Original subtitles

THE NIGHT OF THE BLIND TERROR (TOMBS OF THE BLIND DEAD)

A Spanish-Portuguese Co-Production

Plata Films S.A. ~ Madrid Interfilme ~ Lisbon

Script by Amando de Ossorio

Assistant Director: Paulino González

Makeup Artist: José Luis Campos

Camera Operator [2nd unit]: Félix Mirón

Assistant Designer: Rafael Ablanque

Assistant Camera: Luis Alcolea

Assistant Editor: Concha Piño

Still Photographer: Julio Wizuete

Assistant Makeup Artist: Carmen Teran

Assistant Producer: Ramón Escribano

Deputy Producer: José Sánchez

Production Secretary: Ángela Escribano

Special Effects: José Gómez Soria

Eletrical: Abamova (Fernando Moreno)

Archive Effects: S.I.R.E.

Film and Sound: ROMA

Sound Recording: José María San Mateo

Sound Effects: Luis Castro

Music Recording: AUDIOFILM

Music Editor: L. Fdez. Soria

Set Design: Juan García

Costume Design: CORNEJO

Costume Designer: Pablo Espinosa

Props: Vazquez Brothers

Electrical: ABAMOVA

Exteriors shot in Estoril, Setubal, Lisbon (Portugal)

Exteriors shot in Palmela, Sesimbra (Portugal)

Exteriors shot in Monastery of Cercon (Madrid)

Legal Deposit: M-29400-1971

Production Managers Manuel Amigo

Production Managers Victor Dacosta

Editor: José Antonio Rojo

Production Designer: Jaime Duarte De Brito

Director of Cinematography: Pablo Ripoll

Music by: Antón García Abril

Executive Producer: Salvadore Romero

Director of Production: José Antonio Pérez Giner

Director Amando de Ossorio

I'm going out with a guy, but it's not serious.

You know, I wanted to call you.

- Still, I'd only get in the way. - You could bring a friend with you.

I don't have any friends.

- But I'll look for one. - They'll come flying.

No. Men are really difficult these days.

The secret lies in pumping enough fuel.

We won't have any problems...

if the boilers full. - I see.

You're taking charge,

including checking the passengers for tickets.

Yes, Father.

Load the coal. We're leaving.

It's not that.

My friend was coming, but he canceled at the last minute.

- His loss. Are we off? - Not me. I just came to tell you.

You could have phoned the station.

I did, but a very nasty man told me that they can't relay messages...

to the passengers once they're on the platform, so...

please forgive me, and have fun. Bye.

Wait a second. You're coming with us.

Isn't she, Virginia?

Okay.

The landscapes beautiful.

It looks like we're the only ones here.

Not really.

It's a great hotel. The best air you'll ever breathe.

Speaking of air, have you got some cream?

I don't need any.

I do. You see, I'm a city girl. I don't want my nose to peel off.

I think she's upset.

I don't see why.

It's only natural. I think we've been a bit inconsiderate.

I told you, there's nothing between us.

And I really like you.

It had to happen sooner or later.

Not with me. She's my best friend.

She's my friend, too. But what can you do?

I'm sorry, Betty.

I don't know what's wrong with me.

I don't understand why I reacted that way.

Calm down. It doesn't matter.

It was childish,

because you're still the same little girl.

The same girl who'd come to my room trembling...

who needed my trust,

and answers to so many questions.

Please, stop. Don't talk about that.

I'll never forget you.

And you'll never forget me.

Remember what I taught you.

Have fun.

She doesn't know what she's getting into.

Father, what is it?

Nothing. Put more coal in the boiler.

Very good.

No signs of Virginia.

She couldn't have stayed.

She probably left after seeing all this.

Come on, she must be around somewhere.

What are you doing, Betty?

That wig doesn't go with a blue-eyed mannequin.

You're right.

I'm obsessed.

It's all been so horrible.

Forget your friend. Focus on your work.

That's easy for you to say.

If you'd seen her....

It would drive anyone crazy.

It'd be good for you to take a trip,

have a change of scenery.

I might as well.

Once I find out what happened to Virginia.

It's better to leave things as they are.

You know something about Berzano, don't you?

I don't want to talk about it.

Open the door. That must be Roger.

Will you open it already?

WEEKDAYS 8 TO 7 PM NATIONAL MINISTRY OF EDUCATION

Their stories are fantastic and incredible.

No one has been able to uncover their great mysteries.

Do you think the village....

In the 13th century,

Berzano was the seat of one of their priories.

Do you remember the voodoo rites?

Faust, and all those who make pacts with the evil spirit...

do so with blood.

The knights performed human sacrifices...

consummating the offering with a virgin's blood.

Theyre spreading fear.

And keeping people away from the area

where they commit their crimes.

That's terrible.

This is a nightmare.

Be very careful.

Your workshop is very close to the morgue.

Listen. Lock the door.

It doesn't matter. Todays a special day. Do it.

Listen to me. We're in danger.

I'll explain it to you later.

Thats it. Bye.

Pedro! Pedro!

Pedro! Pedro!

Let that idiot yell.

Something's up.

- Whatever. - It could be the police.

Pedro!

You've pulled that trick on me twice.

They'll be after me sooner or later.

All because of that cow, Amalia.

Why so difficult?

Tell me you're going with her, and thats it.

I'll find a guy.

What are you waiting for?

Do you like seeing him naked?

I'll be caught one day,

but not by a woman.

At least I'll know where you spend the night.

I cant. I've got a job here.

You're right to refuse.

I wouldn't do it if I were you.

- When are we leaving? - Right away.

We must spend the night in Berzano.

The night? You mean sleep in Berzano?

- Yes. Are you afraid? - All right. Fine.

If you go, I'm going with you.

You have to accept things as they come.

And you're not bad at all.

- Here. Have some. - What is it?

Rum.

Have some more.

Warm up.

Enjoy the party.

They're hiding.

They must be around somewhere in the abbey.

What do you think they'll do?

I don't know. Visit it.

You really think so?

You're very strange.

You'd better not try.

- This is a cemetery. - Quiet.

- No! - What's the difference?

Let me go! No!

No!

Miss.

THE END