonstrate to the growers just the opposite.

And they're all agreed.

I've got their signatures here in me pocket.

-This works solely by ultrasonic radiation.

There's not a chemical involved.

Cor. -You're quite right, sir.

-If you don't like progress,

those two's the wrong two to talk to.

Now where was it you wanted to go to?

Oh, the Madison place. Yeah, you go over that hill,

and on the right, there's a big oak.

Then you follow the old ridge, and it's the first -- second --

No, the third gate -- -Oh, come along with it, fella.

I'm used to traffic lights. Let's have it over again.

-Oh, all right. Up from London, are ya? I should've known.

Don't see too many young fellas dressed like you round here.

Anyway, if you hang on, I'll go and put this thing down.

-All right, Bernard, let's have another bash

at the main rotator. -Right.

-Well?

-No, nothing yet. [Engine starts]

Hey, you did it.

[Hum resonating, men chattering]

[Bird squawking]

[Bird squawks]

[Rustling]

[Splashing]

[Ragged breathing]

♪♪

♪♪

[Breathing stops]

♪♪

[Loud moaning]

[Hum resonating]

♪♪

♪♪

-[Roaring]

♪♪

-[Gasps]

♪♪

♪♪

[Screams]

-Go back along the road on to the side of the river.

I'm sure you know a river when you see one.

-George!

George! George!

That man, he's following me! He tried to attack me!

[Wind whistling]

-Sorry, love, but I can't see anyone.

-No, there was someone there. Back there. He was horrible!

-Are you certain?

-He was very tall w-w-with black hair and a black suit.

A-And his clothes were wet as if --

as if he'd just come out of the water.

-You're wet, too.

-I fell into the water when I was running away.

-Hey, don't be fright.

Must have been Guthrie, the loony.

-Who's that then? -No, I were only joking.

Old Guthrie's dead. He were a tramp.

He used to sleep down there by the river.

And then, about a week ago he drownded his self.

It seems to have been a suicide.

-And now he's a ghost.

-I'm sure he wanted to kill me. He tried to get into the car!

-Well, it must have been another tramp then,

trying to get some money out of you.

-Old Guthrie used to do that, too,

to every car that come along, eh?

-Come on now, darling.

You were sitting there all alone,

and he frightened you, that's all.

It was getting dark. More natural.

Come on.

I found out how to get to your sister's house.

Thank you. -Bye.

♪♪

♪♪

[Animal squawking]

♪♪

[Running footsteps departing]

♪♪

♪♪

[Banging]

-Katie?

-Strawberries, Martin.

I wanted to bake a pie to celebrate my sister's visit.

Finished, are you? Can I go now?

-It's hard for me, too.

You must understand, Katie.

-I know you're making life impossible for me.

First you keep me here, like a prisoner, for a year.

And now, I know why you asked my sister to come here.

You didn't think I did, huh?

I know where you want to send me.

But I'll never go there! Do you hear me? Never!

[Gate closes]

[Crying]

[Gasps]

[Sniffles]

-We'll do what you want.

Now please get hold of yourself. Come on, darling.

-I'm going to set up the camera and flashes

for the last series of pictures.

Come straight back. -[Continues crying]

-Will you be all right alone?

Will you be all right?

-Do you believe that, about the tramp, or --

-Or what? -Or what I told you?

I'm not mad, you know. I-I don't imagine things.

-Methinks the lady doth protest too much.

-What? I resent that.

-Listen, love, you have already ruined enough of my day.

Do you want to fight now?!

Jesus. You made me lose the way.

Now, how in the hell am I going to find this bloody place?

[Engine revving]

-See what I mean about Manchester?

People are wearing COVID masks

50 years ago because the air is full of crud.

You know, those are just found shots of typical commuters

looking like zombies themselves

as they go back and forth to work.

So bored they're not even interested in the streaker.

[Laughs]

I guess 1974 was the year of streaking.

What a fad.

You know, some people were appalled by that.

Some people loved it.

It was sort of a counterculture protest

against the uptight establishment.

Apparently in Manchester,

they don't love it or hate it, they're just bored.

And the first zombie we see

is the old loony Guthrie, dead for two weeks,

still wet from when he was drowned in the river.

And that actor is Fernando Hilbeck,

who will always be remembered as the first zombie in Europe.

If you'll recall from when we showed

"Night of the Living Dead,"

that movie came out in 1968

and immediately went into public domain.

But it took a while for everyone around the world

to realize it was in public domain.

So it did not play in Spain until late 1970,

and then it didn't play in many countries at all.

So what they're trying to do here

is outdo Romero with Romero-type zombies.

And the writer-director is Jorge Grau,

and he was a very serious filmmaker.

He made movies about social issues.

He was always flirting with censorship

because everything in Spain had to be approved

by the right-wing censors and --

Let me back up, though.

General Franco came to power in Spain in 1939,

and he ruled the country with an iron hand

right through to his death in 1975.

And he closed Spain off from the economy of Europe.

So prices there were so low

because of the depressed economy.

And I can attest to this because I traveled all over Spain

when I was a college student,

and it was literally $0.10 to ride in a taxi,

$1 to go to the bullfights, $2 a night at small hotels.

And, so, the prices were so crazy low that Hollywood

discovered it as a shooting location.

And the first big film to shoot

there was "John Paul Jones" in 1958.

That was a big budget epic costume drama

starring Robert Stack.

And Franco really liked that money

pouring in from the outside. Now, around the same time,

the Italian and the German filmmakers

started going there, too, for the same reasons.

But you had to be really careful when you went to Spain.

You could get arrested for making jokes about Franco,

and the drug laws were insane.

They would put you away forever

for just simple marijuana possession.

But Franco started encouraging Spanish directors

to do coproduction deals with foreign countries

because he wanted that foreign money.

But not horror.

He did not like horror until Jess Franco,

almost by accident,

made the first real Spanish horror film in 1962,

"The Awful Dr. Orlof."

And he got away with it by making it entirely in France.

But it ended up doing very well in Spain.

And, so, the rules got loosened up a little bit,

and you could make horror films,

but they had to be shot outside Spain.

And usually the main characters in the films

had to not be Spanish.

The other well known Spanish director, Paul Naschy,

started writing screenplays around this same time,

and his first one was about a Spanish nobleman

who turned into a werewolf.

But the government would not approve his screenplay

until he turned it into a Polish nobleman

who would change into a werewolf.

So Jorge Grau, who made this movie,

wasn't primarily interested in horror.

He was known for films that were -- He was known

for films that were a little dangerous

because they were about social issues.

But after he saw "Night of the Living Dead,"

he realized that the best way to address social issues

was through the subtext in horror films.

Plus, he wanted to be more commercial.

He had a lot of friends in Rome

because he had studied at the Centro Sperimentale,

the famous film school founded by Mussolini.

And, so, he was aware of the early work of Mario Bava,

Dario Argento,

and he was also very impressed by Hammer Films in England

because of the lavish visuals they used.

Grau was a very visual filmmaker.

Anyway, he was finally able to make his first horror film

in 1973 by kind of disguising it as an historical period drama.

It was the story of Erzsébet Báthory,

the countess who used the blood of virgins

to keep herself young.

Many people have made that story,

but it was called "The Legend of Blood Castle,"

and it did very well at the box office.

So, shortly thereafter,

he was approached by a friend of his who said,

"Let's do the first all-out zombie film in Europe

in the tradition of Romero."

But they knew the Franco administration

would never approve that kind of zombie film in Spain.

So, pretty soon they were casting and scouting locations

in the East Midlands in England.

And you'll notice that first scene with Guthrie,

the zombie, very similar to

the "They're coming to get you, Barbara," scene

in the beginning of "Night of the Living Dead,"

even to the point of the zombie trying to break into the car

and then the female lead having to run away.

Okay. We're going to talk some more

about the international cast and crew,

but right now, let's get back to the dysfunctional relationship

between George and Edna. And what more middle class names

could you pick for two English people?

But George is kind of a jerk, isn't he?

All right, roll the film.

I love the part where the farmer is giving directions.

You know, this must be the same all over the world, you know?

All right. Go down that that second dirt road

till you see an oak tree that leans to the left.

Don't turn there. Go straight and then pull off

when you see some bushes next to a creek,

and you'll find a rock fence.

Turn left there and just drive a piece, you know?

Thanks for that rural GPS. That's just wonderful.

[Laughs]

♪♪

[Heavy breathing]

♪♪

♪♪

[Breathing stops]

[Thud, loud screeching]

♪♪

[Heavy breathing]

♪♪

[Tapping on wall]

-Is that you, Martin?

♪♪

[Ghastly moaning]

[Gasps]

[Screams]

[High-pitched hum resonating]

Martin! Martin!

[Grunts] Martin!

[Gasps] Martin!

[Waterfall rushing]

Martin! Martin!

♪♪

-[Moaning]

♪♪

♪♪

-Help me, Martin!

Help!

[Grunts]

[Camera shutter clicks] -[Gasps]

-Help! Help!

[Crying] -Katie!

♪♪

♪♪

[Martin screams]

[Camera shutter clicks]

♪♪

-[Screams]

♪♪

[Panting]

♪♪

-Katie! Katie, what happened? -[Crying]

-What happened? Where's Martin? -There, by the stream.

[Sobbing] -It's all right.

It's all right.

[Camera shutter clicks]

[Camera shutter clicks]

-Never seen anything like it.

Somebody certainly enjoyed themselves here.

-A sadist, huh? -Or a lunatic.

And enormously strong.

His whole torso's been caved in. Every bone smashed.

-Have you notified headquarters yet?

-Yes, Sarge, but they're awfully busy this morning.

Can't send anyone before teatime.

-Button up, man. You're wearing a uniform,

not a pair of pajamas.

-Now, look here, Sergeant. I've got other things to do.

You can't keep me here all day.

I've told you, I've got nothing to do with this.

-When there's been a murder, it's a funny thing, you know,

but nobody ever has anything to do with it.

-I tell you, I didn't even know the man.

I'm here by chance!

-Continue the interrogation, Benson.

Maybe we can find out what "chance" means.

-All right, yes.

-No one's seen or heard anything?

Any witnesses? Anything to go on?

-No. It was foggy, Sergeant.

Um, but we've been told --

Well, there's this farmer who lives about a mile from here,

and he says there was bad blood between the husband and wife.

A couple of times he saw 'em fighting.

-Bring him in for questionin'. -Yes, Sergeant.

♪♪

[Crying]

♪♪

-Well?

-She's very consistent.

She insists it was a man dressed in black.

Very tall and well built.

-It was the same man who tried to attack me. I saw him.

-Yes, and you're the only ones.

-But of course I saw him. Why would I invent such a thing?

-Why? It's very simple, miss.

To back up your sister's story. That's why.

-Come on. Everything's going to be all right.

[Drawer opening]

Come on, Katie. Drink your tea.

It'll do you good.

[Katie continues crying]

Everything will be all right. Come on now. Drink up.

Nothing to be frightened of.

-Now, Mrs. West, you were alone when your husband was killed.

It wasn't the first time you had a fight, was it?

Could you tell us what these pictures are all about?

-I don't know. I can't remember.

-But how -- how can you think --

You saw what happened to Martin. Only a very strong man could --

♪♪

-Heroin.

Now, Miss Simmonds, you must be aware that,

under the influence of drugs,

an individual can do things that otherwise are beyond

the reach of his normal powers,

and perhaps not even remember what he's done.

Just as your sister here doesn't seem to remember

anything about these photographs.

[Slams table] You took a shot last night, didn't you?

Come on. Admit it!

-But this is monstrous.

What possible motive could Katie have had to want to kill Martin?

-Because after having kept her here for a year

to get her off the stuff,

and after becoming aware that she was still an addict,

Martin decided to put her into a clinic.

Isn't that why you came down here from London?

-Yes, that's true, but --

-And you didn't want to go, did you?

-No, I didn't want to go!

-In hospital, you wouldn't have been able to get

any of this lovely stuff, now, would you?

-But I didn't kill him! I didn't!

-Excuse me, uh -- -What is it?!

-Sorry, but he says he's got something

very important to tell you.

-It's about time. Let's hear it.

-You can come in. -Thanks.

Well, it's like this, see?

I came up here yesterday to see my friends.

-Well?

Well, can't you see, mate?

I've got nothing to do with this.

I've got my house to look after. Will you tell him --

-Listen, boy.

You keep getting on my nerves,

and I'm gonna give you another kind of house to look after,

one with lots of bars in the windows!

All right, all right!

Take it easy.

Don't get hysterical.

We'll pick this up again later.

I'm finished with you. And with you too, miss.

For the moment. -Don't worry, Katie.

-There's a hotel in Southgate.

You can both book rooms there until you hear from me.

-But I want to stay with my sister.

-Sorry, miss. You must stay in the hotel.

-There must be a way to get her out of this.

-Yeah, a good London barrister. -You think the police are right?

-Never, especially not him.

-The camera. Of course.

Katie said that,

as she was being followed, the camera was taking pictures.

There may be a photograph of the man.

Come on. Let's tell the sergeant.

-Wait.

You see that cop by the Mini?

-Yes.

-Ask him for a light.

-Why? -Go on!

I'm gonna do that bloody Irishman.

-[Coughs] Excuse me. Do you have a light?

-No, I'm sorry, miss. Never carry matches.

Haven't smoked in years, you know. Worst luck.

-What do you mean?

-Well, miss, you see, when I smoked, I was as thin as a rail.

But now, well...

-You could always start up again.

-I might do that one day.

-I wish I could stop smoking. Thanks anyway.

-You're welcome, miss.

-Would you mind telling me what you're up to?

-Better we have it developed ourselves.

-Why? -A little imbroglio, darling.

The cops never like to admit they're wrong.

[Engine starts]

-Craig. -Yes, Sergeant?

♪♪

♪♪

[Door chime jingles]

♪♪

-It's going to take ages, isn't it?

-Nope. He does them himself.

He said they'll be ready by noon.

I've asked him to blow 'em up, too.

-For a man in love with solitude, which you say you are,

this does look like the perfect place, wouldn't you agree?

-Do me a favor, darling.

Don't try to be funny, all right?

We're in this mess together, aren't we?

♪♪

♪♪

[Door chimes jingle]

-Good morning.

It won't bite. You see, it's trained.

Can I help you? -Have you got any rooms?

-Would you go into the bar, please?

-Got two rooms?

I guess that must cost less than a double, right?

-What do you mean by that? -Nothing.

It's just that we need the rooms to rest in, nothing more.

-This is a respectable place, I'll have you know.

-Yes, yes, I can tell.

I intend to spend as little time in it as possible.

Where can I make a phone call? -Out there, under the stairs.

You wouldn't be the people involved in the murder,

would you? -Why?

-Message for you.

-Yes, I know I was supposed to arrive yesterday,

but I've been delayed by an accident.

And I'm here just a few miles away.

Anyway, wait for me, and I'll be there as soon as I can.

Of course I'll be there. [Footsteps approaching]

Just a few things to finish up. Okay?

-George. George! -I got to go. Bye.

-Katie's had a breakdown. The police just phoned.

They're putting her in the local hospital.

Listen, we must go there. -But I've got things to do.

I've just -- -Please, I can't even

think anymore. You must help me.

-All right. Now, the police inspector

is played by Arthur Kennedy,

who's the only American in the cast.

He's one of those guys who goes over to Europe

because his star has faded in the United States,

but he's still a big name in Europe.

So Jorge Grau was glad to have Arthur Kennedy.

He was perfect for a project like this.

And when he first showed up,

he was obviously just coming over there

to pick up a paycheck.

But Grau met with him several times.

He convinced him this was a serious project,

he was a serious writer and director.

And, so, Kennedy started working really hard

on delivering a strong role.

The reason he seems over-the-top harsh

is that Grau wanted him to be over-the-top harsh.

Because Arthur Kennedy is not just a police inspector.

He is Generalissimo Francisco Franco.

Grau was finally able to go all out

with what he feels about the Spanish government.

Strange that people don't talk much about Arthur Kennedy today.

He was a very accomplished actor, very popular actor.

He was from Worcester, Massachusetts,

studied drama at Carnegie Mellon in Pittsburgh.

I'm amazed he never worked with George Romero

because Romero had gone to Carnegie Mellon

and he loved any actor who studied there.

They had a very prestigious acting institute there.

Arthur Kennedy did a lot of regional Shakespeare.

Then he made his Broadway debut in 1937 in "Richard II."

I love "Richard II," by the way.

We should talk about that some time.

I know, "Richard III" the show-off role.

But "Richard II" is amazing.

Anyway, he was very much noticed on Broadway.

He got a contract at Warner Brothers.

He had big roles in Westerns like "High Sierra,"

and "They Died with Their Boots On."

Then he served in the Air Force during World War II,

and then after the war, he really broke out.

Now, this is amazing.

If I could go back in time and pick out

just one play out of all history

where I could be at the premiere,

it would have been this play.

It was at the Morosco Theatre, February the 10th, 1949.

Lee J. Cobb played the father,

Cameron Mitchell and Arthur Kennedy

played the two sons.

The world premiere of Arthur Miller's

"Death of a Salesman," and Arthur Kennedy played Biff.

Even though, I mean, he would have been in his 30s

and not his early 30s, either, by then.

But he played Biff.

And I think all three of those guys got Tony Awards.

And then he went on to originate

the role of John Proctor in "The Crucible" on Broadway.

And he had five Oscar nominations

for "Champion," "Bright Victory," "Trial,"

"Peyton Place," and "Some Came Running,"

all very classy productions.

And he was in other high-profile films like "Elmer Gantry,"

"Lawrence of Arabia," "Fantastic Voyage."

But now he's about to turn 60. And he turns up in England

to make this little Spanish exploitation movie.

And he is a bitter man.

He's kind of an angry man, and he's drinking way too much.

And he's resentful that he's no longer recognized

as an A-list star.

So Jorge Grau kind of likes that.

He wants him to use that.

He wants him to be the local dictator.

He wants him to hate George

because George represents the hippies, you know,

just like General Franco hates the '60s counterculture,

and he's doing everything in his power to stamp it out.

So Grau creates this backstory for the police inspector

that's very similar to Arthur Kennedy's life.

You know, the police inspector has been passed

over several times for a promotion.

He's been stationed at meaningless posts.

And all that background creates what a lot of people

thought was Kennedy overdoing the role.

But what I think, he's just delivering

exactly what this movie demanded.

So, back to the flick.

And by the way, this movie had so many different titles.

People say they can't find it.

Well, the reason you can't find it is it has --

it has so many different titles.

The title on the script was "Weekend of the Dead."

The working title during production

was "The Valley of the Dead." There was no valley.

I have no idea what valley they were talking about.

The original release title in Spain

was "Don't Disturb the Sleep of the Dead."

The release title in the UK was just "The Living Dead,"

and it was drastically cut in the UK,

by the way.

In Italy, it was released as "Where Are You From?"

[Laughter]

No idea.

But then, somebody realized that was such a bad title

that no one was ever going to show up for that.

So after Lucio Fulci "Zombi 2" came out,

they called it "Zombi 3." [Laughs]

And then, it had a number of titles in the States.

It originally opened at the drive-ins

as "Let Sleeping Corpses Lie."

But it went out a couple more times,

once as "Breakfast at the Manchester Morgue."

[Laughter]

And then, some brilliant marketing guy renamed it

"Don't Open the Window."

Really? I mean, so scary.

"Don't Open the Window."

It ended up on home video

after the turn of the century under its current title,

but that kind of was --

This title is kind of stupid, too,

because it doesn't really take place in Manchester.

I guess they just figured,

"Hey, let's take advantage of Manchester, how famous it is,

and the tourism there," not realizing

that there is no Manchester tourism.

[Laughter]

♪♪

♪♪

[Heavy breathing]

♪♪

[Breathing stops]

♪♪

♪♪

♪♪

♪♪

-I'm Mrs. West's sister. Is it serious, Doctor?

-No. She's coming round now.

Oh, she needs rest. Please, don't tire her.

[Door opens, closes] -[Whimpers]

I didn't do it, Edna.

-Want one? They're perfect for the long voyage home.

-[Chuckles] No, thank you.

What do you mean by "the long voyage home"?

-A touch of inside humor, I'm afraid.

A little macabre, I know.

You see, from here to Manchester,

it's quite a way to go in a freezer unit.

Yes, all the autopsies and examinations

and tests on various organs are done in Manchester.

Quite a few people leave their bodies to science these days.

How about it, young man?

Shall I make a reservation for you?

[Alarm ringing] Oh, no. It's the nursery again.

[Ringing continues]

Nurse Jones! Nurse Jones!

Quick, look after her, will you?

-[Sobbing]

Nurse Jones. My God, where is everyone?

[Alarm stops] -[Crying] My God. My God.

It blinded me!

-Oh, my goodness. What a nasty looking cut.

Come along with me, Nurse.

♪♪

[Door closes]

-Well, here, you can help. -All right, Doctor.

-Will you hold it still?

[Baby cooing]

♪♪

♪♪

[Door closes, footsteps approaching]

-Aah!

-It's happened again.

♪♪

♪♪

[Baby crying]

Are you hurt? -No, but it tried its hardest.

-Hmm. -What the hell is wrong with it?

-We don't know.

It's the third one born since yesterday

with an incredible aggressiveness.

Almost, well, homicidal in its intensity.

-Uh, some sort of virus? -No.

We've done every sort of test.

It's very strange.

All the children come from the same area around Southgate.

Near the river. We tested the water, too.

-Hmm, that's curious. -What is?

-Well, there's a farm over there where they've set up

some sort of machine to destroy insects

by means of ultrasonic rays or something.

I thought perhaps... you know.

-How interesting.

I'd like to have a look at it.

Do you think you could show me where it is?

[Machine humming]

[Hum resonating]

-You can see, Doctor,

the radiation works on the insect's nervous system.

It drives them mad, and they attack one another.

I think we're gonna see a real revolution in agriculture.

-Not even DDT was this effective when it first came out.

-DDT causes cancer. How 'bout this?

-Now, listen, you've been on our back since last night.

Now, if you want to go back to nature,

why don't you find yourself a nice Pacific atoll somewhere --

-Sure. All I'd have to worry about then is atomic fallout.

Thanks awfully, old chap.

-What's the range of this machine?

-Oh, about a mile at present.

We're trying to perfect one up to five miles.

But of course this can't have anything

to do with the children, now, could it?

It's absurd!

-Now, Doctor, you're a man of science.

Surely you can understand this machine

has undergone the most stringent testing.

The radiation only affects the most primitive forms

of nervous systems, like microbes and insects.

-It has no effect on more evolved systems,

such as human ones.

It's completely harmless.

-How can you be certain?

-Look, do I look like I'm about to attack you?

And I'm surrounded by radiation.

-Now, it's all right. I understand.

Thank you. Thank you. Thank you.

-Well, perhaps they're right. It's not the answer.

-I'm afraid not.

Still, you know, a newborn child's nervous system

is still in a very elementary state.

-Well, if you have any doubts, why don't you do something?

Make some noise, insist on more tests?

-It's never wise to exaggerate.

[Engine starts]

We can't even get the government to act on much more

serious and concrete facts these days.

Imagine what success we'll have

getting anyone to do anything on a mere hypothesis.

I'm afraid they'd laugh at us.

-I don't understand.

You can only see Katie.

But look at her.

Doesn't it seem as if someone or something's after her?

-Mm-hmm.

It's a good thing the police haven't seen this one.

She really looks as if she's about to do him in.

-So you think she's guilty, too.

But I tell you, the man exists. I saw him!

Listen, you knew him.

I mean, that tramp we heard about,

the one who drowned last week.

-Oh, Guthrie? -Yes!

-Of course. Why?

-Do you have a picture of him or anything?

-No. -Look,

I know it sounds silly, but is it possible --

I mean, could a film fail to catch an image for any reason?

-Well, a ghost, maybe.

-No one believes in ghosts anymore, including the police.

You see, we're not quite as stupid

as you seem to think we are.

Ah, very interesting.

Now I can see why you wanted to keep this roll of film.

-Look, she had nothing to do with it. It was my idea.

-Of course. You're all in it together.

Aiding and abetting a suspect, withholding information.

You and your bird here will have to answer for it at the inquest.

-I don't suppose it ever occurred to you

that you fellas could just possibly

be barking up the wrong tree.

-Not when dealing with people like you.

You're all the same, the lot of you,

with your long hair and faggot clothes,

drugs, sex, every sort of filth.

And you hate the police.

Don't ya? -You make it easy.

-See you at the inquest.

And, uh, don't get any ideas about not being there.

-Heil Hitler.

[Bell chimes]

We've got ourselves into enough hot water for today.

Let's get back to the hotel.

-You're off about?

Who's paying for the pictures? That'll be two quid.

-Here you are. Thanks for your trouble.

-It was nothing, miss.

Oh, by the way, you wanted Guthrie's picture.

There's one here in Monday's paper...

taken right after they took him out of the water.

♪♪

-[Gasps] Oh, my God! George.

-What is it? -It's him!

The man I saw, the one who killed Martin!

-But that's absurd. The man's dead.

-But I tell you, it's him! -Look, love, use your head.

He died last week and Martin was killed last night.

-George, I tell you, that is the man,

and his clothes were all wet.

He looked exactly like someone who drowned.

-Listen, are you certain he's dead?

I mean, was there a death certificate?

-Oh, sure. I was there when they put him in the coffin.

And two days ago, we took him to the cemetery.

No one wanted to bury him

because he didn't have any money.

In fact, they didn't even want him to be cremated.

It's all there in the paper. You read it.

-Then he must have a twin brother, that's all.

Thanks a lot.

[Bell chimes]

-What are we going to do now? -Get in.

[Engine starts]

♪♪

-Okay! Something tells me that neither George

nor the police inspector are going to back down.

But how about that super modern piece of agricultural machinery?

If there's one place where Jorge Grau's

attention to detail may have failed him,

it's that piece of cheap sci-fi tomfoolery from the '50s.

But I'm willing to excuse that because of the extended

killer baby sequence,

you know, the babies in the nursery.

And actually, this was the same year

that Larry Cohen did killer babies in "It's Alive."

But the newborn babies in this nursery

are violently attacking the nurses

and apparently gouging out their eyes.

Those interiors, the interiors at the hospital

were filmed at Cinearte studios in Madrid,

but the exterior is Barnes Hospital.

I'm going to mention that because everyone always remarks

about what a strange gothic building that is.

Is it really a hospital?

But it was, it was Barnes Hospital.

It's in Cheadle, a suburb of Manchester.

And it was -- building was starting to decay

and it was already getting run down

when Grau picked it out for a location,

eventually closed in 1999 after 124 years as a hospital.

But some real estate developers fixed it up,

and today it's condos.

I should mention that the two leads in the movie,

George and Edna, were speaking three different languages

at various times.

Of course, all the dialog

was dubbed in post-production.

But George is played by Ray Lovelock.

He is Italian.

Even though "Ray Lovelock"

sounds like one of those made up names

so the actor can pass as American,

it actually is his real name.

His mother was Italian, but his father was English.

He was in a lot of Spaghetti Westerns.

He got several acting awards playing the lead in a movie

called "Bandits in Milan" as the main bank robber.

In the -- if you saw the film version of

"Fiddler on the Roof,"

he was the young Russian farmer

who marries the third Jewish daughter of Tevye,

even though he's Christian.

He was also a pretty successful musician.

He wrote and performed the theme song

to Ruggero Deodato's "Live Like a Cop, Die Like a Man."

He was also in a fairly well known giallo called "Autopsy."

Cristina Galbo, who plays Edna, was born in Madrid.

She became a very successful child actress in Spanish movies,

but her breakthrough came after she moved to Rome

and started doing Spaghetti Westerns and horror films.

She had the lead in "The House That Screamed,"

"What Have You done to Solange?" and a Luigi Cozzi movie.

"The Killer Must Kill Again."

But she left movies in the late '80s

to become a flamenco dancer.

So anyway, for most of their scenes,

Ray Lovelock would speak Italian

and Cristina Galbo would speak Spanish,

because, y'know, those languages are very closely related.

But they also both knew English.

And so sometimes it was easier to do the English dialog.

They just know how to do that stuff in Europe.

I don't know how you would act if everyone's speaking

all these different languages, but they know how to do that.

I think the English language version

of this movie is excellent,

and I always thought Ray Lovelock was British

until I looked into it.

Okay, we're ramping up to the climax

of "The Living Dead at Manchester Morgue."

So, back to the movie.

The castle is about half Italian and half Spanish,

but the crew was almost all Italian

and they hated having to eat

that English food for several weeks.

So, after a while, they started making their own pasta

because I guess you just cannot feed haggis

and Marmite and jellied eels

and black pudding to an Italian, you know.

And I mean, I don't blame -- a lot of that stuff

I can't eat just because of the way it looks.

I mean, I don't even taste it because of the way it looks.

They have this canned food called Spotted Dick.

It's described on the can as sponge pudding.

And, what the hell?

I mean, it's pink

and it has these giant black substances sprinkled into it.

Sometimes they look like insects

and sometimes they look like tumors.

Yummy.

♪♪

[Engine revving]

-Craig! They're up to something.

Follow them and keep me up to date.

-Yes, Sergeant. -Wait, wait.

Better take my car. -Oh, all right.

-Where are we going?

-To the only place where I can cure you

of your fancy hallucinations.

[Wind whistling]

♪♪

♪♪

[Tires screeching]

♪♪

♪♪

♪♪

♪♪

Here we are.

-George. Wait a minute.

-If the man is dead, he must be here, right?

We'll find out if he's here, okay?

If he is here, then I want you to knock it off

about seeing a man in black and all that rot,

because, love, the dead don't walk around,

except in very bad paperback novels.

They're dead, and that's that. Do we agree?

-If you say so.

[Gate hinges squeak]

[Animal squawking]

[Bird calling]

-Anyone about?

[Clattering] All right. Let's try in there.

[Hinges creak]

Hello? Anyone at home?

[Thudding]

[Hinges squeaking]

Hello?

-Let's go. There's no one here.

-No, wait a minute, maybe this Guthrie's in one of these.

[Wind whistling]

"Mary Duggan."

Hello, darling.

Who are you?

"Edward Keith."

[Wind blowing]

"Guthrie Wilson." Here he is.

-George, let's go.

-What the...

[Screeching, door slams]

-Hey! You've shut us in!

Hey! [Pounding]

Let us out!

Let us out!

[Snarling, Edna gasps]

[High-pitched wheezing]

[Low moaning]

[Pounding]

[Wheezing]

George!

[Gasping]

George!

[Sobbing, grunting]

Stop!

[Metal clattering]

[Wheezing]

[Low moaning, wheezing]

-I don't believe it.

[Lid clatters]

[Wheezing]

Get up that ladder -- as fast as you can! Move!

[Clanking]

-[Gasps] -[Wheezing]

George!

[Body thuds]

[Wheezing]

[Rocks clattering] -George!

-Get out! Get out! [Grunting]

Hurry!

Help!

Help!

[Gasping]

[Air wheezing]

[Choked snarling]

[Buzzing] -Craig here.

-Have you found 'em yet? -Yes, Sergeant.

They're in the cemetery. -The cemetery?!

What the hell are they doing in there?!

-I don't know, Sarge, I was just gonna go and have a look.

-[Groans]

[Wheezing]

-George!

-Strewth! Give us your hand.

[Edna sobbing]

[George panting]

[Grunts]

Let's get out of here, quick! -What the devil's happening here?!

Would you please explain?

[Scraping]

[Moaning]

-Get inside, quickly!

Get inside!

Quickly! Go on!

Go on!

Christ! There's no way out.

[Wheezing]

[Pounding on door]

That's useless. Come on. Help me.

-They're... They're dead, aren't they?

-Yeah.

But don't ask me, 'cause I haven't the foggiest.

Christ only knows what brought them back to life again.

[Hum resonating]

Oh, God.

I think I do know.

The radiation!

Of course! It worked on the babies' nervous system.

Why not on those of the dead?

-What the hell are you raving about, man?

-Craig, when a person dies,

perhaps the nervous system goes on living for a while.

Perhaps, in some very basic, crude way,

like an insect's.

Or a plant! Look, you can pick a flower,

but it goes on living for a while.

-You're right! That man Guthrie, didn't he die

when they began the experiment?

-Well, all right, he was the first, but the others --

-They transmit life to each other

through the blood of the living.

Like a plague. That's why they kill.

-Now you know who it was that killed Martin.

-I can just imagine the sergeant's face

when he finds out.

-I'd like to be there when he does.

[Crashing, wood creaking]

If we get out of this alive.

[Wheezing]

Let's reinforce that door.

Take the lamp!

-This won't hold very long.

We've got to find a way to defend ourselves.

-What with, silver bullets or a wooden stake?

[Buzzing]

-My radio! It's the sergeant trying to get through.

I must have left it near that hole outside.

[Buzzes]

If I could just get to it, or get to the car,

I could call for help!

-So I think you have to admit

those are some pretty damn impressive zombies.

And that's because they were made by Giannetto De Rossi.

This was his first foray into zombies.

He was the guy who would eventually do make up

for Lucio Fulci on "Zombie" and "The Beyond"

and "House by the Cemetery," and many other horror movies.

But in 1973,

most of his work had been on Sergio Leone Westerns,

Fellini films, and Jorge Grau had met him while he was working

as an assistant director during his learning years in Rome.

So Jorge Grau studied

every frame of "Night of the Living Dead"

before he made this movie, and Giannetto De Rossi studied

every frame of "Night of the Living Dead"

before he made this movie.

So, you could say that Jorge was the European George Romero

and Giannetto was the European Tom Savini.

Because this is five years

before "Dawn of the Dead" came out.

It's almost like they made the true sequel

to "Night of the Living Dead,"

and they are certainly the people

who brought modern zombies to Europe.

They were very dedicated to the idea

that they wanted their zombies

to be better than Romero's zombies.

And one advantage they had, of course, was color.

"Night of the Living Dead" had been in black and white.

And the other advantage was they knew

what the controversial scenes were in the original movie,

the scenes so intense

that people would walk out of the theater.

They wanted as many of those as possible.

That's why you see so many shots of the zombies feasting.

They're feasting on the organs of their victims.

This film had an enormous impact on Lucio Fulci

and also on Umberto Lenzi, not just because of

Giannetto De Rossi working on it,

but also because of Vincenzo Tomassi working on it.

He edited the film and he would eventually become Fulci's editor

for about 15 years.

There were some new zombie rules in this movie.

If you'll notice, the Guthrie zombie starts taking fresh blood

and painting it onto the eyelids of the dead people

in order to turn them into zombies.

I never saw that before.

And also, these are kind of noisy zombies.

I mean, they are moaning, they're wheezing.

It's a miracle they can ever sneak up on anybody.

They obviously spent a lot of time

working on the sounds of the undead

when they made this movie.

All right. The cops have arrived.

Let's see how good they are at zombie killing.

Back to the movie.

And, you know, it's a credit to George Romero

that quite a few other directors have tried

to do zombies in the early '70s, but they were not as successful

as the guys who just decided to copyGeorge Romero.

There was a series of four films called "Tombs of the Blind Dead"

by another Spanish director, Amando de Ossorio.

But those zombies were horseback-riding knights

from medieval times who had been executed

for practicing black magic.

So they come back as zombies and they're blind.

So they were not scary.

Not nearly as scary as these zombies.

Bob Clark's first two movies had zombies.

"children Shouldn't Play with Dead Things"

and "Deathdream."

There was a strange California cheapie

called "Messiah of Evil."

But if you wanted to do zombies right,

you needed a dedicated zombie maker like Tom Savini,

and Giannetto De Rossi was that guy.

I know I go into too much detail

about the technical aspects of these movies,

but the commercial effectiveness of a zombie movie

is sort of a 30% story, 70% "how good are the zombies?"

You know, the ones that just slap them --

slap on a mask don't really work.

Nobody likes a sloppy zombie.

[Laughter]

[Music fades, static]

[Zombies wheezing]

-Craig, can you hear me?!

What the Christ has happened to the lazy bastard?

-Ah, he turned his set off.

-Craig, can you hear me?

-The coroner's just completed his examination, Sergeant.

Will you drive him back? -Yes.

I sent a man to trail two suspects,

but I don't get any answer.

It's funny.

I'll send you an ambulance. Take the body to the hospital.

We'll have to have an autopsy.

[Scraping]

[Grunts]

-Help me to move this. I'm gonna get the radio.

-Craig, it's madness! You'll never make it.

-It's our only chance.

Okay.

Maybe you'll think better of the police

if I can pull this off.

-Good luck, man.

[Shouts]

-Sergeant, this is Craig reporting at the cemetery.

There are dead people trying to kill me!

[Grunting]

No! [Screaming]

[Gagging]

[Wheezing]

[Winces]

♪♪

-Christ, we've got to get out of here.

-No, George. I'm afraid.

-What difference does that make? [Crashing]

[Edna gasps]

[Wheezing]

[Glass shatters]

♪♪

[Flames crackling]

♪♪

[Wheezing]

♪♪

♪♪

♪♪

Come.

♪♪

♪♪

♪♪

You take the Mini back to the cottage

and tell the police what's happened.

-What about you?

-I'm gonna fix that bloody machine.

Come on.

It's all over with now.

There's no more danger.

♪♪

-And Martin, his body's still back there.

The radiation could -- -No.

They only have a range of a mile or so.

The cottage is at least three or four miles away.

Go on now. I'll wait for you at the farm.

♪♪

[Engine starts]

Edna! Edna!

[Heartbeat thumping]

[Quiet wheezing]

[Wheezing grows louder]

-It was the machine! You've gotta stop it.

-What are you doing? [Both shouting]

-Wait. Wait. Now, look. Wait!

Listen! You talk about the dead walkin', about cannibalism.

It's unscientific, man!

-Lots of things are unscientific,

but they happen just the same.

Turn off that goddamn machine! -Get along there.

-Aye. It runs like a charm, laddie.

It's killed every bloody insect round here, except for you.

And we got the range up to five miles now.

-Five miles?! -Aye, five bloody miles.

-Since when?! -A little while ago.

-Just before you got here. -Hold him! And stop him!

Stop him!

-Hey, what do you think you're doing?

I'm gonna have to call the police, you know.

-Bernard, what are you doing on the ground?

He's broken our oscilloscope! I'll go for the police.

-No, don't chase him again, Clive.

-Come on, Bernard...

[Banging]

-Hey! Wait! Stop!

I've got to get to the Madison's place!

[Indistinct chatter] Hey, wait!

Wait!

We have to burn the corpse! Don't you understand?

There's not a moment to lose!

Come back! We're all in danger!

-Well?

-She had any calls from her sister or that man?

-Nothing at all. -Thank you.

[Radio buzzes]

No, Sergeant. No one's seen them, and they haven't called.

-Phone headquarters for reinforcements

and search for them.

Make a house-to-house and scour the countryside.

And arm the men -- they killed Craig and the caretaker,

so if they resist, shoot to kill.

[Dog barking]

[Animal squawking]

Poor Craig.

If you'd only had time to notify us.

-The thing I don't understand is the difference in the bodies.

Those have been horribly mutilated,

whereas those look like they were intact.

-What the hell did they burn the bodies for?

That's what I wanna know.

Couple of drug-crazy maniacs.

-Oh, worse than that, Sergeant.

Have you ever come across any of these Satanists

in your investigations?

-No, but I've heard about them.

Y-You don't think --

-They vandalize cemeteries.

They profane tombs and, you know, hold black masses.

That's why you've got your cross.

It looks to me like a pretty typical case.

-Now, if I could only get me hands on them.

[Man chattering]

-Oh, Sergeant? That madman went to a nearby farm

and caused a row over there. Perhaps you should talk to them.

Uh, excuse me.

The sergeant's in charge of the case.

This gentleman's from the Ministry of Agriculture.

[Wind whistling]

-Sergeant?!

[Doorbell ringing]

[Ringing continues]

Sergeant!

[Horn honking]

Sergeant!

[Screaming]

No!

[Wind howling]

[Glass shattering]

[Edna gasping, zombie wheezing]

[Wheezes]

[Exhales]

[Car door closes]

[Faint snarling]

[Screams]

[Gasping]

-Edna, what's happened? What's happened, Edna?

Martin.

-[Gasping] He tried to kill me.

I ran over him with the car.

He's back there.

[Sobbing] George!

I'm so --

I'm so frightened!

It's so awful.

-Can you manage? -Petrol. How many gallons?

-Quick. Help me. -Oh, the poor lassie.

-Is there a phone about? -Yes, in there. Inside.

-Okay. Call for an ambulance, and hurry up!

-Hey, what are you doing? That's paraffin.

-I haven't time to explain. I'll be back in a few minutes.

[Engine starts]

-Marie, get her something to drink.

Now, you just sit down there.

Move! Get her something to drink.

Water, not whiskey! She may not have any money.

-[Screams]

-Come on, lass. We'd better call the hospital!

[Hum resonating]

Are you all right, love?

No!

-You know, there aren't really any heroes in this movie.

You think maybe George is going to be a hero,

because at the beginning, he rockets out of Manchester

on that Norton motorcycle.

A Norton in England

is the equivalent of a Harley in the U.S.,

and he seems to be passing from the garbage-strewn urban streets

and nuclear polluters of modern times

into a clean, picturesque, quaint part of the countryside.

But then we meet the bigoted,

abusive authority figure who runs the countryside,

and we realize there's not any escape

from the hypocrites and the liars.

Even the farmers are zapping babies

and turning them into homicidal monsters.

Plus, why exactly did George leave Manchester

in the first place?

Because, I mean, because of his clothing and hair,

he's mistaken for a hippie.

He's actually a small businessman

who sells things to all those bored, gray commuter types

he passed on the roadway.

So what's his true mission?

Because he tells different people different things.

At first he says he's just leaving to relax

in his weekend cottage.

Later, suddenly, his story changes.

He's meeting some friends there

so they can all fix up the cottage together.

But then he's asked about that exotic carved wooden statue

that he's carrying in his knapsack,

and he has yet a third reason

for being up there in the boonies.

He's delivering that statue to a shopkeeper in Windermere.

Well, which is it, George?

And why would you have all these changing stories?

Why would you have a device that's like the Maltese Falcon?

You know, maybe the police inspector is right.

Maybe he isa drug dealer.

I mean, does he have drugs in that statue?

The inspector calls him a hippie,

but he only seems -- it just seems like half a hippie.

You know, he's got the hair, but nothing else fits.

You know, what's very clear is that the police chief

represents everything that's wrong with the world.

In fact, they never refer to him by name.

He's always the symbol of bigoted, abusive power.

He makes it clear that in Jorge Grau's view,

the real antagonists in this movie

are the cops, the captains of industry

who cause environmental disaster,

religious institutions,

the scientific community -- as I pointed out before,

the reason for filming in England in the first place

is to create a safe haven

where Grau can criticize the dictator

who has ruled Spain for more than 30 years.

And so Arthur Kennedy, as the authority figure,

never admits he might be wrong,

never accepts conflicting evidence,

never allows the accused to defend himself,

readily assumes the wildest conspiracy theories.

He thinks George and Edna are probably in a satanic cult.

And he uses violence when people don't agree

to be blindly obedient to his edicts.

And he doesn't even seem surprised

when George gives him that sarcastic "Heil, Hitler" salute,

because at some level he thinks people

should be saluting him like that.

So we're going to watch the conclusion

of "The Living Dead at Manchester Morgue" now.

And Jorge Grau obviously agrees

with what George Romero said about his own movie

six years earlier -- he says, "We were hippies.

We did not believe in happy endings."

So it took six years for that philosophy

to penetrate the high walls around Spain.

At this time, Europe was lagging

a little behind the U.S. culturally,

but he gives an ending that the pessimistic Romero

would have definitely approved of.

So, roll the film.

When Franco was in power,

he thought all the troublemakers came from Catalonia.

And that's the part of Spain that Grau was from.

And they don't even speak the same language there.

They speak Catalan.

So, to show you how different they are,

they outlawed bullfighting there in 2011.

That'd be like Alabama outlawing college football, you know?

I'm surprised the rednecks didn't burn the place down

when they did that.

And Spanish redneck --

you don't want to deal with one of those.

I mean, he'll dress up like a conquistador and lance your ass.

[Laughter]

[Music fades, static]

[Wind howling]

[Car door opens]

[Wind howling]

♪♪

♪♪

-Grab him!

-Let go!

-Sorry to spoil your fun, old boy,

but we sent Martin's body to the hospital for an autopsy.

As for poor old Benson, I'd like to --

-Sergeant, listen to me, put out an alarm at once.

If Martin arrives at the hospital, we're right back

where we started.

There are three bodies in there,

and he can bring them back to life!

-Bring the dead back to life, is it?

What kind of idiots do you think we are?!

-It's the truth! You've got to stop him!

-Get him out of here before -- -Can't you see?

We've got to burn him! -That's enough of that!

-Go to the hospital if you don't believe me!

-All right then, Bernard. See if you can switch on.

-Right.

[Hum resonating]

Well done, Clive.

♪♪

[High-pitched hum resonating]

[Hum continues resonating]

♪♪

♪♪

♪♪

[Door opens]

♪♪

♪♪

[Door closes]

♪♪

♪♪

[Snarling, rhythmic thumping]

-And this! What's the meaning of this?!

-Oh, for crying out loud. What do you think I am?

I've never been to a black mass in my life!

How many times do I have to tell you?

I sell this kind of stuff, Sergeant.

I was bringing this lot to a shopkeeper in Windermere.

He was -- Oh, what's the use?

-You expect us to believe all that after everything

that's happened?

-Look, it's not my fault, Sergeant,

if Christ and saints are out of fashion.

And it's not against the law yet,

so why don't you get off my back?

-Where's your girlfriend hiding? -Go and find her,

since you know so much.

-You admitted burning the corpses.

-Well, I told you why!

-We caught you in the act as well,

and this here statement clearly confirms what we already know.

-Sign here, and it'll be a lot easier for you.

Admit killing two officers, and it'll be all over.

-It was the corpses.

Don't you understand? The corpses.

The corpses!

You sit in here wasting time,

and there are people in real danger!

You, you're the ones who are crazy, not me!

You bloody idiot!

-The son of a bitch killed two of my men!

-Get ahold of yourself, man.

-Go clean him up.

-Come with me. Come with me, please.

[Door closes]

-I disapprove of your methods, Sergeant.

The police should never resort to violence.

-And I disapprove of yours, Mr. Perkins.

If we just had a free hand with these criminals...

[Water flowing]

[Chomping]

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

[Whistle blowing]

[Whistle continues] -Sergeant!

Sergeant, he got away. -Kinsey! Kinsey!

-I tried to stop him, but I couldn't.

♪♪

♪♪

-Where's she gone? -Oh, you!

Look at the mess she's made! You might have told me

she was violent! But you'll pay for this.

Right down to the last penny! -Where is she?

-You told me to call an ambulance.

They took her to the hospital. -Hospital?

-All that talk about the dead coming to life.

I think she must be insane.

[Thrumming]

♪♪

-So how was the film? Come on. Tell me all about it.

[Buzzing] Hold on.

South Gate Hospital. Good evening.

-Get me Duffield! You're all in terrible danger!

-Yes. Can I help you, please? -Christ! Don't waste time!

-Give me the operating room! -I can't do that. I mean --

-Look, let me speak to Dr. Duffield!

He'll understand. Hurry up, for Christ's sake!

-Hold on a minute, Christine.

You ought to hear the bloke on the other line. He's balmy.

Yeah.

[Edna crying, babbling]

-No!

[Crying] No! Please! [Telephone buzzes]

[Buzzing]

[Whimpers] -Room 5.

Doctor, it's for you.

[Crying]

-Hello!

♪♪

[Tires screeching]

-Hello? Hello?

♪♪

♪♪

-What are you waiting for, man?

[Siren wailing]

-I don't know, Dr. Duffield. He didn't say who he was.

[Buzzes] Very well.

[Heartbeat thumping]

Sorry. What were you saying about that film?

Oh, no. I can't stand him.

He's really awful.

Don't like her much either. No.

Oh, she looks like --

[Gasping, screams]

[Choking]

[Zombies wheezing]

♪♪

♪♪

[Tearing]

♪♪

♪♪

[Siren wailing]

♪♪

♪♪

♪♪

-Please, Doctor. Can't you let me see my sister?

Just two minutes -- the officer's gone,

and my sister would be so happy.

-Yes, it'll do her good.

Come along now.

She's up on the second floor.

[Clanging]

♪♪

-[Gasping]

Martin!

No! Help! Martin!

Oh!

Help! Oh!

[Katie screams]

Help!

[Body thuds]

[Siren wailing]

[Tires screeching]

♪♪

♪♪

-Katie.

Don't worry about me.

I'm much better now.

[Screaming]

Help! Help! Help! Help me!

Help me!

[Edna screams]

-What's going on? -Nothing.

Must be that lunatic in Room 5.

She was screaming like that earlier

when they brought her in. Convulsions.

-Who's with her? -Dr. Duffield. It's all right.

-[Gasping]

[Gasps, zombies wheezing]

[Rapid footsteps]

-Edna! -George!

♪♪

George!

George!

Get away from me!

♪♪

♪♪

♪♪

[Wheezing, flames crackling]

♪♪

[Zombies wheezing]

♪♪

♪♪

♪♪

-Edna.

♪♪

[Wheezing]

[Wheezing, gasping]

[Wheezing continues]

[Gunshots]

-I wish the dead could come back to life, you bastard,

because then I could kill you again.

♪♪

[Chatter]

[Indistinct chatter]

-Keep out of it, please. -Out of the way, please.

-Please tell us how to take care of all the bodies.

-Put 'em on ice till the coroner gets here.

-Come on. Let's go.

No, that's enough of that, I said.

Come on. Let's get out.

-Where to? Back to the station?

-No, I booked a room in the hotel here.

All I need is a good night's sleep

and time to forget this whole bloody mess.

-I don't think you'll do that.

The papers'll be going crazy over it.

They like you -- It looks like you'll be a regular hero.

-Justice has been a bit slow in these parts,

with all this permissive rot going on.

Maybe people learned a thing or two from my example here.

[Hum resonating]

[Thrumming louder]

-They say that machine works wonders.

It killed every parasite for miles.

We'll have a fabulous apple crop this year, Sergeant.

I'm mad about apples. -[Chuckles]

[Bells jingling]

-Good night, Sergeant. -Good night, Kinsey.

[Sighs]

[Wheezing]

[Louder wheezing]

♪♪

♪♪

[Gunshots]

[Grunting, choking]

♪♪

[Bones snapping]

♪♪

♪♪

[High-pitched hum resonating]

[High-pitched hum resonating]

[Silence]

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

-Well, the ending of "Night of the Living Dead"

was certainly shocking when Duane Jones,

as Ben gets shot through the head

by a sheriff's posse searching for survivors.

This ending may be even more downbeat

because the establishment is so corrupt

that George gets killed out of what seems like pure hatred.

It was not uncommon for the protagonist

to be killed at the end

of all the counterculture movies of this period --

"Easy Rider," "Witchfinder General,"

"Scream and Scream Again."

Doing spoilers on every one of these films.

The Count Yorga films.

The filmmakers of the day seemed to be saying,

Yes, it's this bad,

the generation running the world is corrupt, blind and violent.

"The Living Dead at Manchester Morgue"

had its premiere in Spain on November 28, 1974,

and it easily made back its $500,000 budget.

And then it traveled around Europe on a double bill

with Wes Craven's "Last House on the Left,"

and the film won the Grand Jury Award

at the Sitges Film Festival,

the oldest horror film festival in the world,

and Cristina Galbo as Edna won the Best Actress award.

Now, it's odd that the film was not more famous in the States

because it certainly delivered in color

what George Romero had started six years before.

Arthur Kennedy would retire from acting in the late '70s

after making "The Sentinel" for Michael Winner in New York.

We have to show "The Sentinel" sometime, very neglected movie.

And then Kennedy would die of a brain tumor in 1990

at the age of 75.

And we didn't talk about Vicente Vega,

who plays the well meaning Dr. Duffield --

the well-meaning but goofy Dr. Duffield.

He was a distinguished Spanish theater and film actor

whose career went all the way back to the 1940s.

And then another veteran Spanish character actor

Jose Lifante, played Martin,

the photographer who turns into one of the most vicious zombies.

And then the Spanish actress Jeannine Mestre played Katie.

She had worked previously with Jess Franco.

She was one of the vampire brides of Christopher Lee

in Hammer Films' "Count Dracula."

Probably the most lasting legacy of this movie

is that it inspired Lucio Fulci and Umberto Lenzi

to make all those Italian horror films

of the late '70s, early '80s,

and they in turn inspired other Italian filmmakers.

The only part of the movie that was filmed in Rome

was the interior of the zombie attacks in the church

and the exterior of that churchyard

where they get trapped by zombies, that belongs to

the Saint Michael and All Angels Church

in the little village of Hathersage.

And that building dates from the 14th century.

The Owl Hotel, which in one spene --

one scene --is spelled the O-L-W Hotel

is in another village nearby to that one called Castleton.

Fernando Hilbeck, who played Guthrie,

the first zombie, his -- that's his most famous role,

died in 2009 at the age of 75.

Isabel Mestres, the gossipy receptionist

whose breast gets ripped off?

Everybody always remembers that -- that scene.

She was 25 years old at the time of this movie,

but she would later play Salome in Franco Zeffirelli's

"Jesus of Nazareth."

And Jorge Grau would make another movie

the following year called "Violent Bloodbath."

But despite the name, that was more of a mystery

than a slasher.

And he would make 20 more movies in Spain,

but he would never return to horror.

He died in 2018.

So, Darcy! -Yes?

-Talk to me about this movie.

-Well, I was impressed by the actual zombies.

He really did take George Romero's concept

and just, like, run with it.

It's a lot better than I was expecting from the title.

-I know, right? -[Laughs]

-I think they should have used the exploitation title,

"Let Sleeping Corpses Lie."

-That is so much better. -Much better, right?

-Much better. -Final night of the season,

so I already know what you're going to do.

-What am I going to do? -You're going to give me

a heartfelt letter.

-You know me! -I'm not going to cry.

I am not going to cry.

It's embarrassing when I cry, so...

-Aww... -We'll see about that.

I think that might be one of his goals.

It came in from Kenneth Dunham of "Mess-ah," Arizona?

-Mesa, Arizona.

-"May-sah," Arizona, I think. -"Mesa."

We've been there a bunch, but I --

-My nerves can't take these. All right.

"Dear Joe Bob, Darcy is always reading from the mailbag

and finds those stories that touch her heart deeply

as you have a loving and kind soul."

Ominous beginning. All right. -That's good!

-"Sometimes these stories break my heart along with yours.

Here's a story that is meant to touch Darcy's heart

and yours. -Ha-ha!

I don't know.

-"At eight years of age, I and my younger brother

were abducted as my mother lay in a hospital bed

with meningitis of the brain.

The perps took us and brutally raped us for weeks."

-Sorry. -"We had moved to Arizona

three years prior to that and had no family nearer

than -- nearer than Illinois.

The man who had beaten my mother was an alcoholic --

my first stepdad, who beat her nightly.

As the oldest, I felt it my responsibility

to try and save my mother as she cried for help

and protect my younger brother.

Sometimes this didn't work in my favor, as you can imagine.

The year was 1976, and laws were much more in favor of

drunken men rather than innocent women and children.

As the weeks went on

and my mother lay in a hospital healing,

the torment and anguish I experienced

was too much for my eight year old brain to process,

so I immediately shut down.

The next thing I remember is standing in our kitchen

making cookies with my grandmother.

She had somehow figured out from Pleasant Plains, Illinois,

that something was wrong in Phoenix, Arizona.

I'm now 55 years old

and just beginning the long journey of processing the pain.

It has been a brutal year, to say the least.

I've managed to survive through self-medication,

bingeing on jobs, the gym and exercise, and horror.

That's where you and Darcy come in.

I'm so grateful I found you in 1987.

And then later, Darcy,

when she became your mail girl,

especially learning about Darcy

and what she went through as a child

and survivor in a horrible relationship

to becoming empowered

and living her little girl dream."

Wow. Is this your little girl dream?

-Let's say yes.

It's one version of it for sure. -Okay.

"Thank you, Darcy, for giving me hope

that there is light at the end of the tunnel of darkness.

Or darkness. LOL."

[Laughter] "I love and Admire you both.

Thank you. Kenneth Dunham, Mesa, Arizona."

Okay, well, it sounds like you got help, Kenneth,

and you're on the road to total recovery.

And a lot of it had to do with Darcy.

So, thank you for being in the mutant fam.

And -- I don't know, Darcy, I'm always kind of amazed

that people share so much with us because --

-I am too, but I think it's because of

the whole marathon story.

-Why? What do you mean? What do you --

What about the marathon story?

-I don't know. When you came back on the air

and talking about it and all of our -- our lean years, you know?

-Yeah, okay. But we're still just cheap horror hosts.

I mean, some of the-- some of these letters sound like

they should be sent to a psychiatrist,

you know, or a priest.

-I'm sure they do that too.

But they want us, their friends to know.

-Okay, we don't do anything, we can't help.

-We provide a place to escape bad reality.

-Bad reality with -- with --

What do we provide, though? Good fantasy?

[Laughter] -Sort of, I guess.

-Okay. I'm not going to analyze.

-You shouldn't.

-But we -- we have one more movie

left in the season, and it's a biggie.

-Yeah. -We are ending with the man

Jorge Grau wanted to emulate. -Yes, we are.

-So we'll do that after the break.

But for now, I'm Joe Bob Briggs;

for Darcy the Mail Girl, reminding you

to always borrow money from a pessimist.

They don't expect to get it back.

And the drive-in will never die.

Two Marines...

You ever known a marine or someone in the service?

-I've known a few Marines. [Laughter]

-Okay! Two Marines get on a shuttle flight

out of Dallas headed for Houston.

And one Marine sits in the window seat

and the other -- other Marine sits in the middle seat.

And just before takeoff, this army guy gets on the plane

and he takes the aisle seat next to the two Marines.

So this Army soldier kicks off his shoes

and he settles in, and the Marine in the window seat says,

"You know, I think I'll get up and get a Coke

from the flight attendant before we take off."

And the soldier says, "No problem.

I'll get that for you."

So while the Army soldier has gone to get the Coke,

the Marine picks up the soldier's shoe

and he spits in it.

So the soldier returns with the Coke.

And the Marine in the middle seat says,

"You know, that looks good. I think I'll have one, too."

So again, the soldier, he obliges the Marine, says,

"Okay, I'll go fetch the Coke."

And so while he's gone, the middle seat soldier picks up

the soldier's other shoe,

and -- the middle seat Marine

picks up the soldier's other shoe and spits in it.

So the soldier returns, they all sit back,

enjoy the rest of the short flight to Houston.

Just before landing, the soldier slips his feet into his shoes

and he knows immediately what's happened.

And so this Army guy says, "How long must this go on?

How long this fighting between our services,

this hatred, this animosity --

how long must this go on?

This spitting in shoes

and peeing in Cokes?"

[Light laughter]

No? No?

-I mean, honestly, it took so long, I couldn't follow it.

-All right, I'll try -- -I'm sure it was great.

-I'll try again. -If you must.

-All right. Woman goes to prison to visit her husband.

He's just been sentenced to 40 years in jail.

So as soon as she enters the visiting room, she hugs him.

She has tears in her eyes, and she says,

"Oh, Roger, 40 years, Roger."

And her husband says,

"Well, my love, what are you going to do?"

And the wife says,

"Well, Roger, I spoke to the judge handling your case."

And he says, "And what did he say?"

And she says, "Well, he told me that for every time

I make love with him,

he will reduce your prison sentence by one year."

And Roger says, "What? What a miserable bastard!

What did you say to that son of a bitch?"

And she says, "Well, Roger, we'll talk about it at home.

Pick up your stuff. Let's go."

-Ha! Better. Better.