All language subtitles for The.Last.Drive-In.With.Joe.Bob.Briggs.S20E20.Day.of.the.Dead.720p.AMZN.WEB-DL.DDP2.0.H.264-BFM_track3_[eng]

-Well, we started the season
with Italian zombies

in the Dominican Republic.

We had some New Orleans zombies,

some Mexican zombies,
some Serbian zombies,

some Spanish zombies
inhabiting northern England.

We even waltzed over to AMC

and looked in on some
New York City zombies.

So we thought we needed
to get back to basics

on our final night
of the season

and our final night
of our fifth year at Shudder

with a tribute to the man
who started it all.

And George Romero didn't
even use the word "zombie."

He said he didn't think
his creatures were zombies,

since zombies were part of
the Haitian voodoo tradition,

and he was more interested
in suggesting

that ghouls were created
by the arrogance

and stupidity
of American mainstream culture.

So "Night of the Living Dead"
in 1968 is,

to me, the foundation film
of modern horror,

and "Dawn of the Dead,"
10 years later,

is the kind of spectacular
pinnacle of that genre.

And with those two movies,
this shy, retiring filmmaker

from Pittsburgh pretty much
defined the Living Dead genre

for everybody
who came afterwards.

And the most elaborate
version of that,

the 13-year run of
"Walking Dead" on AMC,

took its entire arsenal
of themes from George Romero,

as did all the 500
or so zombie movies

made in countries
all over the world.

So what do you think
of "Day of the Dead," Darcy?

-Well, I like it a lot, but just
not as much as the other two.

-You know,
And I think 90% of Romero fans

would probably say
the same thing

if they had to rank them,

because "Night of
the Living Dead" is iconic,

"Dawn of the Dead"
is a brilliant tour de force.

It's a party movie.

-Yeah.

-"Day of the Dead" in 1985
is strange for Romero.

It's talky.
It's anticlimactic.

In fact, "Day of the Dead,"

I don't understand
the ending, really.

But "Day of the Dead" was --
and it was a box-office bust.

You know, you don't have to look
far for the reasons, though,

because people were expecting
one thing, they got another.

Two of the most successful
horror movies of 1985

were Living Dead
satirical comedies.

So you had
Stuart Gordon's "Re-Animator."

It's based on
an H.P. Lovecraft story,

but it obviously derivative
of Romero's zombies.

And Dan O'Bannon's
"Return of the Living Dead,"

which was a brilliant
satirical send-up

of the whole
zombie phenomenon.

So the creations
of George Romero

had already entered
the period of parody and satire

before he'd even finished

making his final statement
in his trilogy.

So he was made obsolete
by movies that he inspired.

Romero always thought
of his Living Dead movies

as reflective of the decade
that they came out in.

So the original movie

was a hippie indictment
of an America

set in its outdated ways.

"Dawn of the Dead" was an attack
on consumerism and greed.

The zombies returned
to the only place

they love -- the shopping mall.

And then "Day of the Dead"
was intended to be an indictment

of the military-industrial
complex in the Reagan era,

a time when it seemed people
just gave up

on solving the chronic
problems of poverty and race

and a government out of touch
with its citizens,

a time when apathy took over.

And in Romero's opinion,

everybody ended up
deserving whatever they got.

His original idea for
"Day of the Dead"

is not the film
that we're going to see tonight.

His original script
was 204 pages long.

Now, to give you
a rule of thumb,

one page usually
equals one minute on screen.

Even when he cut that script
down to 122 minutes,

it was going to take $7 million
to bring that story to life.

So, nothing for
a Hollywood studio,

But Romero was never backed
by a Hollywood studio.

He always had to raise money
one investor at a time.

So the 122-page version
of "Day of the Dead"

featured all these encampments

that were attempting
to reestablish civilization

while military
compounds underground

ran scientific experiments
attempting to train

the zombies really to be slaves
to the living,

equipping them ultimately
with actual weapons

in order to keep order.

I think we can guess
where that was leading

and just how apocalyptic
that was like likely to become.

But Romero's producers
presented him with a dilemma.

They told him, "George,

we'll give you the 7 million
under one condition.

You have to deliver
an R-rated film.

If you can't deliver
an R-rated film --

if the movie gets an X and we
have to take it out unrated,

then we'll still make
the movie,

but you can only have
half that money."

So Romero took the short money.
Now I think that was a mistake.

I think he should
have finessed it.

Yes, we all love the gore
effects in "Day of the Dead."

I think it's Tom Savini's
masterpiece.

as a practical effects guy.

Savini's assistant on the movie,

by the way,
was 19-year-old Greg Nicotero,

who would become
the principal effects master

on "The Walking Dead"
and a partner in one

of the most successful effects
studios in Hollywood.

But what suffered
was the epic scale

that was needed for Romero

to finish out the trilogy
with the powerful scenario

that he had envisioned.

Romero,
he was a shy man,

and he had a deep distrust
of the Hollywood system.

And so he thought that any time
he had to fight with producers,

sell an idea in a meeting,

he thought
that he always lost the fight.

So he always chose
artistic independence

over bigger budgets.

So he was given 3.5 million

and he was told,
you can do whatever you want,

But he had to throw out that
122-page script and start over.

So he did a page-one rewrite
in three weeks.

And that 88-page result is --
it's odd.

It was so odd, in fact,
that when it first came out,

his fans were furious.

Now, it took 20 to 30 years
for a cadre of support

to grow up around
"Day of the Dead."

And it's a strong support now.

And today it's considered --
it's considered

his most troubling movie,
mainly because of the ending

and because of the alternating
moods of hope and hopelessness.

Some people say it's a picture
of the end of humankind.

Others say it's
a triumph of optimism,

it's humankind barely scraping
by and starting anew.

So you're going to have
to decide for yourself

because I don't know.

Do you know, Darcy?

Do you know what the...

-No, I'm not sure,
but, honestly, this is the most

I've ever heard you talk
about the movie in the intro.

-Well, it's our last show.

I wanted to do something
that mattered

instead of our usual hijinks,
and so...

-So we're going to be
serious tonight?

-No, we're not gonna be serious.
We're gonna be normal.

But we're going to go deep,
deep, deep into this movie

because it's a classic.

-I love the kills.

-Well, who doesn't love
the Kills?

That's what -- I mean...

-So did the kills
cause an X rating?

-Yes, they did.
The producers were right.

The kills caused
an X rating.

It had to go out unrated,
which meant many newspapers

wouldn't accept the advertising,

and many theater chains
wouldn't play the movie at all.

-And ratings are insane.
-Yes, they are.

But Romero wasn't even
that interested in the --

he wasn't
that personally invested

in the special-effects
techniques.

He just left all that
to Tom Savini.

So this is really just letting
Tom Savini go wild

and do anything he wanted
because Romero would just say,

"Tom, start thinking up
new ways to kill people."

And Tom would say, "Hell yeah!"

You know, we've had Tom
on the show.

He was like a kid
in a candy store on this movie.

But let's let the movie
speak for itself.

"Day of the Dead"
is the sensitive story

of some scientists,
soldiers, and civilians

all trapped together
in an underground facility

dedicated to containing,
studying and training the undead

so that the few remaining humans
might be able to survive.

The apocalypse has been
going on for a while.

There are now 400,000 zombies
for every normal human being,

and these people might be
the last hope for the world.

Their only problem is that
they are human beings

full of the same
petty jealousies and grievances

and selfishness that people have
when they're not threatened

with mass destruction.

And normally when you have
a story like this,

you have a John Wayne figure

and he comes in
and takes charge, right?

But George Romero was not
a John Wayne kind of guy.

He didn't believe
in John Wayne.

He believed that 12 people --

that's how many people
are left --

should be able
to change the world

if they have a common goal
and they work together.

I don't think the number 12
was an accident, by the way.

And I don't think the name
of one of the characters, John,

like the disciple who wrote
the apocalyptic Gospel,

the one that uses
15 different names for Jesus,

I don't think
that's an accident either.

This is a Romero
at his most Catholic,

but he's showing us a world
where there's no savior,

or if there is a savior,

he's a weak substitute
for the kind of guy we need.

George Romero was an old hippie,

and there was
an old hippie slogan

that came back
again and again --

"The revolution
will not be televised."

And here we have the result
of what that meant.

The old arrogant system
is going to eat itself alive.

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

We have...

Drive-In Academy Award
nominations for...

Jarlath Conroy as McDermott,

the Irish radio operator
with a hip flask.

Joseph Pilato as Rhodes,

the Nazi military commander
who says,

"All you've given us
is a mouthful of Greek salad."

Lori Cardille as Sarah,

the battle-hardened,
pill-popping scientist

who says, "If he dies,
I'll destroy him myself."

Terry Alexander as John
the Jamaican helicopter pilot

who thinks the answer
is ganja

and says, "It ain't mankind's
job to figure that stuff out."

Anthony Dileo as the PTSD
boyfriend for saying,

"Look! it's a miracle!
He doesn't see us as lunch."

Richard Liberty as Dr. Logan,

the half-crazed,
blood-stained scientist,

on his way to
domesticating the zombies,

who says, "He's been responding
so well lately

that I let him
continue to exist."

Howard Sherman
as Bub the zombie,

the most lovable on-screen
dead person

since Bo Derek made "Tarzan."

Tom Savini,
the special-effects master,

for reaching new heights
in slime glopola.

And George Romero,

the writer-director for doing
things the "Drive-In" way

despite budget limitations.

Four stars.
Joe Bob says check it out.

And the place
they filmed most of this

was the old Wampum Mine
in Wampum, Pennsylvania.

And isn't that a great name?

It sounds like a name
they would make up

for a Bugs Bunny cartoon.

-It does.
-You know?

But anyway,
it's an old limestone mine

where they store government
records and old films.

One of those
temperature-controlled
underground facilities.

And the creepy thing about it
is that

the only place
to stay around there

was this run-down
Holiday Inn.

And so the crew
would get up at 5:30 every day

and catch this 10-minute ride
to the mine,

and they would enter the mine

under this ominous logo
of Medusa

with snakes
coming out of her head.

And then they would be
picked up in golf carts

and driven deep
into the bowels of the mine

to do the day's shooting.

And the reason you had
to take a golf cart

is that the mine
was full of lakes,

and if you didn't know exactly
where you were going,

you could slip off
into one of the lakes and drown.

-Sounds like a really
cool place for a horror film.

-But what freaks me out
is that, you know,

I would imagine there's
absolutely no light down there.

I'm sure they wore the hats,
you know, with the lights on.

But if you're suddenly
treading water in the dark,

you don't know which direction
to swim to get to the shore.

So you just swim off
the wrong way

until you lost strength
and go under.

And it gives me the creeps
to die that way.

Anyway, the crew got up at 5:30
when it was still dark.

They went to the mine.
They worked all day.

They came back
at 7:00 or 8:00 or 9:00 at night

when it was already dark.

And so for at least a month,
some of them never saw the sun.

-I consider that a good thing.

-I know you hate the sun, Darcy.
Most people don't hate the sun.

-I don't "hate" the sun.
I just take care of my skin.

-Well, if you lived
in the Wampum mine,

you would never have
to worry about your skin.

-That sounds wonderful.

-You would have to worry
about your sanity.

-I already do.
-All right, well, then, great.

I'll get you
some real estate listings

for Wampum, Pennsylvania.

Population 557,
by the way.

-I'm ready.
-[Chuckles]

"I'm Darcy. I live in Wampum.
We party in caves."

-Hell yeah, we do.

[Laughter]

♪♪

[Ominous music plays]

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

-Aah!

[Helicopter blades whirring]

♪♪

♪♪

-Nothing.
Nothing at all.

-Send again.

-I've been sending it up
and down the coast

from Sarasota
to the Everglades

and still getting back
the same dead air.

There's nothing.

There's nobody, or at least
nobody with a radio.

-All right, then.
Let's set down.

We'll use the bullhorn.
-Set down?

Wait a minute.
That's not in our contract.

-It's the biggest city
within 150 miles.

We're gonna give it
every chance.

-Jesus, Mary, and Joseph.
-Set down, John.

-[Jamaican accent] I'll set us
down.

But I won't leave my seat,

and I'll keep
the engine running.

Now, the first sign of trouble,
I'm going up.

If you ain't on board
when that happens,

you're likely to have
a lousy afternoon.

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

-Calling anybody
on this frequency.

This is helicopter 4-0-Alpha.

If you can hear me,
please listen carefully.

♪♪

♪♪

♪♪

-Hello?!

Hello?!

Is anyone there?

Hello?

Hello?!

Is anyone there?

♪♪

Hello?!

Is anyone there?!

♪♪

Is anyone there?

♪♪

Hello?!

Is there anyone there?!

[Footsteps]

-[Groaning]

-Hello?!

-[Groaning]

♪♪

-Hello?!

Is there anyone there?

[Zombies groaning]
Hello?

Hello?!

Is anyone there?

♪♪

Hello?!

♪♪

♪♪

[Zombies groaning and wailing]

♪♪

-We can lift you out to safety.

Please answer my call
if you can hear me.

-Forget it, Billy boy.

It's a dead place.

Like all the others, you know?

Listen.

[Zombies groaning and wailing]

You can hear it
over the engine.

-Jesus, Mary, and Joseph.

♪♪

♪♪

♪♪

[Helicopter blades whirring]

♪♪

♪♪

♪♪

[Zombies groaning]

♪♪

-Hey, you find anything?

-Yeah, a bunch of real estate
for sale

at closeout prices, man.

Gas up the machine.
She's down to fumes.

-No!
Wait till it's dark.

There are too many
of them out there.

-Hey, hey, it's no good
to leave the gas tank empty.

Suppose we need to get
out of here in a hurry.

-Then we're shit out of luck.
They're getting too riled up.

Do it tonight
when they can't see you.

-They know we're in here
even if they can't see us.

What good is it
to leave the gas tank emp--

-The activity excites them.
There are too many of them.

-There's more and more
every day.

-If we get a lot more, come out
and shoot some of them.

Otherwise,
stay inside the building.

Stay out of sight.

-Be thankful you live
in the suburbs, Johnson.

You ought to see how congested
the city's getting to be.

-Miguel, come on.
Let's get below.

Miguel, what can I do?

You...
-What?

-Let me help.
-No, I don't need help.

I don't need help.
-Come on. Give me this.

-I'm all right. I'm just tired.
-You're not all right.

You're collapsing from stress.

Now, let me help.
-Collapsing from stress?

We're all collapsing.

This whole fucking unit
is collapsing,

everybody except you.

I know you're strong, all right?
So what?

Stronger than me.

Stronger than everyone.
So what?

So fucking what?

[Zombies groaning in distance]

♪♪

-That's a new grave.
-Major Cooper.

He died this morning.

-And then there were 12.

-A burial this morning.

That's why there's
so many of them.

-What's gonna bring them
tomorrow, Sarah?

And the next day
and the next day after that?

There are hundreds of 'em
over there.

Thousands.
A million of them!

You stick your head in the sand,

they're gonna come up behind you
and bite off your ass!

This is bullshit, what we're
doing here, it's crazy!

-If you've got an alternative
to what we're doing,

we'd be happy to listen to it.

-I got an alternative.

Yeah, yeah, I got
an alternative.

Let's get in that
whirlybird there,

find us an island someplace,
get juiced up

and spend what time we got left
soaking up some sunshine.

How's that?

-You could do that,
couldn't you?

With all that's going on,
you could do that

without a second thought.

-Shit.

I could do that even if all this
wasn't going on.

♪♪

♪♪

[Alarm blaring]

♪♪

♪♪

-Another waste of time, right?
-Got that right, man.

♪♪

♪♪

-What'd you find?
-Nothing.

-Nothing?

How far up the coast did you go?
-100 miles each way.

-Jump in here, soldier.

We gotta bring in two
more dumb fucks.

Let's go.
-Two more?

What's Logan doing
to them in there?

-Get in here, soldier.

-He's been awake for 24 hours.

Can't you get anyone else?
-What "anyone else"?

There isn't anyone else.
We're it.

-The two of you can't go
in there alone.

It's too dangerous.

Christ.

I'll go!

-What's the matter
with your friend there?

-There's nothing the matter.

All right.
Let's go.

-You guys ready to get us

some of those pus-brained bags
of shit, right, Rickles?

-You got it, Steel.

We gonna get us
some dumb fuck on a stick.

[Laughter]

Got any kind of special
locations you'd like to look at?

[Indistinct conversation]

[Men cackling]

♪♪

♪♪

♪♪

Let's kick it off!
Come on, dickwads!

Whoo-hoo!

♪♪

[Generator whirring]

♪♪

♪♪

-[Hawks]

♪♪

-Christ!

This shows the 15th as
the last time you took any out.

That can't be right.
-Oh, yeah.

We forget to write 'em up
sometimes, you know?

-You've got to write them up.
It's essential.

Can't you get that
through your thick skull?

How the hell are we supposed
to keep track

of how many we got left?

-[Screeching]

[Zombies groaning]

[Whistle echoes]

[Echoing] Let's go, you dumb
fucks! Get over here!

Hey!

Here we are!

Come on!

[Zombies groaning]

[Chuckles] Come on,
you dumb fucks.

Come on, come on.

[Wood banging]

Come on, you fish brains!

What the hell's
the matter with ya?!

-They're scared.
-Huh?

-They know what'll happen
when Frankenstein gets 'em.

-If you're right, Rickles,
then they're learning.

They're actually learning.

-Come on!
Come and see what I got for ya!

Come on, you dick faces!
Here's a nice one hanging!

Come on.
Come and get it.

Come and try to bite it off!

-That's it, Steel.
Whip it out.

That'll bring 'em on.
-Fucking A.

Biggest piece of meat
in the cave.

I don't want to excite
the lady, though.

Not with her boyfriend around.

-You're incapable of
exciting me, Steel,

except as an
anthropological curiosity.

-What the hell's that mean,
Rickles?

-It means you're
a caveman, asshole.

You're a fucking throwback!

You've been spending
too much time underground, huh?

[Laughs] It's okay, Steel.

Throwbacks all got big dicks.
[Laughs]

-Oh! [Laughs]

All right, you dumb fucks!

Get over here, you scumbags!

Your old pal Steel
wants to see ya.

Come on!

[Clattering]

Shit.
-I'm coming up.

-You're not
strong enough for up here.

Send up the pole.

I'll watch out for lover boy.
Don't worry.

-What do you mean
I'm not strong enough?

I've done it dozens of times.

-I don't want you up here,
lady.

Send up the pole.
They're getting closer.

-He's collapsing,
for Christ's sake.

Look at him.
-Let go of the pole.

-Listen to me.
-Let go of the goddamn pole.

-Here they come!
Let's go!

[Zombies groaning]

Dumb fucks.

Pus-brained bags of shit.

You dumb fucking bags of shit,
I'll kick your fucking asses.

Come on!
[Zombies groaning]

Try to get up here.

[Laughing]

Come here, scumbag.

[Zombies groaning]

Hook her up, will ya?
-[Groans]

Hook her.

-[Giggles]

-Hey, nice hat, asshole.

-[Groaning]

-Come on!
Get the other one out of there!

[Zombies groaning]

♪♪

♪♪

Come on.
Get in there.

-[Groaning]

♪♪

-[Groaning]

-Steel, Steel, Steel, cover!

Cover!
-I got it.

-Cover!
-Jesus!

-That's it.
That's it. That's it.

I got it.
I got it, come on.

Come on.
Come here. Come here.

[Zombies groaning]

♪♪

-You almost killed Rickles.

Yeah.

You almost
fucking killed Rickles.

-[Groaning]

-Let him go, Steel.

He shouldn't have been up there
in the first place.

-You almost
fucking killed Rickles!

-Steel, stop it!
-You spic bastard!

You dirty yellow spic bastard!

-Let him go!

Let him go, goddamn it,
or I'll cut you in half.

♪♪

-[Spits]
Arrgh!

♪♪

♪♪

-[Groaning]
-[Indistinct shouting]

-Shut up, you dumb fucks.

I hope they chop you up
for dog food.

Come on, Rickles.
Let's get out of here.

-I hope you fucking rot!

Fuck you!

[Zombies groaning]

♪♪

♪♪

-I am not gonna let you
dope me up.

-You need a sedative.

You're behaving dangerously.

I'm just trying
to help you, Miguel.

-Well, I don't need your help
or anyone else's.

You made me look like
an asshole out there.

You made me feel like
a piece of shit.

You stay away from me with that,
Sarah.

You stay away from me.

-Oh!

-Aah!

You bitch.

♪♪

♪♪

-[Groans]

♪♪

-We've got to have
sterile conditions.

Half the work we do
goes down the toilet

due to contamination.

-You'll work with what
you got, Fisher.

-But it's madness!

Can't you understand --

-I understand this --
You and your playmates,

you're running out
of friends fast around here.

-[Sighs]

Look, Major Cooper
promised that we --

-Major Cooper is dead.

I'm in command now,

and I'm telling you
that you work with what you got.

And you'd better start
showing me some results

or you won't have that
very much longer.

-How can we show you results

when we don't have
the proper working conditions?

-We're in a desperate
situation here.

We need each other.
Can't we just get along?

-You need us,
the way I see it, lady.

I'm not so sure
we need you at all.

-Fucking A.

-I'm not even sure just what

the hell it is
you're doing in there.

Just what the hell it is my men
are risking their asses for.

-Well, maybe if there was
more cooperation around here,

your men wouldn't have to risk
their asses quite as often.

[Gun clicks]

Miguel Salazar's in bad shape.

-No shit.
[Laughs]

-I want him pulled off
active duty for a while

until we can evaluate
his condition.

-Can't spare him.
-He's over the edge.

He's turning into Jell-O.
-Jell-O?

That's the way the spics
say "yellow" -- "jellow"!

[Laughs]

-Miguel is
seriously disturbed.

He's close
to the breaking point,

and that's dangerous
for all of us.

He can't handle any more stress
right now.

-Well, maybe I should cut off
his extracurricular activities.

Maybe you're keeping him
too busy at night.

-We're talking about a man's
life here, you son of a bitch.

And the lives of others
he might put in jeopardy.

-Maybe I should put him
in quarantine.

How 'bout it, Steel?

-You call it, Captain.
I'll build him a cage.

[Laughs]
-Yeah, might not be a bad idea.

Give some of the rest of us
a shot at some loving.

-Hey, it's gonna be
a long winter.

[Cackling]

-Come on, Ted.
Let's get out of here.

-I'm calling a meeting
for 7:00 tonight.

I want everybody present.

Everybody, lady.

Including Dr. Frankenstein
and including your boyfriend.

-I gave him a sedative.
He won't be awake.

-Look here, woman.
I'm short on manpower.

I won't have you going around
doping up

any of my men
without orders from me.

Is that clear?
-Yes, sir!

Fuck you, sir!

[Door closes]

-Out of the frying pan,
into the fire.

I thought Cooper
was an asshole,

but he was a sweetheart
next to Rhodes.

We could be in real trouble.

You'd better watch yourself.

I mean
physically watch yourself.

-I can handle it.

Don't worry.
It's not going to come to that.

We've just got to pound
some logic into their heads.

-Impossible.

[Sighs]
Where's Dr. Logan?

-Frankenstein?

He's in his laboratory.
Where else?

♪♪

♪♪

♪♪

-[Gasps]

[Gasps]
-So here's the thing about --

-I don't have a good feeling
about this show.

-What do you mean?
You can't go wrong with Romero.

-I just -- I feel like
something's going to happen.

-Like what? You can't fight
the Twitter trolls, Darcy.

-Much worse.
-Have a mushroom, Darcy, okay?

So, obviously,
everything is getting worse.

The guys in the rescue copter
can't find any living beings.

That's downtown
Fort Myers, Florida, by the way,

that was uglied up
to be the zombie wasteland.

At the time
the movie was made,

George Romero was living
on nearby Sanibel Island

in Florida.

The soldiers in
the underground compound

are starting to look at Sarah,
the only woman, as a target

instead of somebody
they're sworn to protect.

Because Sarah's boyfriend,
Salazar,

seems to be
falling apart mentally

and they're in a
"survival of the fittest" mode.

And John, the Jamaican
helicopter pilot,

is so devoid of empathy that he
encourages her to just fly away

and leave everybody since
she controls the only way out.

And McDermott,
his Irish radio operator,

is seeking stress relief
in a whiskey flask.

So the one woman left, possibly
the only woman left on Earth,

is the only person
we've seen so far

who seems to be sticking
to the original mission.

She's studying the zombies
and possibly figuring out

the source
of their transformation.

But she's surrounded by people
with their own agendas,

including the Army captain
who just became the commander

because Major Cooper died
this morning.

So stress, sexual tension,

violence between the soldiers
and the scientists.

The head of transportation
thinking about fleeing.

This is 12 people we know
from the beginning

who aren't going to reach
a unanimous verdict.

So would you want to be
the only woman on earth,

Darcy, if it was you?

-I mean, yeah,
I think it'd be fun.

-Well, I think
it would be required

to have as many babies
as possible

if you were the last woman
on earth.

At least one baby.

-Nobody can make me
do anything.

-[Laughing] Okay.

Movies that take place
mostly underground,

like this one, they usually
do it for a budgetary reason,

but they always
make me crazy

because it's claustrophobic.

And I know, I know it's supposed
to be claustrophobic.

It's supposed to make you
feel anxious.

But I think part of the reason
this movie

didn't do
so well at the box office

is that people go
into a dark theater

expecting the images
to sort of spirit them away

to an exotic location.

And this movie just takes them
to a place that's even darker

than the theater
that they're sitting in.

And so, all right,

before I bring out
our very special guests,

we have not one,
not two,

but three people who are
in that bunker.

Let's review.

So in 1968, the zombies
eat Pittsburgh.

All right,
in 1978 they take over

every shopping mall in America.

So George Romero used to say the
1968 movie was for the purists,

the 1978 continuation
was the party movie,

and the movie we're watching

that one, he said,
was for the trolls.

And he didn't mean
that in a bad way.

By trolls, he meant mutants.
He meant us.

So roll the film.

[Both laugh]

Zombies were paid $1 a day

and a "Day of the Dead"
baseball cap.

[Laughter]

But you know, that baseball cap,

that's probably worth
a lot of money today.

But one problem the producers
had is that they were

used to Pittsburgh,

where people begged
to be zombies in Pittsburgh.

Everybody wanted to be
a zombie in Pittsburgh.

They took it really seriously.

Now they're an hour
north of Pittsburgh.

They have to get their zombies
from Beaver Falls,

and people
are less reverential.

And so sometimes the zombies
would break into laughter

and ruin the takes.

So, yes, they had to
actually fire zombies

that were working
for a dollar a day.

-Those poor zombies.

-They were not following
directions.

-I mean, there could totally
be laughing zombies.

-No, not in a Romero --

I don't think Romero's zombies
are ever doing stand-up

in any situation in his script.

They just want food.
For nourishment, though.

They don't need the food.
They just want the food.

-Tell me about it.

-[Laughs]
Are you...

-What?

-Are you identifying
with the zombies?

-A little bit.

Didn't the scientist say,
"They're just like us"?

-Yes, he said that.
But he's also crazy.

-Is he, now?

-Darcy, come on.

-Just sayin'.

[Laughter]

♪♪

-There was a loss of initiative,
caution.

Many of the human
cognitive functions.

Apparently the result of decay
in the frontal,

parietal, temporal,
and occipital lobes.

On revival,

the rate of decomposition
has slowed substantially.

Indications are that
these beings could function

over a period of years.

In cases of early revival,
10 to 12 before

decay would threaten
their mobility.

-Aah!

-[Groaning]

-The brain is the engine, Sarah.

The motor that drives them.
They don't need any blood flow.

Don't need any of
their internal organs.

I've severed all the vital
organs in this one.

There's nothing left of
the corpse but brain and limbs,

and still it functions.

Look, Sarah, look.

-[Groaning]

-See, it wants me.

It wants food,
but it has no stomach.

It can take no nourishment
from what it ingests.

It's working on instinct,

a deep, dark
primordial instinct.

Decomposition occurs
first in the frontal lobes,

the neocortex.

And next in the limbic system,
the middle brain.

But the core.

The core is the last thing
to be attacked by the decay,

It's the R-complex, Sarah,

that central bit
of prehistoric jelly

that we inherited
from the reptiles.

Here,
I've gone into the center here

and attacked
R-complex discreetly.

I've removed it from
the equation in this course.

I believe this creature
would be benign,

even if it had its eyesight
and its other senses.

Its primitive instincts
have been erased.

[Electricity crackles]

[Electricity crackles]

[Electricity crackles]

It still has motor function.

Probably still has powers
of deliberation.

It can be domesticated, Sarah.
Don't you see?

It can be conditioned to behave
the way we want it to behave.

-And all that's required
is 15 hours of fancy surgery

that only a handful of people
are trained to do.

I thought we were going to stop
work on the neurophysical

and concentrate
on something more practical.

-These finds are central
to the condition.

I will not stop any work
that might lead to an answer,

let alone on an area that is
central to the condition.

-But you're just
proving theories

that were advanced months ago,

and you're not even
proving them correctly.

You're making a lot
of assumptions here.

You're wasting time trying to
define what's happening

instead of looking
for what's making it happen.

And just slicing up
too many specimens.

It's extremely dangerous
to go up on top

and round them up in the wild
where we can't control them.

What happened to this one?

-It was too unruly.
I couldn't handle it.

I had to destroy it.

We can still
get information from it.

-Dr. Logan, we are losing
the cooperation of the men.

I'm not even sure
they'll go up top

when we run out of the specimens
we already have.

I'm not sure they won't just
try to shut us down completely.

-I'll show them results.
I'll show them results.

I'll show them that these
creatures can be domesticated

even without the surgery.

Knowing what they are,

we can begin
to approach them properly,

condition them, control them.

You've got to do this, Sarah.
It's our only hope.

♪♪

♪♪

Yes, this is Major Cooper.

I needed him, Sarah.

He's helping us more now than
he ever did when he was alive.

-But I saw the grave.

-They buried one
of the specimens.

-Jesus God, Logan.

Do you know what they'll do to
you if they find out about this?

Do you know what they'll do
to all of us?

-They'll never find out.

He can't be recognized.

♪♪

-[Groaning]

♪♪

-[Gasps]

♪♪

[Whirring]

♪♪

-Not a peep.

Long range or short,
high band or low,

I can't raise anybody.

-How can that be, McDermott?

There must be
other groups like us.

Somebody else must be
trying to radio.

-Yeah,
what the hell is this, man?

-Maybe we are
the only ones left.

-I'm sure there's others.

This is not the best place
to be sending from.

And a lot of the equipment
I'm using has been

rotting down here
since the Second World War.

-Well, it's up to you
to get it working right.

Lay off the fucking booze
for a while, why don't you?

And get somebody
on that fucking horn, pronto!

-If we stay down here
long enough,

I'll have to lay off
the fucking booze, Steel,

because they won't fucking be
any of it fucking left.

In the meanwhile, I will
continue to indulge myself

and I will continue
doing my best

in the good fight
against dry rot and rust.

-Yeah? Well, your best
ain't good enough, asshole.

-You think I'm not aware
of our situation?

Do you think I want
to stay isolated down here?

You know, I'd make a desperate
effort to raise somebody

just in the hope of getting away
from your nasty mouth, Steel.

The fact is...

The fact is...

either we are
the only ones left,

or there's nobody within range
of my puny little

Second World War signals.
We used to.

-We used to talk to Washington
all the time.

They could hear us then.

-We were on relays then.
We weren't over the air.

The power's off
in the mainland now,

in case you haven't heard.

And all the shopping malls
are closed.

-We don't appreciate
your fucking jokes, old man.

Keep it up, and I'll shove
that bottle of yours

right up your wise ass.

-I've got better things to do
than listen

to this kindergarten.

Are we finished here?

-No, we ain't finished here,
lady. Sit down.

-What else do you want?

We've given you the reports
for this week.

We've given you everything --

-You've given us a mouthful
of Greek salad.

Formulas, equations,

a lot of fancy terms
that don't mean a thing.

I want to know
if you're doing something

that's going to help us
out of this deep shit we're in.

Or if you're all in there
just jerking each other off.

-She don't have to jerk off
like the rest of us, Captain.

She got herself an honest-to-God
dick to get off on her.

[Laughter]

-It may be yellow,
but it's still a dick, huh?!

Aaah!

[Laughter]

-I said we ain't
finished here, lady.

Sit down.

Sit down, or so help me God,
I'll have you shot.

♪♪

-You'll what?

-I said
I'll have you shot.

-Have you lost your mind?

-No, ma'am.

Have you?

I just told you I was willing
to kill you

if you didn't get back
in your chair.

You didn't get back
in your chair.

-God damn it, You can't shove us
around like this.

Since when did this become
a military operation?

-Since I took over.

Steel, shoot that woman.

-Bang!
You're dead.

[Laughter]

♪♪

Shoot that woman,
or you'redead.

You think I'm fucking around,
Steel?

You're wrong.

Now, you've got
till a count of five,

and that's two you wasted.

That's three.

Four.

-Sit down, Sarah.
-What is this?

-Shut up and sit down.

-That's five, Steel.

-All right.
All right.

♪♪

[Gun cocks]

-No!

♪♪

♪♪

-Anybody else have any questions
about the way

things are going
to run around here from now on?

♪♪

♪♪

This ain't a goddamn field trip,
people.

This is a fucking war!

I'm not down in this cave
for my health.

I'm down here on orders.

-Your orders are to facilitate
the job of this scientific team.

This is a civilian team,
Captain,

and we don't have to be
subjected to your tyranny.

-Who's being subjected to what,
Fisher?

You've lost one man.
-Right.

-We've lost five.

[Soldiers speaking
indistinctly]

Where does it say we got
to keep those dumb fucks

next door to where we sleep?

Where does it say we should do
any one thing

but shoot the mothers
in the head?

-Let's do it.

-We don't have enough
ammunition, Captain,

to shoot them all in the head.

Time to have done that would
have been at the beginning.

No, we let them overrun us.

They have overrun us, you know?

We're in the minority now.

Something like 400,000 to 1,
by my calculations.

I haven't eaten.
Is there food?

-You were supposed to be here
at 7:00 sharp, mister.

-I know. Sarah told me.
I'm sorry.

I couldn't break away.
Is there food?

-Listen, egghead,

let me bring
you up to date on what's been --

Let me --
-Excuse me!

Is there food?

-I'm running this
monkey farm now, Frankenstein,

and I want to know what the fuck
you're doing with my time!

Because if we're just
jerking off here,

I'm going to have my men
blow the piss

out of those
precious specimens of yours,

and we're going to get
the hell out of here

and leave you and your
highfalutin asshole friends

to rot in this stinking sewer.

Is that food enough for ya?

-Where will you go, Captain?

You can destroy my specimens,
but what about the millions more

that are waiting
to greet you outside?

Do you really think you can
"blow the piss" out of them?

All of them?

They have you in a hopeless
situation, strategically.

You're lost.
Well, you're lost unless...

-Unless what?

Unless what, Frankenstein?

-Unless you can
make them behave.

-This is a fucking loony bin!

I ain't being paid enough
to work in a fucking loony bin.

-I ain't being paid at all.
[Laughs]

-Paid? What the hell's
this "paid" bullshit?

-All right, shut up.
Just shut up.

-What the hell are you talking
about, Frankenstein?

-I'll be able to show
you soon enough.

Sarah knows. She's seen
the progress I've been making.

Isn't that right, Sarah?

-Yes.
There's been some progress.

-What kind of progress?

What are you talking about,
make them behave?

What does that mean?

-It means keeping them
from wanting to eat us,

for one thing.

It means keeping them in check.

It means controlling them.

Controlling them.

-When are you gonna
show us something

that we can understand?

-Very close. Very close.
I think in a matter of weeks --

-I don't think there's any way
you can tell how long anything

is going to take.

It could be months,
it could be years

before we know exactly
what we're dealing with here.

[Indistinct conversations]

-Sarah's research --
[Loudly] Sarah's research...

[Conversations stop]

...is more esoteric than mine.

She's looking for a way
to reverse the process,

a way to eradicate the problem.

It could take a long time.
A very long time.

She may never find
what she's looking for.

We have a limited supply
of chemical agents.

Our equipment
is hopelessly inadequate.

-McDermott doesn't have
decent radio gear.

Now you're telling me that you
don't have the shit you need?

We're running low
on ammunition.

We're running low on men,
for Christ's sake!

-It was very rushed.

This operation was put together
in a matter of days.

-Yeah, well,
it can all be taken apart

in a matter of minutes, lady.

And I'm here to tell you

that I'm ready to do
that little thing.

I'm ready to take
the next train out of here.

-I'll ask you again, Captain --
Where will you go?

You have no choices.

You'll have to give us the weeks
that we've asked for.

-You have to give us
however long it takes.

Look, there have to be survivors
in Washington.

They have more sophisticated
shelters than this one.

There have to be people in those
shelters who know about us,

who know where we are.

With no radio contact,
they'll come looking for us.

[Indistinct conversations]
-I said shut up!

[Conversations stop]

[Can clatters]

You got a little more time.

A little more.
I ain't saying how much.

But you better start showing me
some results,

and you better not piss me off.

You understand?

Nothing happens around here
without my knowing about it.

And anybody fucks
with my command,

they get court-martialed,

they get executed.

♪♪

You better know
I mean it too, people.

♪♪

♪♪

[Indistinct conversations]

-He wouldn't
have done it.

I can't believe
he would have done it.

-No.
He wouldn't have done it.

He would have had Steel
do it.

-He can't be that inhuman.

-No.
He's human.

That's what
scares me, you know?

He won't shoot Billy because
he doesn't have anybody else

who knows electronics.

He won't shoot me
'cause I'm his ride.

He probably won't shoot
old Frankenstein

'cause the old doc
can talk him silly.

But the rest of you
better start worrying, you know?

♪♪

-Maybe if we tried
working together,

we could ease
some of the tensions.

We're all pulling
in different directions.

-Well, that's the trouble
with the world, Sarah darling.

People got
different ideas concerning

what they want
out of life.

♪♪

-Whenever
Captain Rhodes appears,

the whole mood
of the movie changes

and the tension ramps up 9,000%.

That's Joseph Pilato,
who plays Captain Rhodes.

He was from
the Italian part of Boston,

and his dad played trombone

for Les Brown
and his Band of Renown.

if anybody remembers that.

It was a traveling orchestra.

And anyway, Joseph Pilato,
he was an altar boy.

He studied to be a lawyer.

He decided he didn't like
that line of work,

so he went back to school
for acting at Emerson College

and Suffolk University.

And like most people
in a Romero cast,

he became
a hardcore theater guy.

Romero had a great respect
for serious theater actors,

and Joe Pilato did
a lot of Boston theater.

Then he moved to New York
and he was an original member

of the Working Theater
in the early '80s.

They're still around.

And then he was also part of

Jerzy Grotowski's
Polish Laboratory Theatre

during the brief period

when Grotowski
was working in New York.

So, bottom line,
serious method actor.

He worked at
the Pittsburgh Public Theater,

the Three Rivers
Shakespeare Festival,

and then because of his
memorable performance

in this movie,

he went on to work for
Ron Howard, Quentin Tarantino,

and at least
12 horror directors.

He was also a singer,
and he was very proud

of founding
the Dickens carolers,

who were the carolers
who sing at department stores

in Pittsburgh every Christmas.

Joe Pilato died in 2019.

They say the alcohol got him.

But right now we're watching him

in one of the most memorable
performances in horror history.

And one thing that's clear
from the angry words

that he spits out is that he has
the hots for Sarah.

So let's find out
how that made Sarah feel

because she's with us tonight.

Please welcome Lori Cardille.

-Yeah! Yeah! Whoo!
[Applause]

-Thank you. Thank you.
-Thank you for being here, Lori.

We are delighted to
have you at the Last Drive-In.

Have a seat.
-Happy to be here.

-Your performance in this movie
is famous for a lot of reasons,

but the main one is that you're
the last woman in a man's world

and you're possibly
the last woman on earth.

We don't know.

And you're dealing with it
aggressively and impressively,

and it's a great role and you
deliver the goods in that role.

-Well, thanks.
I appreciate that. Yeah. I do.

-And before we talk
about your character,

I want to back up to
"Night of the Living Dead,"

the movie that started all this,

because your dad
was the reporter

in "Night of the Living Dead,"

because he was Chilly Billy,
the horror host in Pittsburgh,

"Chiller Theater," Channel 11.

Did you feel like
a movie-star kid

growing up with Chilly Billy?

-No, because of circumstances
in their marriage,

we lived in Erie, Pennsylvania,
for a while

and I came back
to Pittsburgh

and he was like Elvis
in Pittsburgh

because he was a local hero.

-When you were how old?

-I was going
into the seventh grade.

So like 14,
something like that.

-Okay.

You went
to the actual premiere

of "Night of the Living Dead"?

-I did. I did.

But I was so afraid
of horror movies

that I would get anxiety.

I had so much anxiety as a kid.

I was always afraid,
and I couldn't imagine

why people would like
to be scared.

So I went, but I stood --

I kept on running to the lobby
the whole movie.

-Really?
-Yeah, yeah.

-But your father
was quite a celebrity

in Pittsburgh, though, right?

-Oh, he was.
He was a wonderful man, too.

He just -- you know,
he loved people.

He was kind.

He was just
so great to the fans.

-And he was a close friend
of George Romero.

-Yes, but George would
watch my dad's show,

because George
was doing, like, sports films

around then also.

And so he watched my dad's show,
and he went up to the station

and they met and he said,
"I love your show.

I'd like you to be a reporter
in this movie I'm making,

this little movie
I'm making."

And he said, "Of course, George,
I'll do that."

You know, they became
very close friends.

-Yeah. Okay.

And then you went
to Carnegie Mellon drama school,

a famous drama school.

And of course,
George Romero loved

anybody who came out
of Carnegie Mellon

because he went
to Carnegie Mellon.

-Right, right.

-And you loved it there, right?

-I did, yeah.
It was a great training.

Great training.

-But you moved away
from Pittsburgh,

and you became a real hotshot
young actress in New York City.

-Well, thank you.

-You. I mean, you were
on "The Edge of Night"

and "Ryan's Hope."

-Right.
-Yeah.

-Yes, I started -- yes,
it was a great thing to get.

I mean, I just got out of
college and I did those gigs.

It was great.
In fact, being in a studio

is so reminiscent
not only of my dad,

you know, but his studio
and the smell of a studio,

the electric smell.

And when I walked on set
for the soap opera,

it was just like I was home.

-Yeah, but then it was
your acting in New York

that got you the part
in this movie, right?

-Yes, yeah.
Well, George saw me in a play.

It was called "Reckless,"
by Craig Lucas, who who's now a

great American, you know...

-Yeah, I think he won a --
he's won a lot of big prizes.

Let's talk about "Reckless"
for a minute

because Craig Lucas
came out of the musical theater.

He's probably best known for
"Prelude to a Kiss."

-Right.

-As far as I know,
he's still working today, right?

-Yes.

-Do you ever see him?
You ever see Craig Lucas?

-Well, I did see him.

You know, it was a maybe
10 years ago.

And he did a play
at the Lincoln Center.

And I'm blanking the name.
It was an opera.

And it was just
so good to see him.

-So you've stayed
in touch with him?

-Oh, yeah.

-Craig Lucas
is known for writing plays

that are used over and over
again by acting teachers

because they're show-off pieces.

They have, like,
great monologues.

And "Reckless" is kind of
a show-off role.

So that's what you were doing

when George Romero
first saw you.

What would you call it?

It was like zany adventures
of a runaway wife, you know?

-Yeah.

-And Mia Farrow
did it in the movie.

And -- but I think there was
an off-off-Broadway version.

There was
an off-Broadway version.

There was
a Broadway version.

I think Mary-Louise Parker
did it on Broadway.

-I was the first one
to do it.

-You were
the very first one to do it.

That's what I thought.

But I'm surprised it would be
on George Romero's list

of must-see theater, though.

-Well, I think he maybe came

because Richard Rubenstein
was a friend

of like my husband's father,
and they said,

"Oh, Lori -- Bill's daughter --
is in a play. Let's go see her."

So that's why, you know,
he came and he ended up --

you know, the character
is on stage the whole time,

and she's talking nonstop.

And it's very complicated,
back and forth,

back and forth, crazy.

And yeah, he offered me
the role there, yeah.

-So he came because you were --
because he knew your father.

-Yeah.

-Well, anyway,
you get the part.

You show up at the Wampum Mine
in Wampum, Pennsylvania.

Or did you do
the Florida part first?

-No, no, we did that last.
-Okay.

So the first thing
I want to ask you is,

what is the backstory between --

because we don't see
all of it --

between you and Miguel Salazar,

the man who's literally
losing his mind.

But meanwhile, he falls into
your arms, weeping like a baby.

and then the next moment

he tells you
how much he hates you.

And you know, what's
the backstory with you two?

-I think that at one time
maybe he was a strong person,

but he just obviously wasn't.

I mean, he broke down in a way
that he couldn't gather himself,

and she felt obligated

and felt an obligation
to take care of him.

-But you two are still a couple,

and that's causing resentment
with the other men, right?

-Well, yeah, it's causing that,
but it's also he was --

it was more sort of feeling
that he was pathetic,

I think, Sarah felt, you know,
that's what it -- more.

-So she had a lot
of pity for him.

-Yeah, she had a lot of pity
for him.

And she was
like a mother to him.

-Okay.

Now, is there sexual chemistry

between you
and Captain Rhodes

because you hate
each other so much?

-Well, isn't that
how love happens?

[Both laugh]

Tell my husband.

-Did you feel that when
you were doing the part?

-Yeah, kind of, yeah.
-Yeah.

-So in those scenes
where it's like,

I mean, you literally are about
to kill each other

in two or three scenes
in the movie,

but you have to think,

why would he push it
to that level?

-Right
Well, I know why, but...

[Laughter]

-Okay.

-I have a question.
-Yeah.

-In the scene where the arms

come out of the wall
and molest you,

was that fun
or was that scary?

-No, it was fun.

Yeah, we went into a room
that really was,

you know, was cement wall.

But when they made the wall
that the hands came out of,

it was just a, you know,
a thing with plastic

that you could punch through.

And the first time we did it --

and it took a long time
to make that --

they pushed through, and the
whole thing fell on top of me.

It wasn't held down.

It wasn't heavy, but it was just
all these -- you know?

And yeah, so the next time,
of course, it worked.

And my husband
was one of the hands.

He always says
he was protecting my breasts.

-Aw.
-[Laughs]

-So your husband was
in the A position

as far as the hands coming...

-He said, "That's my hand."

And he saved the prosthesis
that was on top of his hand.

He had it in his office
for a long time

until it just crumbled apart.

-Okay.

Well, that's a great,
iconic scene

to start the movie.

All right, well, stick around,

because we're going to go
back to the movie,

but we want you to stay with us
while we watch the movie.

So roll the film.

Did you have a sense that this
was an important movie?

Did the cast think they were
making history with this movie?

-Not necessarily that,
but we took such pride in it

and we thought
it was really good.

And it was George's
favorite film

for a long time, of the three,
believe it or not.

We had such
a good time on it.

And he let us work with him,

and he knew our training
and all, so it was great.

-And it's kind of
an actor's movie, isn't it?

-It is. It's very much
of a character-driven...

-He wrote a lot
of sort of fun dialogue,

and that there was
a lot of conflict in it.

-Oh, it was lucky for us.

I mean, but the first time
George approached me,

he had the old script.

I mean, it was the old script,
the first script.

-So you were going to do
the big $7 million version?

-Yeah, and I was
just afraid about
walking through the swamps.

I said, "Are there going
to be, like, people

with guns killing the snakes?"

Because I would have
to walk through the swamps.

-Oh, my God.
-But, no, it was great.

-So I've heard a lot
about that Holiday Inn

in Wampum or Beaver Falls
or wherever.

Everyone talks about,

"Yeah, we stayed at this
Holiday Inn,"

and they're like...

I mean, did they at least
have a bar or something?

-Oh, definitely they had a bar.

-[Laughing] Okay.

-So everybody would just go
to the Holiday Inn bar

and then go back to work?

-Yeah.
But I had a little baby on set.

-You had a baby?

-Well, I didn't have
the baby on set,

but I had --
she was my daughter

and she was about
six months old, yeah.

-Six months old?

-And my husband had like
a sabbatical from his work,

so he was there with her.

-At the Holiday Inn.
-Yeah.

There was this Putt-Putt
or what do you call,

miniature golf
in the middle of the atrium.

And she would just
run around there.

And Tina Romero,
George's daughter,

so they were the same age,

and they're good friends
now to this day.

And they would play, and these
monsters were walking around,

you know, the zombies
with the makeup.

Yeah.
-Okay.

-Katie learned to
walk on the set.

-Really? Did you let her
go down in the mine?

-Oh, yeah. Yeah.
She would come.

-Oh, okay.
-Yeah, yeah.

-It just sounded scary to me,

like, you know, you got to be
in the golf carts.

You got to stay in the golf cart
or you might drown.

-Truly.
-Is that true?

-Oh, it is true.
That was really scary.

-It's like, whoa!
-And it was so cold there.

We all got so sick.
It was really cold.

And you could see
in the some of the scenes,

you know, our mouth, the steam
that was coming through.

It was very uncomfortable.

But we had big jackets
we would wear

before we would shoot a scene.

But it was great
for the atmosphere of the piece.

-Yeah. It seems like something
you could just build a set for.

[Laughter]

It's a cave.
There's not that many --

there's not that many features
inside it, you know?

-Well, the corral that was built
by Cletus Anderson,

he was the set designer --
professor at CMU,

and his wife did the costumes.

Yeah, so he made that corral,
you know,

that wooden thing where
they would get the zombies.

-And that was in the --
he built that in the mine?

-They built it in the mine.
Yeah.

-Okay, I guess George wanted
everybody

to be in that mine, obviously.

-We were all in the mine.

But there was a part
where you would sit,

if you weren't shooting for
a couple of hours or whatever,

that was like in an office.

There was an office space
in the mine.

Right.
-But you're still underground.

-Oh, we're still underground,
yeah.

Anything for art, though,
right?

-Anything for art.
[Laughter]

Anything.

You bet.

♪♪

♪♪

♪♪

♪♪

♪♪

-[Gasps]

♪♪

♪♪

-You areafraid.

Aren't you?

Just as afraid as I am.

Why don't you take a sedative,
Sarah, so you can sleep?

You're full of shit, Sarah.
You know that?

You're really full of shit.

I'm through with you.

-Fine, then.

Get out.

Just get out!

♪♪

♪♪

♪♪

[Zombie growling]

[Men grunting
and shouting indistinctly]

-I'm all right.

Thanks, Bill.
I'm all right.

-Here.

Just filled it up.
Got a refill as well.

-No, thanks. I'm all right.
Really.

-It's just brandy.
Good for the heart.

-It's shit for the heart,
and it eats up your liver.

♪♪

[Coughs]

♪♪

♪♪

♪♪

♪♪

♪♪

-We don't get a lot
of visitors out here,

and we like it that way.

-Here it is.

The Ritz.
Madam.

John's probably out the back.

♪♪

-[Laughs ]
-Hey!

Well, what do you know?

Welcome to civilization, Sarah.
The last holdout.

-It's pretty nice.

Better than we got inside.

Not a bad idea.

-It's a little safer
where you are.

But we like to live dangerously,
Billy boy and me, you know?

-That's a laugh.

I haven't seen you do anything
dangerous since we got here.

-We're sticking around.

That's getting a bit dangerous.

As I hope you noticed
this evening.

-You're a mystery to me.

You really are.

Not like those other goons
in there.

You have a sense of...

Mm.

-Of what?

-Never mind.

-No, no, no.
Come on, let's talk about it.

-I came down here to get drunk.
I don't have the energy.

-Hey, hey, it takes more energy
to keep quiet

than it does
to speak the mind.

Go ahead.
Let go of what you got now.

-You were sent down here
to do a job.

-My job is to fly
the whirlybird.

I've been doing that job
just fine.

-You have the protection.
of this facility.

You eat our food,
you drink our water,

and you don't lift a finger
to help.

Neither one of you.

-[Laughing]

We don't believe in what
you're doing here, Sarah.

Hey.

You know what all they keep
down here in this cave?

Man, they got the books
and the records

of the top 500 companies.

They got a Defense Department
budget down here.

And they got the negatives
for all your favorite movies.

They got microfilm with tax
return and newspaper stories.

They got immigration records
and census reports,

and they got official accounts
of all the wars

and plane crashes and volcano
eruptions and earthquakes

and fires and floods

and all the other disasters that
interrupted the flow of things.

in the good old U.S. of A.

Now, what does it matter,
Sarah darling?

All this filing
and record keeping.

We ever gonna give a shit?

We even gonna get a chance
to see it all?

[Echoing] This is a great big
14-mile tombstone!

[Zombies groaning in distance]

With an epitaph on it

that nobody gonna bother
to read.

Now here you come.

Here you come
with a whole new set of charts

and graphs and records.

What you gonna do?

Bury them down here with all the
other relics of what once was?

I'mma tell you what else.
Yeah, I'mma tell you what else.

You ain't never gonna
figure it out.

Just like
they never figured out

why the stars
are where they're at.

It ain't mankind's job
to figure that stuff out.

So what you're doing
is a waste of time, Sarah.

And time is all we got left,
you know?

-What I'm doing...

it's all there's left to do.

-Shame on you.
There's plenty to do.

Plenty to do.

So as long as it's you and me
and maybe some other people,

we could start over,

start fresh, get some babies,
and teach 'em, Sarah.

Teach 'em
never to come over here

and dig these records out.

[Zombies groaning in distance]

Hey.

You want to put some kind
of explanation

down here before you leave?

Here's one as good
as any you're likely to find.

We've been punished
by the Creator.

He visited a curse on us

so we might get a look at...

...what hell was like.

Maybe he didn't want to see us
blow ourselves up

and put a big hole in his sky.

Maybe just wanted to show us
he was still the boss man.

Maybe he figure

we was getting too big
for our britches

trying to figure his shit out.

♪♪

♪♪

-So, Sarah --
I mean, Lori...

[Laughter]

What are those pills
you're grabbing

out of the first-aid kit?

It's never referred to
in the movie,

but maybe Sarah is not as strong
as she seems to be at first.

-Well, you know, I never --

honest to God,
George never said anything

about that part
of the character,

or I didn't even think that

because I thought it was
just aspirin, you know?

But I think that would have been
a great theme

to have played, honestly.

-Well, he makes a big deal out
of it because there's twice

where you don't just, like,

you know, reach into a desk
drawer and pop a pill.

-Right.

-You actually have to get up

from wherever you are,

walk down a hallway,
find the first-aid kit,

you know, look in there,
and get the pills.

-I know. It's so obvious.
-You're going for the pills.

-I feel so dumb
because, honestly,

that's such a great --
I mean, I don't know.

I just never thought of it.

-You would have incorporated it
if you'd thought about it?

-Yes, of course.

I think it would have been great
to incorporate.

-You're under a lot of stress.
-Yeah.

-I don't know
what's in an underground-mine

military first-aid kit.

Probably a lot of
good stuff, though.

-Yeah.

-You got
combat-wound stuff in there.

-Yeah.
Definitely opioids, right?

I mean, come on. Why not?
-Yeah.

So, now, when you go
to the Ritz,

which is the trailer
shared by John and McDermott,

it's as though you're escaping
the violence

and the chaos of the mind,

because they've created
a little oasis there.

And it's neat
and it's well decorated

and has a patio
with cute little wicker chairs

where they can have umbrella
drinks or whatever they do.

Smoke weed.
-Kind of like this.

-It's a little bit
like this, yeah.

And so my question is,
are they a gay couple?

-Oh, I didn't think so, no.

-You didn't think so?
-No.

I thought Sarah and John
actually had something going.

-Well, I thought that, too.

I mean, because you have those
meaningful glances with John.

So sexual tension there too.

But John could be, you know,
both ways.

-That would be okay with Sarah.

-Okay. Well, let's...
[Laughter]

Let's ask him because we have
the man himself with us tonight.

We have Terry Alexander.
Come on out, Terry.

[Cheers and applause]

-Yay!

-Thank you for being here,
Terry.

-Welcome to civilization,
Joe Bob and Darcy.

-Oh, you are from Kingston.

-Oh, no.
-Okay.

-Motown.
-Motown?

-Motown.
-A Motown Jamaican.

[Laughter]

Well, you know,
I got to say this first.

You nailed that speech.

And you know what speech
I'm talking about.

The speech about all the crap
that's stored down in the mine

and maybe it's all meaningless

and maybe everything
the scientists are doing

is meaningless
because the creator is angry

and the creator
is teaching us a lesson.

You just nailed that.
And that is not an easy speech.

And it's kind of
the thinking that lies

at the heart of the movie.

It's the George Romero takeaway

on what he's trying
to get across.

And so I just recently found
out, I didn't know this,

that that was the speech
you did in your audition, right?

-Yes, it was. I saw this --
I came to the audition.

I saw this -- read this
wonderful piece of literature,

this wonderful speech.

And I just couldn't
do it at that time.

And I went in and I saw George
and I said,

"George, this is brilliant
stuff, man."

Can I just have the overnight
to play with it and work with it

and sleep with it
and sleep on it.

And he said, "Okay,"
which directors really never do.

-I have never heard
of somebody doing that

in an audition saying,
"Hey, can I have an extra day?"

"Can I come back tomorrow?"
-Yeah. But I had to say

it was so good.
-And he said okay?

-He said okay.

And I came back the next day,
and I kind of nailed it.

And he said, "Well, hm,
let me call your agent.

And I said, "[Sighs] Okay.

I'd love it if you call
my agent."

And I hadn't read any of
the script other than that.

-Other than that one speech?
-Yeah.

-You know, you heard the
question that I asked Lori.

Is there a little gay subtext
there between you and McDermott?

-Well, we were once
at a convention in Texas,

me and George and Jarlath,

we were talking about it,
and he said, "You haven't heard?

I'm going to make a movie called
'Gay of the Dead.'"

I said, "What?!"

[Laughter]

-We want that.
-No, we just tried to escape

the military, and the mess that
was inside the cave.

-Okay. Well, you
had cute decorating tastes.

I'll say that.

I thought there might
have been a love story

developing between you
and Lori, too.

And, I mean,
and there was, right?

-Yeah, I think so.
If we did a sequel, definitely.

-I don't want
to do any spoilers,

but that could create
a triangle situation later

if there was any gay subtext.

-Anyway.
-Yeah. That would be okay, too.

-Yeah.

-So, Terry, you also have had
a distinguished

New York acting career,
and you were in

"No Place To Be Somebody",

Charles Garden's play at
the Public Theater about --

It's about many things,
but very important play

in the civil rights movement.
-Yeah.

Won a Pulitzer in 1970.

First African-American play
to win a Pulitzer.

And it was a great character.

And the writer
directed me in it.

And one of the best auditions
I've ever had was a speech,

just like George, I had to
do the speech,

and I held the book in my hand,
and I took this gun,

and "You see this, Sweets?"

And I lost my place.

And he said, "Hire him, hire
him, he's the one we want."

And I said, "Oh, ooh.
Blew my mind."

-Oh, wow.
-He hired you at the moment

that you lost your place
in the script?

-Yes!
-Oh, wow.

That's how good you were.

That's how that's
how convincing you were.

He saw it on your face.

-But it's a great play.

And we ran in and out of that
play for almost two years,

making a national tour
all around the country.

-You know, that was a time in
the theater when there was

a belief that the theater
could really change the world.

-Yes.
-Absolutely.

-And, oh, Ron O'Neal
was in that play, right?

Super Fly was in the play.

You know, that's like --
that's the kind of world it was.

You know, one day, he's doing
the Pulitzer Prize

winning civil rights play.

The next day,
he's doing "Super Fly."

[Laughter]

So, the two of you,
Sarah and John,

you both believe
the only way out of the cave

is for everybody
to work together.

But the difference between you,
I think, is that,

Sarah, you think it's possible
to work together

and get out of the cave,
and, John,

you think it's probably
not possible, right?

-It's a waste of time, man.
You don't...

You don't want to waste time
with figures

and facts and things like that.

Time to go to the beach
and have fun.

-Yeah.
-That's all I wanted to do

in the movie --
get out of there.

-I mean, did you have a lot of
rehearsal time on these scenes?

-Well, I came in two weeks
into the shoot,

so I had those two weeks,
and then I had one line.

"That's right, man."

And then it was another
two weeks before

I got back on the set,
so I had plenty of time

to work all my lines
and get them right.

-So you guys
would get together and --

-Yeah, that's the thing.

I think we were
all generous --

-At the Holiday Inn Bar.

-Yeah, right.
-[Laughter]

-Did you like
the Holiday Inn bar?

-Yes, I did.

[Laughter]

-Oh, I think there are

going to be some stories
from the Holiday Inn bar.

I've been looking
in the wrong places.

So one of the criticisms of
the movie is that it is talky,

but as actors,
you probably like that, right?

You know,
there's a lot to do, right?

-Yeah.
-Yeah, the dialogue

was wonderful.

I mean, I get fans coming and
repeating all my lines to me.

-Yeah.
-So they were very important

to them.

I have some of
the most wonderful lines,

so I reveled in it.
I really did.

-So, Terry, eventually,
did you leave New York

and go to California
and do all those cop shows?

You did a bunch of TV
at one time, right?

-Yeah, I went a little bit
in New York, but mostly in L.A.,

a lot of cop shows.

Then I came back to New York
to do a soap opera,

and I was a police commissioner
there, too,

so that was two,
almost three years of that.

-You were
the police commissioner

in what soap opera?

-"One Life to Live."

-"One Life to Live." Okay.

-I love you in "House III."

-Oh, no!

[Laughter]

-Yeah, what was
"House III" like?

-What was it like working
on "House III"?

-Oh, I didn't last long
in that film.

The director got fired
and this and that.

It was a lot of problems,

and they ripped off my arms
and hung me up.

-Greg Nicotero...
-Yes.

-...did the special effects.

-He did your kill scene?
-Yeah.

And he reminded me years
later that he got me.

He said he was going to get me,
and he got me.

[Laughter]

-And you've done all
the East Coast cop shows, right?

Like "NYPD Blue" and
"Homicide: Life on the Street"

and "Law and Order."

Did you get typed as a --

-Different characters.

It was a street character
on "Homicide"

who tried to kill somebody.

On "Law and Order",
I was a neighbor.

A neighbor who gave testimony
as to what was happening.

And all those little parts
on "Law and Order"

made the difference
in the show.

That's why it lasted 20 years.
All these parts were great.

-Has there ever been
a New York actor

who has notdone an episode
of "Law and Order"?

-Exactly.
-No.

-I think there are people who
have done 16 different

characters on
"Law and Order."

-Yes.
-"Law and Order",

you know, they ran out of actors
a long time ago.

All right. We're going to go
back to the movie now.

And Sarah has just told John
that -- she just told you

you're a slacker, John.

And John has just told Sarah

that you are a hopelessly
self-deluded dreamer.

And maybe you're both right.
So roll the film.

And how cold was it down there
in the cave?

Do you know,
what was the temperature?

-Oh, like --
-40s, 50s, 40s mostly.

-In the 40s?

-Yeah, because we you
could see the smoke

coming out of our mouth,
the steam.

-And so, would they like have to
edit that out of the scenes?

-No, you can see some scenes,
it's in there.

-Oh, okay.
-Yeah.

-Because they advertise --
if you go to their website

today, they advertise,
"Keep your car down here,

Keep your RV down here.

-Yeah, because
the temperature is even.

-Why would you need to keep
a car in a cold cave?

What is that about?

-I think it's because
the temperature

is always the same
and something about that.

But they did have
all kinds of records there.

They had the Beatles first,
you know,

"The Master Tapes"
and all these.

There were a lot of records
down there.

-Really?
-I bet there still are.

-So, that's where they kept
all the old films.

-Yeah, because
of the temperature.

-And just like every day
before we got in the cave,

we had to don masks,

just like the past
three years of living.

-That's right.

-Because there was
limestone dust

and all kinds to make you sick.

-So you had to wear
the mask all the time

you weren't performing.
-That's right.

-Oh, yeah.
-Wow.

-Yeah, I forgot all about that.

That's why I have
such bad lungs now.

-I have another question
for Lori, if that's okay.

-Okay, go for it.

-You played a character
on "The Edge of Night"

named Winter Austin,

and she was an ex porn star
with a heart of gold.

-Right. She was.

I think it was my low voice.

[Laughter]

-I like it.
-Yeah. No. Yeah, she was.

And on "Ryan's Hope",
I played an ex --

Let's see, an ex hooker
with a heart of gold.

-Love it.
-So I just --

-Love the typecasting.

-Yeah, that's what it was.
Yeah.

But I didn't want to get stuck
in the soaps, honestly,

because it was a great
experience for a young actor.

But I wanted to do
different things, you know,

And so I did different things.

-Have you ever met
an ex porn star

with a heart of gold
in real life?

-Yeah.

-Okay, well, now
you've met another one.

-Oh, great, Darcy.
[Laughs]

-Joe Bob, you stuck.

[Laughter]

[Static crackles]

[Whirring]

[Rattling]

[Whirring stops]

[Door closes]

-You son of a bitch!

[Zombie groaning]

Damn it!

Damn it!

It's no good.

It's no fuckin' good.

-What is that stuff?

-It's something called beef
treats, which the army

provides us with so generously.

He won't touch it.

-[Sniffs] Shit.
I wouldn't either.

-Sorry.
We're fresh out of filet mignon.

-What is this?

Part of Logan's plan to try
and socialize these things?

He told me himself
they don't eat for nourishment.

What are we hoping for here?

-Hoping to satisfy the urge.

You see, Sarah, they're --
they are us.

They are the extensions of us.

They are the same animal, simply
functioning less perfectly.

They can be fooled,
don't you see?

They can be tricked into being
good little girls and boys,

the same way we were
tricked into it

on the promise
of some reward to come.

They have to be rewarded.
Reward is the key.

I'm convinced of that now.

Come.
I've got something to show you.

[Zombie growling]

[Table thudding]

That wasn't very nice, you know.

That wasn't very nice at all.

Let's go.

And you can just sit there
in the dark

and think about
what you've done.

Think about it.

Think.

♪♪

♪♪

[Feedback screeches]

I call him Bub.

That's what the club fellas
used to call my father.

Can you imagine
a surgeon called Bub?

Nobody seemed to mind, though.

He was rich.

My father was rich.

He used to say that I'd never
be rich doing pure research.

I'd never be rich.

Bub's been responding so well
lately, I've let him live.

Well, is he alive or dead?

Well, that's the question
these days, isn't it?

Well, let's say that I let him
continue to exist.

Hello, Bub!

Here are some toys for you.

Some nice things for you
to play with.

You remember them from before?

From before.

[Laughs]

Well, he's seen the other things
before, but the book is new.

[Clatters]

Look, look, look.

I thought he'd do that.

[Bub moaning]

Open it up.

He remembers.

He remembers everything
that he used to.

Bub, I'm very pleased.
Very pleased.

-What's he trying to prove?

I saw one of those things
sitting in a car in D.C.

trying to drive down
Independence Avenue.

It didn't make me
want to be its friend.

-No. It's amazing.

It's not what this one does,
but what he doesn't do.

-What do you mean?
-He doesn't get excited

and doesn't get agitated
when Logan walks in the room.

He doesn't see Logan as...

-Lunch.
-Dinner.

-Breakfast.
-[Both laughing]

-Maybe breakfast.

-Having fun?

What's he doing in there?

-No need for that, Captain.
He's quite docile.

Come in.

You can all come in.

Bub won't mind.

[Bub moaning]

-[Groans]

-Extraordinary, isn't it?

That's right, Bub.

Say hello.

-Come on, Captain.
Give me a break, will ya?

-Say hello to your aunt Alicia.

Say, "Hello, Aunt Alicia."

"Hello, Aunt Alicia."

Hello.

-[Mumbling]

[Thuds]

[Phone clangs]

-[Laughs]

-Apparently,
he was in the military.

Return the salute,
see what he does.

-You want me to salute
that pile of walking pus?

Salute my ass.

-Your ignorance is exceeded
only by your charm, Captain.

How are we going to set
an example for them

if we behave
barbarically ourselves?

Take the bullets out, please,

and let me
have your pistol, Sarah.

[Bub growling]

[Steel laughs]

[Bub moaning]

[Gun clicks]

♪♪

It's empty, Captain.

We saw the bullets come out.
Let's see what he does.

Let's see what Bub does
in this situation.

[Gun clicks]

[Bub moaning]

-Jesus Christ.

[Bub whimpering]

[Gun clatters]

-[Gasps]

-What are we supposed to do?

Teach 'em tricks?

What the fuck is wrong
with you people?

They're dead!

They're fucking dead, and you
want to teach 'em tricks?

-They have to be rewarded,
Captain.

Why else will they do
what we want them to do?

-I don't want 'em
to do anything but drop over!

-Yes, well,
apparently they're not inclined

to do that for you, Captain.

-Is this your progress?

Is this the shit that's supposed
to knock our socks off?

-It's the beginning, yes.

It's the bare beginning
of social behavior.

Of civilized behavior.

Civil behavior is what
distinguishes us

from the lower forms.

It's what enables us
to communicate,

to go about things
in an orderly fashion

without attacking each other
like beasts in the wild.

Civility must be rewarded,
Captain.

If it isn't rewarded,

there's no use for it.

There's just no use
for it at all.

♪♪

[Static crackles]

-That is Howard Sherman
as Bub the zombie,

and a great performance.

Some say that performance
is worthy of comparison

to Boris Karloff
because he had the similar

kind of challenges
of how to do it.

And of course, a portion
of credit for that performance

has to go to Tom Savini,

who designed the makeup
and the prosthetic appliances

that conform
to Howard Sherman's face.

And then the crazed doctor Logan
is played by Richard Liberty

in what would turn out
to be his most famous role.

You know, some evidence
of how crazy he is at this point

that the doctor expects Bob --

Bob? Bub.

He expects Bub to read
"Salem's Lot"

by Stephen King, you know?

So what was it like working
with these two actors, Lori?

-Oh, my goodness.
You can imagine.

I mean, he was, well,

Richard would make me laugh
on set all the time.

That was hard because
he had that blood

and it would be sticking
all over his gloves, you know?

But he was a really good actor.
I mean, obviously, right?

And Howard was tremendous

because he really worked
that character.

I mean, every aspect of that
character was thought out well

and, you know, he brought
a lot to it as an actor.

And George was always
open to his actors.

He was great that way.

-That's like those
wordless roles

sometimes are the greatest,
you know, scene stealers.

-Right.
-Like, you know, we had that guy

who played the baby in
"The Baby."

You know, same thing.

You know, it's like
he had nothing to say.

But, okay, well, we have one
more guest with us tonight,

the radio operator
and the roommate of John,

the whiskey guzzling
Irishman McDermott,

played by Jarlath Conroy,
originally from Galway, Ireland.

Come on out, Jarlath.

[Cheers and applause]

-Oh!

[Laughter]

-Okay! Okay, he answered.
-"Gay of the Dead!"

-He answered that question.
It is "Gay of the Dead."

[Laughter]

-Oh, Jarlath,
thank you for being here.

-Welcome.
-Oh, thank you.

-Jesus, Mary, and Joseph.

[Laughter]

-But he says something
about Teresa.

[Laughter]

-You still do. Oh, man.

You know, I don't want to say

that they ask you to be
a little stereotypical, Jarlath,

but, you know, they said
"You're an Irishman,

and here's a whiskey flask,
right?"

[Laughter]
-Yeah.

I guess so. Yeah.

-You still -- but you do
the Irish pub crawl

in New York City, right?

That annual thing
where the actors go from

bar to bar reading passages
from James Joyce.

Who does that?

How can you be drunk and read
a passage from James Joyce?

-It's a long time ago
since I took part in,

what was it called?
Bloomsday?

-Yeah.
-It's June 16, I think.

But we did that up
at the Symphony Space.

But the pub crawl I never did.

I don't have
the constitution for it.

-Oh, okay.
I just thought --

I mean, only Irishman
would do this.

We're going to
drink all day long,

and we're going to read
James Joyce.

-Well...
-[Laughter]

-...there are worse ways to go.

-So, Jarlath, you've done
everything on stage

that it is possible to do.

You have done Broadway,
off-Broadway,

the London Stage, The Old Vic?

-Yeah.
-All the classics like

"The Seagull"
and "The Iceman Cometh"

and "The Homecoming"
and "On the Waterfront."

You did that one. I think --

You did Scrooge one year,
didn't you?

-I did Scrooge at Ford's Theater
in Washington, DC,

for two seasons.

And the third Christmas,
I was going to do it again,

but I got cast
in "Day of the Dead."

-"Day of the Dead." Okay.
Really? Okay.

So, and you've done lots
of Shakespeare, obviously.

Now, how many times have you
been asked to play

an alcoholic Irishman?

-Uh...

once.

-Just once?! Really?

-Yes.
-Okay.

-This is the only time?
-Yeah.

-So what was Romero
going for with that?

I mean, it's kind of
on the nose.

I mean, he's Irish,
and he drinks too much.

Why would he go with that?

-You know, I didn't
even notice

that stereotype at the time.

But then a lot of stuff
goes over my head.

But I didn't plug into that.

It's just he was a character,
and he wasn't really a boozer,

but he liked
to have a little flask.

-Yeah.
-I met George Romero

because an actor
who has passed on now,

Ken Ryan, auditioned
for Romero and said,

"If you're not going to use me,
you should see Jarlath Conroy."

-Okay.
-And I mean,

I was an out of work.

-And so George Romero said,

"Okay, I'm not going to use you.
Where's Jarlath?"

-Allen?
-Is that what happened?

-That's what happened.
Well, I don't know --

-He thought it was
a weak audition or something?

-He just wanted to
get another -- Who knows?

-Oh, thank you for
giving me a reference.

-Who knows? Absolutely.

I've always thank him
because without him,

I wouldn't have met George.

-Okay.

You tell me. What were you
going for with that role?

How did you prepare
for that particular role,

the McDermott character?

-Well, I didn't do
a lot of preparation.

I had to kind of do it
on the spot

because it really depended on
the rhythm of the scene.

And McDermott has some
funny placements, you know,

funny lines
or just even statements

that are funny in context.
-Right.

-And you really have to wait
to see what's being set up

before you can do that,

before you can deliver it,
and it succeeded fairly well.

-Okay. Do your two worlds
cross very often?

Does anybody come backstage
after you do

"A Midsummer Night's Dream"
in the West End or something

and ask you about
"Day of the Dead"?

-No.

[Laughter]

They seem to be
two separate worlds altogether.

I don't think I have --
I don't think...

In Whole Foods.

[Laughter]

In the vegetable department,
one of the workers there,

Marco I think his name was,
he says,

"I know who you are."

Because he had seen
"Day of the Dead."

-Oh, that's great.
-Yes, Marco!

-So did you -- when you did meet
George Romero,

it was just
a straight up audition?

-Straight up audition.

I couldn't even tell you
what pages I auditioned on.

-Okay. And so I'm taking --
I'm assuming

from the way you came out
that you're you're not buying

into the gay subtext
in this movie?

-Never crossed my mind
until you mentioned it.

[Laughter]

-Okay.
-Just like the pills.

-May have been
the last opportunity.

-There's something
that's happened

in the last 30 years or so,

which is we look for gay subtext
everywhere now.

You know, it's like
it's a thing.

So, all right,
well, I hope all three of you

can stick around
for one more segment

because it's going to start
to get nasty

and gnarly in "Day of the Dead."

This last 30 minutes
of the movie is pretty intense.

So roll the movie.

Do you do you love whiskey
in real life, by the way?

-I do.

Far more than I can...

-Only Irish whiskey?

-No, I like a good scotch.
-Okay.

-Bourbon, it's so chuggable,

you don't want to...
I don't want to --

-You don't like American Burger?

-Oh, I love it.
-You do?

-Drink it like lemonade.

-[Laughter]
-Okay.

Oh, I see.
So it's like it's not --

Not aged enough. Too much corn.

-Too much sugar. Yeah.
Whatever it is.

-Okay.
-Sweet.

-Well, we're wild turkey
people here.

-Oh, well, that's the one.

-Speak for yourself, sir.

-Well, those of us who are not
vegan are wild turkey people.

Although I think
bourbon is vegan.

-Yes.
-Bourbon is vegan.

-It's made from corn.
-Yes. It's just nasty.

-All right.

-Russell's Reserve,
small batch wild turkey. Yummy.

-Nasty.
-Yeah.

-Nasty.

[Static crackles]

[Door scraping]

[Zombies groaning]

♪♪

-'Possum ready?

Come on, grab it.
Come on.

You got it?

Hey.

You got it?

♪♪

[Zombies groaning]

-No!

[Groans]

-No! No!

Miller! Miller!

-[Screaming]
-[Gun firing]

-I didn't do it!

I didn't do it!

[Screams]

I didn't do it!

[Zombies groaning]

[Miguel screaming]

[Gun fires]

[Screams]

[Miguel screaming]

♪♪

-[Gasps]
Don't let this happen.

Don't let this happen to me.

I don't want to be one of them.

Take me.

Please, take me.

[Gurgling]

♪♪

[Gun fires]

[Thuds]

♪♪

[Miguel screaming]

[Screams]

[Rock thuds]

[Sarah groans]

[Knife thuds]

-I need fire.

♪♪

♪♪

♪♪

[Flesh sizzling]

-[Screams]

♪♪

[Screams]

♪♪

[Men shouting]

-Jesus, Mary and Joseph!

[Gun cocks]

-Get out of the way, lady.

-No.
I amputated the infected area.

I think I caught it in time.

-Yeah?
But what if you didn't?

-If I didn't,
I'll shoot him myself.

-It's the spic.
The yellow son of a bitch.

It's his fault this happened.

It's his yellow fuckin' fault.

Get out of the way, bitch,

or I'll go right
through you with this.

[Guns clicking]

-We're getting to make this
a habit, man,

pointing guns
at each other, you know.

-We just lost two men
'cause of this motherfucker.

-Well that kind of evens
the odds between us then.

-The spic's been bit, Captain.

We got to blast him.
He's been bit!

-I got the infection in time.
-That's bullshit, lady.

I seen a thousand of 'em.

He's gonna die.

-If he dies,
I'll destroy him myself.

-Unless he gets you first.

You may still want
to sleep with him.

I don't want him
inside the complex.

-We'll keep him out here,
with us.

-We got to blast him, Captain.

[Gun clicks]

-That'd be doing
him a favor, Steel.

You think he wants to walk
around after he's dead?

You think he wants to be
one of those things?

Think about it, lady.

And think about this, all of ya.

From now on, you ain't getting
shit from me and my men.

Tomorrow morning, we're going
inside that corral,

and we ain't coming out till
every one of those rotten

piles of garbage
has been wasted.

Come on, Steel.

Get out of there, Steel!
We got better things to do!

-You're on my shit list, flyboy.

[Gun clicks]

-Thank you.

-Let's take him inside,
clean him up.

Think you can move him?

-I think so.

♪♪

♪♪

[Sobbing]

♪♪

-It's all right.

-[Sobs]

-Shh, shh, shh.

♪♪

♪♪

♪♪

It's a man's sweater.
Try it on.

-Thanks.

I have to go to the lab.

He's going to need some morphine
along with some other supplies.

-I'd better go along.

I'm sure those boys haven't
calmed themselves down yet.

-I'm sorry I said
those things about you.

-I'm sorry, too. Really.

-Well, what do you know?

We are heroes after all.

What a relief.

♪♪

♪♪

-Sarah.

He might not make it, you know?

-I know it.

At least we gave him a chance.

-I'll keep an eye on him.

Hey.

You guys be careful.

You're not back in half an hour,
I'm coming out to look for you.

-They'll leave us alone.

-Half an hour.

-We'll be back.

♪♪

♪♪

Jesus God almighty.

-The resident surgeon has been
burning the midnight oils.

-What the hell
has he been doin' down here,

slaughtering cattle?

-In his mind, that's
probably not far from the truth.

♪♪

[Tape recorder whirring]

♪♪

♪♪

-Grandfather's talking.
His mind's talking.

There. I've put it away.
I've put it away, mother.

I've put it away.

Bastard. Be civilized!

-[Zombie groaning]
-Be civilized!

Take that! Take that!

Take that!

Five minutes, mother.

Just five minutes.

-My God.

Oh, my God.

-Father's talking. I wouldn't
wear one of father's --

[Clatters, tape recording stops]

-No, Sarah! Don't!

It'll just bring out Rhodes
and the men.

Leave it be, leave it be.

Let's go.

Let's get out of here.

I'm beginning to think we should
take that helicopter

before somebody else does.

♪♪

♪♪

[Keys jingling]

[Lock clicking]

-Hello, Bub!

[Bub growling]

Mother is very proud of you.

Very, very proud indeed.

You did quite nicely today.

♪♪

♪♪

♪♪

♪♪

[Choir singing
in foreign language]

[Bub groaning]

[Choir singing
in foreign language]

[Bub groaning]

[Clicks]

[Groans]

[Choir faintly singing
in foreign language]

-I don't believe it.

-Logan's star pupil.

-Now, tomorrow, we can play
with these things again.

Now it's time for your reward.

I brought you something good.

[Bub groaning]

♪♪

-What is that?

Is that...?

♪♪

-It can't be.

Oh, God.

Oh, Jesus. It can't --
[Gasps]

-Good night, Bub.

-What are you giving him
in there, Frankenstein?

-What?

-What is it, huh?

What do you give him?

♪♪

-Scum!

-No, you, you must listen
to me, Captain.

You must listen!

-Listen to this.

[Gun firing]

-Hold it, Fisher.

Torrez, get his gun.

-Take all the guns.

All of 'em.

All their fucking guns!

Take all their guns.

All their guns!

Those are my men in there.

My men.

Those are my men in there!

♪♪

[Gun clicking]

♪♪

♪♪

♪♪

♪♪

[People chattering]

-Hey, hey, hey!
-Watch it.

-What's up?
-Hey, hey, hey.

-Hold it right there, Rhodes.

-Frankenstein's dead.

This scum gets it next

unless you throw your weapons
out right now.

-He means it, Johnny.
He killed Logan in cold blood.

-I killed Logan
because he was a butcher.

I'll kill the rest of them
one at a time,

unless you get your black ass
out here, fly boy.

-Let him go, Rhodes.

-Torrez, get his machete.

We're getting out of here
right now.

You give me any shit about it,
I blow his head off.

-Whirlybird can't hold us all.

-Us all ain't going.

Me, my men, you.

That's it.

-You'll never get me
to do that, Rhodes.

[Gun fires]

-No!

-Rickles, open the gate.

Steel, shove 'em in there.

-Stop it!

♪♪

-Have a nice visit
with McDermott, huh?

[Zombies groaning]

♪♪

-Rhodes, don't do this, please.

-You gonna give us a ride,
flyboy?

-I'll do whatever you say, man.

Let 'em go now.

♪♪

Rhodes.

Let 'em off.

I'll take you wherever
you want to go.

-Like you said,
chopper can't hold us all.

[Zombies groaning]

-Rhodes, don't do it.

You do it, and I won't fly.

I swear, you got to kill me
before I fly.

Let 'em out.

That's the deal.

I make the deals around here,
not you.

Now you get your shit together,
whatever you need.

-Isn't there an old silo
back there?

-No. We can't go back there
without guns.

-We can't stay here.
They'll tear us apart.

-Oh, Jesus, Mary and Joseph.

-Don't shoot him!

We need his ass.

Steel, kick him
around a little bit.

Might knock some sense
into that jungle-bunny head.

♪♪

-Captain!

[Blow thudding]

-[Zombies groaning]
-That's it.

Run, you fuckin' lunatics.

-[Groans]

[Blows thudding]

♪♪

♪♪

-They're gone, flyboy.

Let's go.

-Not a chance.

[Metal rattling]

Jesus Christ.
That's the elevator.

-Check it out.

[Thuds]

♪♪

[Elevator whirring]

♪♪

♪♪

[Slurping]

♪♪

[Chain rattles]

♪♪

[Bub moaning]

♪♪

[Static crackles]

-So when all hell breaks loose
in the underground,

you Sarah, Lori,

you have two moments that are

sort of the yin and the yang
of your character.

You grab your bitten boyfriend,
and you hack off his arm,

and you do it very quickly,
you do it very decisively.

And then a few
minutes later, though,

you collapse in tears
into the arms of John, actually.

So you have a breaking point.

But even when you're
at your breaking point,

you're able to step in
and take the needed action.

So, now my so my question is,
was that shot in sequence?

-Let's see.

-Because it's
really close together.

-Yes, it was.
-So from the time you hack

to the time you fall
into John's arms.

-Yeah, that was all shot --
Well, it wasn't the same day

because the first time
we did the hack of the arm,

the machete went down
and it bounced right off the arm

because it was made out of
something that didn't sink in.

So we had to do it the next day,

and, yeah, it was
in sequence, yeah.

I thought that character
was trying to be strong,

trying to be strong
the whole way,

and this was an opportunity
to show her softer side,

and she did break down, but then
her softer side came through.

-Okay.

So I'm thinking, like,
if any of the three of you

went to an audition
and they said,

"Do you know martial arts,"
you would have said yes

because you would have
lied about it, right?

So are any of you trained
in fighting?

You are? Okay.

Because there was
a lot of fighting

that looked like
it was not doubles.

It was not doubles
when you were

when you were fighting your way
out of the cave, right?

-No, no.
-You did some physical.

-Oh, yeah. I studied
with B.H. Barry.

-Demanding physical stuff.
-Yeah. Mm-hmm.

-I mean, because, Lori,
you you still want to,

at the end of this whole thing,

you still want to, like,
try to work together

and preserve the research
and all that stuff.

You two just want to get out.

And you, Jarlath, want to get
out without the aid

of your whiskey flask because
you run out of whiskey, right?

-Right, right, right.
Throw it away.

-So it's the right wingers
against the left wingers.

You know, there's
the right winger army guys

and the left winger
sort of scientist people,

and they wipe each other out.

And then the conflicted people
in the middle,

which would be you two guys,
are the ones escaping.

So there's very weird
anti-hero stuff going on here.

You know, it's like,
I'm not on that side.

I'm not on this side either,
I'm just going to get --

get the hell out of here.

So you guys have any idea
about what it all means?

-Sociologically,
George put us together,

the dregs of society,
the Irish and the black man.

They don't want to be
bothered with that.

So that's what made us
partners kind of.

George was very specific
about his symbols.

-Oh, okay.

So he said he wanted
you to be outsiders...

-We were
-...from American society,

so that --

-Maybe we could become heroes.

-So maybe that was the answer.

Maybe the outsiders are the ones
that could save civilization.

-Yeah.
-Mm-hmm. Yeah.

-So that's a good message.
-Yeah.

-That's a good meaning.

During the past 38 years,
have you often thought about

"Day of the Dead"?

-Well, yeah.

-Quite often, because we meet
at conventions.

-Right.
-Yeah.

-And we managed
to stay in touch.

-And you do a lot
of conventions?

-Some.
-They have reunions?

-Yeah. Sometimes.

-Because for much
of that time,

especially in the early time,
the '80s and '90s,

it was considered
kind of a failed movie.

-Yeah, we felt that way, too.
I mean, we felt bad about that.

-Really? But when did you
start to feel like,

"Oh, wow, there's a huge
audience for this movie"?

-When we started doing
the conventions

and the fans came to us

and told us what the movie
meant to them,

and it was very, very humbling.

And it was also just
a great, you know, it felt great

because we were the poor people
of the zombies, you know?

-Yeah.
-There was great enthusiasm

from the fans.

Just very impressive.
Impressive.

-Yeah.
-It's still growing.

-Yeah, it's still growing.
I mean...

-Jarlath, you got to tell that
story about killing

the guy with the shovel, killing
the zombie with a shovel.

-In the corral, at the end
when we're fighting to get out

to go up on the ladders,
there was an actor in a kimono,

and I can't remember his name,
but he was in a kimono.

And he was an Asian actor,
and he was a black belt,

black belt in karate.

And I used to hang out
with him at the hotel,

and we became pals,
and we hung out a bit.

But he was so trained
that every time I moved

at the bar or at the table,

his position
would change automatically.

Just unconsciously,
he would do it.

So I had to hit him on the side
of the head with a shovel,

and I had to explain
to him, I said,

"Please, I'm going to hit you
on the side of the head.

It's a rubber shovel,
so when I hit you,

don't attack me," basically.

-You thought his instincts
would take over?

-I thought, yes,
I thought they might,

What he actually did
was a somersault.

And I don't know if they caught
it on camera.

-Really?
-But I hit him with the shovel,

and he did a somersault.

-Oh, wow. That's like one of
those Filipino movies,

you know, where they
machine gun the guys

and they they somersault
out of the foxholes.

[Laughter]

-You know, so...
-That's right.

-Well, I want to thank all of
you for being with us tonight.

This was great.

We're about to watch
one of the all time gross out

paint the walls red,
intestine feast extravaganzas

of horror.

And with a conclusion like that,

Romero definitely was not going
to get his "R" rating that,

you know, his producers
wanted him to get.

But I think we have voted all
three of you in as the owners

of some of the most important
moments in horror.

-Thank you.
-You know, so congratulations

for that.

It's part of history now.

And I guess roll the film.

What's your favorite
kill, Darcy?

-I mean, it has to
be Captain Rhodes, right?

-Yeah, that's pretty intense.
-Joe Pilato.

-Yes.
-Yeah.

-And I think Tom Savini
and Greg Nicotero

would agree.

I think they consider that
one of their proudest moments.

But we can't forget
the Granati brothers.

Did you guys meet
the Granati brothers?

-Yeah.

-You didn't meet
the Granati brothers?

-The musicians?
-There were four brothers,

all playing zombies,

and those are the ones
pulling Captain Rhodes apart.

It's four brothers making
Captain Rhodes have that

really, really bad day.

-Dude, don't do spoilers.

-Oh, I forgot.
All right, all right.

I'm not saying what they do.
I'm just...

I'm just giving credit to the
Granati family of Pittsburgh.

-That's nice.

-And they have a rock band
called G-force.

-Yes, they did.
They played for us.

-Oh, so you met
the Granati brothers?

-Yeah, we danced at
the wrap party.

They were playing the music.

-Oh, okay. All right.
-They were nice guys.

-So they're
the rock band zombies.

-Right. That's awesome.
-All right.

Okay.

-You're right. We definitely
needed to know that.

-All right. So thank you.

-You're welcome.

-The Joe Pilato kill,
I wasn't in it, but I was

next to George when they
were tearing his stomach out.

So I looked at George
and I said, "You know,

where's this coming from?"

[Laughter]

And he goes...

[Laughter]

-I hope you all got that.

[Static crackles]

[Footsteps thudding]

[Zombies groaning]

-Aw, Jesus.

-Rock slide.
We can't get through.

-This way.
We can try and get around.

[Sarah screams]

[Zombies groaning]

[Screams]

[Blow thuds]

[Zombies groaning]

[Sarah screams]

[Zombies groaning]

[Sarah screams]

-[Screams] Oh, it's you.
This way.

♪♪

[Birds squawking]

-Let's go, Torrez. Get up.

[Gun firing]

[Blow thuds]

♪♪

[Guns click]

♪♪

♪♪

♪♪

[Electricity crackling]

♪♪

-Shit!
Somebody took this apart.

The only other control's up
on the platform with a hand box.

-Oh, Jesus.

Rickles,
we can't get out of here.

-Fix it.
Can't you fix it?

-It's that fuckin' spic
that did this!

-Fix it!

Come on, man!

-Fix what?
-Fix -- fix the box, man!

Come on, fix it!
-Fix what?

He tore the fucking guts
out of it, Rickles!

I can't fix it!

-We got the book here, man!
We can fix it!

♪♪

♪♪

-Bastard.

♪♪

[Birds squawking]

-Sarah!

[Echoing] Sarah, Sarah!

Billy!

[Echoing] Billy, Billy!

-John!

[Echoing] John! John!

[Zombies groaning]

[Gun fires]

[Gunfire]

[Zombies groaning]

[Clangs]

-[Grunts]

-Let's keep moving.

♪♪

[Zombies growling]

[Gun fires]

♪♪

[Zombies groaning]

[Gun fires]

♪♪

[Zombie groaning]

♪♪

[Gun fires]

[Zombie moaning]

♪♪

[Zombies growling]

♪♪

♪♪

[Zombies groaning]

♪♪

[Zombies groaning]

-Hold it on.

-[Electricity crackling]
-Fuck!

-What's going on?
-That spic.

He ripped these controls out,
the little yellow bastard.

-The little shit.

The little fuckin' shit.

He tried to make a run for it.

[Zombies groaning]

[Flesh squelching]

-[Screams]

[Alarm blaring]

[Zombies groaning]

-Holy shit!

-Holy fuckin' shit.

♪♪

[Zombies groaning]

[Zombies groaning]

-Rhodes!

Rhodes, you bastard!

[Zombies groaning]

♪♪

♪♪

[Thuds]

♪♪

[Panting]

♪♪

♪♪

[Bub moaning]

[Chain rattling]

♪♪

[Bub moaning]

♪♪

♪♪

[Groans]

♪♪

[Wails]

[Grunting]

[Chain clanking]

♪♪

♪♪

♪♪

[Zombies growling]

♪♪

♪♪

♪♪

[Zombies groaning]

-[Screams]

[Flesh squelching]

[Screams]

♪♪

♪♪

[Zombies groaning]

♪♪

-Oh, shit!

[Gun firing]

[Yells]

Shit!

[Zombies growling]

Fuck!

[Gun fires]

[Zombies groaning]

♪♪

-[Gun firing]
-[Screams]

Holy shit!

[Cackling]

[Gun firing]

[Laughing]

[Screaming]

[Flesh squelching]

[Screaming]

♪♪

♪♪

[Gun firing]

[Gun fires]

[Gun clicks]

[Gun firing]

♪♪

-Shit!

[Fist thuds]

Rhodes!

Goddamn, Rhodes!

Open the door,
you son of a bitch!

[Zombies groaning]

Rhodes!

[Gun firing]

♪♪

[Zombies groaning]

♪♪

♪♪

♪♪

♪♪

[Gun clicking]

Shit!

[Gun fires]

♪♪

[Chain rattling]

[Gun clicks]

Come on, Bub.

Come on, you pus-brained bag
of shit.

You want to learn
how to shoot, Bub?

I'll teach you how to shoot.

Come on, you bag of --

[Zombies groaning]

♪♪

[Screams]

[Zombies groaning]

♪♪

[Zombies groaning]

♪♪

[Zombies groaning]

♪♪

[Gun fires]

[Zombies groaning]

[Zombies groaning]

-Oh!

[Gun firing]

[Guns firing]

-Let's go.
Follow the red lights.

♪♪

♪♪

-It's temporarily
out of service.

-The ladder! Go ahead.
Up, up. Up!

♪♪

[Zombie groaning]

[Gun fires]

♪♪

[Zombie growling]

[Gun clicking]

[Gun fires]

-Come along, Johnny.

We're countin' on ya to fly us
to the promised land.

♪♪

♪♪

♪♪

♪♪

♪♪

-Come on, come on.

Come on!

-[Gun fires]
-Shit!

Ah!

[Groans]

You fuck.

[Screams]

[Bub groans]

You pus fuck!

You fuck!

[Gun fires]

You pus fuck!

You pus fuck!

[Groans]

[Screams]

You -- [Groans]

[Chains rattling]

Come on!

Come on! Come on!

Come on!

Come on!

[Door rattling]

Come on!

Come on!

[Zombies groaning]

[Screams]

[Gun fires]

[Zombies groaning]

[Gasps]

[Zombies groaning]

♪♪

♪♪

[Gasping]

Choke on 'em!

Choke on 'em!

[Zombies groaning]

♪♪

♪♪

♪♪

[Zombies moaning]

[Zombies snarling]

[Door thuds]

[Zombies groaning]

♪♪

♪♪

-Let's hope they filled up
the gas tank

from the other night.

-Oh, my God.

-Come on, come on!

[Gate rattling]

[Zombies groaning]

Get in, get in!

-[Screams]

[Birds chirping]

♪♪

♪♪

♪♪

[Seagulls crying]

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

-♪ Eyes ♪

♪ Eyes, eyes ♪

♪ Is it you ♪

♪ Is it me ♪

♪ Holding on for so long ♪

♪ Trying desperately ♪

♪ Is it right ♪

♪ Oh, oh, oh, is it fair ♪

♪ Wanting more, so much more ♪

♪ And it's never there ♪

♪ I am with you when ♪

♪ I feel like I'm alone ♪

♪ It's easy to pretend ♪

♪ This world could never end ♪

♪ Come take my heart,
my soul, my love ♪

♪ My life ♪

♪ Tonight ♪

♪ Love me ♪

♪ Tonight, babe ♪

♪ Take me to the world inside ♪

♪ Your eyes ♪

♪ Tonight ♪

♪♪

[Static crackles]

-So our three guests tonight are
the only survivors,

and they end up
on that Caribbean island

fishing and sunbathing.

So everything John said
is right?

The world is ending.

There's nothing
we can do about it

except smoke weed and have sex.

You know,
what am I missing here?

What happened to that
angry young flamethrower of 1968

who wrote
"Night of the Living Dead"?

What do you think, Darcy?

Darcy?

Are you out there?

[Soft growling]

Well...

We know from "Zombie",
the movie we started the season

with, that there are
underwater zombies

so that beach could be crawling
with them at any moment.

So how safe
are those people, really?

I guess Romero was determined
to be anti-Hollywood

right up to the end.

There are no John Waynes,
and even the people you think of

as John Waynes
are going to lose.

Struggle is noble, though.

Even when you've got
no chance of winning,

even if you're outnumbered,
outgunned, out everything.

The struggle, that's what we do.

I don't know. Maybe --
Maybe it's that ending

or the fact
that the season is over.

But it's got me feeling like
I just discovered

the skull of Yorick.

You know, he was the funniest
guy. Remember him?

He was the funniest guy
in Denmark, right?

He was the life of the party.

He was full of vigor, strength.

He was famous, and they couldn't
even bury him right.

I'm sure the people
at his funeral said

he would never be forgotten.

And they were lying.

They were lying to themselves.

[Soft growling]

Maybe we're dead already.

Maybe we have no right
to be here.

Maybe life was
never here at all.

[Zombies growling]

♪♪

♪♪

♪ Sometimes life is so sublime ♪

♪ Enjoy it in your prime ♪

♪ Other times,
life's full of strife ♪

♪ And cuts you with a knife ♪

♪ But we all must ramble on ♪

♪ Learn to love and shamble on ♪

♪ This is not the end ♪

♪ Oh, not goodbye ♪

♪ See you on the other side ♪

-♪ You have to ramble on
and shamble on ♪

[Flesh tearing]

-♪ See you on the other side ♪

-♪ We'll get along
and sing a song ♪

-♪ See you on the other side ♪

-♪ You have to ramble on
and shamble on ♪

-♪ See you on the other side ♪

-♪ We'll get along
and sing a song ♪

-♪ See you on the other side ♪

♪ See you on the other side ♪

♪ At the drive-in the sky ♪

♪♪

[Zombies snarling]

-♪ We are drive-in mutants ♪

-♪ Drive-in mutants ♪

-♪ We are not like
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 ♪

♪ 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 ♪