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Speaker 1: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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Speaker 2: Hey, welcome to Weird House Cinema. This is Rob Lamb.

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Speaker 3: And this is Joe McCormick. And on today's Halloween season

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Speaker 3: edition of Weird House Cinema, we're going to be talking

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Speaker 3: about the 1988 Italo Poltergeist film, Ghost House, directed by

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Speaker 3: Italian cannibal dream weaver Umberto Lindsay, a notorious schlockmonger who

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Speaker 3: I think made a lot of more serious kind of

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Speaker 3: western and crime and jello movies earlier in his career,

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Speaker 3: but his output in the 80s is very infamous horror

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Speaker 3: and genre trash.

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Speaker 2: Yeah, as we'll discuss, he is often heralded as the

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Speaker 2: guy who Introduce the subgenre of the Italian cannibal exploitation film. So,

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Speaker 2: you know, that's it's hard to outlive that. But there's

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Speaker 2: more to him than that. We'll get into that when

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Speaker 2: we talk about about the director.

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Speaker 3: So last week we did a couple of core episodes

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Speaker 3: about stories of haunted houses from ancient Greece and Rome.

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Speaker 3: And in those episodes, we ended up talking about the

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Speaker 3: essence of the haunted house tale, like what makes it

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Speaker 3: different from other kinds of ghost stories and folk tales.

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Speaker 3: So I thought it might be cool to do a

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Speaker 3: haunted house movie and see how it fits into the

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Speaker 3: genre tradition. But I was also at the same time

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Speaker 3: like feeling the call of Italian schlock. And by God,

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Speaker 3: this film checks both boxes. So Ghost House is obviously

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Speaker 3: a riff on the 1982 American horror movie Poltergeist, which

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Speaker 3: was made by Tobey Hooper and Steven Spielberg. And like

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Speaker 3: a lot of Italian genre copycat films of this era,

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Speaker 3: it's interesting the way it borrows from Poltergeist in that

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Speaker 3: what it copies from its predecessor is not the overall

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Speaker 3: plot and structure, which is quite different. But instead it

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Speaker 3: borrows individual images, props, and set pieces so that you

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Speaker 3: can watch this basically totally different movie, but every now

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Speaker 3: and then hit a scene or an image and be like, Hey, that's,

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Speaker 3: that's from Poltergeist. And, uh, so for example, this movie

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Speaker 3: has a very prominent creepy clown doll that is obviously

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Speaker 3: based on the clown doll from Poltergeist and has weird

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Speaker 3: haunted stuff happening on a TV like Poltergeist. It has

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Speaker 3: a little blonde girl. It has a bunch of other

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Speaker 3: just individual moments and images. Like, I think there's sort

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Speaker 3: of an attempt to recreate the feeling of that slimy

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Speaker 3: pool scene in Poltergeist with the weird subfloor that is

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Speaker 3: flooded with white goop here.

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Speaker 2: Yeah, though I think they managed to create something that

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Speaker 2: feels even weirder than what we get in Poltergeist. And

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Speaker 2: this was a high point in the film for me,

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Speaker 2: for sure. Though, again, I think that the Poltergeist comparison

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Speaker 2: is absolutely spot on. Yeah. But in a way, like

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Speaker 2: you were saying, it's almost like inspired by the trailer

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Speaker 2: for Poltergeist or inspired by promotional images from Poltergeist, that

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Speaker 2: sort of thing.

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Speaker 3: What is lifted is not the story overall, but memorable

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Speaker 3: images from.

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Speaker 2: Yeah. And I didn't get into a bunch of interviews

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Speaker 2: on this one, but I've encountered enough of this material

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Speaker 2: to know that sometimes the way it works is like,

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Speaker 2: it's not necessarily the director that is like, hey, I

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Speaker 2: want to make a ripoff of Poltergeist. So it's, it's

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Speaker 2: sometimes it's the money people were like, you know, it'd

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Speaker 2: be great if we had our own poltergeist to get

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Speaker 2: in on this poltergeist money. And there's this understanding. I

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Speaker 2: was like, okay, we need to make the producers happy. Well,

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Speaker 2: let's at least make sure that there are some identifiable

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Speaker 2: visual motifs that are present. So they'll, they'll feel like

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Speaker 2: they're getting their money's worth out of this investment. Yeah.

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Speaker 3: Wait, do I remember right? That the producer here was

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Speaker 3: Joe D'Amato? Yeah.

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Speaker 2: Joe D'Amato is one of the producers on this. So

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Speaker 2: the schlock runs deep on this one for sure.

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Speaker 3: Okay. So like we were saying, the plot structure is

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Speaker 3: totally different from Poltergeist. This has a surprising amount of

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Speaker 3: ham radio in it. Poltergeist, I think, is a more

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Speaker 3: traditional haunted house story, like the structure we were talking

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Speaker 3: about in our core episodes on the haunted houses of

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Speaker 3: the ancient world, where the house is infected with ghosts

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Speaker 3: because we later learn that its construction disturbed an old

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Speaker 3: cemetery and brought the spirits out of their rest. So

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Speaker 3: the ghosts are localized to the house and it's a

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Speaker 3: haunting classical haunting in that sense.

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Speaker 2: Yeah like it seeped into the the earth and into

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Speaker 2: the house that was built upon it uh poltergeist is

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Speaker 2: also broadly an american family under siege film uh which

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Speaker 2: some critics point out to being a recurring post-frontier hallmark

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Speaker 2: of american cinema and you certainly see it notably in

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Speaker 2: a number of spielberg films uh you know the Uh,

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Speaker 2: and then I guess poltergeist is kind of an interesting

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Speaker 2: example of that as well. The idea that like the

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Speaker 2: American dream exists on stolen ground that is cursed and, uh,

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Speaker 2: and the, the family is like beset, uh, uh, on

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Speaker 2: all sides, uh, due to like this infringement upon the spirit.

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Speaker 2: So there's a lot to unwrap there. And I think

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Speaker 2: that's one of the reasons that poltergeist is so, uh,

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Speaker 2: Stuck in so many people's memories. It's stuck in mine, too,

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Speaker 2: because I think I saw it when I was like

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Speaker 2: seven or something.

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Speaker 1: Yeah.

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Speaker 3: Well, I mean, Poltergeist, if you're going to lift images

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Speaker 3: from a movie, it's a good movie to lift images

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Speaker 3: from because some of them are so indelible.

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Speaker 2: Yeah. And often sort of, to a certain extent, non sequiturs.

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Speaker 2: Like it's just haunted stuff is happening. Haunted effects are happening.

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Speaker 2: So it's kind of like, yeah, let's go ahead and

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Speaker 2: borrow that one and do something different with it.

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Speaker 3: Yeah, so that's Poltergeist. It's, you might say, at least

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Speaker 3: structurally classic haunted house, though it has its own updates

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Speaker 3: in a way. Like, you know, one thing I was

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Speaker 3: thinking about is in our core episodes on haunted houses,

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Speaker 3: we talked about how it's usually got to be an

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Speaker 3: old house, but in Poltergeist, it's not, right? It's a

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Speaker 3: fairly new house, isn't it? Yeah, and so instead, what

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Speaker 3: is old is the land itself and something about the

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Speaker 3: land the house is built on.

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Speaker 2: Yeah, and I think in that, Poltergeist was, there was

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Speaker 2: a certain, they were subverting the trope a little bit

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Speaker 2: but also playing on, I think, something in haunting reportings

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Speaker 2: of the time. It's like the idea that there could

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Speaker 2: be something ghostly even in a new construction.

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Speaker 3: Yeah, totally. Whereas in Ghost House, I think in the end,

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Speaker 3: you could question whether this movie even meets the definition

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Speaker 3: of a haunted house story once we learn the cause

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Speaker 3: of the hauntings. It's really more like a haunted doll

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Speaker 3: story where... almost all of the action just happens to

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Speaker 3: be confined to one house because that's where the doll is. Actually, no,

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Speaker 3: that's not where the doll is, is it? We learn

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Speaker 3: later the doll is somewhere else, but the doll is

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Speaker 3: focusing all of its haunting energy on this house.

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Speaker 2: Yeah, and then later it seems like the doll can

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Speaker 2: also go other places as well. So yeah, I think

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Speaker 2: definitely haunted doll house. Sorry, haunted doll movie instead of

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Speaker 2: haunted house movie.

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Speaker 3: Yes, yeah. Another thing I was thinking about is I

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Speaker 3: haven't seen a lot of Umberto Lindsay movies. I've never

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Speaker 3: cracked into his, you know, cannibal stuff. Uh, but one

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Speaker 3: thing I can guess is that Umberto Lindsay really loved

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Speaker 3: making a movie where people make a 100% optional journey

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Speaker 3: to a demonic haunted house, fail to leave even when

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Speaker 3: they could, and then get cut in half. Because I

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Speaker 3: re if I remember correctly, the one other Umberto Lindsay

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Speaker 3: movie I've seen is Has exactly the same plot. People

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Speaker 3: go to a haunted house, except in this movie, it's

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Speaker 3: a copycat of The Shining. They go up to a

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Speaker 3: haunted hotel in the mountains. From what I recall, they

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Speaker 3: could leave, but they just don't for some reason. And

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Speaker 3: somebody gets cut in half in the basement. It's a made-for-TV,

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Speaker 3: made-for-Italian-TV copycat called The House of Lost Souls from 1989.

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Speaker 3: I'd been thinking we might come back to that at

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Speaker 3: some point.

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Speaker 2: Yeah, Umberto Lindsay comes up a fair amount on the

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Speaker 2: show in Connections when we talk about the different actors

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Speaker 2: and directors and writers and musicians and what else they've

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Speaker 2: worked on. But this is the first time we've actually

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Speaker 2: covered one on Weird Al Cinema, and I think it's

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Speaker 2: the first time I've even watched an Umberto Lindsay film.

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Speaker 2: Despite the fact that he was an Italian director working

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Speaker 2: in schlock and exploitation and genre cinema alongside the likes

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Speaker 2: of Fulci, Cosi, Margheretti and others, certainly other directors, his

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Speaker 2: peers we've discussed on the show before. Yeah.

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Speaker 3: And I think somehow, maybe at least as a distant producer,

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Speaker 3: Fulci was involved in those Houses of Doom movies, which

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Speaker 3: included the House of Lost Souls.

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Speaker 2: Okay. Oh, also of note, this movie was titled La

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Speaker 2: Casa 3 in Italy. So at least for the Italian market,

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Speaker 2: it was promoted as the third Evil Dead movie.

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Speaker 3: Oh, makes perfect sense.

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Speaker 2: Yeah.

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Speaker 3: Dead by dawn. Yeah.

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Speaker 2: But it, it, of course, just in the, in the

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Speaker 2: same way, it doesn't actually resemble a poltergeist film. It

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Speaker 2: also doesn't resemble an evil dead film. So even less so. Yeah. Yeah. Uh,

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Speaker 2: quick stats for this film, just cause, uh, this was

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Speaker 2: on my mind. This is film 265 for weird house cinema. Um,

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Speaker 2: I recently watched an old episode of the office in

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Speaker 2: which Dwight Schrute claims to have seen over 240 films. So,

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Speaker 2: It's notable that without even realizing it, we met the

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Speaker 2: shrewd point on Weird House Cinema when we covered The

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Speaker 2: Last Temptation of Christ and we surpassed it with Nemesis.

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Speaker 3: It's pretty cool to imagine Dwight watching either Last Temptation

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Speaker 3: or Nemesis.

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Speaker 2: Yeah, both present some interesting ideas, don't they? All right, Joe,

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Speaker 2: do you have an elevator pitch for Ghost House?

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Speaker 3: It's like the devil does ham radio.

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Speaker 2: Yeah. There is a lot of ham radio. It's kind

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Speaker 2: of surprising they didn't put that up front.

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Speaker 3: Yeah.

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Speaker 2: There are other supernatural ham radio films, and maybe what

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Speaker 2: we're picking up on here is somebody had an idea

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Speaker 2: for a ham radio-based horror film, and this is the

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Speaker 2: ultimate form it ends up taking.

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Speaker 3: I saw one with some friends, I think, when I

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Speaker 3: was in high school in the movie theater. It was

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Speaker 3: called Frequency. Yeah, yeah.

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Speaker 2: Is that based on a math story? Maybe.

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Speaker 1: Maybe.

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Speaker 3: I remember it had, like, time-traveling ham radio where somebody's, like,

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Speaker 3: talking to somebody. I think a guy was talking to

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Speaker 3: his dad in the past, and they're solving a murder

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Speaker 3: mystery together.

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Speaker 2: Okay. Not a Matheson story, but maybe it's just something

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Speaker 2: about the pitch reminded me of that. Yeah, Dennis Quaid,

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Speaker 2: I believe.

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Speaker 3: Yeah. And I think also the guy who played Jesus

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Speaker 3: in the Mel Gibson Jesus movie.

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Speaker 2: Yeah, Jim Caviezel's in that, as is Michael Cera, his

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Speaker 2: first film. Oh.

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Speaker 3: I don't remember that at all. I guess I would

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Speaker 3: not have known him at the time.

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Speaker 2: All right, but let's get back to Ghost House here.

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Speaker 2: If you were interested in seeing Ghost House, my standards

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Speaker 2: see this in the best quality possible mantra doesn't quite

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Speaker 2: apply here. I think this might be a film best

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Speaker 2: enjoyed as part of a double feature Blu-ray set, double

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Speaker 2: feature DVD set, a random find on Amazon Prime, or

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Speaker 2: perhaps enjoyed as a bootleg VHS or on a disc

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Speaker 2: of unknown origin. I don't know. There's just something about

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Speaker 2: it that feels like it should be encountered more than

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Speaker 2: like sought out. But it has been put out in

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Speaker 2: physical media treatment a few different times. It's actually been

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Speaker 2: put out as a solo Blu-ray, as well as a

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Speaker 2: solo DVD in some markets anyway, as part of a

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Speaker 2: double feature with 89's Witchery, a.k.a. La Casa 4. that

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Speaker 2: has Linda Blair and David Hasselhoff in it. Wow. As

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Speaker 2: well as an earlier DVD double feature with the sex

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Speaker 2: comedy Firehouse. As far as I could tell, no connective

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Speaker 2: tissue between Ghost House and Firehouse, other than they just

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Speaker 2: have house in the titles. The Riff Trax guys did

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Speaker 2: Ghost House at some point. I haven't seen that one.

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Speaker 2: But obviously there's plenty to work with in this movie,

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Speaker 2: so I bet it's a pretty good riff.

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Speaker 3: You didn't see the one that was a double feature

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Speaker 3: with season one of Full House?

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Speaker 2: No. It was full house, one word. That's the key.

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Speaker 2: Because ghost house is one word for this film. Firehouse

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Speaker 2: is one. It depends if you're going to break it

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Speaker 2: up or not. I can't recall if full house for

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Speaker 2: the TV show is one word or two.

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Speaker 3: Actually, the best way to watch this movie is you

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Speaker 3: try to buy your child a used copy of a

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Speaker 3: VHS tape of Casper the Friendly Ghost. But then when

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Speaker 3: you open it up, this is the tape that's in there.

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Speaker 2: There you go. All right, let's get into the people

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Speaker 2: who made this movie. Let's talk some more about Umberto Lindsay.

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Speaker 2: He's a director. He also has a story credit. He

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Speaker 2: lived 1931 through 2017. Credited on this film is Humphrey Humbert,

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Speaker 2: which even as fake names used by Italian directors go,

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Speaker 2: is pretty fake sounding. But anyway, Italian director and writer

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Speaker 2: whose credits go back to the 1950s. best known internationally,

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Speaker 2: and perhaps best remembered for his various genre pictures, particularly

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Speaker 2: the schlockier ones. But as is generally the case with

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Speaker 2: many of his peers as well, his work fell into

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Speaker 2: various genres, depending on what was marketable at the time.

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Speaker 2: So some of his earlier pictures included the 61 pirate

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Speaker 2: film Queen of the Seas, 62's The Triumph of Robin Hood,

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Speaker 2: 63's Catherine of Russia. He also directed the Peplum, a

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Speaker 2: few different Peplum movies, including Zorro, against Machiste in 63.

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Speaker 2: So you got this, a double there, um, Italian muscle

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Speaker 2: man versus or meeting Zorro from, uh, from, from Mexico.

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Speaker 2: So that's, that's pretty, pretty fascinating.

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Speaker 3: I like the idea.

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Speaker 2: Yeah. Uh, in 65, he did 008 operation exterminate, which

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Speaker 2: is an amazing title. It rhymes. Yeah. No denying that. Um,

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Speaker 2: Let's see. And of course, multiple Giallo films like 69's Orgasmo,

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Speaker 2: 70's A Quiet Place to Kill, and Knife of Ice

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Speaker 2: in 72, all with Carol Baker. And I'm to understand

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Speaker 2: that some of these Carol Baker films have been, they're

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Speaker 2: regarded as a bit higher in quality compared to some

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Speaker 2: of his later pictures. But I haven't seen them myself,

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Speaker 2: so I can't really.

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Speaker 3: Speak to them. I'm not looking at his filmography now,

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Speaker 3: but I remember from when I did, he's got some

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Speaker 3: of these movies with complicated titles. I think one is

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Speaker 3: called The Rat, The Gun, and The Fist or something.

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Speaker 2: That sounds good. Let's see, in the 70s, this is

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Speaker 2: when he really tends to get into schlockier exploitation waters.

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Speaker 2: There's 74 is Almost Human, which sounds like a monster movie,

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Speaker 2: but it's a crime movie. 75's Eyeball, which is a

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Speaker 2: Giallo film with its own following and I think is

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Speaker 2: some implied eyeball violence. And it's important to note that, yeah,

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Speaker 2: he's widely credited with creating the Italian cannibal exploitation subgenre

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Speaker 2: with the 1972 film Man from the Deep River. That title,

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Speaker 2: that just sounds like a Western or something, but just

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Speaker 2: full jungle cannibal movie.

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Speaker 3: That could be a drama. That could have Robert Redford

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Speaker 3: in it.

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Speaker 2: Yeah. Yeah, this is not such a film. And he

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Speaker 2: continued to feed the subgenre with 1980's Eaten Alive that

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Speaker 2: has Janet Agron in it. And also 81's Cannibal Ferox

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Speaker 2: with Giovanni Radici in it. We've covered a number of

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Speaker 2: films in which he plays. Generally some sort of a

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Speaker 2: low life or creep. Or misunderstood individual who ends up

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Speaker 2: getting a drill through his head. Or maybe I'm confusing

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Speaker 2: him with another actor.

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Speaker 3: Oh, is he the guy who gets the drill to

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Speaker 3: the head in City of the Living Dead?

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Speaker 2: I think so. I think so. If not, it's a

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Speaker 2: different guy and I'm confusing him. But anyway, that's the

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Speaker 2: sort of role he would tend to play.

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Speaker 3: I was actually going to mention that scene in this

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Speaker 3: episode because Ghost House has random unrelated murders taking place

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Speaker 3: in it that are like the drill scene in City

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Speaker 3: of the Living Dead where it's like, no, this isn't

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Speaker 3: the main supernatural action, but also just here's a murderer.

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Speaker 2: Yeah, just, you know, gore showcase cinema. Exactly. So let's see.

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Speaker 2: He also directed the 1980 sci-fi zombie movie Nightmare City,

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Speaker 2: as well as the 83 sword and sorcery film Iron Master.

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Speaker 2: George Eastman's in that one playing, I presume, the villain.

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Speaker 2: Ghost House comes about a few after a few different

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Speaker 2: war movies and right before the Florida biker rampage film

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Speaker 2: Nightmare Beach.

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Speaker 3: I've heard Nightmare Beach described as a slasher.

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Speaker 2: I think it is like it's a biker movie, but

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Speaker 2: it's like a slashing rampage. I don't know if it's

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Speaker 2: a ghost or just like a revenger sort of a situation.

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Speaker 2: But yeah, I think you're right as well. It is

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Speaker 2: also a slasher. And then his last film was the

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Speaker 2: 92 action flick Mean Tricks starring Charles Napier. Oh, and

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Speaker 2: he directed 91's Detective Malone, which had Fred Williamson in

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Speaker 2: it in the starring role, also known as the Black

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Speaker 2: Cobra 4.

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Speaker 3: Okay, well, I have a very little appetite for those

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Speaker 3: cannibal movies, pun intended, but I think maybe some of

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Speaker 3: the sci-fi horror movies from the 70s or 80s are

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Speaker 3: going to be our sweet spot for the next Humberto

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Speaker 3: Lindsay movie.

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Speaker 2: Yeah, yeah, we'll see. Let's see. So again, here's a

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Speaker 2: story credit. We also have somebody with a dialogue credit,

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Speaker 2: which is fabulous considering the dialogue in this movie. It's

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Speaker 2: credited to Shelia Goldberg. active from 73 through 2016. Actress,

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Speaker 2: dialogue coach, and writer who, yeah, is responsible for one

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Speaker 2: of Ghost House's most entertaining features, absolutely ludicrous dialogue. I

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Speaker 2: don't know. I'll give her the benefit of the doubt

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Speaker 2: and say, we don't know how ludicrous it would have

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Speaker 2: been had she not been there to coax it into

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Speaker 2: the form that we have. Her other credits in this

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Speaker 2: vein include Stage Fright in 87. That's Michele Suave. who

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Speaker 2: we've talked about before on the show. Also, 88's Zombie 5,

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Speaker 2: Killing Birds. She has a story credit on that one.

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Speaker 2: We're going to mention that one a lot in Connections here.

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Speaker 2: And 89's Beyond the Door 3, writing credit there. And

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Speaker 2: she also was a dialogue coach on 85's Phenomena and

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Speaker 2: 89's The Black Cat. Okay. And I believe she is

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Speaker 2: slash was, again, I don't know what her, if she's

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Speaker 2: still out there, you know, her dates are not public record.

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Speaker 2: But I think she was an American who worked on

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Speaker 2: English dialogue in a number of these Italian productions or

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Speaker 2: international productions.

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Speaker 3: Oh, I see. So is the idea maybe that Lindsay

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Speaker 3: or Lindsay and somebody else write the story and then

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Speaker 3: Goldberg is there to sort of Americanize the dialogue?

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Speaker 2: I think so, yeah. Maybe even sort of in translation

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Speaker 2: to some extent because this is one of those movies,

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Speaker 2: I don't know if we've really gotten into this yet,

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Speaker 2: but this is an Italian production, but it is filmed...

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Speaker 2: On location in Massachusetts and in Boston specifically. So, yeah,

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Speaker 2: and it's using local, I think local American talent in

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Speaker 2: many cases, but they also brought some people over. So

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Speaker 2: it's a mix here.

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Speaker 3: Yeah.

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Speaker 2: And then we also have Cynthia McGavin. She has a

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Speaker 2: screenplay credit. This is her only credit, so I don't

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Speaker 2: have any more information. on who she is or what

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Speaker 2: she did here. So that's the script. And then we

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Speaker 2: have the people bringing the script to life on the

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Speaker 2: acting front. And yeah, we have some interesting casting here

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Speaker 2: as well. We also have some people who are just

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Speaker 2: in this and nothing else. And we'll kind of breeze

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Speaker 2: through them. But right at the top of the star

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Speaker 2: is Laura Wendell, playing the character Martha, born 1965, German-born

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Speaker 2: child model and actress turned grown person model and actress,

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Speaker 2: best known for her work in European exploitation films. She

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Speaker 2: is the daughter of American pro football player and actor

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Speaker 2: Walt Barnes and German actress Britta Wendell. Walt Barnes, her father,

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Speaker 2: was in a ton of films, including 73's High Plains Drifter,

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Speaker 2: 77's Pete's Dragon, 78's Every Which Way But Loose. I

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Speaker 2: just realized when I put this in the notes, I've

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Speaker 2: been thinking of that film as Every Which Way But

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Speaker 2: Loose the whole time, but it's Loose?

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Speaker 3: I don't know. I've never seen it. I think that's

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Speaker 3: the title, though.

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Speaker 2: Wow. What does that even mean? I don't know. Now

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Speaker 2: I'm questioning everything about my reality. I've never seen this

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Speaker 2: Abe movie.

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Speaker 3: It's like Every Which Way But Loose. That sounds like

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Speaker 3: something that's a like a pre-existing phrase that I'm not

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Speaker 3: familiar with.

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Speaker 2: Yeah.

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Speaker 3: That's a Clint Eastwood movie, isn't it?

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Speaker 2: It is. It's a Clint Eastwood ape movie.

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Speaker 3: Ape movie, okay.

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Speaker 2: Supposedly a great ape movie, but I'm not sure.

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Speaker 3: Well, every which way but loose suggests all kinds of tight.

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Speaker 2: Yeah, but it's totally different. Every which way but loose

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Speaker 2: sounds like, yeah, I'm really dedicated. I'm winning this. That's

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Speaker 2: what I got when I looked at the box art

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Speaker 2: of the poster art. It's like, yeah, this guy and

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Speaker 2: this ape are just in it to win it. Nothing's

396
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Speaker 2: going to stop them.

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Speaker 3: Every kind of winning.

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Speaker 2: Yeah, but apparently not. Anyway, her father was also in

399
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Speaker 2: a couple of animal attack movies, 77's Day of the Animals,

400
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Speaker 2: 73's Pigs, with an exclamation point. And then her mother, Britta,

401
00:21:46,300 --> 00:21:50,460
Speaker 2: was in two films, 72's Roma and 73's Redneck. So

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00:21:50,920 --> 00:21:53,540
Speaker 2: Laura was kind of born into the business, began modeling

403
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Speaker 2: and acting pretty young. Her first credit is My Dear

404
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Speaker 2: Killer in 72. And she had a supporting role in

405
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Speaker 2: Argento's Tenebrae in 82. In 86, she was in Lamberto

406
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Speaker 2: Bava's You'll Die at Midnight. In 88, she was in

407
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Speaker 2: Zombie Five Killer Birds. In 88, she was in The

408
00:22:11,140 --> 00:22:14,380
Speaker 2: Red Monks. And she was in the 91 erotic drama

409
00:22:14,420 --> 00:22:17,869
Speaker 2: Husbands and Lovers with Julian Sands. She did some TV

410
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Speaker 2: work in 93 and I believe retired from acting at

411
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Speaker 2: that point at the age of 26. So, yeah, she's

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Speaker 2: only like 22 or 23 in Ghost House. Okay.

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Speaker 3: So Martha is one half of our main character duo.

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Speaker 3: The other half is her boyfriend, Paul, right? Paul is

415
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Speaker 3: the ham radio guy. Yeah.

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Speaker 2: Paul is played by Greg Rhodes. Age is not public record.

417
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Speaker 2: Prior to Ghost House, he played bit parts like background

418
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Speaker 2: parts in 87's Fatal Attraction and Hello Mary Lou Prom

419
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Speaker 2: Night 2. So I believe American actor, local talent that

420
00:22:53,410 --> 00:22:56,960
Speaker 2: was brought in. Afterwards, he appeared in 1990's Fatal Exam

421
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Speaker 2: and Deadly Manner and then Almost Hollywood in 94. So yeah,

422
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Speaker 2: not much known about him. But this is our prime couple.

423
00:23:04,740 --> 00:23:13,790
Speaker 2: And they are... They are tremendous. Again, the dialogue that

424
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Speaker 2: they're working with is not great. And they bring an

425
00:23:17,390 --> 00:23:21,410
Speaker 2: energy to this performance and to this relationship that is...

426
00:23:22,070 --> 00:23:25,149
Speaker 2: never really believable, but you can't look away from it.

427
00:23:25,170 --> 00:23:28,109
Speaker 2: There's just something perfect about it. Like they're always arguing

428
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Speaker 2: with each other and the substance of the argument, the

429
00:23:31,170 --> 00:23:36,400
Speaker 2: language of the argument is just laugh inducing. It's amazing. Yeah.

430
00:23:36,460 --> 00:23:39,179
Speaker 3: I love the scene where she's mad. She's like, you

431
00:23:39,200 --> 00:23:41,260
Speaker 3: could have let me sleep a little later. And he's like,

432
00:23:41,300 --> 00:23:42,959
Speaker 3: we've got to get on the road. There may have

433
00:23:42,980 --> 00:23:45,400
Speaker 3: been a murder. Yeah.

434
00:23:45,560 --> 00:23:49,490
Speaker 2: It's just, oh my goodness. It's amazing. Again, I don't

435
00:23:49,510 --> 00:23:51,200
Speaker 2: want to I don't want it to be one of

436
00:23:51,220 --> 00:23:53,419
Speaker 2: these cases where I'm making it sound like these are

437
00:23:53,560 --> 00:23:56,420
Speaker 2: bad actors that are making it bad. Like, no, there's

438
00:23:57,020 --> 00:23:59,300
Speaker 2: a lot of blame to go around. But the final

439
00:23:59,340 --> 00:24:01,939
Speaker 2: form that it takes is just cheesy goodness.

440
00:24:02,240 --> 00:24:04,250
Speaker 3: Yeah, or a lot of credit to go around. Yeah,

441
00:24:04,270 --> 00:24:07,470
Speaker 3: a lot of credit. This is like, yeah, the dialogue scenes.

442
00:24:07,570 --> 00:24:10,270
Speaker 3: I noticed this especially after the first time I watched it.

443
00:24:11,750 --> 00:24:14,570
Speaker 3: You called out all of their arguing scenes, which kind

444
00:24:14,630 --> 00:24:17,610
Speaker 3: of just faded into the general chaos for me. So

445
00:24:17,710 --> 00:24:20,340
Speaker 3: on the second watch, I really noticed all of the

446
00:24:20,480 --> 00:24:23,659
Speaker 3: arguments that are about nothing and go nowhere and they

447
00:24:23,680 --> 00:24:26,040
Speaker 3: just fade in and out. It's so funny.

448
00:24:26,680 --> 00:24:28,570
Speaker 2: Like if you want to have the couple, the main

449
00:24:28,590 --> 00:24:31,110
Speaker 2: characters in your film frequently talk about the chili they're

450
00:24:31,130 --> 00:24:33,609
Speaker 2: planning to have for dinner. Do you want that to

451
00:24:33,650 --> 00:24:37,229
Speaker 2: be completely believable? No. Like you, if you're devoting that

452
00:24:37,270 --> 00:24:39,810
Speaker 2: much time to it, you want it to feel like

453
00:24:39,869 --> 00:24:41,450
Speaker 2: it feels in this movie. You want it to feel

454
00:24:41,840 --> 00:24:43,919
Speaker 2: weirdly fake in a way that you can't quite put

455
00:24:43,940 --> 00:24:46,580
Speaker 2: your finger on. Like, I don't believe these people have

456
00:24:46,619 --> 00:24:49,220
Speaker 2: ever had chili or, or are about to have chili,

457
00:24:49,280 --> 00:24:50,480
Speaker 2: and I don't know what it means.

458
00:24:51,070 --> 00:24:55,050
Speaker 3: Also, interesting choice about the character Paul to make him,

459
00:24:56,290 --> 00:24:59,149
Speaker 3: in some scenes, he comes off as a normal and

460
00:24:59,450 --> 00:25:03,669
Speaker 3: resourceful guy, and in other scenes, he is an absolute psycho,

461
00:25:03,790 --> 00:25:07,520
Speaker 3: just like hostile aggro for no detectable reason.

462
00:25:07,540 --> 00:25:07,619
Speaker 1: Yeah.

463
00:25:07,800 --> 00:25:13,260
Speaker 2: Yeah, it's ridiculous. All right, so those are our two

464
00:25:13,520 --> 00:25:17,520
Speaker 2: main characters. And watching the movie, I generally have a

465
00:25:17,580 --> 00:25:20,340
Speaker 2: good idea about why they're in any given scene at

466
00:25:20,380 --> 00:25:23,399
Speaker 2: any given moment, for the most part. Same cannot be

467
00:25:23,420 --> 00:25:25,020
Speaker 2: said for a lot of the other characters who kind

468
00:25:25,060 --> 00:25:28,910
Speaker 2: of wander in and out of the action. But we'll

469
00:25:28,950 --> 00:25:32,870
Speaker 2: discuss them here. So we have a character named Susan,

470
00:25:33,390 --> 00:25:39,149
Speaker 2: played by Wanja Mary Sellers, born 1962. Kenyan-born Italian actress,

471
00:25:39,190 --> 00:25:41,560
Speaker 2: best known by horror fans for her roles in Stage

472
00:25:41,600 --> 00:25:44,530
Speaker 2: Fright from 1987. this movie ghost house, as well as

473
00:25:44,530 --> 00:25:49,130
Speaker 2: 91 is the crawlers also known as troll three creepers

474
00:25:49,530 --> 00:25:55,600
Speaker 2: or contamination 0.7. Um, even before like Godzilla minus zero

475
00:25:55,650 --> 00:25:58,359
Speaker 2: and so forth, you know, we've already had some, some interesting, um,

476
00:25:59,040 --> 00:26:01,959
Speaker 2: numerology here in this title. Uh, but this last one,

477
00:26:02,380 --> 00:26:07,540
Speaker 2: the crawlers was directed by her husband, uh, Fabrizio Laurenti. And, uh, they're,

478
00:26:07,619 --> 00:26:10,619
Speaker 2: they're still married. Weirdly enough, I found an article in

479
00:26:10,660 --> 00:26:13,780
Speaker 2: the sun from last year, uh, about her and her husband,

480
00:26:13,840 --> 00:26:18,040
Speaker 2: about their relationship and their long distance, the long distance

481
00:26:18,100 --> 00:26:20,139
Speaker 2: nature of the relationship, like one working on a project

482
00:26:20,180 --> 00:26:22,220
Speaker 2: in Mexico city. And the other one, I think back

483
00:26:22,260 --> 00:26:27,430
Speaker 2: in Rome, um, uh, look that up if you're interested. But, um, uh, she,

484
00:26:27,670 --> 00:26:31,189
Speaker 2: she also has a background role in the last temptation

485
00:26:31,210 --> 00:26:33,890
Speaker 2: of Christ. We've, this has come up before, you know, that, that,

486
00:26:34,230 --> 00:26:36,780
Speaker 2: that production made use of a lot of local Italian

487
00:26:36,840 --> 00:26:39,840
Speaker 2: talent to sort of fill in the scenes. And so

488
00:26:39,880 --> 00:26:42,430
Speaker 2: she's in there somewhere. And she continued to not only

489
00:26:42,570 --> 00:26:44,770
Speaker 2: act in Italian cinema and TV, but is also an

490
00:26:44,790 --> 00:26:46,490
Speaker 2: award-winning writer and director herself.

491
00:26:47,690 --> 00:26:51,090
Speaker 3: So the character Susan is part of a quartet of

492
00:26:51,190 --> 00:26:55,820
Speaker 3: characters that our main couple meet at the titular ghost house.

493
00:26:56,170 --> 00:26:56,410
Speaker 2: Yeah.

494
00:26:56,760 --> 00:26:58,520
Speaker 3: So they go to the ghost house and there just

495
00:26:58,560 --> 00:27:01,200
Speaker 3: happened to be four other people already kind of hanging

496
00:27:01,240 --> 00:27:04,540
Speaker 3: out and squatting. They're doing ham radio. And Susan is

497
00:27:04,640 --> 00:27:07,720
Speaker 3: one of them. Susan is the motorcyclist of the group.

498
00:27:08,580 --> 00:27:08,820
Speaker 1: Yeah.

499
00:27:08,900 --> 00:27:11,710
Speaker 2: And this, This is one of those things. It's difficult

500
00:27:11,750 --> 00:27:13,850
Speaker 2: to remember why they're there, because they're there for no

501
00:27:13,910 --> 00:27:20,250
Speaker 2: good reason. They're included with the house, but they're just randos.

502
00:27:20,270 --> 00:27:23,210
Speaker 3: I think they ask and they say, well, nobody was here,

503
00:27:23,310 --> 00:27:25,750
Speaker 3: so it seemed like a good place to do ham radio.

504
00:27:26,050 --> 00:27:28,830
Speaker 2: Yeah, the filmmakers knew that they needed some more bodies

505
00:27:30,109 --> 00:27:31,850
Speaker 2: to be killed in the haunted house, so we just

506
00:27:31,869 --> 00:27:35,689
Speaker 2: had to show up. We heeded the call. So this

507
00:27:35,730 --> 00:27:37,890
Speaker 2: is where we're going to get into multiple characters played

508
00:27:37,910 --> 00:27:40,850
Speaker 2: by actors who really only appear in this movie. We

509
00:27:40,869 --> 00:27:45,149
Speaker 2: have the character Mark, played by Ron Hawk. This is

510
00:27:45,190 --> 00:27:47,690
Speaker 2: his only film credit. We have the character Jim, played

511
00:27:47,710 --> 00:27:51,450
Speaker 2: by Martin Jay, British actor apparently, who was in just

512
00:27:51,490 --> 00:27:55,179
Speaker 2: a couple of other things, including 97's Galaxy Girls. We

513
00:27:55,200 --> 00:27:58,679
Speaker 2: have the character Tina, who really gets a lot of

514
00:27:58,700 --> 00:28:02,800
Speaker 2: screen time, played by Kate Silver. Only film credit. Nothing

515
00:28:02,840 --> 00:28:03,540
Speaker 2: else besides this.

516
00:28:05,280 --> 00:28:07,859
Speaker 3: Tina almost seems the most like an actor of any

517
00:28:08,320 --> 00:28:08,980
Speaker 3: of this group.

518
00:28:09,520 --> 00:28:11,620
Speaker 2: Yeah, Tina was one I was like, oh, I wonder

519
00:28:11,640 --> 00:28:13,420
Speaker 2: what she went on to do. And maybe she went

520
00:28:13,480 --> 00:28:16,400
Speaker 2: on to do great things. Greater things than Ghost House,

521
00:28:16,460 --> 00:28:17,240
Speaker 2: but we'll never know.

522
00:28:17,740 --> 00:28:20,899
Speaker 3: The character Jim does appear on screen and in scenes,

523
00:28:20,960 --> 00:28:23,540
Speaker 3: but actually his most notable presence in the movie is

524
00:28:23,619 --> 00:28:24,800
Speaker 3: as an audio sample.

525
00:28:26,540 --> 00:28:26,780
Speaker 2: Yeah.

526
00:28:27,380 --> 00:28:31,780
Speaker 3: Saying, help me, for the love of God, help me, please.

527
00:28:34,930 --> 00:28:37,340
Speaker 2: Let's see, who else do we have here? Oh, we have,

528
00:28:37,380 --> 00:28:41,800
Speaker 2: this is a non-victim character. We have, what is his name, Valkos?

529
00:28:42,120 --> 00:28:42,739
Speaker 3: Valkos.

530
00:28:42,860 --> 00:28:47,800
Speaker 2: Yeah, played by Donald O'Brien. So yes, if you've been

531
00:28:47,860 --> 00:28:50,840
Speaker 2: listening to our recent episodes, this is our Fulci cyborg

532
00:28:50,940 --> 00:28:55,500
Speaker 2: from Warriors of the Year 2072. This time back in

533
00:28:55,540 --> 00:28:56,560
Speaker 2: non-cyborg form.

534
00:28:57,220 --> 00:29:00,390
Speaker 3: He's the guy who betrays the main characters and he's

535
00:29:00,410 --> 00:29:01,390
Speaker 3: got the cyber eye?

536
00:29:01,490 --> 00:29:04,410
Speaker 2: Yeah, that's the guy. The guy who I also mentioned

537
00:29:04,430 --> 00:29:08,150
Speaker 2: in that episode as being the titular Dr. Butcher MD

538
00:29:08,770 --> 00:29:13,060
Speaker 2: in 1980s Dr. Butcher MD, a.k.a. Zombie Holocaust. Nice. So

539
00:29:13,130 --> 00:29:15,100
Speaker 2: here he's a deranged man in overalls.

540
00:29:15,540 --> 00:29:20,000
Speaker 3: Yeah, he's a hillbilly named Valkos living in Scituate, Massachusetts.

541
00:29:22,740 --> 00:29:25,760
Speaker 2: I mean, there are hillbillies everywhere. We know. We've all

542
00:29:25,800 --> 00:29:28,580
Speaker 2: read enough Stephen King books to know that anywhere you go,

543
00:29:28,720 --> 00:29:33,050
Speaker 2: you're going to find some hillbillies. some red-blooded Americans. Named Valkos.

544
00:29:33,610 --> 00:29:38,190
Speaker 2: Named Valkos, yeah. I don't know about Valkos' name. All right,

545
00:29:38,250 --> 00:29:40,880
Speaker 2: and then we also have, we mentioned that there is

546
00:29:41,520 --> 00:29:43,900
Speaker 2: a creepy clown doll, and then there is a ghost girl.

547
00:29:44,340 --> 00:29:48,920
Speaker 2: The ghost girl is Henriette, and she is played by

548
00:29:49,290 --> 00:29:53,910
Speaker 2: an actress by the name of Kristen Fogoralsa. I may

549
00:29:53,950 --> 00:29:55,950
Speaker 2: not be pronouncing that correctly, but this is her only

550
00:29:55,990 --> 00:29:58,300
Speaker 2: credit as well. she might as well be an actual

551
00:29:58,360 --> 00:30:01,020
Speaker 2: ghost as far as I can tell from the movie databases.

552
00:30:01,220 --> 00:30:03,260
Speaker 3: I don't think she speaks in the movie.

553
00:30:04,000 --> 00:30:08,280
Speaker 2: She doesn't have to. The clown speaks for her with murder.

554
00:30:09,480 --> 00:30:14,500
Speaker 2: And some singing, perhaps. Okay, another character that we have

555
00:30:14,880 --> 00:30:18,220
Speaker 2: that pops up and just kind of leaves after... He

556
00:30:18,480 --> 00:30:21,820
Speaker 2: does get some good scenes, but we have Pepe. I

557
00:30:21,860 --> 00:30:23,870
Speaker 2: know we have some questions about this character's name, but

558
00:30:23,900 --> 00:30:27,750
Speaker 2: he's credited... at least on some of the databases, as Pepe.

559
00:30:28,070 --> 00:30:31,260
Speaker 2: He's played by William Moon. This is his only credit.

560
00:30:32,260 --> 00:30:34,220
Speaker 2: And I feel like this guy had a fair amount

561
00:30:34,280 --> 00:30:36,940
Speaker 2: of screen presence. I don't know. I was kind of

562
00:30:36,960 --> 00:30:39,080
Speaker 2: surprised to see that he wasn't in anything else as well.

563
00:30:39,480 --> 00:30:42,260
Speaker 3: It feels like he's having more fun than any other

564
00:30:42,400 --> 00:30:43,260
Speaker 3: actor in the film.

565
00:30:43,460 --> 00:30:43,720
Speaker 2: Yeah.

566
00:30:43,880 --> 00:30:45,520
Speaker 3: He's, like, enjoying his role.

567
00:30:46,180 --> 00:30:49,380
Speaker 2: And his dialogue, you know, all the dialogue in this

568
00:30:49,420 --> 00:30:51,600
Speaker 2: movie is hokey, but it's maybe a little more believable

569
00:30:51,620 --> 00:30:52,560
Speaker 2: from this guy. I don't know.

570
00:30:53,070 --> 00:30:56,040
Speaker 3: Yeah, almost makes you wonder if it might have been improvised.

571
00:30:56,380 --> 00:30:59,600
Speaker 3: It's a little bit quicker and more natural than anybody

572
00:30:59,660 --> 00:31:00,520
Speaker 3: else's lines.

573
00:31:00,600 --> 00:31:02,200
Speaker 2: Yeah, I agree. I agree.

574
00:31:03,040 --> 00:31:05,640
Speaker 3: Like the part where he tells the joke about hitchhiking.

575
00:31:05,700 --> 00:31:08,660
Speaker 3: He says, the hitching part's cool. It's the hiking that sucks.

576
00:31:08,870 --> 00:31:09,670
Speaker 3: It's like, oh, okay.

577
00:31:09,690 --> 00:31:12,490
Speaker 2: Yeah, and he starts listing the different places that suck.

578
00:31:12,590 --> 00:31:14,890
Speaker 2: And he's like, you know, I think everywhere sucks.

579
00:31:15,290 --> 00:31:16,110
Speaker 3: Everywhere sucks.

580
00:31:16,190 --> 00:31:19,250
Speaker 2: Yeah. And I'm not going to run through the rest

581
00:31:19,290 --> 00:31:22,990
Speaker 2: of the cast. This trend continues. But there is a

582
00:31:23,030 --> 00:31:25,810
Speaker 2: mortician character that did stand out to me, played by

583
00:31:25,850 --> 00:31:31,110
Speaker 2: the actor Robert Champagne, who lived 1938 through 2007. American

584
00:31:31,190 --> 00:31:36,350
Speaker 2: actor who also appeared in 89's Witchery and 93's Mattos Salem.

585
00:31:36,470 --> 00:31:39,920
Speaker 2: This is a kid's ghost pirate movie. I looked it up.

586
00:31:40,240 --> 00:31:43,620
Speaker 2: I've never seen it, but some people seem to have

587
00:31:43,680 --> 00:31:48,410
Speaker 2: feelings about it. I don't know. Kid's movie. Apparently... entertaining

588
00:31:48,430 --> 00:31:48,870
Speaker 2: if you're a kid.

589
00:31:49,320 --> 00:31:52,660
Speaker 3: In this movie, he's a card. Interesting face, interesting voice,

590
00:31:53,300 --> 00:31:55,820
Speaker 3: and he gets to deliver some of the core exposition

591
00:31:56,020 --> 00:31:57,959
Speaker 3: and gets murdered by Valkos.

592
00:31:58,080 --> 00:32:03,160
Speaker 2: Yeah, he gets a pretty brutal demise for sure. As

593
00:32:03,180 --> 00:32:05,800
Speaker 2: we'll be discussing, the special effects in Ghost House are

594
00:32:05,820 --> 00:32:10,040
Speaker 2: pretty great. On the whole, really, I loved all the

595
00:32:10,060 --> 00:32:14,340
Speaker 2: special effects. There's some really creative effects. What they try

596
00:32:14,380 --> 00:32:18,440
Speaker 2: to do, they do well. And these are credited to

597
00:32:18,520 --> 00:32:23,280
Speaker 2: Robert Gold, Dan McClensky, and Roland Park. They all worked

598
00:32:23,320 --> 00:32:25,400
Speaker 2: on Stage Fright together. They all worked on a film

599
00:32:25,420 --> 00:32:29,600
Speaker 2: called Inner Zone from 89. And Gold is credited on

600
00:32:29,820 --> 00:32:36,260
Speaker 2: 83's 2020 Texas Gladiators, Joe D'Amato's Bronx movie Endgame from 83,

601
00:32:36,260 --> 00:32:38,540
Speaker 2: Zombie 5, Killer Birds, and The Crawlers.

602
00:32:39,460 --> 00:32:41,570
Speaker 3: Man, Killer Birds is just calling to us, isn't it?

603
00:32:41,570 --> 00:32:42,420
Speaker 2: I know, it's everywhere.

604
00:32:42,440 --> 00:32:45,070
Speaker 3: I may have to check it out.

605
00:32:45,760 --> 00:32:48,100
Speaker 2: And then the score on this movie is pretty incredible

606
00:32:48,140 --> 00:32:51,890
Speaker 2: as well. I thought it was highly effective. Exactly what

607
00:32:51,910 --> 00:32:55,310
Speaker 2: you want from an Italian horror movie. So a lot

608
00:32:55,350 --> 00:32:59,650
Speaker 2: of synth, a lot of electronic vibes. And then also

609
00:32:59,770 --> 00:33:03,330
Speaker 2: this creepy clown song that we're going to be referencing

610
00:33:03,370 --> 00:33:09,220
Speaker 2: a lot that is legitimately creepy, feels haunted, feels like

611
00:33:09,280 --> 00:33:11,460
Speaker 2: it has a life outside of this film.

612
00:33:12,720 --> 00:33:14,800
Speaker 3: I think we should have a name for it because

613
00:33:14,820 --> 00:33:17,320
Speaker 3: it plays 10,000 times in the movie and we're going

614
00:33:17,340 --> 00:33:19,870
Speaker 3: to have to just keep referring to it. I was thinking.

615
00:33:19,910 --> 00:33:21,430
Speaker 2: They call it that stupid song.

616
00:33:21,590 --> 00:33:24,709
Speaker 3: That stupid song. I was thinking of it as the

617
00:33:24,750 --> 00:33:27,970
Speaker 3: demon clown jingle because it has a kind of commercial

618
00:33:28,070 --> 00:33:31,760
Speaker 3: jingle quality. It's like something that would play in a

619
00:33:31,800 --> 00:33:33,160
Speaker 3: TV ad for hell.

620
00:33:34,080 --> 00:33:34,340
Speaker 1: Yeah.

621
00:33:34,700 --> 00:33:35,900
Speaker 3: It's like, come try hell.

622
00:33:35,920 --> 00:33:42,190
Speaker 2: Yeah. Yeah, I've seen it informally just called Creepy Clown

623
00:33:42,210 --> 00:33:45,910
Speaker 2: Song before. You can actually pull up the score for

624
00:33:45,930 --> 00:33:50,420
Speaker 2: this movie on whatever your favorite streaming service is. And

625
00:33:50,440 --> 00:33:53,980
Speaker 2: it is included. It is not called Creepy Clown Song.

626
00:33:54,020 --> 00:33:58,560
Speaker 2: It is called Ninia Suspense or Ninia Suspensa, which I

627
00:33:58,620 --> 00:34:01,990
Speaker 2: think just means like suspense dirge or suspense funeral song

628
00:34:02,050 --> 00:34:06,050
Speaker 2: or something. So maybe not the most insightful title here either.

629
00:34:06,550 --> 00:34:08,950
Speaker 3: Well, since we're already talking about the song, I guess

630
00:34:08,969 --> 00:34:11,290
Speaker 3: we should go ahead and describe it. Because again, it's

631
00:34:11,310 --> 00:34:14,109
Speaker 3: a big part of what the movie is like, because

632
00:34:14,150 --> 00:34:17,480
Speaker 3: you hear it so many times. The Demon Clown jingle

633
00:34:17,739 --> 00:34:21,520
Speaker 3: is this insane looping melody played on what sounds like

634
00:34:21,540 --> 00:34:27,080
Speaker 3: an electric organ with a distorted helium gremlin voice talking

635
00:34:27,160 --> 00:34:30,239
Speaker 3: over the top. And Rob, we spoke off camera about

636
00:34:30,300 --> 00:34:32,910
Speaker 3: how it is hard to tell what the voice is saying,

637
00:34:32,989 --> 00:34:36,120
Speaker 3: but to me, it sounds like it's saying, are you up?

638
00:34:36,320 --> 00:34:39,340
Speaker 3: Are you there? Are you there? And that is also

639
00:34:39,480 --> 00:34:43,759
Speaker 3: what the, uh, subtitles on my version trans transcribed for

640
00:34:43,800 --> 00:34:45,960
Speaker 3: it to say, but I think it's not supposed to

641
00:34:46,020 --> 00:34:48,279
Speaker 3: be decipherable. I think you're not really supposed to be

642
00:34:48,340 --> 00:34:51,090
Speaker 3: able to tell what it's saying. Uh, there is a

643
00:34:51,170 --> 00:34:54,590
Speaker 3: later part in the movie where the character Paul uses

644
00:34:54,650 --> 00:34:58,410
Speaker 3: his computer to analyze, analyze what the song is saying.

645
00:34:58,530 --> 00:35:01,330
Speaker 3: And it decides it is saying the word burial, which

646
00:35:01,370 --> 00:35:02,150
Speaker 3: I don't hear at all.

647
00:35:02,170 --> 00:35:02,630
Speaker 1: Hmm.

648
00:35:03,440 --> 00:35:05,120
Speaker 2: <HAL> <HAL> <HAL> <HAL> <HAL> <HAL> <HAL> <HAL> <HAL> <HAL>

649
00:35:05,520 --> 00:35:09,560
Speaker 2: <HAL> <HAL> <HAL> <HAL> <HAL> <HAL> <HAL> <HAL> <HAL> <HAL>

650
00:35:09,660 --> 00:35:15,090
Speaker 2: And then there's a kind of a sound. And it's just,

651
00:35:15,300 --> 00:35:16,870
Speaker 2: it's very, very creepy.

652
00:35:17,710 --> 00:35:19,150
Speaker 3: Silver shamrock.

653
00:35:20,450 --> 00:35:22,029
Speaker 2: It does have that kind of vibe. Yeah, a little

654
00:35:22,070 --> 00:35:25,890
Speaker 2: bit like a jingle from hell. So who's responsible for

655
00:35:25,930 --> 00:35:30,640
Speaker 2: all of this music? Well, mainly we have Piero Montanari,

656
00:35:30,719 --> 00:35:34,890
Speaker 2: who lived 1946 through 2023. Italian composer who worked on

657
00:35:34,989 --> 00:35:39,110
Speaker 2: several Joe D'Amato films and worked mostly in erotic and

658
00:35:39,150 --> 00:35:43,090
Speaker 2: adult cinema. But he also scored Umberto Lindsay's The Hell's

659
00:35:43,140 --> 00:35:48,200
Speaker 2: Gate in 89, D'Amato's Return from Death or Frankenstein 2000

660
00:35:48,200 --> 00:35:51,860
Speaker 2: in 91. That one stars Donald O'Brien. Ghost House is

661
00:35:52,020 --> 00:35:54,080
Speaker 2: probably his best known work. And yeah, I have to

662
00:35:54,120 --> 00:35:56,840
Speaker 2: say it's a fun score. Very fun score. Even outside

663
00:35:56,860 --> 00:35:59,540
Speaker 2: of the setting aside the clown track for a minute.

664
00:35:59,900 --> 00:36:02,530
Speaker 2: I think it has some great, great synth action here.

665
00:36:02,900 --> 00:36:04,050
Speaker 2: It's the kind of thing I can put on in

666
00:36:04,090 --> 00:36:06,850
Speaker 2: the background. And this one was released on vinyl by

667
00:36:06,890 --> 00:36:10,009
Speaker 2: TerraVision in 2016. And I think it may be more

668
00:36:10,030 --> 00:36:12,850
Speaker 2: of a collector's item now in that regard. And of course, again,

669
00:36:12,890 --> 00:36:14,710
Speaker 2: you can stream it wherever. I was streaming it on

670
00:36:14,770 --> 00:36:15,430
Speaker 2: Apple earlier.

671
00:36:16,170 --> 00:36:17,860
Speaker 3: I have to shout out there are at least a

672
00:36:17,930 --> 00:36:21,279
Speaker 3: couple of points in the movie where the music is

673
00:36:21,540 --> 00:36:25,480
Speaker 3: really funny. Not because the music is bad or anything,

674
00:36:25,540 --> 00:36:29,300
Speaker 3: but because of incredibly jarring music transitions.

675
00:36:30,239 --> 00:36:30,450
Speaker 2: Yeah.

676
00:36:31,060 --> 00:36:34,160
Speaker 3: Like where suddenly it's playing the demon clown song and

677
00:36:34,200 --> 00:36:37,200
Speaker 3: then it just hard cuts to, you know, jazz you

678
00:36:37,219 --> 00:36:38,980
Speaker 3: would hear on the home shopping channel.

679
00:36:40,200 --> 00:36:43,609
Speaker 2: Yeah. Yeah. That's a solid point for sure. And then

680
00:36:44,170 --> 00:36:46,790
Speaker 2: totally the film is like that as well. Yeah. Suddenly

681
00:36:47,830 --> 00:36:50,069
Speaker 2: we're in a horrendous murder and then we're talking about

682
00:36:50,110 --> 00:36:53,529
Speaker 2: chili again or something to that effect. Yeah. So again,

683
00:36:53,550 --> 00:36:57,880
Speaker 2: the creepy clown song is titled Ninnia suspense or suspense.

684
00:36:58,620 --> 00:37:01,490
Speaker 2: You can look that up. on on your streaming service

685
00:37:01,510 --> 00:37:03,549
Speaker 2: you may be able to make it your ringtone today

686
00:37:03,570 --> 00:37:05,680
Speaker 2: so you know go ahead and do that and report

687
00:37:05,719 --> 00:37:07,460
Speaker 2: back in a week tell us how that has worked

688
00:37:07,560 --> 00:37:11,100
Speaker 2: out for you but uh interestingly enough uh when you

689
00:37:11,160 --> 00:37:13,800
Speaker 2: when you pull it up on streaming the this particular

690
00:37:13,840 --> 00:37:16,380
Speaker 2: track the creepy clown song is credited to a different

691
00:37:16,460 --> 00:37:22,580
Speaker 2: artist it's roberto spandoni born 1963 and i was looking

692
00:37:22,620 --> 00:37:25,920
Speaker 2: him up i'm pretty sure this is the guy based

693
00:37:25,940 --> 00:37:28,549
Speaker 2: off you know discogs and other sources but This guy's

694
00:37:28,590 --> 00:37:32,640
Speaker 2: an Italian composer and guitarist who's worked mostly in jazz.

695
00:37:32,680 --> 00:37:35,820
Speaker 2: And I believe he's a jazz composition professor. And I

696
00:37:35,840 --> 00:37:38,800
Speaker 2: think outside of this one track hasn't worked in film.

697
00:37:38,840 --> 00:37:42,290
Speaker 2: So just like a one-off that he did for cinema

698
00:37:42,390 --> 00:37:42,810
Speaker 2: at the time.

699
00:37:43,530 --> 00:37:46,009
Speaker 3: I love how often you find that people who in

700
00:37:46,110 --> 00:37:52,210
Speaker 3: some capacity worked in these schlocky B movies are now teaching.

701
00:37:52,610 --> 00:37:55,459
Speaker 3: They're like in academia somewhere. And so you think about

702
00:37:55,540 --> 00:37:58,359
Speaker 3: all of the students who have like, over the years

703
00:37:58,380 --> 00:38:00,800
Speaker 3: who have gone through and found out like my professor

704
00:38:00,840 --> 00:38:03,500
Speaker 3: did music for ghost house. Yeah.

705
00:38:03,560 --> 00:38:05,140
Speaker 2: I mean, I mean, you think about it, you know,

706
00:38:05,400 --> 00:38:08,680
Speaker 2: these guys were all, you know, either struggling academics or

707
00:38:09,020 --> 00:38:12,650
Speaker 2: working professionals, working musicians, and somebody needs some music for

708
00:38:12,670 --> 00:38:15,089
Speaker 2: a film. And, you know, you might not think it's

709
00:38:15,130 --> 00:38:16,989
Speaker 2: a great film, but in many of these cases, they're like,

710
00:38:17,050 --> 00:38:19,049
Speaker 2: Oh yeah, they're going to see this. It's, it's for

711
00:38:19,250 --> 00:38:22,290
Speaker 2: a foreign market. Nobody's ever even know I worked on it. So,

712
00:38:22,350 --> 00:38:23,609
Speaker 2: you know, no big deal.

713
00:38:24,590 --> 00:38:29,270
Speaker 3: It reminds me of when we watched, uh, What was it? Oh,

714
00:38:29,350 --> 00:38:31,650
Speaker 3: it was the Paganini horror. And they had an interview

715
00:38:31,690 --> 00:38:33,930
Speaker 3: with that actor who was like, you know, I was

716
00:38:33,989 --> 00:38:36,030
Speaker 3: young when I did this movie. I was just happy

717
00:38:36,050 --> 00:38:38,910
Speaker 3: to get work. And I, I never, it never occurred

718
00:38:38,969 --> 00:38:41,700
Speaker 3: to me that people 20 years later would ever watch

719
00:38:41,760 --> 00:38:43,760
Speaker 3: this movie again or know what it was.

720
00:38:43,780 --> 00:38:46,700
Speaker 2: Yeah. Yeah. There's the sense that some of these films

721
00:38:46,719 --> 00:38:49,500
Speaker 2: were just, you're releasing it into the air and it

722
00:38:49,520 --> 00:38:53,680
Speaker 2: would just fly away. Um, there is, I think three

723
00:38:53,719 --> 00:38:56,009
Speaker 2: other tracks on the score here that are credited to

724
00:38:56,050 --> 00:39:01,259
Speaker 2: Simon Boswell. Born 1953. He's an English film composer whose

725
00:39:01,300 --> 00:39:05,140
Speaker 2: many credits include Italian horror films like Phenomena, Demons 2,

726
00:39:05,140 --> 00:39:10,030
Speaker 2: Stage Fright again, but also 89's Santa Sangre, 1990's Hardware,

727
00:39:10,489 --> 00:39:14,470
Speaker 2: 92's Dust Devil, 94's Shallow Grave, 95's Lord of Illusion,

728
00:39:15,130 --> 00:39:18,529
Speaker 2: and let's see, Hackers from the same year. And 1999's

729
00:39:18,550 --> 00:39:21,750
Speaker 2: A Midsummer Night's Dream as well. So yeah, still working

730
00:39:21,770 --> 00:39:25,200
Speaker 2: to this day. So that's the soundscape of Ghost House.

731
00:39:34,570 --> 00:39:36,259
Speaker 3: Well, are you ready to talk about the plot?

732
00:39:37,469 --> 00:39:39,160
Speaker 2: Sure, let's make sense of this plot.

733
00:39:39,440 --> 00:39:42,000
Speaker 3: Okay, so the film begins with a prologue. It says

734
00:39:42,060 --> 00:39:44,760
Speaker 3: it's set 20 years in the past. And the opening

735
00:39:44,820 --> 00:39:47,690
Speaker 3: shot is of a house at dusk with these tangled

736
00:39:47,890 --> 00:39:51,410
Speaker 3: black tree limbs silhouetted in the foreground. The opening shot

737
00:39:51,469 --> 00:39:56,410
Speaker 3: actually looks much nicer than the aesthetic sensibility of the

738
00:39:56,450 --> 00:39:59,109
Speaker 3: rest of the movie. This almost makes it look like

739
00:39:59,160 --> 00:40:02,380
Speaker 3: it's going to be kind of artful. So don't get

740
00:40:02,420 --> 00:40:04,379
Speaker 3: the wrong idea right at the top here. But this

741
00:40:04,440 --> 00:40:06,880
Speaker 3: is the house in the movie, the ghost house.

742
00:40:07,340 --> 00:40:10,299
Speaker 2: Yeah, and this is actually an historic house. This is

743
00:40:10,340 --> 00:40:14,880
Speaker 2: the Ellis Estate in Situate, Massachusetts. And fun fact, it's

744
00:40:14,920 --> 00:40:17,839
Speaker 2: the same house used in House by the Cemetery, the

745
00:40:17,880 --> 00:40:19,840
Speaker 2: Fulci film that we've discussed on the show before.

746
00:40:20,840 --> 00:40:23,480
Speaker 3: Do you think they were putting ads in like Italian

747
00:40:23,520 --> 00:40:26,020
Speaker 3: publications that are like, hey, do you need a spooky

748
00:40:26,040 --> 00:40:28,820
Speaker 3: house for your genre film?

749
00:40:29,080 --> 00:40:29,340
Speaker 2: Yeah.

750
00:40:29,360 --> 00:40:30,819
Speaker 3: Come to Scituate, Massachusetts.

751
00:40:30,900 --> 00:40:32,700
Speaker 2: Maybe so. Maybe so. I don't know. Maybe it was

752
00:40:32,719 --> 00:40:36,100
Speaker 2: a referral situation. I'm not sure. But I did not

753
00:40:36,140 --> 00:40:38,120
Speaker 2: recognize it. I didn't say like, oh my goodness, it's

754
00:40:38,160 --> 00:40:39,960
Speaker 2: the House by the Cemetery house. No, no.

755
00:40:40,460 --> 00:40:41,660
Speaker 3: I wouldn't have recognized it either.

756
00:40:41,680 --> 00:40:41,819
Speaker 2: Yeah.

757
00:40:42,420 --> 00:40:46,360
Speaker 3: So I don't know a lot about houses and domestic architecture,

758
00:40:46,460 --> 00:40:48,400
Speaker 3: but I went and did a little bit of digging

759
00:40:48,420 --> 00:40:51,529
Speaker 3: to figure out the right terminology to describe this. So

760
00:40:51,550 --> 00:40:53,910
Speaker 3: I think this is a house in what you would

761
00:40:53,969 --> 00:40:58,750
Speaker 3: call the Queen Anne architectural style. It is tall with

762
00:40:58,930 --> 00:41:02,350
Speaker 3: asymmetrical features. It's got a round turret at one corner,

763
00:41:02,800 --> 00:41:06,580
Speaker 3: bay windows, verandas on different parts and sides of the house.

764
00:41:07,010 --> 00:41:10,870
Speaker 3: And then a big, steep A-frame gabled portion of the

765
00:41:10,910 --> 00:41:13,930
Speaker 3: second floor over the front facade. It looks like a

766
00:41:13,989 --> 00:41:16,630
Speaker 3: perfect house for a haunting. You know, it's big, roomy,

767
00:41:16,870 --> 00:41:20,910
Speaker 3: old world. It looks very creaky. May have sharpened panes

768
00:41:20,950 --> 00:41:23,980
Speaker 3: of glass hanging like a guillotine blade from the ceiling.

769
00:41:24,540 --> 00:41:26,520
Speaker 3: And so it's got everything you need.

770
00:41:27,280 --> 00:41:28,859
Speaker 2: Yeah, absolutely. Totally looks the part.

771
00:41:29,739 --> 00:41:32,160
Speaker 3: And in the opening shot, a single window on the

772
00:41:32,200 --> 00:41:34,969
Speaker 3: second floor is illuminated. The rest of the house is dark.

773
00:41:35,550 --> 00:41:37,970
Speaker 3: And we cut around to other exterior shots that look

774
00:41:37,989 --> 00:41:41,100
Speaker 3: like they could literally be different houses. Maybe somehow they're

775
00:41:41,140 --> 00:41:41,540
Speaker 3: the same.

776
00:41:41,560 --> 00:41:41,899
Speaker 2: I don't know.

777
00:41:41,940 --> 00:41:46,200
Speaker 3: This house is bigger. Like in some dimensions, it's bigger

778
00:41:46,280 --> 00:41:48,220
Speaker 3: than it looks in others. I think it might actually

779
00:41:48,260 --> 00:41:52,450
Speaker 3: be much longer than it is wide. Anyway, we hear

780
00:41:52,469 --> 00:41:56,590
Speaker 3: a loud cat screech, like a meow. And then inside

781
00:41:56,670 --> 00:42:01,330
Speaker 3: we see a severe looking man in a sleeveless cardigan

782
00:42:01,410 --> 00:42:05,839
Speaker 3: wandering the halls, calling out for somebody named Henrietta. This

783
00:42:05,900 --> 00:42:08,420
Speaker 3: dude to me looked a little bit like David Byrne

784
00:42:08,460 --> 00:42:13,080
Speaker 3: of the talking heads, but temper that with some doubtiness.

785
00:42:13,180 --> 00:42:17,120
Speaker 3: Like think David Byrne crossed with like a Midwest church

786
00:42:17,219 --> 00:42:21,080
Speaker 3: deacon who thinks hot dogs are too spicy. And so

787
00:42:21,120 --> 00:42:24,239
Speaker 3: this guy is, he sounds very annoyed. He searches up

788
00:42:24,280 --> 00:42:27,580
Speaker 3: and down looking for the kid. And eventually he approaches

789
00:42:27,660 --> 00:42:30,140
Speaker 3: the door to the basement and we can hear music

790
00:42:30,280 --> 00:42:33,080
Speaker 3: coming from the other side. What is the song? It

791
00:42:33,160 --> 00:42:35,790
Speaker 3: is the Demon Clown jingle. It's coming up from the basement.

792
00:42:36,890 --> 00:42:39,890
Speaker 3: And so the guy in the cardigan goes through the door,

793
00:42:40,010 --> 00:42:42,490
Speaker 3: goes down the stairs where he sees a very fake

794
00:42:42,690 --> 00:42:45,819
Speaker 3: dead cat covered in blood with its face frozen in

795
00:42:45,900 --> 00:42:48,900
Speaker 3: midi owl. Then he goes on down to the basement,

796
00:42:48,940 --> 00:42:51,739
Speaker 3: which is filled with junk. You've got stacks of boxes,

797
00:42:51,880 --> 00:42:55,759
Speaker 3: dusty old appliances and stuff. And there he finds a

798
00:42:55,820 --> 00:42:58,040
Speaker 3: girl who I think is supposed to be 11 years

799
00:42:58,160 --> 00:43:00,980
Speaker 3: old at this point. She's in a white dress holding

800
00:43:01,020 --> 00:43:04,299
Speaker 3: a pair of scissors with blood all over them. Presumably

801
00:43:04,360 --> 00:43:08,100
Speaker 3: this is Henrietta. The dude goes up to Henrietta. He

802
00:43:08,160 --> 00:43:11,299
Speaker 3: takes the bloody scissors out of her hands. And then

803
00:43:11,440 --> 00:43:13,680
Speaker 3: with venom in his voice, he says, how could you

804
00:43:13,820 --> 00:43:16,759
Speaker 3: do such a thing to one of God's innocent creatures?

805
00:43:17,500 --> 00:43:20,220
Speaker 3: She looks up at him and seems to be weeping blood.

806
00:43:20,320 --> 00:43:22,470
Speaker 3: She like wipes her eye and it seems kind of red.

807
00:43:23,040 --> 00:43:25,680
Speaker 3: And then the dude adds, and on your birthday of

808
00:43:25,780 --> 00:43:28,569
Speaker 3: all days, that's the worst day to stab a cat

809
00:43:28,610 --> 00:43:29,230
Speaker 3: with scissors.

810
00:43:29,469 --> 00:43:33,690
Speaker 2: Yeah. Yeah. Um, yeah. Animal, uh, murder and mutilation, especially

811
00:43:33,730 --> 00:43:34,890
Speaker 2: bad on your own birthday.

812
00:43:34,930 --> 00:43:38,259
Speaker 3: Come on, save it for Easter. Come on. So the

813
00:43:38,300 --> 00:43:41,219
Speaker 3: old guy, he points at Henrietta and he says, uh,

814
00:43:41,500 --> 00:43:44,680
Speaker 3: she has committed a very grave sin and her punishment

815
00:43:45,020 --> 00:43:47,620
Speaker 3: is that he's going to lock her in the basement

816
00:43:47,800 --> 00:43:50,529
Speaker 3: in the dark with the dead cat. And she'll just

817
00:43:50,570 --> 00:43:52,970
Speaker 3: have to stay down there in the dark by herself

818
00:43:53,160 --> 00:43:55,560
Speaker 3: and pray for the Lord to have mercy on her soul.

819
00:43:55,580 --> 00:43:57,760
Speaker 3: I mean, that's good parenting.

820
00:43:59,260 --> 00:44:01,780
Speaker 2: Yeah, I mean, when is this supposed to take place?

821
00:44:01,780 --> 00:44:04,560
Speaker 3: 1967, I think. Okay, yeah.

822
00:44:05,239 --> 00:44:07,740
Speaker 2: So maybe they just didn't know that this is exactly

823
00:44:07,800 --> 00:44:09,960
Speaker 2: how you end up with deadly ghost girls.

824
00:44:10,480 --> 00:44:10,990
Speaker 3: I think so.

825
00:44:11,070 --> 00:44:13,250
Speaker 2: Some sort of a traumatic punishment like this.

826
00:44:13,730 --> 00:44:16,029
Speaker 3: Well, it's weird in so many ways. I mean, so

827
00:44:16,090 --> 00:44:18,370
Speaker 3: it starts off with this situation that if you took

828
00:44:18,410 --> 00:44:21,029
Speaker 3: it seriously, it's horrifying. Like you find, you find a

829
00:44:21,070 --> 00:44:24,230
Speaker 3: child has, has murdered a pet, like killed an animal.

830
00:44:25,050 --> 00:44:28,370
Speaker 3: But then the way the movie is characterizing it, it's

831
00:44:28,450 --> 00:44:32,799
Speaker 3: like trying to show that the father is having this horrible, uh,

832
00:44:33,219 --> 00:44:36,620
Speaker 3: kind of overly churchy negative reaction to it. Like he's

833
00:44:36,660 --> 00:44:39,920
Speaker 3: the dad in footloose who won't allow any dancing except here.

834
00:44:39,960 --> 00:44:41,560
Speaker 3: He won't allow any cat stabbing.

835
00:44:42,410 --> 00:44:44,650
Speaker 2: I think this is a prime example of something that

836
00:44:44,670 --> 00:44:50,130
Speaker 2: you see throughout this movie. Take away all of the

837
00:44:50,190 --> 00:44:54,630
Speaker 2: goofy things about it. The actual script is pretty mean

838
00:44:54,670 --> 00:44:59,469
Speaker 2: and nasty. And if it were realized perfectly with a

839
00:45:00,670 --> 00:45:05,070
Speaker 2: level of writing and acting that elevated that material, I

840
00:45:05,110 --> 00:45:06,800
Speaker 2: don't think I would ever want to watch it. Because

841
00:45:06,820 --> 00:45:10,420
Speaker 2: it would just be a really mean, nasty film. Wallowing

842
00:45:10,460 --> 00:45:16,160
Speaker 2: in horribleness. But the way that it's realized, we end

843
00:45:16,200 --> 00:45:18,960
Speaker 2: up laughing at it more than we're feeling the horror.

844
00:45:20,260 --> 00:45:21,930
Speaker 2: Which is good, because otherwise I wouldn't want to watch

845
00:45:21,969 --> 00:45:25,970
Speaker 2: this movie. As it is, I find it richly entertaining.

846
00:45:26,350 --> 00:45:30,089
Speaker 3: A very funny horror movie that is tempered from its

847
00:45:30,190 --> 00:45:34,780
Speaker 3: darkness and meanness mainly by the texture of the acting

848
00:45:34,900 --> 00:45:40,380
Speaker 3: and of the dialogue specifically. So anyway, as the dude promised,

849
00:45:40,420 --> 00:45:43,230
Speaker 3: he Goes up the staircase, closes the door, switches out

850
00:45:43,270 --> 00:45:46,110
Speaker 3: the light, leaves the child down there. Now alone in

851
00:45:46,150 --> 00:45:49,069
Speaker 3: the dark, Henrietta goes to retrieve something. She is hidden

852
00:45:49,090 --> 00:45:52,930
Speaker 3: behind a stack of boxes. It is a nightmarish clown doll.

853
00:45:53,910 --> 00:45:56,670
Speaker 3: It's big. It's like about the size of Henrietta herself.

854
00:45:56,830 --> 00:46:00,090
Speaker 3: It's got a bulbous red nose, kind of peachy skin,

855
00:46:00,290 --> 00:46:04,390
Speaker 3: cherry cheeks with these triangular brows over its eyes, and

856
00:46:04,450 --> 00:46:09,180
Speaker 3: a grotesque smiling mouth filled with carved teeth. Obviously, it's

857
00:46:09,219 --> 00:46:12,049
Speaker 3: a play on the Nightmare Clown from Poltergeist. It looks

858
00:46:12,110 --> 00:46:14,930
Speaker 3: extremely similar. Rob, I've got pictures of both for you

859
00:46:14,969 --> 00:46:18,950
Speaker 3: to look at here in the outline. Obviously, one is

860
00:46:18,989 --> 00:46:19,910
Speaker 3: modeled on the other.

861
00:46:19,930 --> 00:46:24,489
Speaker 2: Yeah, I think ultimately, though, the Ghost House clown doll

862
00:46:24,510 --> 00:46:27,450
Speaker 2: looks even creepier, especially since we get two different versions

863
00:46:27,489 --> 00:46:30,969
Speaker 2: of its face. It has the evil sharp-toothed version and

864
00:46:31,010 --> 00:46:34,739
Speaker 2: then the typical toy face as well. And I think

865
00:46:34,760 --> 00:46:36,819
Speaker 2: there is something about the size of the doll that

866
00:46:36,860 --> 00:46:41,050
Speaker 2: does work very well because she is not a small

867
00:46:41,110 --> 00:46:43,710
Speaker 2: little girl. She looks like she's probably one of these

868
00:46:44,110 --> 00:46:47,710
Speaker 2: girls who's kind of tall for her age. And then, again,

869
00:46:47,830 --> 00:46:51,830
Speaker 2: the clown doll looks like about her size. And so

870
00:46:51,950 --> 00:46:56,170
Speaker 2: visually it reads both as girl is too old to

871
00:46:56,230 --> 00:46:59,850
Speaker 2: have a doll like this and also doll is way

872
00:46:59,890 --> 00:47:02,029
Speaker 2: too big for what it is. And somehow it kind

873
00:47:02,090 --> 00:47:05,450
Speaker 2: of speaks to some sort of a very unhealthy relationship

874
00:47:05,489 --> 00:47:09,730
Speaker 2: between the two and an outsized power in the doll. Yeah.

875
00:47:09,830 --> 00:47:12,989
Speaker 3: And then that's backed up by the action we see next,

876
00:47:13,070 --> 00:47:16,180
Speaker 3: which is that Henrietta, she takes this creepy looking doll

877
00:47:16,219 --> 00:47:18,739
Speaker 3: and she like snuggles it. She like lays her head

878
00:47:18,820 --> 00:47:21,819
Speaker 3: on its shoulder. Like, Oh doll, you know, clown from hell.

879
00:47:21,880 --> 00:47:23,100
Speaker 3: You're my only friend now.

880
00:47:23,820 --> 00:47:24,000
Speaker 2: Yeah.

881
00:47:24,540 --> 00:47:27,540
Speaker 3: And so upstairs, the father is now talking to another woman,

882
00:47:27,640 --> 00:47:31,560
Speaker 3: presumably Henrietta's mother. She's a lady in an apron making

883
00:47:31,620 --> 00:47:34,560
Speaker 3: tea in the kitchen. And the father insists that something

884
00:47:34,600 --> 00:47:37,030
Speaker 3: has come over Henrietta. It's as if she were under

885
00:47:37,070 --> 00:47:39,569
Speaker 3: a terrible spell. And the mother says, how could you

886
00:47:39,630 --> 00:47:42,850
Speaker 3: say that? She's just a little girl. And we learned

887
00:47:43,110 --> 00:47:45,509
Speaker 3: the dude's name, the guy's name is Sam, by the way.

888
00:47:45,570 --> 00:47:48,610
Speaker 3: So she calls it, the mother calls him Sam. Anyway,

889
00:47:48,770 --> 00:47:52,509
Speaker 3: Sam then grabs a bunch of light bulbs out of

890
00:47:52,530 --> 00:47:55,430
Speaker 3: a cabinet. This action, when you actually pay attention to

891
00:47:55,469 --> 00:47:58,589
Speaker 3: what's happening, it looks so bizarre. He's like, just got

892
00:47:58,790 --> 00:48:02,270
Speaker 3: fists full of light bulbs and He's grabbing all these

893
00:48:02,370 --> 00:48:04,890
Speaker 3: light bulbs at once and he goes into the living

894
00:48:04,930 --> 00:48:07,469
Speaker 3: room to screw one of them into a light fixture.

895
00:48:07,489 --> 00:48:12,290
Speaker 3: And when he does, the demon clown jingle starts playing again.

896
00:48:12,310 --> 00:48:15,190
Speaker 3: Are you up? Are you there? That whole thing. And

897
00:48:15,350 --> 00:48:18,069
Speaker 3: then we actually get a pretty creative special effect that

898
00:48:18,090 --> 00:48:20,790
Speaker 3: we're going to see multiple times in the movie. This

899
00:48:20,850 --> 00:48:25,489
Speaker 3: is where the glowing light bulb begins to inflate like

900
00:48:25,550 --> 00:48:28,009
Speaker 3: a balloon. So it looks like the glass is somehow

901
00:48:28,110 --> 00:48:32,710
Speaker 3: ballooning up. until finally it pops, shooting glass everywhere.

902
00:48:32,730 --> 00:48:36,370
Speaker 2: Yeah, very well done. Like, very well executed, and also

903
00:48:36,430 --> 00:48:40,990
Speaker 2: just visually very creative. And it's a sort of effect

904
00:48:41,010 --> 00:48:43,350
Speaker 2: that they keep doing in different ways, and we'll discuss

905
00:48:43,370 --> 00:48:46,649
Speaker 2: the different ways that it's rolled out, which I think

906
00:48:46,710 --> 00:48:49,360
Speaker 2: works very well because it kind of reads like Ghost

907
00:48:49,380 --> 00:48:53,200
Speaker 2: House has a particular idea of how supernatural energy manifests,

908
00:48:53,760 --> 00:48:59,580
Speaker 2: and it particularly has a way of distorting glass. Uh, so, uh, yeah, absolutely. Uh,

909
00:48:59,810 --> 00:49:02,100
Speaker 2: you know, a whole bunch of thumbs up for this

910
00:49:02,160 --> 00:49:03,480
Speaker 2: particular effect right here.

911
00:49:03,800 --> 00:49:07,020
Speaker 3: Yeah. The demon clown is like the magneto of silicate

912
00:49:07,040 --> 00:49:11,400
Speaker 3: to like, yeah, manipulates glass. Uh, and it's not just

913
00:49:11,460 --> 00:49:13,770
Speaker 3: light bulbs. We see it happen with these jars of

914
00:49:13,870 --> 00:49:14,930
Speaker 3: liquids later.

915
00:49:14,989 --> 00:49:18,150
Speaker 2: Yeah. A mirror. There's a great mirror scene. So yeah,

916
00:49:18,170 --> 00:49:20,590
Speaker 2: this is all absolutely top notch as far as I'm concerned.

917
00:49:20,950 --> 00:49:24,310
Speaker 3: So old Sam kneels down to clean up the broken glass.

918
00:49:24,430 --> 00:49:28,300
Speaker 3: And while he does, we see a filthy bandaged hand.

919
00:49:28,340 --> 00:49:31,640
Speaker 3: It looks like a mummy's hand holding an axe. This

920
00:49:31,700 --> 00:49:34,719
Speaker 3: figure with an axe approaches Sam from behind. Then just

921
00:49:34,780 --> 00:49:38,140
Speaker 3: as he turns and gasps in horror, it whacks him

922
00:49:38,200 --> 00:49:40,700
Speaker 3: on the top of the head with the axe. splits

923
00:49:40,760 --> 00:49:43,100
Speaker 3: his head open in a cutaway that looks like they

924
00:49:43,140 --> 00:49:45,680
Speaker 3: might've filmed this on a cantaloupe with a mask and

925
00:49:45,719 --> 00:49:46,160
Speaker 3: a wig.

926
00:49:46,180 --> 00:49:50,560
Speaker 2: Yeah. But it's still, it looks nasty. It's a nasty

927
00:49:50,760 --> 00:49:53,239
Speaker 2: gore effect for sure. And one of those, you know, it's,

928
00:49:53,440 --> 00:49:54,920
Speaker 2: this is one of those films where, you know, you're

929
00:49:54,940 --> 00:49:57,359
Speaker 2: not going to cut away when there's an impact. Uh,

930
00:49:57,520 --> 00:49:58,960
Speaker 2: so it looks gross.

931
00:49:59,680 --> 00:50:02,060
Speaker 3: Then the mom comes out. Uh, she sees what happened

932
00:50:02,080 --> 00:50:04,640
Speaker 3: to the guy. She screams, then looks at a mirror

933
00:50:04,700 --> 00:50:08,229
Speaker 3: on the wall. And here we get more glass manipulation.

934
00:50:08,270 --> 00:50:12,670
Speaker 3: So the mirror starts warping and turning into, I don't

935
00:50:12,690 --> 00:50:14,009
Speaker 3: know what the right term for this would be. It's

936
00:50:14,030 --> 00:50:17,230
Speaker 3: like an active funhouse mirror. It's like a funhouse mirror

937
00:50:17,250 --> 00:50:21,620
Speaker 3: that is warping and bending in real time. And eventually

938
00:50:21,660 --> 00:50:24,120
Speaker 3: it shatters, shoots a bunch of glass in her face,

939
00:50:24,460 --> 00:50:26,540
Speaker 3: and then the mummy hand attacks her with a knife.

940
00:50:29,340 --> 00:50:31,600
Speaker 2: So do we ever find out what the deal is

941
00:50:31,640 --> 00:50:32,299
Speaker 2: with the mummy hand?

942
00:50:33,250 --> 00:50:36,219
Speaker 3: No, I don't think so. I don't think it's ever. Well,

943
00:50:36,580 --> 00:50:40,580
Speaker 3: the only, well, could it be that it is the, uh,

944
00:50:40,700 --> 00:50:43,719
Speaker 3: the maggot Reaper that we see later on?

945
00:50:43,900 --> 00:50:47,720
Speaker 2: Yeah. Whoever that guy is might be hand here. Okay.

946
00:50:47,880 --> 00:50:49,940
Speaker 3: I got no clarity on maggot Reaper. I was going

947
00:50:49,960 --> 00:50:52,360
Speaker 3: to ask you if you could figure out.

948
00:50:52,410 --> 00:50:54,089
Speaker 2: Yeah. I just suddenly realized it was like, oh yeah,

949
00:50:54,110 --> 00:50:56,010
Speaker 2: there was a mummy hand and I have no idea

950
00:50:56,090 --> 00:50:57,710
Speaker 2: how this pans out later in the film. Okay.

951
00:50:58,739 --> 00:51:01,860
Speaker 3: That's my best guess is it's Maggot Reaper. Okay. Anyway,

952
00:51:02,219 --> 00:51:04,930
Speaker 3: so we cut away now to Henrietta and the clown

953
00:51:04,969 --> 00:51:07,770
Speaker 3: in the basement. Henrietta looks at the clown. She looks

954
00:51:07,850 --> 00:51:09,930
Speaker 3: at it, doesn't say anything, but it's kind of like,

955
00:51:09,989 --> 00:51:12,049
Speaker 3: do you think everything's going to be all right? And

956
00:51:12,070 --> 00:51:15,850
Speaker 3: then she hugs it. And then this droning satanic synthesizer

957
00:51:15,910 --> 00:51:19,049
Speaker 3: chord swells. And then we get one of these hilarious

958
00:51:19,110 --> 00:51:23,420
Speaker 3: smash cuts. Smash cut from the satanic music and the

959
00:51:23,480 --> 00:51:26,700
Speaker 3: clown in the basement in the dark. to a marina

960
00:51:26,739 --> 00:51:30,629
Speaker 3: full of yachts on the Boston waterfront with shopping mall

961
00:51:30,670 --> 00:51:33,350
Speaker 3: jazz playing, you know, ba-doop, boop, boop, ba-doop. It's kind

962
00:51:33,390 --> 00:51:36,710
Speaker 3: of elevator music and text on screen that says 20

963
00:51:36,710 --> 00:51:37,270
Speaker 3: years later.

964
00:51:37,630 --> 00:51:39,130
Speaker 2: Yeah, that's right. We're finally going to meet up with

965
00:51:39,190 --> 00:51:43,239
Speaker 2: our two main characters as they, what, they're talking about chili,

966
00:51:43,280 --> 00:51:43,560
Speaker 2: I think.

967
00:51:43,680 --> 00:51:46,860
Speaker 3: That's the thing I remember. So they're Martha and Paul.

968
00:51:46,900 --> 00:51:48,940
Speaker 3: They are a couple in their 20s living in a

969
00:51:48,980 --> 00:51:50,660
Speaker 3: big studio apartment in Boston.

970
00:51:50,900 --> 00:51:53,080
Speaker 2: A big one too, like wide open. Huge, yeah.

971
00:51:53,870 --> 00:51:55,609
Speaker 3: Uh, so I was, I've got a comment about that

972
00:51:55,630 --> 00:51:57,250
Speaker 3: in a minute, but I was going to ask it,

973
00:51:57,730 --> 00:52:00,310
Speaker 3: do you understand what Martha is doing? Is she supposed

974
00:52:00,330 --> 00:52:03,750
Speaker 3: to be a graduate student? Uh, because she mentions, I

975
00:52:03,790 --> 00:52:07,589
Speaker 3: think she is in school, but she mentioned something about

976
00:52:07,650 --> 00:52:11,130
Speaker 3: being held up late at the library when she's on

977
00:52:11,590 --> 00:52:14,690
Speaker 3: the phone with Paul and Paul gives her a vague

978
00:52:14,790 --> 00:52:18,089
Speaker 3: warning that something like, Oh, be careful. Don't get into

979
00:52:18,150 --> 00:52:20,770
Speaker 3: any trouble or you'll lose your scholarship and have to

980
00:52:20,810 --> 00:52:23,730
Speaker 3: go back to Amsterdam. I was thinking, what kind of

981
00:52:23,850 --> 00:52:27,680
Speaker 3: trouble is she getting into at the library? I thought

982
00:52:27,900 --> 00:52:31,000
Speaker 3: what that would mean is that she's like an investigative

983
00:52:31,040 --> 00:52:34,360
Speaker 3: journalist or something, or she's like digging into a conspiracy,

984
00:52:34,460 --> 00:52:36,160
Speaker 3: something they don't want her to know about. It goes

985
00:52:36,180 --> 00:52:38,819
Speaker 3: all the way to the top. But this never gets

986
00:52:38,900 --> 00:52:41,950
Speaker 3: mentioned again, so I have no idea what the hypothetical

987
00:52:42,010 --> 00:52:43,150
Speaker 3: library trouble is.

988
00:52:43,170 --> 00:52:48,150
Speaker 2: I think that the Umberto Lindsay screenplay writing here is

989
00:52:48,210 --> 00:52:52,420
Speaker 2: that not everything has to connect to anything else. or

990
00:52:52,500 --> 00:52:57,130
Speaker 2: mean anything in and of itself. Just have the characters

991
00:52:57,190 --> 00:53:00,569
Speaker 2: say some things. It doesn't have to connect in any

992
00:53:00,630 --> 00:53:01,930
Speaker 2: way to anything that matters.

993
00:53:02,330 --> 00:53:05,109
Speaker 3: But even if it didn't connect, I wonder, what could

994
00:53:05,170 --> 00:53:08,710
Speaker 3: he have been thinking that the character means here? What

995
00:53:08,810 --> 00:53:10,880
Speaker 3: is in Paul's head when he's thinking she could be

996
00:53:10,910 --> 00:53:12,439
Speaker 3: in trouble at the library?

997
00:53:12,620 --> 00:53:16,080
Speaker 2: Yeah, I think all it is is just this vague

998
00:53:16,120 --> 00:53:20,980
Speaker 2: attempt to create the sense that, yeah, she's a modern woman.

999
00:53:21,040 --> 00:53:24,230
Speaker 2: She's a student. And they have kind of like a,

1000
00:53:24,290 --> 00:53:27,609
Speaker 2: you know, they have a fun, happy relationship where he's like,

1001
00:53:27,650 --> 00:53:29,989
Speaker 2: don't get into trouble. Like it just doesn't, it doesn't

1002
00:53:30,010 --> 00:53:31,430
Speaker 2: mean anything. All right.

1003
00:53:41,000 --> 00:53:44,560
Speaker 3: Uh, anyway, Paul, uh, we, a little bit about him too.

1004
00:53:44,660 --> 00:53:48,040
Speaker 3: He works in data processing. He says multiple times in

1005
00:53:48,060 --> 00:53:51,000
Speaker 3: the movie, sorry, data processing, I think is his pronunciation.

1006
00:53:52,120 --> 00:53:55,540
Speaker 3: And so he's a data processing by day and also

1007
00:53:55,680 --> 00:53:58,140
Speaker 3: major ham radio hobbyist by day.

1008
00:53:58,160 --> 00:53:59,219
Speaker 2: He's a tech guy.

1009
00:53:59,480 --> 00:54:02,540
Speaker 3: He's sitting in his apartment. He's a call sign K1UR.

1010
00:54:03,200 --> 00:54:04,799
Speaker 3: So in the middle of the apartment, he's got this

1011
00:54:04,840 --> 00:54:08,009
Speaker 3: big table with a beige 1980s computer, a bunch of

1012
00:54:08,110 --> 00:54:11,390
Speaker 3: radio equipment. When we first meet him, he is sitting

1013
00:54:11,430 --> 00:54:14,570
Speaker 3: at this desk wearing a teal shirt tucked into khakis,

1014
00:54:15,030 --> 00:54:17,290
Speaker 3: talking to somebody on the radio. And I could not

1015
00:54:17,350 --> 00:54:19,890
Speaker 3: understand this conversation, but like, why is he talking about

1016
00:54:19,969 --> 00:54:20,870
Speaker 3: Simon Le Bon?

1017
00:54:21,830 --> 00:54:24,870
Speaker 2: Yeah, I thought it was going to be more. The

1018
00:54:24,910 --> 00:54:27,680
Speaker 2: best I could figure out is maybe he's running data

1019
00:54:28,040 --> 00:54:30,520
Speaker 2: on popular musicians and celebrities or something.

1020
00:54:30,540 --> 00:54:33,640
Speaker 3: That would be some data processing.

1021
00:54:33,739 --> 00:54:36,460
Speaker 2: Yeah, or maybe I am also trying to read too

1022
00:54:36,500 --> 00:54:39,299
Speaker 2: much into dialogue that just means nothing here.

1023
00:54:41,210 --> 00:54:44,330
Speaker 3: Well, I transcribed one of the lines. He's talking to

1024
00:54:44,350 --> 00:54:47,379
Speaker 3: this person. He says, I can appreciate your feelings about

1025
00:54:47,460 --> 00:54:49,940
Speaker 3: Simon Le Bon. You've been talking about him for a week.

1026
00:54:50,120 --> 00:54:54,340
Speaker 3: How does your boyfriend feel about him? Okay.

1027
00:54:54,980 --> 00:54:57,680
Speaker 2: So, yeah, is he talking to somebody who is just

1028
00:54:57,719 --> 00:55:00,509
Speaker 2: a fan? Or is he talking to somebody who's, like,

1029
00:55:00,770 --> 00:55:03,670
Speaker 2: in the world? And I'm not sure. And certainly at

1030
00:55:03,690 --> 00:55:05,410
Speaker 2: this point in the movie, I had no idea. It's like,

1031
00:55:05,710 --> 00:55:09,370
Speaker 2: are these people in the music industry? You know, we've

1032
00:55:09,430 --> 00:55:11,529
Speaker 2: only just met these characters, and all we have are

1033
00:55:11,570 --> 00:55:13,950
Speaker 2: sort of, like, vague comments to try and piece together

1034
00:55:13,969 --> 00:55:14,360
Speaker 2: who they are.

1035
00:55:15,060 --> 00:55:17,640
Speaker 3: I'm a roadie for Simon Le Bon, but I also

1036
00:55:17,700 --> 00:55:19,910
Speaker 3: take time while we're on tour to get on the

1037
00:55:19,950 --> 00:55:24,850
Speaker 3: ham radio. Yeah. Anyway, so we can see in the

1038
00:55:24,870 --> 00:55:28,089
Speaker 3: scene that, as we mentioned a minute ago, Paul and

1039
00:55:28,130 --> 00:55:32,540
Speaker 3: Martha have a very nice, very spacious, tastefully furnished apartment.

1040
00:55:33,239 --> 00:55:35,379
Speaker 3: So I think we're supposed to understand that Paul makes

1041
00:55:35,500 --> 00:55:38,320
Speaker 3: very good money in data processing. He's some kind of

1042
00:55:38,360 --> 00:55:39,320
Speaker 3: computer yuppie.

1043
00:55:39,640 --> 00:55:42,700
Speaker 2: Yeah, it's got to be processed. Somebody's got to do it. Yeah.

1044
00:55:42,739 --> 00:55:43,920
Speaker 2: He's the man. Yeah.

1045
00:55:44,960 --> 00:55:47,980
Speaker 3: The phone rings during the scene and Paul tells this

1046
00:55:48,020 --> 00:55:49,860
Speaker 3: person he's talking to on the radio. He has to

1047
00:55:49,920 --> 00:55:53,020
Speaker 3: say goodbye. The phone call is from Martha at a

1048
00:55:53,060 --> 00:55:55,900
Speaker 3: pay phone. And they have this weird conversation I mentioned

1049
00:55:55,960 --> 00:55:58,620
Speaker 3: earlier about like, don't get in trouble at the library.

1050
00:55:59,340 --> 00:56:02,500
Speaker 3: Then Paul says he made a pot of chili. Martha

1051
00:56:02,520 --> 00:56:04,940
Speaker 3: looks very happy at this news. And she says, I

1052
00:56:05,219 --> 00:56:07,719
Speaker 3: wrote this down. She says, keep it hot. I'll be

1053
00:56:07,780 --> 00:56:10,600
Speaker 3: there in about two hours. Oh, and one more thing.

1054
00:56:11,140 --> 00:56:16,700
Speaker 3: Keep yourself hot too. Legitimate laugh out loud at that.

1055
00:56:16,900 --> 00:56:17,560
Speaker 3: Oh my God.

1056
00:56:18,180 --> 00:56:24,509
Speaker 2: Oh man. This is just incredible dialogue. Keep yourself hot too.

1057
00:56:24,870 --> 00:56:26,589
Speaker 3: Along with the chili. Keep the chili hot.

1058
00:56:27,250 --> 00:56:31,090
Speaker 2: I have no doubt that someone has definitely said something

1059
00:56:31,170 --> 00:56:34,710
Speaker 2: like this before, but afterwards they have cringed hard and

1060
00:56:34,730 --> 00:56:36,340
Speaker 2: they've been like, oh my God, did I just say

1061
00:56:36,430 --> 00:56:39,650
Speaker 2: keep yourself hot like a bowl of chili? I did. Oh,

1062
00:56:39,770 --> 00:56:44,030
Speaker 2: I'm such a, such a weirdo. Uh, here perfectly happy

1063
00:56:44,050 --> 00:56:45,390
Speaker 2: with this remark. Yeah.

1064
00:56:45,750 --> 00:56:48,210
Speaker 3: And she actually, she looks like really proud of herself.

1065
00:56:48,290 --> 00:56:51,050
Speaker 3: She like hits the phone down and smiles like, Ooh.

1066
00:56:52,950 --> 00:56:54,010
Speaker 2: Oh my goodness. Yeah.

1067
00:56:54,969 --> 00:56:57,509
Speaker 3: Uh, and then after the call, Paul gets back on

1068
00:56:57,550 --> 00:57:00,670
Speaker 3: the radio and starts talking to somebody about, uh, who

1069
00:57:00,790 --> 00:57:04,390
Speaker 3: is more popular in the city of Denver, Kim Basinger

1070
00:57:04,530 --> 00:57:05,529
Speaker 3: or Kelly LeBrock.

1071
00:57:05,910 --> 00:57:09,400
Speaker 2: Hmm. Hmm. That's a tough one. Maybe Kelly LeBrock. I

1072
00:57:09,420 --> 00:57:11,600
Speaker 2: don't know. Had weird science come out yet. I'm not sure.

1073
00:57:12,120 --> 00:57:13,080
Speaker 3: I don't know.

1074
00:57:13,080 --> 00:57:13,239
Speaker 2: 88.

1075
00:57:13,239 --> 00:57:14,279
Speaker 3: I think so. Yeah.

1076
00:57:14,600 --> 00:57:17,500
Speaker 2: Kelly, Kelly LeBrock. I'm going with Kelly LeBrock on this one. Okay. Yeah.

1077
00:57:19,000 --> 00:57:22,280
Speaker 3: Anyway, we cut to later. Martha is back home. Now they're,

1078
00:57:22,380 --> 00:57:25,460
Speaker 3: they're kind of puttering around in the bedroom and Martha

1079
00:57:25,580 --> 00:57:29,350
Speaker 3: sees that something is bothering Paul. She asks him about it.

1080
00:57:29,480 --> 00:57:32,220
Speaker 3: He tells a story. I had to loosely transcribe this

1081
00:57:32,260 --> 00:57:35,990
Speaker 3: part too. He says, something really weird happened last night.

1082
00:57:36,240 --> 00:57:39,220
Speaker 3: It was about 1130. I was trying to reach Denver

1083
00:57:40,080 --> 00:57:42,740
Speaker 3: when all of a sudden the radio just went crazy.

1084
00:57:42,760 --> 00:57:47,580
Speaker 3: I mean, completely crazy. Martha says, what's weird about that?

1085
00:57:48,700 --> 00:57:51,960
Speaker 3: Paul says, because it never happened before. I mean, all

1086
00:57:51,980 --> 00:57:54,780
Speaker 3: the circuits just went haywire. And then all of a

1087
00:57:54,820 --> 00:57:58,030
Speaker 3: sudden I heard this voice calling for help and then

1088
00:57:58,070 --> 00:58:03,900
Speaker 3: a terrible scream, really terrible scream. Martha says, who was it?

1089
00:58:04,170 --> 00:58:07,110
Speaker 3: Paul says, I don't know. But whoever it was, he

1090
00:58:07,150 --> 00:58:11,050
Speaker 3: sounded really scared to death. Martha says, I'm starving. I'm

1091
00:58:11,070 --> 00:58:14,050
Speaker 3: going to get some chili. Paul says, get me some too,

1092
00:58:14,140 --> 00:58:15,800
Speaker 3: will you? Extra jalapenos?

1093
00:58:17,680 --> 00:58:22,000
Speaker 2: Slow down there, partner. Oh, boy. Again, for some reason,

1094
00:58:22,040 --> 00:58:24,260
Speaker 2: I just find it very improbable that these two are

1095
00:58:24,280 --> 00:58:27,660
Speaker 2: going to actually eat chili or even know what chili is.

1096
00:58:27,800 --> 00:58:31,920
Speaker 2: I'm not believing it. There's nothing believable about this chili dialogue.

1097
00:58:32,230 --> 00:58:34,590
Speaker 3: What do you think Paul's chili recipe? Is he one

1098
00:58:34,670 --> 00:58:37,730
Speaker 3: of those guys who there's no chili whatsoever in the chili?

1099
00:58:37,790 --> 00:58:39,890
Speaker 3: It's just tomatoes and ground beef?

1100
00:58:40,530 --> 00:58:45,020
Speaker 2: Maybe, yeah, if that. I left this movie wondering if

1101
00:58:45,060 --> 00:58:48,240
Speaker 2: people eat chili at all. That's how unbelievable this exchange was.

1102
00:58:48,440 --> 00:58:50,140
Speaker 2: And then we just happened to have chili last night

1103
00:58:50,180 --> 00:58:55,440
Speaker 2: for dinner. But this movie made it seem like it's

1104
00:58:55,500 --> 00:58:57,880
Speaker 2: something just made up. That's how unbelievable the dialogue.

1105
00:58:58,930 --> 00:59:02,169
Speaker 3: Anyway, after this, Paul remembers something. He's like, oh, I'm late.

1106
00:59:02,230 --> 00:59:06,680
Speaker 3: I was supposed to call K7ET. So his ham radio

1107
00:59:06,700 --> 00:59:09,450
Speaker 3: hobby really here, it feels more like his hobby is

1108
00:59:09,550 --> 00:59:12,120
Speaker 3: chat room. Like he's just got people he's supposed to

1109
00:59:12,180 --> 00:59:12,580
Speaker 3: talk to.

1110
00:59:12,600 --> 00:59:17,820
Speaker 2: This is his prime social interaction here outside of the house. Okay.

1111
00:59:18,220 --> 00:59:20,200
Speaker 3: So he throws the teal shirt back on, goes to

1112
00:59:20,240 --> 00:59:22,740
Speaker 3: the radio and it makes these horrible squealing noises. He

1113
00:59:22,780 --> 00:59:25,910
Speaker 3: kind of squints at it. But then suddenly he calls

1114
00:59:25,990 --> 00:59:28,430
Speaker 3: out to Martha to bring over his tape recorder and

1115
00:59:29,060 --> 00:59:31,320
Speaker 3: I think it was in this scene that I noticed

1116
00:59:32,020 --> 00:59:35,640
Speaker 3: it looks like they have multiple copies of the same

1117
00:59:35,780 --> 00:59:39,370
Speaker 3: edition of a newspaper sitting on the table. So they're

1118
00:59:39,470 --> 00:59:42,990
Speaker 3: kind of not stacked perfectly on top of each other,

1119
00:59:43,110 --> 00:59:45,250
Speaker 3: and they look like they have the same front page.

1120
00:59:46,130 --> 00:59:48,710
Speaker 2: Well, maybe the particular article they wanted to save, so

1121
00:59:48,750 --> 00:59:51,030
Speaker 2: they got three copies. They want to send copies to friends.

1122
00:59:51,350 --> 00:59:52,210
Speaker 3: I guess it could be, yeah.

1123
00:59:52,230 --> 00:59:52,550
Speaker 2: Yeah.

1124
00:59:54,390 --> 00:59:56,510
Speaker 3: All the trouble I got into at the library was

1125
00:59:56,570 --> 00:59:58,630
Speaker 3: mentioned in an article in the crime report.

1126
00:59:58,990 --> 01:00:01,230
Speaker 2: Yeah, yeah. Got to cut that out and send that

1127
01:00:01,250 --> 01:00:01,730
Speaker 2: home to mom.

1128
01:00:02,730 --> 01:00:05,450
Speaker 3: Anyway, so they hit record on the tape machine and

1129
01:00:05,890 --> 01:00:08,410
Speaker 3: then a voice cuts through the static on the radio.

1130
01:00:08,430 --> 01:00:11,830
Speaker 3: It is a rather twerpy sounding male voice that calls

1131
01:00:11,890 --> 01:00:16,790
Speaker 3: out for help. It says, help me for God's sake,

1132
01:00:17,090 --> 01:00:21,090
Speaker 3: somebody help me. And then there's a scream and then

1133
01:00:21,130 --> 01:00:25,650
Speaker 3: another scream. And then the demon clown jingle plays. So

1134
01:00:25,730 --> 01:00:28,030
Speaker 3: they listened for a bit, then it cuts off. What

1135
01:00:28,070 --> 01:00:31,250
Speaker 3: was all that about? Uh, Martha says she thinks it

1136
01:00:31,310 --> 01:00:34,830
Speaker 3: might just be a stupid prank. And then Paul says, quote,

1137
01:00:35,330 --> 01:00:38,370
Speaker 3: nobody would pull a stunt like that. It's unethical.

1138
01:00:38,390 --> 01:00:39,010
Speaker 2: Yeah.

1139
01:00:40,340 --> 01:00:42,700
Speaker 3: Besides it sounded real to me.

1140
01:00:42,720 --> 01:00:43,560
Speaker 2: Did it?

1141
01:00:43,640 --> 01:00:45,380
Speaker 3: It didn't sound that real to me.

1142
01:00:45,400 --> 01:00:45,480
Speaker 2: Yeah.

1143
01:00:47,340 --> 01:00:49,500
Speaker 3: So they listened to the tape again and then Martha

1144
01:00:49,520 --> 01:00:53,530
Speaker 3: gets an idea. she says to Paul, hey, is it

1145
01:00:53,590 --> 01:00:58,100
Speaker 3: possible for you to calculate the location of the radio

1146
01:00:58,200 --> 01:01:01,140
Speaker 3: that sent that signal? Because if so, we can go

1147
01:01:01,240 --> 01:01:04,140
Speaker 3: find out for ourselves if it was real. And honey,

1148
01:01:04,540 --> 01:01:07,030
Speaker 3: your man works in data processing. Of course he can

1149
01:01:07,070 --> 01:01:09,870
Speaker 3: do that. He's got a computer, for God's sake. So yes,

1150
01:01:09,930 --> 01:01:12,950
Speaker 3: he can calculate where that signal came from. So they

1151
01:01:12,990 --> 01:01:15,070
Speaker 3: put on a pot of coffee and Paul gets to work.

1152
01:01:16,060 --> 01:01:17,780
Speaker 3: Did you notice in the scene that he's got a

1153
01:01:17,920 --> 01:01:20,960
Speaker 3: wood carving of his call sign sitting on top of

1154
01:01:20,980 --> 01:01:23,340
Speaker 3: the radio, a little wood carving K1UR?

1155
01:01:23,570 --> 01:01:26,910
Speaker 2: He's so into this. I didn't even stop to wonder

1156
01:01:26,970 --> 01:01:29,970
Speaker 2: if what he's proposing here is technologically possible. I just

1157
01:01:29,990 --> 01:01:32,730
Speaker 2: don't know about ham radio, if you can triangulate the

1158
01:01:32,770 --> 01:01:33,640
Speaker 2: signal or anything.

1159
01:01:34,700 --> 01:01:39,490
Speaker 3: That's a good question. You absolutely can't signal hunting... is

1160
01:01:39,530 --> 01:01:42,419
Speaker 3: a thing within amateur radio and there are even like

1161
01:01:42,620 --> 01:01:45,760
Speaker 3: a transmitter hunting contests, but generally I think you have

1162
01:01:45,780 --> 01:01:48,700
Speaker 3: to be mobile on those from like, you know, people

1163
01:01:48,740 --> 01:01:52,680
Speaker 3: take directional antennas out and they go driving around, you know,

1164
01:01:52,700 --> 01:01:55,260
Speaker 3: like looking for a hidden transmitter. So that, that's like

1165
01:01:55,300 --> 01:01:59,610
Speaker 3: a type of game that some radio hobbyists play. I don't,

1166
01:02:00,470 --> 01:02:03,390
Speaker 3: that's a good question. I don't know how feasible triangulating

1167
01:02:03,430 --> 01:02:05,850
Speaker 3: a signal is from a single point. Like if you're

1168
01:02:05,890 --> 01:02:08,470
Speaker 3: just at your house and you're not moving around, you can't.

1169
01:02:08,970 --> 01:02:09,090
Speaker 1: Yeah.

1170
01:02:09,640 --> 01:02:13,120
Speaker 2: Ham radio enthusiasts listening to the show. Fact check this

1171
01:02:13,160 --> 01:02:14,800
Speaker 2: for us and report back. Yeah.

1172
01:02:14,940 --> 01:02:17,940
Speaker 3: Maybe if you can compare notes with other people, you know,

1173
01:02:17,980 --> 01:02:22,910
Speaker 3: other people receiving. Anyway, so the next morning, Paul and

1174
01:02:23,150 --> 01:02:25,950
Speaker 3: Martha are loading luggage into Paul's truck. It's a pickup

1175
01:02:26,010 --> 01:02:29,630
Speaker 3: truck with a camper top on back. And this is

1176
01:02:29,690 --> 01:02:31,630
Speaker 3: the scene where Martha's like, did you have to wake

1177
01:02:31,670 --> 01:02:35,430
Speaker 3: me up so early? And with palpable annoyance, Paul says,

1178
01:02:35,470 --> 01:02:37,770
Speaker 3: we have to find that radio. A crime may have

1179
01:02:37,790 --> 01:02:41,410
Speaker 3: been committed, maybe even murder. Like she wasn't there when

1180
01:02:41,450 --> 01:02:45,030
Speaker 3: they were listening. So, you know, they hit the road

1181
01:02:45,190 --> 01:02:46,850
Speaker 3: and it shows them when they're leaving town, they're on

1182
01:02:46,870 --> 01:02:49,640
Speaker 3: the freeway and they're in the far left lane driving

1183
01:02:49,910 --> 01:02:52,640
Speaker 3: the slowest of anybody around them and cars are passing

1184
01:02:52,680 --> 01:02:55,990
Speaker 3: them on the right. Uh, so where are they going? Well,

1185
01:02:56,070 --> 01:02:58,300
Speaker 3: I think the house that they go to is going

1186
01:02:58,320 --> 01:03:00,940
Speaker 3: to end up being in this small town in Massachusetts.

1187
01:03:01,000 --> 01:03:05,660
Speaker 3: It's situate, which is like a coastal town, uh, in Massachusetts. Uh,

1188
01:03:05,680 --> 01:03:07,920
Speaker 3: but on the way they end up driving through a

1189
01:03:08,000 --> 01:03:10,840
Speaker 3: neighborhood that looks like it's right on the coast. So

1190
01:03:11,090 --> 01:03:14,450
Speaker 3: I don't know if they're taking shortcuts or what, but

1191
01:03:14,630 --> 01:03:17,250
Speaker 3: in this neighborhood, this is where Martha and Paul encountered

1192
01:03:17,270 --> 01:03:20,510
Speaker 3: this character, uh, Pepe that we will meet again in

1193
01:03:21,010 --> 01:03:24,630
Speaker 3: the IMDB credits. He's Pepe. The question about his name

1194
01:03:24,770 --> 01:03:28,230
Speaker 3: only arose for me because in the subtitles of the movie,

1195
01:03:28,250 --> 01:03:29,750
Speaker 3: they call him Pam Pam.

1196
01:03:29,970 --> 01:03:32,550
Speaker 2: Pam Pam? I don't think that's right. I've never heard

1197
01:03:32,610 --> 01:03:34,410
Speaker 2: anybody in the world named Pam Pam.

1198
01:03:34,850 --> 01:03:40,810
Speaker 3: Yeah. Yeah. So Pepe is a hitchhiker. He's wearing UMass gear.

1199
01:03:41,190 --> 01:03:42,810
Speaker 3: So I think he's supposed to be a college student.

1200
01:03:42,830 --> 01:03:44,720
Speaker 3: He's got like a UMass hat on and then he's

1201
01:03:44,760 --> 01:03:50,870
Speaker 3: got a Manchester hockey jacket. So, yeah, he's hitchhiking. He

1202
01:03:50,910 --> 01:03:53,530
Speaker 3: flags down Martha and Paul for a ride by running

1203
01:03:53,590 --> 01:03:55,590
Speaker 3: out in the middle of the street and blocking the

1204
01:03:55,610 --> 01:03:59,880
Speaker 3: path of their car. And then Paul shows extreme irritation.

1205
01:03:59,900 --> 01:04:02,180
Speaker 3: This is one of those first scenes where Paul is

1206
01:04:02,220 --> 01:04:05,500
Speaker 3: just way over the top aggro at somebody, but he

1207
01:04:05,560 --> 01:04:08,580
Speaker 3: does give him a ride. So he's like really furious

1208
01:04:08,620 --> 01:04:10,120
Speaker 3: at this guy, but he's like, yeah, get in. Um,

1209
01:04:12,080 --> 01:04:15,420
Speaker 3: and then, uh, so, uh, the Pepe gets in the car.

1210
01:04:15,440 --> 01:04:18,520
Speaker 3: This is where he has the joke about how hitching's fun.

1211
01:04:18,580 --> 01:04:21,200
Speaker 3: It's the hiking part that sucks. Then he talks about

1212
01:04:21,220 --> 01:04:23,939
Speaker 3: how Massachusetts sucks. And then he talks about how every

1213
01:04:23,980 --> 01:04:27,200
Speaker 3: place sucks. After this, he's like, he's like plenty of

1214
01:04:27,220 --> 01:04:28,810
Speaker 3: the younger in that letter. He's like, Hey, do you

1215
01:04:28,850 --> 01:04:31,440
Speaker 3: believe in ghosts? I don't know where it brings it up.

1216
01:04:32,010 --> 01:04:35,150
Speaker 3: Paul says, no, the hitchhiker says he does believe in ghosts.

1217
01:04:35,510 --> 01:04:39,690
Speaker 3: And then we get the skeleton hand prank. Uh, so Rob,

1218
01:04:39,790 --> 01:04:41,880
Speaker 3: do you know what these toys are called? The thing

1219
01:04:41,890 --> 01:04:44,280
Speaker 3: where you, it's like a hand that you can manipulate

1220
01:04:44,300 --> 01:04:46,680
Speaker 3: by like pulling triggers and the fingers move.

1221
01:04:46,900 --> 01:04:49,380
Speaker 2: Oh yeah. Yeah. Just grabbers is what we always called them.

1222
01:04:49,400 --> 01:04:52,720
Speaker 2: There may be a, different trade names for them. But yeah,

1223
01:04:52,940 --> 01:04:54,959
Speaker 2: they still make them today. They're still a lot of fun.

1224
01:04:55,280 --> 01:04:55,520
Speaker 3: Yeah.

1225
01:04:55,540 --> 01:04:59,140
Speaker 2: Still kind of useless. Sometimes, I mean, it varies. The

1226
01:04:59,200 --> 01:05:02,240
Speaker 2: ones that are just claws, those can actually be rather

1227
01:05:02,340 --> 01:05:04,740
Speaker 2: good and can also help people who, you know, have

1228
01:05:04,950 --> 01:05:08,630
Speaker 2: issues picking things up, you know, or, you know, there

1229
01:05:08,650 --> 01:05:11,050
Speaker 2: are some sort of mobility issues, that sort of thing.

1230
01:05:11,370 --> 01:05:13,390
Speaker 2: But the ones that are shaped like hands that just

1231
01:05:13,430 --> 01:05:18,370
Speaker 2: kind of do a, those generally barely work. And I

1232
01:05:18,370 --> 01:05:19,400
Speaker 2: think that's more what this is.

1233
01:05:19,710 --> 01:05:21,550
Speaker 3: When I was a kid, I had a Terminator hand,

1234
01:05:21,570 --> 01:05:23,760
Speaker 3: one of those. That was one of my favorite toys

1235
01:05:23,800 --> 01:05:24,900
Speaker 3: of mine. It was pretty cool.

1236
01:05:24,920 --> 01:05:28,340
Speaker 2: Yeah, I had the claw. But then eventually we had

1237
01:05:28,380 --> 01:05:30,360
Speaker 2: a dog that chewed it up. For some reason, we

1238
01:05:30,400 --> 01:05:33,040
Speaker 2: kept it, but it no longer could pick anything up

1239
01:05:33,060 --> 01:05:33,890
Speaker 2: because it had been chewed.

1240
01:05:34,330 --> 01:05:37,630
Speaker 3: Well, Pepe's version of this is a skeleton hand that

1241
01:05:37,650 --> 01:05:40,950
Speaker 3: he can move the fingers on, and he scares Martha

1242
01:05:40,990 --> 01:05:43,280
Speaker 3: with it. He puts it on her shoulder and freaks

1243
01:05:43,320 --> 01:05:46,210
Speaker 3: her out. So I think it's funny that this guy

1244
01:05:46,270 --> 01:05:50,490
Speaker 3: gets into a car with a driver that's already incredibly

1245
01:05:50,570 --> 01:05:52,820
Speaker 3: hostile to him from the jump. And then he just

1246
01:05:52,880 --> 01:05:56,440
Speaker 3: keeps on rolling, like riling them up further.

1247
01:05:56,460 --> 01:05:59,620
Speaker 2: Yeah, this is another scene in the film that feels

1248
01:05:59,660 --> 01:06:02,180
Speaker 2: very confused. Like, what sort of hitchhiker was this supposed

1249
01:06:02,220 --> 01:06:04,660
Speaker 2: to be? Like, at some point, what's the screenplay calling

1250
01:06:04,680 --> 01:06:07,230
Speaker 2: for more of a Texas Chainsaw Massacre hitchhiker who's just

1251
01:06:07,270 --> 01:06:10,530
Speaker 2: like completely deranged and who knows what they're going to

1252
01:06:10,550 --> 01:06:13,840
Speaker 2: do next? But then the performance and the actor playing

1253
01:06:14,060 --> 01:06:17,400
Speaker 2: the role of Pepe feels very down to earth and likable.

1254
01:06:17,460 --> 01:06:20,720
Speaker 2: And it just creates a lot of confusion as to

1255
01:06:20,860 --> 01:06:23,050
Speaker 2: who is this guy supposed to be and who is he?

1256
01:06:24,130 --> 01:06:27,290
Speaker 3: So they eventually drop the hitchhiker off. And then after

1257
01:06:27,330 --> 01:06:30,970
Speaker 3: they drive away, he says, you should believe in ghosts, P-Brain.

1258
01:06:31,700 --> 01:06:36,479
Speaker 3: And then later Martha realizes that the hitchhiker pickpocketed $ 5

1259
01:06:36,360 --> 01:06:39,840
Speaker 3: off of her quote with that stupid trick, presumably meaning

1260
01:06:39,880 --> 01:06:43,120
Speaker 3: the skeleton grabber hand. And if so, I was just

1261
01:06:43,140 --> 01:06:46,990
Speaker 3: thinking that is seriously impressive. Like sleight of hand is

1262
01:06:47,030 --> 01:06:49,910
Speaker 3: hard enough with your flesh hands, but like sleight of

1263
01:06:49,950 --> 01:06:53,610
Speaker 3: hand with a Mecca skeleton finger, that's like world-class.

1264
01:06:53,810 --> 01:06:57,090
Speaker 2: Yeah. Especially again, since many of these grabbers have never

1265
01:06:57,150 --> 01:07:00,340
Speaker 2: been effectively used to pick anything up. So yeah. If

1266
01:07:00,400 --> 01:07:02,420
Speaker 2: he can pickpocket with it. Wow. More power to him.

1267
01:07:02,440 --> 01:07:03,360
Speaker 2: He earned that five bucks.

1268
01:07:04,220 --> 01:07:07,470
Speaker 3: So suddenly they're here at the house. The radio, which

1269
01:07:07,570 --> 01:07:11,730
Speaker 3: is now somehow like working inside the truck, beeps. And

1270
01:07:11,790 --> 01:07:13,950
Speaker 3: then the truck pulls up in front of the Queen

1271
01:07:14,030 --> 01:07:17,290
Speaker 3: Anne house from the prologue. So they sit there looking

1272
01:07:17,330 --> 01:07:20,880
Speaker 3: at this house and a disturbed looking man in overalls

1273
01:07:20,960 --> 01:07:24,500
Speaker 3: walks up on their truck. He's got beard stubble, a scar.

1274
01:07:24,520 --> 01:07:26,860
Speaker 3: He might as well be chewing a piece of hay.

1275
01:07:26,920 --> 01:07:30,870
Speaker 3: He's that kind of character. This is Valkos. And when

1276
01:07:30,910 --> 01:07:33,950
Speaker 3: Martha sees him, she screams. The first thing he says

1277
01:07:34,050 --> 01:07:36,630
Speaker 3: is he indicates the house and he says, nobody lives

1278
01:07:36,690 --> 01:07:37,310
Speaker 3: there anymore.

1279
01:07:37,450 --> 01:07:38,270
Speaker 2: Just rats.

1280
01:07:39,430 --> 01:07:42,350
Speaker 3: And Valkos is suspicious of what they're doing here. He

1281
01:07:42,450 --> 01:07:45,950
Speaker 3: asks where they're from. Somehow this question gets Paul talking

1282
01:07:45,970 --> 01:07:49,610
Speaker 3: about how he's in data processing. And Valkos doesn't like

1283
01:07:49,660 --> 01:07:52,420
Speaker 3: the sound of that. Paul clarifies that it means he

1284
01:07:52,460 --> 01:07:56,580
Speaker 3: works with computers. And then Valkos lets forth a mighty scoff.

1285
01:07:56,680 --> 01:08:00,300
Speaker 3: He's like, computers, please. And then he just wanders away,

1286
01:08:00,380 --> 01:08:04,970
Speaker 3: clutching his shovel. And, uh, Paul, uh, Martha says, I

1287
01:08:05,230 --> 01:08:08,350
Speaker 3: thought he was going to attack us. And Paul says,

1288
01:08:08,410 --> 01:08:13,160
Speaker 3: you've got some imagination, like indicating Valcos would never attack us.

1289
01:08:13,440 --> 01:08:18,790
Speaker 2: Yeah. This, this tall scowling, um, Strange man that we've

1290
01:08:18,810 --> 01:08:22,100
Speaker 2: encountered in the woods. Yeah, I think he might attack us.

1291
01:08:22,160 --> 01:08:23,500
Speaker 2: I think it's very much in the cards.

1292
01:08:23,780 --> 01:08:25,840
Speaker 3: Who will attack us with a meat cleaver later.

1293
01:08:25,880 --> 01:08:28,020
Speaker 2: Yeah, we will see him brutally murder people later in

1294
01:08:28,060 --> 01:08:30,460
Speaker 2: the picture. So, yeah, I think it was in the cards.

1295
01:08:31,100 --> 01:08:33,610
Speaker 3: I think Paul and Martha should argue about this. They

1296
01:08:33,630 --> 01:08:36,250
Speaker 3: need to have an argument. But anyway, they drive up

1297
01:08:36,290 --> 01:08:38,189
Speaker 3: to the house, even though they were already at the house.

1298
01:08:38,490 --> 01:08:41,130
Speaker 3: And then they get out and look around. There's a

1299
01:08:41,189 --> 01:08:44,210
Speaker 3: bat scare here where Martha sees a bat on the veranda.

1300
01:08:44,470 --> 01:08:47,179
Speaker 3: And then she starts talking about how there is something

1301
01:08:47,400 --> 01:08:49,680
Speaker 3: evil in the house and they need to leave. And

1302
01:08:49,720 --> 01:08:52,080
Speaker 3: Paul's like, come on, don't be silly. There's no such

1303
01:08:52,140 --> 01:08:56,000
Speaker 3: thing as evil. And they break in and they wander

1304
01:08:56,040 --> 01:08:58,180
Speaker 3: around looking at things, you know, a bunch of old

1305
01:08:58,240 --> 01:09:01,990
Speaker 3: rooms covered in cobwebs. There are knives hanging on the wall.

1306
01:09:02,370 --> 01:09:05,510
Speaker 3: Martha in the kitchen, she fondles one of the knives

1307
01:09:05,650 --> 01:09:07,720
Speaker 3: and then gets blood on her hand. So there was

1308
01:09:07,770 --> 01:09:10,259
Speaker 3: blood on the knife and she doesn't mention this to Paul.

1309
01:09:11,990 --> 01:09:15,600
Speaker 3: Eventually they follow some noises into the attic. which in

1310
01:09:15,640 --> 01:09:19,870
Speaker 3: this case you reach via an iron spiral staircase. Pretty awesome. Rob,

1311
01:09:19,890 --> 01:09:22,269
Speaker 3: I don't know if you're as fond of spiral staircases

1312
01:09:22,330 --> 01:09:23,550
Speaker 3: as I am, but I'm a sucker for them.

1313
01:09:23,570 --> 01:09:26,110
Speaker 2: They generally look pretty cool on camera, that's for sure.

1314
01:09:26,450 --> 01:09:29,790
Speaker 3: Yeah, I always love a spiral staircase. But they go

1315
01:09:29,870 --> 01:09:32,600
Speaker 3: up and they find an amateur radio rig in the attic.

1316
01:09:32,990 --> 01:09:36,260
Speaker 3: Paul makes some kind of comment about the brand. He's like, oh,

1317
01:09:36,340 --> 01:09:39,780
Speaker 3: it's a Yaesu. I don't know what that means. I

1318
01:09:39,800 --> 01:09:44,310
Speaker 3: looked it up. That is a real radio manufacturer, but Uh, anyway,

1319
01:09:44,610 --> 01:09:46,570
Speaker 3: they're up there and then a guy sneaks up, uh,

1320
01:09:46,689 --> 01:09:49,150
Speaker 3: sneaks up behind them on the stairs and confronts them.

1321
01:09:49,170 --> 01:09:55,230
Speaker 3: It is a guy wearing this huge oversized olive green vest. Actually,

1322
01:09:55,610 --> 01:09:58,470
Speaker 3: basically everybody's wearing vests in this scene. Paul's got a

1323
01:09:58,530 --> 01:10:01,390
Speaker 3: vest on too. Uh, and the guy who comes up

1324
01:10:01,410 --> 01:10:04,550
Speaker 3: the stairs is holding at first what looks like a knife.

1325
01:10:04,610 --> 01:10:06,630
Speaker 3: He's holding something out as a weapon, but then you

1326
01:10:06,670 --> 01:10:10,110
Speaker 3: can see in other shots, it's a honing steel. It's

1327
01:10:10,150 --> 01:10:12,290
Speaker 3: what you use to hone your knives on.

1328
01:10:12,310 --> 01:10:12,380
Speaker 2: Hmm.

1329
01:10:13,160 --> 01:10:16,240
Speaker 3: I don't know why he's holding it like that. So

1330
01:10:16,260 --> 01:10:19,420
Speaker 3: the guy claims that the radio is his. Paul says,

1331
01:10:19,700 --> 01:10:23,080
Speaker 3: you live here? And this guy says, no, we're here

1332
01:10:23,200 --> 01:10:27,049
Speaker 3: on vacation. My camper's parked out in the yard. I'm

1333
01:10:27,110 --> 01:10:29,969
Speaker 3: here with my brother and his girlfriend. My sister Tina's

1334
01:10:30,010 --> 01:10:32,330
Speaker 3: with us, too. My name's Jim Dallin.

1335
01:10:32,770 --> 01:10:36,229
Speaker 2: This is another great unnatural exchange where he just lists

1336
01:10:36,310 --> 01:10:38,290
Speaker 2: all the additional characters you're going to meet in.

1337
01:10:38,229 --> 01:10:40,130
Speaker 3: The next scene. Here's the cast sheet.

1338
01:10:40,390 --> 01:10:40,670
Speaker 2: Mm-hmm.

1339
01:10:41,210 --> 01:10:43,710
Speaker 3: He demands to know who Paul and Martha are. And

1340
01:10:43,790 --> 01:10:48,590
Speaker 3: Paul says, just a ham operator like yourself. You wouldn't

1341
01:10:48,610 --> 01:10:53,410
Speaker 3: hurt a ham brother. And so Jim is suspicious of them,

1342
01:10:53,590 --> 01:10:56,050
Speaker 3: but Paul and Martha played the tape that they made.

1343
01:10:56,530 --> 01:10:58,979
Speaker 3: And we realized that the guy, the guy who's calling

1344
01:10:59,020 --> 01:11:01,720
Speaker 3: for help, who was calling on the radio that they taped,

1345
01:11:01,780 --> 01:11:04,860
Speaker 3: that is Jim's voice. It's him. And they listened to

1346
01:11:04,880 --> 01:11:08,150
Speaker 3: the whole thing, including the jingle. Jim denies that it

1347
01:11:08,229 --> 01:11:10,710
Speaker 3: could be a broadcast he made because he says he

1348
01:11:10,729 --> 01:11:14,179
Speaker 3: wasn't transmitting at the time Paul received it. And in fact,

1349
01:11:14,220 --> 01:11:16,580
Speaker 3: he says he has not even put the aerial, not

1350
01:11:16,600 --> 01:11:18,500
Speaker 3: put the antenna up on the roof yet. So it

1351
01:11:18,560 --> 01:11:21,580
Speaker 3: couldn't have been him. And then he invites Paul to

1352
01:11:21,620 --> 01:11:23,800
Speaker 3: come out onto the roof with him to prove it.

1353
01:11:23,900 --> 01:11:26,650
Speaker 3: And Paul's like, okay, I'll come take a look. Always

1354
01:11:26,670 --> 01:11:30,090
Speaker 3: good to like follow a hostile weapon clutching stranger onto

1355
01:11:30,130 --> 01:11:30,590
Speaker 3: the roof.

1356
01:11:30,990 --> 01:11:31,070
Speaker 2: Yeah.

1357
01:11:31,090 --> 01:11:31,170
Speaker 1: Yeah.

1358
01:11:32,910 --> 01:11:35,610
Speaker 3: Then meanwhile, so they go up there and Martha's left

1359
01:11:35,670 --> 01:11:38,389
Speaker 3: alone in the house and the demon clown song plays again.

1360
01:11:38,410 --> 01:11:42,050
Speaker 3: Not from the tape. It's just playing somewhere inside the house.

1361
01:11:42,479 --> 01:11:45,940
Speaker 3: So Martha wanders downstairs to follow the sound. She eventually

1362
01:11:46,040 --> 01:11:48,780
Speaker 3: ends up in the basement where she is attacked by

1363
01:11:48,840 --> 01:11:53,759
Speaker 3: various poltergeisty phenomena. There are more glass containers that inflate

1364
01:11:53,800 --> 01:11:56,460
Speaker 3: like balloons and then burst. Again, this is a pretty

1365
01:11:56,500 --> 01:12:00,320
Speaker 3: neat little trick. The furnace burps fire at her. And

1366
01:12:00,360 --> 01:12:03,380
Speaker 3: then she turns and sees that the washing machine is

1367
01:12:03,439 --> 01:12:06,960
Speaker 3: going and inside through the glass, she sees a head.

1368
01:12:06,979 --> 01:12:09,640
Speaker 3: It's just a head in there kind of, you know,

1369
01:12:09,680 --> 01:12:10,300
Speaker 3: going around.

1370
01:12:10,700 --> 01:12:12,920
Speaker 2: Oh yeah. I love the head effect here. I mean,

1371
01:12:12,939 --> 01:12:15,700
Speaker 2: I love this whole scene because I love any of

1372
01:12:15,720 --> 01:12:20,020
Speaker 2: these glass containers inflating and bursting. But the washing machine,

1373
01:12:20,060 --> 01:12:22,900
Speaker 2: especially there's some sort of like bloated head inside and it,

1374
01:12:23,439 --> 01:12:27,599
Speaker 2: It looks really good. It looks very convincing. There's some

1375
01:12:27,850 --> 01:12:30,509
Speaker 2: various gifs of this online you can pull up as well.

1376
01:12:31,229 --> 01:12:34,150
Speaker 2: Video clips. It's a horrifying sequence.

1377
01:12:34,430 --> 01:12:35,790
Speaker 3: Hats off to whoever made that.

1378
01:12:35,810 --> 01:12:39,189
Speaker 2: I don't know how the head factors in. Maybe it's

1379
01:12:39,250 --> 01:12:41,059
Speaker 2: the little girl's mom's head. I don't know.

1380
01:12:42,479 --> 01:12:44,540
Speaker 3: Yeah, I'm looking at the picture now. It doesn't look

1381
01:12:44,620 --> 01:12:45,860
Speaker 3: like anybody else in the movie.

1382
01:12:46,280 --> 01:12:48,280
Speaker 2: Of course, it's been in the washing machine a while.

1383
01:12:48,340 --> 01:12:53,230
Speaker 3: That'll distort things. It's like when a dollar goes through

1384
01:12:53,250 --> 01:12:53,710
Speaker 3: the wash.

1385
01:12:55,510 --> 01:12:57,030
Speaker 2: It's going to be hell on the filters.

1386
01:13:07,160 --> 01:13:10,780
Speaker 3: So Jim and Paul hear Martha screaming and they go

1387
01:13:10,820 --> 01:13:13,480
Speaker 3: to her and then she can't really explain what happened.

1388
01:13:13,520 --> 01:13:15,910
Speaker 3: It's like, was that real or am I losing my mind?

1389
01:13:15,930 --> 01:13:20,600
Speaker 3: The head is no longer there, obviously. So somewhere around here,

1390
01:13:20,660 --> 01:13:23,020
Speaker 3: we meet the other three main characters in the movie,

1391
01:13:23,120 --> 01:13:27,660
Speaker 3: Jim's companions. That's Tina, Mark and Susan. And our introduction

1392
01:13:27,680 --> 01:13:30,460
Speaker 3: to them is them yelling at each other about Susan's

1393
01:13:30,520 --> 01:13:34,960
Speaker 3: motorcycle being too loud or not. There's a conference in

1394
01:13:35,000 --> 01:13:40,519
Speaker 3: the driveway. Amazing dialogue in the scene as usual. So Jim,

1395
01:13:40,740 --> 01:13:44,450
Speaker 3: Jim vouches for Paul's story. He says, Paul's telling the truth.

1396
01:13:44,610 --> 01:13:48,850
Speaker 3: I listened to that tape about 20 times. Like, Oh

1397
01:13:48,860 --> 01:13:50,860
Speaker 3: my God, I don't know how anybody could listen to

1398
01:13:50,900 --> 01:13:52,130
Speaker 3: that 20 times, that song.

1399
01:13:52,189 --> 01:13:53,830
Speaker 2: I mean, I feel like we hear it 20 times

1400
01:13:53,870 --> 01:13:55,110
Speaker 2: throughout the picture.

1401
01:13:55,130 --> 01:13:55,770
Speaker 3: Oh, we probably do, yeah.

1402
01:13:55,850 --> 01:13:57,610
Speaker 2: And then again, I was listening to it on my

1403
01:13:57,670 --> 01:14:00,410
Speaker 2: phone and then I was like, I've got to tag

1404
01:14:00,430 --> 01:14:03,870
Speaker 2: some other track. I can't feed the algorithm of my

1405
01:14:03,910 --> 01:14:06,410
Speaker 2: Apple Music with this. Or he's going to think, oh,

1406
01:14:06,590 --> 01:14:10,690
Speaker 2: more creepy clown tracks. This is what Rob wants to

1407
01:14:10,750 --> 01:14:11,450
Speaker 2: listen to right now.

1408
01:14:11,570 --> 01:14:13,650
Speaker 3: Yeah, let's throw this on when you're out for a run.

1409
01:14:13,670 --> 01:14:16,330
Speaker 2: Yeah, it's going to be on my running playlist for sure.

1410
01:14:17,729 --> 01:14:20,080
Speaker 3: And then so he says, yeah, Paul's telling the truth.

1411
01:14:20,140 --> 01:14:22,280
Speaker 3: I listened to the tape 20 times. Susan says, it

1412
01:14:22,360 --> 01:14:26,120
Speaker 3: doesn't mean anything. It's just a bunch of nonsense. And

1413
01:14:26,160 --> 01:14:29,540
Speaker 3: then Paul says, yeah, right. And so is what happened

1414
01:14:29,580 --> 01:14:34,790
Speaker 3: to Martha in the cellar. But it did happen. Something

1415
01:14:34,810 --> 01:14:37,590
Speaker 3: got a little transposed there.

1416
01:14:37,610 --> 01:14:40,889
Speaker 2: Yeah, I think so. But I do love this line.

1417
01:14:40,930 --> 01:14:42,980
Speaker 2: It doesn't mean anything. It's just a bunch of nonsense.

1418
01:14:43,300 --> 01:14:47,000
Speaker 2: Speaks volumes for what we experience in this movie.

1419
01:14:47,700 --> 01:14:51,599
Speaker 3: At some point, Mark says, maybe there's something supernatural about

1420
01:14:51,640 --> 01:14:54,660
Speaker 3: all this, guys. And Paul says, I don't know. All

1421
01:14:54,780 --> 01:14:55,920
Speaker 3: I know are computers.

1422
01:14:57,700 --> 01:15:00,179
Speaker 2: I miss computers so much. There's one point where he's like,

1423
01:15:00,720 --> 01:15:02,280
Speaker 2: I'll have to look it up on my computer when

1424
01:15:02,300 --> 01:15:04,099
Speaker 2: I get back to my apartment. And like, that's such

1425
01:15:04,140 --> 01:15:06,280
Speaker 2: a dated and telling line. You know, we think about

1426
01:15:06,320 --> 01:15:09,059
Speaker 2: now we carry at least some portion of our computer

1427
01:15:09,100 --> 01:15:11,590
Speaker 2: world with us at all times. And here he's like, oh, yeah,

1428
01:15:11,600 --> 01:15:12,860
Speaker 2: my computer's back in Boston.

1429
01:15:13,580 --> 01:15:15,080
Speaker 3: When I heard that line, I was like, is he

1430
01:15:15,100 --> 01:15:17,100
Speaker 3: even telling the truth or does he just want to

1431
01:15:17,140 --> 01:15:19,860
Speaker 3: get back to his computer? He's like, I would really

1432
01:15:19,939 --> 01:15:22,950
Speaker 3: need my, I need some computer time to solve this mystery.

1433
01:15:22,970 --> 01:15:29,389
Speaker 3: He misses it. So, by the way, Susan and Tina

1434
01:15:29,530 --> 01:15:31,990
Speaker 3: are often at each other's throats and they are in

1435
01:15:32,030 --> 01:15:35,820
Speaker 3: this scene. They don't really like each other. Susan is

1436
01:15:35,900 --> 01:15:39,360
Speaker 3: dismissive of the idea of the supernatural. Tina just, I

1437
01:15:39,400 --> 01:15:41,140
Speaker 3: don't know if she really cares about the issue. She

1438
01:15:41,160 --> 01:15:46,620
Speaker 3: just generally seems anti-Susan. And there's a later conversation where Susan,

1439
01:15:46,740 --> 01:15:52,540
Speaker 3: who's posing like Aphrodite on her motorcycle, asks Tina why

1440
01:15:52,620 --> 01:15:54,940
Speaker 3: she didn't tell them that she ran away from her

1441
01:15:55,000 --> 01:15:58,470
Speaker 3: boarding school. Tina says that she has permission from the

1442
01:15:58,510 --> 01:16:02,530
Speaker 3: headmistress to be away. And Susan is like, no, I

1443
01:16:02,570 --> 01:16:03,910
Speaker 3: just got off the phone with her.

1444
01:16:04,330 --> 01:16:04,590
Speaker 2: What?

1445
01:16:04,610 --> 01:16:09,840
Speaker 3: I don't know. So among these characters, Tina has a

1446
01:16:09,880 --> 01:16:13,440
Speaker 3: reputation for lying. And Tina responds to this thing about

1447
01:16:13,470 --> 01:16:16,530
Speaker 3: the headmistress by yelling at them and saying, idiots, you're

1448
01:16:16,630 --> 01:16:19,030
Speaker 3: all against me. I hate you. I hate you all.

1449
01:16:19,870 --> 01:16:23,130
Speaker 3: By the way, lots of characters are wearing denim top

1450
01:16:23,189 --> 01:16:27,790
Speaker 3: and bottom, like multiple vests and multiple denim jacket, jeans,

1451
01:16:28,130 --> 01:16:29,389
Speaker 3: sometimes even denim shirt.

1452
01:16:29,850 --> 01:16:32,610
Speaker 2: Yeah. And if you're having any confusion about which character

1453
01:16:32,670 --> 01:16:33,930
Speaker 2: is which, this is not going to help.

1454
01:16:34,430 --> 01:16:38,269
Speaker 3: Hmm. Uh, so I just realized I'm wearing a denim

1455
01:16:38,300 --> 01:16:40,100
Speaker 3: shirt today. I didn't even do that on purpose. It

1456
01:16:40,140 --> 01:16:44,640
Speaker 3: must've been subconscious thinking about this movie. Uh, so will

1457
01:16:44,700 --> 01:16:46,460
Speaker 3: we ever get to the bottom of this? Well, they

1458
01:16:46,500 --> 01:16:50,040
Speaker 3: make a plan, uh, Martha and Paul, they're going to

1459
01:16:50,200 --> 01:16:53,520
Speaker 3: drive a few miles away in their truck and listen

1460
01:16:53,580 --> 01:16:56,439
Speaker 3: to the same frequency again all night. Cause they brought

1461
01:16:56,479 --> 01:16:58,150
Speaker 3: the radio with them so they can sit in the

1462
01:16:58,189 --> 01:17:01,130
Speaker 3: back of the truck and listen. Meanwhile, the others are

1463
01:17:01,150 --> 01:17:02,970
Speaker 3: going to listen to the radio here at the house.

1464
01:17:03,580 --> 01:17:06,389
Speaker 3: Mark says, what do you think will happen? And Paul says,

1465
01:17:06,590 --> 01:17:09,430
Speaker 3: we'll see. So I don't even know what this, what

1466
01:17:09,490 --> 01:17:10,470
Speaker 3: is this supposed to prove?

1467
01:17:11,330 --> 01:17:15,210
Speaker 2: Are they still trying to triangulate a location here? Because

1468
01:17:15,250 --> 01:17:18,019
Speaker 2: they found it. What's the shed? Like they end up

1469
01:17:18,070 --> 01:17:21,160
Speaker 2: finding the shed, right? Somehow we get to that shed, right?

1470
01:17:21,180 --> 01:17:22,400
Speaker 2: Some sort of additional building.

1471
01:17:23,500 --> 01:17:25,400
Speaker 3: The only time I remember getting to another building is

1472
01:17:25,439 --> 01:17:29,600
Speaker 3: when Valkos chases somebody. Yeah. Or somebody chases Valkos.

1473
01:17:29,660 --> 01:17:30,300
Speaker 2: Maybe it's that.

1474
01:17:30,320 --> 01:17:33,849
Speaker 3: I don't know. No, they already, they already found the radio.

1475
01:17:33,870 --> 01:17:36,270
Speaker 3: They found the location. So I don't, I really don't

1476
01:17:36,310 --> 01:17:38,830
Speaker 3: understand what they're trying to prove with this experiment. They're

1477
01:17:38,850 --> 01:17:40,750
Speaker 3: just like, well, I'm going to go two miles away

1478
01:17:40,810 --> 01:17:42,870
Speaker 3: and listen all night and you listen here and then

1479
01:17:42,890 --> 01:17:43,769
Speaker 3: we'll see what happens.

1480
01:17:44,189 --> 01:17:45,770
Speaker 2: Maybe this is something that was just lost in the

1481
01:17:45,850 --> 01:17:49,070
Speaker 2: edit or in tinkering with the script. I don't know.

1482
01:17:50,610 --> 01:17:53,360
Speaker 3: Uh, Paul asks Martha, if she wants to come with

1483
01:17:53,420 --> 01:17:56,120
Speaker 3: him on this mission to listen to the radio all night,

1484
01:17:56,260 --> 01:17:58,420
Speaker 3: she replies that she does not want to go back

1485
01:17:58,479 --> 01:18:01,260
Speaker 3: to Boston. first of all, that was not one of

1486
01:18:01,300 --> 01:18:03,720
Speaker 3: the options. I think it's either come with me two

1487
01:18:03,760 --> 01:18:06,120
Speaker 3: miles away or stay here at the house. But also,

1488
01:18:06,400 --> 01:18:08,520
Speaker 3: why does she not want to go back to Boston? Like,

1489
01:18:08,540 --> 01:18:10,360
Speaker 3: you've got chili leftovers in the fridge there.

1490
01:18:10,780 --> 01:18:13,040
Speaker 2: Yeah, I mean, unless they polished it off, we don't

1491
01:18:13,100 --> 01:18:16,059
Speaker 2: know how much chili they made. But presumably quite a lot.

1492
01:18:16,100 --> 01:18:18,160
Speaker 2: That's one of the whole reasons you make chili. Something that,

1493
01:18:18,380 --> 01:18:21,380
Speaker 2: you know, could have been lost on the movie makers here.

1494
01:18:21,439 --> 01:18:23,480
Speaker 2: They might not have realized that that's the whole deal.

1495
01:18:23,500 --> 01:18:24,880
Speaker 2: Chili is for leftovers. Yeah.

1496
01:18:25,080 --> 01:18:26,280
Speaker 3: The whole point is leftovers.

1497
01:18:26,439 --> 01:18:28,620
Speaker 2: Yeah, you're not making chili for this meal. You're making

1498
01:18:28,640 --> 01:18:31,560
Speaker 2: chili for the next, like, three or four meals. Yeah.

1499
01:18:32,860 --> 01:18:35,360
Speaker 3: Uh, so anyway, Susan ends up going with Paul and

1500
01:18:35,390 --> 01:18:37,730
Speaker 3: Martha in the truck. Uh, by the way, Val coast

1501
01:18:37,790 --> 01:18:40,030
Speaker 3: is spying on everybody from the bushes all through this

1502
01:18:40,070 --> 01:18:42,090
Speaker 3: part of the movie. So they do the plan. They

1503
01:18:42,130 --> 01:18:45,590
Speaker 3: listen to the radio all night. Now there's some ludicrous

1504
01:18:45,630 --> 01:18:49,910
Speaker 3: dialogue while everybody sits around expressing their boredom. Uh, Tina,

1505
01:18:50,160 --> 01:18:52,780
Speaker 3: hangs out in the camper trailer at the house where

1506
01:18:52,800 --> 01:18:55,800
Speaker 3: they've got a little tv in the trailer and while

1507
01:18:55,820 --> 01:18:58,060
Speaker 3: she's in there suddenly a new show pops up on

1508
01:18:58,080 --> 01:19:01,240
Speaker 3: the screen it is the grinning little girl and her

1509
01:19:01,280 --> 01:19:04,280
Speaker 3: clown from hell that's the show i guess and the

1510
01:19:04,320 --> 01:19:07,850
Speaker 3: clown jingle plays henrietta cries blood on the tv and

1511
01:19:07,930 --> 01:19:10,990
Speaker 3: tina freaks out I love all the old brands on

1512
01:19:11,030 --> 01:19:13,700
Speaker 3: display in the trailer. So I noticed they've got Lipton

1513
01:19:13,760 --> 01:19:18,019
Speaker 3: tea bags, a box of 100, Ajax powder, Coffee Mate,

1514
01:19:18,400 --> 01:19:20,930
Speaker 3: and then Heinz ketchup sitting on the edge of the

1515
01:19:20,990 --> 01:19:24,820
Speaker 3: sink like they're going to wash dishes with it. But

1516
01:19:24,939 --> 01:19:27,060
Speaker 3: then there's a, I was actually kind of wondering how

1517
01:19:27,100 --> 01:19:30,099
Speaker 3: they did this. There's a shaking the camper special effect

1518
01:19:30,180 --> 01:19:32,460
Speaker 3: where inside the camper, you can see it's rocking back

1519
01:19:32,500 --> 01:19:35,150
Speaker 3: and forth violently and everything's sliding around. And then she

1520
01:19:35,189 --> 01:19:38,630
Speaker 3: goes outside the camper and it's shaking around outside too.

1521
01:19:38,670 --> 01:19:41,970
Speaker 3: They must have something behind it. That's like lifting it up.

1522
01:19:43,410 --> 01:19:47,150
Speaker 3: But anyway, there are general hauntings inside the house too,

1523
01:19:47,229 --> 01:19:50,740
Speaker 3: with Jim and Mark. They hear the clown song. They

1524
01:19:50,780 --> 01:19:54,710
Speaker 3: go into, they go to investigate. Jim ends up encountering

1525
01:19:54,770 --> 01:19:58,090
Speaker 3: the creepy child with the clown by her side in

1526
01:19:58,110 --> 01:20:01,610
Speaker 3: the basement. And here's where we get a murder. So

1527
01:20:02,090 --> 01:20:05,590
Speaker 3: earlier in the basement, I noticed that there was an

1528
01:20:05,670 --> 01:20:10,400
Speaker 3: electric fan with no cage around the blades, just lying

1529
01:20:10,479 --> 01:20:14,040
Speaker 3: on top of a shelf. It's like Chekhov's uncaged fan blades.

1530
01:20:14,120 --> 01:20:16,800
Speaker 2: Yeah, especially in a movie like this. You know that's

1531
01:20:16,840 --> 01:20:17,920
Speaker 2: going to cut into some flesh.

1532
01:20:18,479 --> 01:20:21,220
Speaker 3: I've seen House of Lost Souls. I think I know

1533
01:20:21,260 --> 01:20:24,570
Speaker 3: what Umberto Lindsay is into. So the fan turns on,

1534
01:20:24,610 --> 01:20:27,650
Speaker 3: of course, under ghost power. It whirs up and then

1535
01:20:27,770 --> 01:20:31,390
Speaker 3: it breaks and it flings a blade into Jim's throat.

1536
01:20:32,070 --> 01:20:35,280
Speaker 3: And as this happens, he calls out the same things

1537
01:20:35,320 --> 01:20:37,720
Speaker 3: we heard on the radio earlier. You know, for God's sake,

1538
01:20:37,920 --> 01:20:42,200
Speaker 3: help me. So the radio signal was not exactly a ghost.

1539
01:20:42,280 --> 01:20:45,680
Speaker 3: It was a transmission from the future. Kind of interesting.

1540
01:20:45,740 --> 01:20:48,090
Speaker 3: What does that mean? It turns out to not really

1541
01:20:48,130 --> 01:20:48,770
Speaker 3: be significant.

1542
01:20:48,930 --> 01:20:51,310
Speaker 2: I know. This is one of those films where occasionally

1543
01:20:51,390 --> 01:20:53,849
Speaker 2: they'll touch on something that sounds like, man, you could

1544
01:20:53,870 --> 01:20:56,070
Speaker 2: have really pulled on that string and where could it

1545
01:20:56,090 --> 01:20:58,810
Speaker 2: have taken us? We have a message from the future

1546
01:20:59,070 --> 01:21:03,810
Speaker 2: or how about the fact that supernatural energy does seem

1547
01:21:03,850 --> 01:21:07,939
Speaker 2: to be an actual electricity that can power household items?

1548
01:21:08,040 --> 01:21:13,200
Speaker 2: Like surely our tech bro main character here might have

1549
01:21:13,360 --> 01:21:15,420
Speaker 2: picked up on that and maybe thought, you know, hey,

1550
01:21:15,460 --> 01:21:17,910
Speaker 2: we could harness this. Look at powerful cities.

1551
01:21:18,130 --> 01:21:21,330
Speaker 3: Clean energy, clean energy for the world powered by ghosts.

1552
01:21:21,470 --> 01:21:23,950
Speaker 2: Yeah, there you go. Like how haunted is Boston? Well,

1553
01:21:23,970 --> 01:21:25,730
Speaker 2: let's use those ghosts to power Boston.

1554
01:21:26,090 --> 01:21:29,570
Speaker 3: We just need a, like a rage race inside a reactor. Yeah,

1555
01:21:30,830 --> 01:21:31,390
Speaker 3: I can see it.

1556
01:21:31,390 --> 01:21:32,010
Speaker 2: Yeah.

1557
01:21:32,770 --> 01:21:35,970
Speaker 3: So, uh, uh, let's see, Tina runs down into the basement.

1558
01:21:36,030 --> 01:21:38,879
Speaker 3: She finds Jim's body there, but then she has an, an,

1559
01:21:39,100 --> 01:21:41,860
Speaker 3: another encounter with the creepy little girl who is stroking

1560
01:21:41,900 --> 01:21:45,470
Speaker 3: the clown dolls chin. Sorry, folks, we just had a

1561
01:21:45,490 --> 01:21:47,610
Speaker 3: break for a second because we were hearing strange noises.

1562
01:21:47,630 --> 01:21:51,350
Speaker 3: I think it's actually something totally not supernatural happening in

1563
01:21:51,370 --> 01:21:53,350
Speaker 3: my house. But we did have to wonder if it

1564
01:21:53,390 --> 01:21:57,390
Speaker 3: was something a little bit clowny. Oh, this is the

1565
01:21:57,410 --> 01:22:00,559
Speaker 3: part in the movie where Mark, the character Mark, is

1566
01:22:00,600 --> 01:22:02,340
Speaker 3: in the house. And he has a showdown with a

1567
01:22:02,600 --> 01:22:05,460
Speaker 3: Doberman dog that has enormous nipples.

1568
01:22:06,080 --> 01:22:11,320
Speaker 2: Oh, yeah. Yeah, the Doberman. A popular horror effect of

1569
01:22:11,360 --> 01:22:14,410
Speaker 2: the time. Certainly. I think Dobermans kind of got a

1570
01:22:14,610 --> 01:22:19,439
Speaker 2: bad rap due to their usage in films like this. Because,

1571
01:22:20,270 --> 01:22:22,519
Speaker 2: I mean, I've met some Dobermans that I was very

1572
01:22:22,560 --> 01:22:24,560
Speaker 2: much afraid of, but I've also met some Dobermans that

1573
01:22:24,580 --> 01:22:26,240
Speaker 2: were rather sweet. Oh, yeah.

1574
01:22:26,720 --> 01:22:28,240
Speaker 3: I had a friend with a Doberman when I was

1575
01:22:28,280 --> 01:22:29,540
Speaker 3: little and it was a sweet dog.

1576
01:22:29,760 --> 01:22:29,920
Speaker 2: Yeah.

1577
01:22:30,340 --> 01:22:34,200
Speaker 3: Yeah. Okay. So this, yeah, this guy sees a Doberman

1578
01:22:34,240 --> 01:22:38,890
Speaker 3: that's got enormous nipples and it's snarling at him. And then, uh,

1579
01:22:38,950 --> 01:22:42,750
Speaker 3: to make matters worse, uh, Valcos suddenly appears in the

1580
01:22:42,790 --> 01:22:45,410
Speaker 3: house from out of nowhere with a meat cleaver and

1581
01:22:45,430 --> 01:22:48,880
Speaker 3: just starts chasing people around. He chases Tina. Then Mark

1582
01:22:48,950 --> 01:22:51,640
Speaker 3: fights him. Then Valcos kicks Mark in the crotch and

1583
01:22:51,680 --> 01:22:55,220
Speaker 3: runs away. Mark chases him into the basement of, I

1584
01:22:55,280 --> 01:22:57,720
Speaker 3: think another house, or maybe this is the shed you

1585
01:22:57,740 --> 01:22:58,480
Speaker 3: were thinking of.

1586
01:22:58,720 --> 01:22:59,760
Speaker 2: Yeah, I think so.

1587
01:23:00,020 --> 01:23:02,580
Speaker 3: And then they fight some more. Valcos attacks Mark with

1588
01:23:02,620 --> 01:23:05,759
Speaker 3: a pitchfork, stabs him in the shoulder and The others

1589
01:23:05,800 --> 01:23:08,439
Speaker 3: arrive and they come back to the house and intervene.

1590
01:23:09,020 --> 01:23:11,900
Speaker 3: Paul puts Valkos in a chokehold and then drops him

1591
01:23:11,939 --> 01:23:13,780
Speaker 3: to the floor. I didn't know that Paul knew these

1592
01:23:14,000 --> 01:23:15,139
Speaker 3: like submission moves.

1593
01:23:15,260 --> 01:23:17,260
Speaker 2: Yeah. I mean, you gotta be ready. Yeah.

1594
01:23:17,729 --> 01:23:20,930
Speaker 3: And then when he falls to the floor, Martha says, look,

1595
01:23:21,110 --> 01:23:26,990
Speaker 3: it's that man. So all the characters like share their

1596
01:23:27,030 --> 01:23:31,330
Speaker 3: experiences and awkwardly phrased ways. And then they find Jim's

1597
01:23:31,390 --> 01:23:34,710
Speaker 3: body in the basement. Valkos runs away into the woods.

1598
01:23:35,370 --> 01:23:38,630
Speaker 3: And in the aftermath, at one point, they're all talking

1599
01:23:38,670 --> 01:23:41,210
Speaker 3: and they're like, hey, did anyone tell Tina about Jim?

1600
01:23:41,670 --> 01:23:44,980
Speaker 3: And Martha says, I gave her a tranquilizer. She's asleep.

1601
01:23:45,200 --> 01:23:47,500
Speaker 3: I was like, what? Is Martha a doctor? Or are

1602
01:23:47,520 --> 01:23:51,059
Speaker 3: people in 1988 just walking around with tranquilizers to hand out?

1603
01:23:51,220 --> 01:23:53,270
Speaker 2: It was acceptable in the 80s. Yeah.

1604
01:23:53,370 --> 01:23:59,820
Speaker 3: Okay. So... After this, Martha hears a dog barking inside

1605
01:23:59,840 --> 01:24:03,400
Speaker 3: the house and she goes in. Well, first she like

1606
01:24:03,439 --> 01:24:06,740
Speaker 3: starts opening cabinets in the camper trailer. And I was

1607
01:24:06,780 --> 01:24:08,729
Speaker 3: thinking like, wait, is she looking for the dog in

1608
01:24:08,750 --> 01:24:10,929
Speaker 3: the cabinets? But I realized she's looking for a weapon.

1609
01:24:10,950 --> 01:24:12,790
Speaker 3: And then she pulls out what I think is a

1610
01:24:12,830 --> 01:24:14,049
Speaker 3: rotisserie skewer.

1611
01:24:14,070 --> 01:24:15,350
Speaker 2: All right. It'll do in a pinch.

1612
01:24:16,550 --> 01:24:19,530
Speaker 3: She takes it into the house. There she finds a

1613
01:24:19,590 --> 01:24:22,670
Speaker 3: child's bedroom full of creepy toys, starts digging through the

1614
01:24:22,689 --> 01:24:24,850
Speaker 3: toy box. And eventually, what do you think she's going

1615
01:24:24,870 --> 01:24:27,630
Speaker 3: to find? Clown doll. When she sees that the jingle

1616
01:24:27,670 --> 01:24:31,610
Speaker 3: plays and the clown's face changes to show teeth, more

1617
01:24:31,689 --> 01:24:34,630
Speaker 3: poltergeisty stuff like toys flying all over the room and,

1618
01:24:34,910 --> 01:24:38,059
Speaker 3: you know, feathers puffing out of pillows and all up

1619
01:24:38,100 --> 01:24:42,000
Speaker 3: in the air. Then after this, Martha is actually attacked

1620
01:24:42,080 --> 01:24:44,840
Speaker 3: by the clown doll. Like it grabs her throat and

1621
01:24:44,880 --> 01:24:48,320
Speaker 3: she screams and screams until Paul comes running. She rants

1622
01:24:48,360 --> 01:24:50,059
Speaker 3: at him about the doll, but then he goes to

1623
01:24:50,100 --> 01:24:52,160
Speaker 3: look at it and the clown is gone.

1624
01:24:52,180 --> 01:24:52,250
Speaker 1: Hmm.

1625
01:24:53,970 --> 01:24:56,750
Speaker 3: So after this, they get the law involved. They're going

1626
01:24:56,770 --> 01:24:59,730
Speaker 3: to call the police. I guess I'll summarize what happens

1627
01:24:59,970 --> 01:25:02,170
Speaker 3: in the next portion a little more quickly.

1628
01:25:02,189 --> 01:25:03,950
Speaker 2: Yeah, because this goes nowhere, basically.

1629
01:25:03,990 --> 01:25:07,720
Speaker 3: Yeah, totally. So the police arrive on scene. They assume

1630
01:25:07,740 --> 01:25:10,780
Speaker 3: that Jim was killed by Valkos. I want to mention

1631
01:25:10,820 --> 01:25:13,580
Speaker 3: that the coroner who's talking to the detective has a

1632
01:25:13,640 --> 01:25:16,500
Speaker 3: voice that sounds like Bobby Pickett in the Monster Mash.

1633
01:25:16,979 --> 01:25:19,099
Speaker 2: Yeah, yeah. This is one of those films where you're like,

1634
01:25:19,180 --> 01:25:21,160
Speaker 2: I wonder how they're going to depict the coroner and

1635
01:25:21,200 --> 01:25:23,820
Speaker 2: then later the mortician in a movie like this. I

1636
01:25:23,820 --> 01:25:25,180
Speaker 2: was like, oh yeah, they're going to play them up

1637
01:25:25,220 --> 01:25:26,219
Speaker 2: for maximum creeps.

1638
01:25:26,939 --> 01:25:30,180
Speaker 3: So the, the, the coroner is like, I will, I

1639
01:25:30,200 --> 01:25:32,820
Speaker 3: will see you at the autopsy tomorrow.

1640
01:25:33,350 --> 01:25:36,290
Speaker 2: Yeah. Like all these guys are just actual necromancers.

1641
01:25:36,350 --> 01:25:41,130
Speaker 3: Yeah. The detective explains that, uh, Valcos is the caretaker

1642
01:25:41,170 --> 01:25:43,390
Speaker 3: of the house and he's sort of obsessed with it.

1643
01:25:43,430 --> 01:25:46,580
Speaker 3: That would explain why he's attacking people here. We also

1644
01:25:46,620 --> 01:25:48,780
Speaker 3: learn about the events we saw in the prologue, the

1645
01:25:48,820 --> 01:25:51,880
Speaker 3: murders in the house 20 years ago and what happened afterwards.

1646
01:25:52,460 --> 01:25:54,770
Speaker 3: We learned that the girl from the prologue was later

1647
01:25:54,860 --> 01:25:58,090
Speaker 3: found dead, locked in the cellar. And this leads to

1648
01:25:58,110 --> 01:26:01,370
Speaker 3: the investigation portion of the film. Like we talked about

1649
01:26:01,410 --> 01:26:04,370
Speaker 3: in our core episodes, again, on the haunted houses, these

1650
01:26:04,490 --> 01:26:08,389
Speaker 3: modern haunted house stories usually require some kind of detective work.

1651
01:26:08,450 --> 01:26:11,910
Speaker 3: The protagonist has to bring the story of the ghost

1652
01:26:12,050 --> 01:26:16,440
Speaker 3: to light in some ways to resolve it. So Martha

1653
01:26:16,500 --> 01:26:19,990
Speaker 3: and Paul... go on an investigation. First, they go back

1654
01:26:20,050 --> 01:26:22,270
Speaker 3: to Boston. This is the part where Paul says he

1655
01:26:22,310 --> 01:26:26,410
Speaker 3: needs his computer. Paul uses his computer to analyze the

1656
01:26:26,470 --> 01:26:29,480
Speaker 3: words from the Demon Clown jingle from the tape they made.

1657
01:26:29,979 --> 01:26:33,500
Speaker 3: Martha exasperatedly yells at him that he will never be

1658
01:26:33,580 --> 01:26:36,519
Speaker 3: able to decipher the lyrics. And then Paul says, I

1659
01:26:36,640 --> 01:26:39,740
Speaker 3: wrote this down, the fact that the computer doesn't know

1660
01:26:40,020 --> 01:26:46,470
Speaker 3: proves that I'm right. Huh? But about what? Then they

1661
01:26:46,550 --> 01:26:49,510
Speaker 3: argue about more things like he talks about how the

1662
01:26:49,570 --> 01:26:54,280
Speaker 3: voice was something that came from the future. And then

1663
01:26:54,420 --> 01:26:56,720
Speaker 3: Martha says, you can't know what's going to happen in

1664
01:26:56,740 --> 01:26:59,220
Speaker 3: the future. And Paul says, yes, you can. Cases of

1665
01:26:59,300 --> 01:27:01,020
Speaker 3: precognition have occurred.

1666
01:27:01,260 --> 01:27:04,450
Speaker 2: Paul is just a sucker for any idea here. Yes. Yeah.

1667
01:27:04,470 --> 01:27:06,150
Speaker 2: It's like it's happened. I heard about it.

1668
01:27:06,680 --> 01:27:08,780
Speaker 3: In fact, he literally says, she's like, since when do

1669
01:27:08,800 --> 01:27:10,480
Speaker 3: you believe in that stuff? And he says, for the

1670
01:27:10,520 --> 01:27:13,460
Speaker 3: past 45 minutes, I checked out this book while you

1671
01:27:13,479 --> 01:27:16,010
Speaker 3: were in the shower. And it's a book about precognition.

1672
01:27:16,030 --> 01:27:17,690
Speaker 2: Well, at least he checked out a book. I mean.

1673
01:27:18,700 --> 01:27:21,660
Speaker 2: It's a little more believable than just, uh, I, I

1674
01:27:21,680 --> 01:27:24,700
Speaker 2: looked at Reddit and now I asked, uh, I asked, uh,

1675
01:27:24,840 --> 01:27:28,280
Speaker 2: AI and it said that it's legit. So now I'm 100% convinced.

1676
01:27:28,420 --> 01:27:30,200
Speaker 3: Well, that's what it would be now. And yeah, back

1677
01:27:30,240 --> 01:27:31,920
Speaker 3: then you had to go check out a book while

1678
01:27:32,400 --> 01:27:33,500
Speaker 3: Martha's in the show.

1679
01:27:33,680 --> 01:27:39,090
Speaker 2: Seriously risk losing interest before you got your answer.

1680
01:27:39,210 --> 01:27:41,010
Speaker 3: Uh, this is, you notice, this is one of those

1681
01:27:41,050 --> 01:27:45,070
Speaker 3: movies that has the problem of, the characters are several

1682
01:27:45,170 --> 01:27:48,670
Speaker 3: steps behind the audience and figuring out what's going on.

1683
01:27:48,689 --> 01:27:52,320
Speaker 3: That's always a, I mean, I feel like that only

1684
01:27:52,400 --> 01:27:55,580
Speaker 3: really works in a comedy in a movie in like

1685
01:27:55,620 --> 01:27:58,420
Speaker 3: a serious horror movie or something. It, you kind of

1686
01:27:58,460 --> 01:28:01,080
Speaker 3: have to have the audience and the characters find things

1687
01:28:01,180 --> 01:28:02,880
Speaker 3: out at the same time, you know?

1688
01:28:03,300 --> 01:28:07,070
Speaker 2: Yeah. Well, the less, you know, the more mystery there

1689
01:28:07,210 --> 01:28:10,160
Speaker 2: is and the mystery is powerful and, builds up the,

1690
01:28:10,180 --> 01:28:14,200
Speaker 2: you know, the weirdness, the sense of terror. And I mean,

1691
01:28:14,240 --> 01:28:16,740
Speaker 2: I guess we still have that to a certain extent

1692
01:28:16,780 --> 01:28:18,920
Speaker 2: because not everything lines up in this movie. So there's

1693
01:28:18,939 --> 01:28:21,559
Speaker 2: kind of like accidental mystery, accidental enigma.

1694
01:28:22,020 --> 01:28:25,010
Speaker 3: But it's funny that you have stuff like the characters,

1695
01:28:25,020 --> 01:28:28,370
Speaker 3: like 20 minutes after the audience has already figured out

1696
01:28:28,490 --> 01:28:31,210
Speaker 3: that the radio signal was from the future. Finally, the

1697
01:28:31,250 --> 01:28:32,850
Speaker 3: protagonist is figuring that out.

1698
01:28:32,870 --> 01:28:33,010
Speaker 2: Yeah.

1699
01:28:34,360 --> 01:28:38,679
Speaker 3: And eventually the computer does decipher the message. It determines

1700
01:28:38,740 --> 01:28:41,330
Speaker 3: that the word burial. is part of the clown jingle.

1701
01:28:41,490 --> 01:28:44,759
Speaker 3: So Eureka, but then why, what does this reveal?

1702
01:28:45,760 --> 01:28:49,210
Speaker 2: Yeah, this never fully explained. Um, but I liked it.

1703
01:28:49,260 --> 01:28:50,880
Speaker 2: I liked the idea that it's like, oh, the song

1704
01:28:50,920 --> 01:28:54,000
Speaker 2: is saying burial. I guess that sounds, it sounds pretty

1705
01:28:54,040 --> 01:28:57,140
Speaker 2: heavy and I guess it does tie in maybe to,

1706
01:28:57,340 --> 01:28:59,040
Speaker 2: I mean, we are going to have to unearth a grave.

1707
01:28:59,479 --> 01:29:01,830
Speaker 2: To sort of solve this situation. So we'll see where

1708
01:29:01,850 --> 01:29:02,170
Speaker 2: it goes.

1709
01:29:02,410 --> 01:29:06,530
Speaker 3: Well, it leads them to the job of Henrietta's father.

1710
01:29:06,689 --> 01:29:10,710
Speaker 3: So they learn from the police that Sam Baker, the

1711
01:29:10,770 --> 01:29:14,090
Speaker 3: father of Henrietta, was a funeral director. So next they

1712
01:29:14,110 --> 01:29:16,340
Speaker 3: go to the funeral home where he worked and they

1713
01:29:16,400 --> 01:29:19,640
Speaker 3: interrogate his former co-worker about him. This guy, again, is

1714
01:29:19,680 --> 01:29:20,759
Speaker 3: a strange character.

1715
01:29:20,780 --> 01:29:23,580
Speaker 2: This is Champagne, the mortician. Yeah. Yeah. Hmm.

1716
01:29:24,160 --> 01:29:27,900
Speaker 3: This guy is like, Sam was a wonderful man, a

1717
01:29:28,180 --> 01:29:30,740
Speaker 3: great man, a mentor to me, but he did have

1718
01:29:30,920 --> 01:29:34,940
Speaker 3: one practice I didn't fully approve of, which was grave robbing.

1719
01:29:35,140 --> 01:29:37,120
Speaker 2: Yeah. Yeah. It's like, yeah, he would steal things off

1720
01:29:37,140 --> 01:29:39,700
Speaker 2: the corpses, but we couldn't fire him because he was just,

1721
01:29:39,770 --> 01:29:41,780
Speaker 2: he was so damn good at his job otherwise.

1722
01:29:42,270 --> 01:29:45,050
Speaker 3: So he would steal from the dead. And in one instance,

1723
01:29:45,110 --> 01:29:48,350
Speaker 3: he stole a clown doll from the body of a

1724
01:29:48,410 --> 01:29:51,410
Speaker 3: dead child and gave it to his daughter as a gift.

1725
01:29:51,729 --> 01:29:57,130
Speaker 3: Very cool behavior. And then he, uh, so this, they

1726
01:29:57,170 --> 01:29:59,890
Speaker 3: learned this and this sends them on another quest to

1727
01:29:59,930 --> 01:30:04,350
Speaker 3: the cemetery to talk to old Mr. Harvey, the cemetery manager. Uh,

1728
01:30:05,050 --> 01:30:07,879
Speaker 3: there's a random detour here where Valcos shows up to

1729
01:30:07,950 --> 01:30:11,680
Speaker 3: kill the funeral home guy that Paul talked to. It's

1730
01:30:11,760 --> 01:30:14,139
Speaker 3: one of those movie murders where the victim makes no

1731
01:30:14,220 --> 01:30:17,320
Speaker 3: attempt to escape. Like Valcos shows up and then the

1732
01:30:17,380 --> 01:30:20,720
Speaker 3: funeral guy is just going like, no Valcos, no. And

1733
01:30:20,780 --> 01:30:22,219
Speaker 3: like not running or anything.

1734
01:30:22,240 --> 01:30:22,320
Speaker 1: Yeah.

1735
01:30:22,610 --> 01:30:24,950
Speaker 2: Yeah, and it also just leaves us kind of hanging, like,

1736
01:30:24,990 --> 01:30:27,410
Speaker 2: what's the relationship between these two? Like, it's kind of

1737
01:30:27,450 --> 01:30:31,070
Speaker 2: implied that Valkos was doing bad things for the mortician, but,

1738
01:30:32,330 --> 01:30:33,979
Speaker 2: and then suddenly, or they had some sort of a

1739
01:30:34,060 --> 01:30:36,960
Speaker 2: dangerous relationship that suddenly goes haywire.

1740
01:30:37,120 --> 01:30:39,860
Speaker 3: Well, he does speak to him with familiarity when he

1741
01:30:39,939 --> 01:30:40,660
Speaker 3: shows up, yeah.

1742
01:30:40,960 --> 01:30:44,300
Speaker 2: But I was left wondering, like, what's the deal here?

1743
01:30:45,120 --> 01:30:47,960
Speaker 2: We never know, because, yeah, Valkos beats him in the

1744
01:30:47,979 --> 01:30:50,760
Speaker 2: head with something and then stuffs him in a coffin.

1745
01:30:51,310 --> 01:30:53,110
Speaker 2: And I was thinking like, what's happening next to the coffin?

1746
01:30:53,150 --> 01:30:54,940
Speaker 2: Is he going to cremate him or bury him alive?

1747
01:30:55,060 --> 01:30:55,540
Speaker 2: We don't see.

1748
01:30:55,900 --> 01:30:56,219
Speaker 3: Nothing.

1749
01:30:56,439 --> 01:30:56,639
Speaker 2: Yeah.

1750
01:31:06,170 --> 01:31:08,750
Speaker 3: So we do learn that the doll is the source

1751
01:31:08,950 --> 01:31:11,550
Speaker 3: of the evil. And again, it's another one of those

1752
01:31:11,570 --> 01:31:14,970
Speaker 3: things where the audience is so far ahead of the characters.

1753
01:31:15,010 --> 01:31:19,430
Speaker 3: The movie establishes like 4,000% more than is necessary that

1754
01:31:19,470 --> 01:31:22,630
Speaker 3: the doll is the cause of the trouble. And so

1755
01:31:23,610 --> 01:31:26,890
Speaker 3: they keep like characters keep finding this out over and

1756
01:31:27,070 --> 01:31:29,250
Speaker 3: over and the audience is like, yes, we get it.

1757
01:31:29,270 --> 01:31:32,990
Speaker 3: The clown is bad. Yeah. Uh, so meanwhile, back at

1758
01:31:33,030 --> 01:31:36,440
Speaker 3: the house, Mark, Tina and Susan, uh, they are supposed

1759
01:31:36,479 --> 01:31:38,560
Speaker 3: to leave the house. They've already said, yeah, we're about

1760
01:31:38,600 --> 01:31:41,559
Speaker 3: to leave, but they don't, they have engine trouble. And

1761
01:31:41,600 --> 01:31:44,900
Speaker 3: then Mark's like, well, you know, should we call triple a? No,

1762
01:31:44,979 --> 01:31:47,490
Speaker 3: I need a part to fix things. I can do it.

1763
01:31:47,810 --> 01:31:52,229
Speaker 3: So they just end up staying at the murder clown house. Also, eventually,

1764
01:31:52,710 --> 01:31:57,769
Speaker 3: Pepe shows up. The UMass hitchhiker who thinks everything sucks.

1765
01:31:58,050 --> 01:31:59,530
Speaker 3: He shows up and he's like, I need a place

1766
01:31:59,570 --> 01:32:01,510
Speaker 3: to crash. And this house is as good as any.

1767
01:32:01,610 --> 01:32:03,530
Speaker 3: What are the odds he'd end up in the exact

1768
01:32:03,570 --> 01:32:04,070
Speaker 3: same house?

1769
01:32:04,380 --> 01:32:06,980
Speaker 2: Yeah, it's like this character just showed back up to die.

1770
01:32:07,000 --> 01:32:10,160
Speaker 2: You know it right away. He's on borrowed time now.

1771
01:32:10,700 --> 01:32:13,350
Speaker 3: So when he arrives, he pranks people by sneaking up

1772
01:32:13,390 --> 01:32:15,650
Speaker 3: behind them and grabbing them across the face with the

1773
01:32:15,660 --> 01:32:19,390
Speaker 3: skeleton hand. And then Pepe goes inside the house and

1774
01:32:19,410 --> 01:32:21,530
Speaker 3: he checks out what they've got in the pantry. He

1775
01:32:21,610 --> 01:32:25,170
Speaker 3: sticks his hand into a box of Pepperidge Farm garlic

1776
01:32:25,189 --> 01:32:28,610
Speaker 3: and onion croutons, but the box is just full of cockroaches.

1777
01:32:30,130 --> 01:32:32,410
Speaker 3: And then he disappears for a while and then randomly

1778
01:32:32,430 --> 01:32:33,050
Speaker 3: turns up as a.

1779
01:32:33,030 --> 01:32:36,610
Speaker 2: Dead body later. Yeah, I don't think we even see

1780
01:32:36,650 --> 01:32:38,920
Speaker 2: his death on screen. He's just like, knock at the

1781
01:32:38,960 --> 01:32:41,040
Speaker 2: door or something, and there he is, bloodied and wounded,

1782
01:32:41,100 --> 01:32:42,780
Speaker 2: and he falls over dead. Yeah.

1783
01:32:43,220 --> 01:32:45,679
Speaker 3: Somewhere in here, there is a scene I found conceptually

1784
01:32:45,740 --> 01:32:50,160
Speaker 3: hilarious where the coroner explains to the police detective that

1785
01:32:50,300 --> 01:32:54,439
Speaker 3: Jim could not have been murdered because the autopsy revealed

1786
01:32:54,580 --> 01:32:58,300
Speaker 3: that the fan blade hit him in the throat from below,

1787
01:32:58,700 --> 01:33:02,620
Speaker 3: from an upward angle, with the implication is that's not

1788
01:33:02,729 --> 01:33:04,870
Speaker 3: possible if it was wielded by a human.

1789
01:33:04,890 --> 01:33:09,560
Speaker 2: Okay, yeah. I'm not sure that makes complete sense i

1790
01:33:09,600 --> 01:33:13,260
Speaker 2: mean i think we've all consumed enough forensics uh information

1791
01:33:13,280 --> 01:33:16,139
Speaker 2: you know believable or not in like you know cop

1792
01:33:16,200 --> 01:33:19,880
Speaker 2: media where we kind of get the idea that you

1793
01:33:20,140 --> 01:33:23,480
Speaker 2: know objects can do strange things when they're in motion

1794
01:33:23,580 --> 01:33:27,000
Speaker 2: or ricocheting off of exploding material that sort of thing.

1795
01:33:27,520 --> 01:33:29,890
Speaker 3: But i like how it's like oh the angle of

1796
01:33:29,979 --> 01:33:34,370
Speaker 3: the fan blade proves that ghosts are real yeah But

1797
01:33:34,410 --> 01:33:37,030
Speaker 3: so as you can guess, most of the remaining characters

1798
01:33:37,090 --> 01:33:38,929
Speaker 3: are just going to bite it one way or another,

1799
01:33:39,310 --> 01:33:41,689
Speaker 3: getting ghosted in the house. Yeah, we got to.

1800
01:33:41,610 --> 01:33:44,070
Speaker 2: Whittle down that cast before we can close out the picture.

1801
01:33:44,450 --> 01:33:47,100
Speaker 3: Tina goes into the house. She gets chopped in half

1802
01:33:47,180 --> 01:33:49,420
Speaker 3: by a pane of glass that falls from the ceiling.

1803
01:33:50,200 --> 01:33:52,320
Speaker 3: Susan has a freak out where she's staring in the

1804
01:33:52,420 --> 01:33:55,460
Speaker 3: mirror over the bathroom sink and blood starts coming out

1805
01:33:55,500 --> 01:33:57,479
Speaker 3: of the faucet. I think this is a take on

1806
01:33:57,520 --> 01:33:59,880
Speaker 3: the bathroom mirror freak out in Poltergeist.

1807
01:34:00,240 --> 01:34:05,000
Speaker 2: Yeah, yeah. In Poltergeist, there's like Actually, it's one of

1808
01:34:05,020 --> 01:34:07,680
Speaker 2: the effects in Poltergeist that doesn't hold up all that well,

1809
01:34:08,260 --> 01:34:12,600
Speaker 2: where the meat is being pulled off of the face. Here,

1810
01:34:12,680 --> 01:34:15,309
Speaker 2: we don't get the full extent of that, but it's

1811
01:34:15,360 --> 01:34:17,590
Speaker 2: still pretty creepy. Though it did leave me wondering, because

1812
01:34:17,630 --> 01:34:19,349
Speaker 2: we come back to this sink later and it's still

1813
01:34:19,390 --> 01:34:21,929
Speaker 2: running blood, and I'm like, is it hot? Is it cold?

1814
01:34:22,090 --> 01:34:24,870
Speaker 2: Is it hot and cold? What's the full plumbing situation

1815
01:34:24,930 --> 01:34:26,130
Speaker 2: with the blood faucet here?

1816
01:34:26,150 --> 01:34:28,350
Speaker 3: She just left it running? Won't somebody think about the

1817
01:34:28,390 --> 01:34:28,889
Speaker 3: blood bill?

1818
01:34:28,910 --> 01:34:30,130
Speaker 2: I know. Yeah.

1819
01:34:31,650 --> 01:34:35,059
Speaker 3: So Mark also goes into the house and then he

1820
01:34:35,340 --> 01:34:38,880
Speaker 3: falls through the floor into a pit of white slime.

1821
01:34:39,300 --> 01:34:43,060
Speaker 2: Oh, yeah. This is an amazing moment. I've seen some

1822
01:34:43,100 --> 01:34:47,480
Speaker 2: people describe this online as like boiling milk. I really

1823
01:34:47,520 --> 01:34:50,540
Speaker 2: got the sense that this is just it's like ectoplasm.

1824
01:34:50,700 --> 01:34:54,660
Speaker 2: Like this place is maybe so haunted that there's like

1825
01:34:54,700 --> 01:34:59,240
Speaker 2: a deposit of just pure ectoplasm underneath the house. And

1826
01:34:59,290 --> 01:35:02,349
Speaker 2: he falls right into it. And then he manages to

1827
01:35:02,790 --> 01:35:06,700
Speaker 2: emerge from it again, still covered in goop and so

1828
01:35:06,840 --> 01:35:09,040
Speaker 2: out of it, maybe not even fully human anymore. We

1829
01:35:09,080 --> 01:35:13,620
Speaker 2: don't know. But this sequence is just so nuts and

1830
01:35:13,680 --> 01:35:17,240
Speaker 2: so goopy. It made me feel like this is something

1831
01:35:17,310 --> 01:35:19,929
Speaker 2: right out of Boxer's Omen. It's that kind of black

1832
01:35:20,010 --> 01:35:24,430
Speaker 2: magic action. That's where it would fit in. Here, it

1833
01:35:24,510 --> 01:35:28,210
Speaker 2: is just completely nuts out of nowhere, and I love it.

1834
01:35:28,630 --> 01:35:30,770
Speaker 3: It kind of half melts him. I was going to

1835
01:35:30,810 --> 01:35:33,610
Speaker 3: say that it looks like, it doesn't exactly look like

1836
01:35:33,770 --> 01:35:38,280
Speaker 3: milk to me. It looks more like cornstarch slurry or something.

1837
01:35:38,340 --> 01:35:41,800
Speaker 2: Yeah, or oobleck. Yeah, exactly. That's what oobleck is, the

1838
01:35:41,840 --> 01:35:46,030
Speaker 2: cornstarch slurry. So yeah, that's exactly what it feels like.

1839
01:35:46,590 --> 01:35:49,170
Speaker 2: But yeah, in terms of the world of the film,

1840
01:35:49,410 --> 01:35:51,490
Speaker 2: I guess ectoplasm is the only thing that makes sense.

1841
01:35:51,689 --> 01:35:54,050
Speaker 3: Yeah. But it's kind of melting him like it's doing

1842
01:35:54,090 --> 01:35:56,740
Speaker 3: something bad to him. It's a little bit Emil and Robocop.

1843
01:35:56,939 --> 01:35:57,840
Speaker 2: Yeah. Yeah.

1844
01:35:57,939 --> 01:36:01,360
Speaker 3: Absolutely. Then he crawls out. He crawls. So it doesn't

1845
01:36:01,400 --> 01:36:05,360
Speaker 3: fully kill him. He crawls out and then wanders into

1846
01:36:05,380 --> 01:36:08,820
Speaker 3: the other room where his terrified girlfriend, Susan, has been

1847
01:36:08,860 --> 01:36:11,410
Speaker 3: hanging out. And then she stabs him with a knife

1848
01:36:11,550 --> 01:36:13,370
Speaker 3: because she doesn't recognize it's him.

1849
01:36:13,410 --> 01:36:15,870
Speaker 2: Then she gets the realization for the freak out. Yeah.

1850
01:36:16,939 --> 01:36:20,009
Speaker 2: But yeah, love the ectoplasm pit here. This was actually

1851
01:36:20,070 --> 01:36:21,870
Speaker 2: one of the things where you pick the movie and

1852
01:36:21,890 --> 01:36:23,390
Speaker 2: I was like, oh, I don't know anything about it.

1853
01:36:23,410 --> 01:36:25,349
Speaker 2: And I looked up a few stills and I saw

1854
01:36:25,390 --> 01:36:27,550
Speaker 2: a still of the ectoplasm pit and I'm like, okay,

1855
01:36:27,670 --> 01:36:28,090
Speaker 2: I'm all in.

1856
01:36:28,470 --> 01:36:28,710
Speaker 3: Yeah.

1857
01:36:28,970 --> 01:36:29,750
Speaker 2: Did not disappoint.

1858
01:36:30,490 --> 01:36:32,710
Speaker 3: So let's see a few more threads to wrap up

1859
01:36:32,750 --> 01:36:36,150
Speaker 3: in the plot here. So Martha and Paul are going

1860
01:36:36,170 --> 01:36:38,710
Speaker 3: to have to investigate at the cemetery where the final

1861
01:36:38,890 --> 01:36:42,229
Speaker 3: resolution here is going to take place. So much stupid

1862
01:36:42,290 --> 01:36:45,259
Speaker 3: arguing between Martha and Paul at this point, just arguing

1863
01:36:45,300 --> 01:36:48,710
Speaker 3: about nothing. when they get there, Paul goes off to

1864
01:36:49,050 --> 01:36:52,040
Speaker 3: solve the mystery and Martha is left in the car

1865
01:36:52,200 --> 01:36:56,200
Speaker 3: and then she gets attacked by Valcos. Uh, Valcos chases

1866
01:36:56,240 --> 01:36:59,200
Speaker 3: her around. Somehow Valcos just dies. Like, did a ghost

1867
01:36:59,260 --> 01:36:59,700
Speaker 3: kill him?

1868
01:37:00,080 --> 01:37:03,120
Speaker 2: He's suddenly hanging from the neck. Like he, like he

1869
01:37:03,160 --> 01:37:06,360
Speaker 2: hanged himself or a ghost hanged him. I don't know

1870
01:37:06,510 --> 01:37:09,150
Speaker 2: how it came to pass, but suddenly he's dead. Yeah.

1871
01:37:09,930 --> 01:37:13,320
Speaker 2: And in a way, I mean, probably just sloppy use of, um,

1872
01:37:13,810 --> 01:37:16,570
Speaker 2: a frightening image that's been utilized in various other films.

1873
01:37:17,110 --> 01:37:21,440
Speaker 3: So Martha then finds the tomb of Henrietta, but she

1874
01:37:21,450 --> 01:37:23,960
Speaker 3: gets locked inside. I think she's trying to hide from Valco.

1875
01:37:24,000 --> 01:37:27,380
Speaker 3: She goes in, gets locked inside. She's in there screaming.

1876
01:37:27,460 --> 01:37:29,980
Speaker 3: And then Paul comes and tries to open the door.

1877
01:37:30,060 --> 01:37:33,900
Speaker 3: He uses Valco's sickle to open the crypt door. They're

1878
01:37:33,920 --> 01:37:35,840
Speaker 3: just random tarantulas in the crypt.

1879
01:37:35,939 --> 01:37:37,839
Speaker 2: Just tarantula hanging out on the casket.

1880
01:37:38,220 --> 01:37:41,220
Speaker 3: And he, Paul gets Martha out of the crypt and like,

1881
01:37:41,360 --> 01:37:43,100
Speaker 3: you know, puts her in the truck and gives her

1882
01:37:43,140 --> 01:37:47,470
Speaker 3: a bottle of Jack Daniels. And she's like, Paul, I

1883
01:37:47,530 --> 01:37:51,750
Speaker 3: saw death. So at this point, Susan is the only

1884
01:37:51,790 --> 01:37:54,640
Speaker 3: character left alive at the house. And she's being chased

1885
01:37:54,700 --> 01:37:57,820
Speaker 3: around by the Big Nipple Doberman and then also by

1886
01:37:57,860 --> 01:38:00,660
Speaker 3: a new figure, the Maggot Reaper. Rob, what's your take

1887
01:38:00,720 --> 01:38:01,460
Speaker 3: on Maggot Reaper?

1888
01:38:01,800 --> 01:38:05,540
Speaker 2: Oh, I love Maggot Reaper. And we've said Maggot Reaper

1889
01:38:05,620 --> 01:38:07,160
Speaker 2: enough now that it sounds like it would be a

1890
01:38:07,229 --> 01:38:09,389
Speaker 2: great name for some sort of a doom sludge band.

1891
01:38:09,930 --> 01:38:12,510
Speaker 2: And I hope that Maggot Reaper exists and is out

1892
01:38:12,550 --> 01:38:18,480
Speaker 2: there making music. But yeah, well, maybe not that song, but,

1893
01:38:18,920 --> 01:38:21,180
Speaker 2: but yeah, maggot Reaper. I can totally see that on

1894
01:38:21,260 --> 01:38:25,120
Speaker 2: a t-shirt. I think there's something inspired and yet completely

1895
01:38:25,200 --> 01:38:28,370
Speaker 2: sloppy and shoddy about the whole prospect here, which is

1896
01:38:28,430 --> 01:38:30,860
Speaker 2: perfect for this film because maggot Reaper is just a

1897
01:38:30,900 --> 01:38:34,360
Speaker 2: grim reaper, but with a whole bunch of, I think

1898
01:38:34,380 --> 01:38:36,660
Speaker 2: they're actual maggots in this case. I don't think they're

1899
01:38:37,400 --> 01:38:40,820
Speaker 2: another variety of critter, but yeah, it's like just a

1900
01:38:40,860 --> 01:38:43,690
Speaker 2: bunch of maggots thrown under the face, the skeletal face

1901
01:38:43,750 --> 01:38:48,410
Speaker 2: of the reaper, and then he just wanders after you. So, yeah,

1902
01:38:48,450 --> 01:38:50,430
Speaker 2: you know, there's a little bit of Fulci energy and

1903
01:38:50,450 --> 01:38:53,590
Speaker 2: it makes me think of, you know, use of maggots

1904
01:38:53,670 --> 01:38:56,100
Speaker 2: in various other horror films.

1905
01:38:56,110 --> 01:38:57,620
Speaker 3: Oh, in City of the Living Dead when there's the

1906
01:38:57,660 --> 01:38:58,240
Speaker 3: maggot storm.

1907
01:38:58,260 --> 01:39:00,920
Speaker 2: The maggot wind, yeah. Well, this is, yeah, this is

1908
01:39:00,960 --> 01:39:03,540
Speaker 2: Maggot Reaper, a similar take where you just throw some

1909
01:39:03,560 --> 01:39:05,980
Speaker 2: maggots on it and it makes it creepier and it does,

1910
01:39:06,500 --> 01:39:10,139
Speaker 2: but it also doesn't at the same time. It's, again,

1911
01:39:10,340 --> 01:39:13,400
Speaker 2: the effect looks fine for what it is, but yeah,

1912
01:39:13,479 --> 01:39:13,939
Speaker 2: it's odd.

1913
01:39:15,170 --> 01:39:18,350
Speaker 3: So the maggot reapers creeping up on Susan, you know,

1914
01:39:18,570 --> 01:39:20,680
Speaker 3: what's going to happen to her. It seems like she's doomed.

1915
01:39:20,840 --> 01:39:24,680
Speaker 3: But meanwhile, Paul is at the cemetery and he, that

1916
01:39:24,800 --> 01:39:28,200
Speaker 3: he and Martha have discovered the grave of Henrietta and

1917
01:39:28,260 --> 01:39:31,500
Speaker 3: inside the grave. What's in that coffin. It's not just

1918
01:39:31,820 --> 01:39:35,770
Speaker 3: the girl's body, like perfectly preserved, but also uncorrupted.

1919
01:39:35,790 --> 01:39:36,010
Speaker 2: Yeah.

1920
01:39:36,030 --> 01:39:40,629
Speaker 3: She's like a saint, you know, incorruptible, um, uh, perfectly preserved,

1921
01:39:40,670 --> 01:39:41,570
Speaker 3: but also the clown.

1922
01:39:41,890 --> 01:39:42,110
Speaker 2: Yeah.

1923
01:39:42,170 --> 01:39:44,769
Speaker 3: Clowns in there in the coffin with her. And his

1924
01:39:44,810 --> 01:39:46,610
Speaker 3: solution is, well, I know what I gotta do. I

1925
01:39:46,630 --> 01:39:50,850
Speaker 3: gotta burn this. So he like pours gasoline on it

1926
01:39:50,979 --> 01:39:53,459
Speaker 3: and sets it on fire and that fixes the problem.

1927
01:39:53,560 --> 01:39:57,530
Speaker 3: You know, it's just like Athena Doris. And so he, uh,

1928
01:39:57,620 --> 01:40:00,660
Speaker 3: he burns the clown and this saves Susan, the maggot

1929
01:40:00,680 --> 01:40:04,990
Speaker 3: Reaper disappears. Uh, there is, there's like a weird noodley

1930
01:40:05,050 --> 01:40:08,389
Speaker 3: synthesizer riff that plays when this happens. It's very funny.

1931
01:40:08,410 --> 01:40:12,309
Speaker 3: And so Susan actually lives, uh, the clown doll burns.

1932
01:40:12,970 --> 01:40:17,360
Speaker 3: And we see while the burning is happening, the cemetery manager, Mr. Harvey,

1933
01:40:17,380 --> 01:40:20,000
Speaker 3: he's like leaning into the tomb and he crosses himself.

1934
01:40:20,900 --> 01:40:23,019
Speaker 3: There's almost this look like somebody should have done this

1935
01:40:23,060 --> 01:40:27,810
Speaker 3: a long time ago. And there's kind of a wrap

1936
01:40:27,910 --> 01:40:30,570
Speaker 3: up where they're talking to the police. The detective comes

1937
01:40:30,770 --> 01:40:33,110
Speaker 3: out and he's like, you know, I told the district attorney,

1938
01:40:33,130 --> 01:40:35,870
Speaker 3: I think he blames the whole thing on Valcos. And

1939
01:40:35,910 --> 01:40:39,150
Speaker 3: he says, people want to be reassured. Believe me, they

1940
01:40:39,170 --> 01:40:42,500
Speaker 3: don't want to know about ghosts and curses and whatnot.

1941
01:40:43,890 --> 01:40:47,150
Speaker 3: And same thing comes across to Susan. Paul tells Susan,

1942
01:40:47,330 --> 01:40:49,030
Speaker 3: I know how you feel, but you're going to have

1943
01:40:49,070 --> 01:40:50,890
Speaker 3: to learn to live with it on your own. You

1944
01:40:50,910 --> 01:40:54,269
Speaker 3: can never tell anyone. And then Susan rides away on

1945
01:40:54,310 --> 01:40:57,640
Speaker 3: her motorcycle. So it's back to Boston for our main couple,

1946
01:40:57,689 --> 01:41:00,679
Speaker 3: I guess. And seems like it's going to be happily

1947
01:41:00,740 --> 01:41:03,320
Speaker 3: ever after. But then the movie just is not happy

1948
01:41:03,360 --> 01:41:05,680
Speaker 3: with that. No, cannot be happily ever after. We got

1949
01:41:05,780 --> 01:41:07,240
Speaker 3: to put some kind of stinger in there.

1950
01:41:07,260 --> 01:41:10,800
Speaker 2: Yeah, we get a mean, nasty ending here that again,

1951
01:41:11,240 --> 01:41:13,540
Speaker 2: would actually feel mean and nasty if it wasn't also

1952
01:41:13,600 --> 01:41:16,860
Speaker 2: just hilarious. Yeah. As it's realized here on the screen.

1953
01:41:17,240 --> 01:41:19,120
Speaker 2: The way it breaks down is, yeah, Martha and Paul

1954
01:41:19,160 --> 01:41:22,420
Speaker 2: are in Boston. You know, lovers on different sides of

1955
01:41:22,439 --> 01:41:25,900
Speaker 2: the streets calling to each other. He's going to cross

1956
01:41:25,939 --> 01:41:27,650
Speaker 2: the street to get to her. She turns around. What

1957
01:41:27,670 --> 01:41:30,170
Speaker 2: does she see in the shop window? But the clown doll.

1958
01:41:30,570 --> 01:41:34,270
Speaker 2: That's right. And she goes, uh-oh, something's wrong here. And

1959
01:41:34,610 --> 01:41:36,650
Speaker 2: he tries to make his way across the street. He's

1960
01:41:36,689 --> 01:41:39,229
Speaker 2: hit by a bus and killed the.

1961
01:41:39,920 --> 01:41:42,540
Speaker 3: the end cut to credits it's also it's a scene

1962
01:41:42,600 --> 01:41:46,010
Speaker 3: later used in Final Destination oh yeah yeah just a

1963
01:41:46,020 --> 01:41:49,750
Speaker 3: random bus to you know it's like you can't escape.

1964
01:41:49,990 --> 01:41:53,210
Speaker 2: I mean nothing is it is shocking anytime in a

1965
01:41:53,250 --> 01:41:55,030
Speaker 2: film where someone's hit by a bus or a car

1966
01:41:55,050 --> 01:41:58,330
Speaker 2: or something to the point where if someone's about to

1967
01:41:58,370 --> 01:42:00,530
Speaker 2: cross a street in a movie or a TV show

1968
01:42:00,850 --> 01:42:03,030
Speaker 2: and we're spending any amount of time on it I

1969
01:42:03,050 --> 01:42:05,500
Speaker 2: start getting really nervous like no this guy this dude's

1970
01:42:05,520 --> 01:42:07,780
Speaker 2: about to get hit by a vehicle like it's the

1971
01:42:07,820 --> 01:42:10,900
Speaker 2: setup and it's too much And then like half the

1972
01:42:10,920 --> 01:42:13,620
Speaker 2: time it actually happens. I guess it does play on

1973
01:42:13,640 --> 01:42:17,280
Speaker 2: a common fear and a common dangerous reality of streets

1974
01:42:17,320 --> 01:42:19,050
Speaker 2: and vehicles and clown dolls.

1975
01:42:19,330 --> 01:42:22,110
Speaker 3: All of that aside, I really like Martha's cool jacket

1976
01:42:22,250 --> 01:42:25,270
Speaker 3: in this last scene. She's like a denim jacket with

1977
01:42:25,290 --> 01:42:27,630
Speaker 3: this crazy leather fringe everywhere.

1978
01:42:27,650 --> 01:42:30,470
Speaker 2: I will say we've been having a fair amount of

1979
01:42:30,510 --> 01:42:34,640
Speaker 2: fun with Martha's delivery in this film, but her final scream,

1980
01:42:35,040 --> 01:42:37,620
Speaker 2: I think, is very effective and well done. And her

1981
01:42:37,720 --> 01:42:41,210
Speaker 2: final frozen look of horror over which we roll the credits.

1982
01:42:42,770 --> 01:42:45,610
Speaker 2: And read about who is the caterer on this picture

1983
01:42:45,689 --> 01:42:49,370
Speaker 2: and so forth. It's not the caterer, maybe it's payroll

1984
01:42:49,410 --> 01:42:53,730
Speaker 2: or something. Sometimes it's kind of hilarious when you have

1985
01:42:53,760 --> 01:42:57,019
Speaker 2: this emotionally evocative scene that's frozen and you're reading about

1986
01:42:57,060 --> 01:43:01,139
Speaker 2: the caterer. Or who drove the truck, that sort of thing.

1987
01:43:01,979 --> 01:43:06,500
Speaker 3: So what's the best third movie in the Evil Dead franchise?

1988
01:43:06,540 --> 01:43:08,140
Speaker 3: Is it this one or Army of Darkness?

1989
01:43:09,660 --> 01:43:13,389
Speaker 2: Well, there's two very different films. I don't know. In

1990
01:43:13,430 --> 01:43:17,870
Speaker 2: a way, both films have some gonzo energy going on,

1991
01:43:19,450 --> 01:43:25,390
Speaker 2: but definitely realized to different degrees. But Ghost House, it

1992
01:43:25,689 --> 01:43:28,269
Speaker 2: is a lot of fun. This is a film with

1993
01:43:28,310 --> 01:43:30,190
Speaker 2: a lot of goofiness to it. I bet the riff

1994
01:43:30,220 --> 01:43:33,360
Speaker 2: track for it is pretty fun. I haven't checked it

1995
01:43:33,380 --> 01:43:35,960
Speaker 2: out myself, but there's a lot to have fun with here.

1996
01:43:35,979 --> 01:43:39,750
Speaker 3: Totally. Totally. Okay. Well, that's all I've got on ghost house.

1997
01:43:40,670 --> 01:43:43,170
Speaker 2: Yeah. I think we, we more than covered it here. Uh,

1998
01:43:43,720 --> 01:43:45,820
Speaker 2: we would, we'd have to do, sometimes we'll go ahead

1999
01:43:45,860 --> 01:43:48,939
Speaker 2: and do the mental gymnastics necessary to that. It's necessary.

2000
01:43:48,960 --> 01:43:52,220
Speaker 2: They're necessary to make the plot make sense, but I

2001
01:43:52,260 --> 01:43:54,019
Speaker 2: feel like we would need a lot more time with

2002
01:43:54,060 --> 01:43:57,420
Speaker 2: ghost house to really like figure out how the doll

2003
01:43:57,479 --> 01:44:01,760
Speaker 2: ties in to maggot Reaper, the mummy hand from earlier. Like,

2004
01:44:01,820 --> 01:44:05,269
Speaker 2: what does it all mean? Um, this is something that, uh,

2005
01:44:05,939 --> 01:44:08,250
Speaker 2: Film critics and commentators are going to have to continue

2006
01:44:08,270 --> 01:44:11,630
Speaker 2: to piece together for, I think, decades, decades and decades.

2007
01:44:12,930 --> 01:44:15,030
Speaker 3: And it could just be one of those fractal mysteries

2008
01:44:15,070 --> 01:44:17,729
Speaker 3: of nature. The deeper you look, the more questions emerge.

2009
01:44:18,030 --> 01:44:20,950
Speaker 2: Yeah. So, yeah, I think Ghost House is a lot

2010
01:44:20,990 --> 01:44:24,930
Speaker 2: of fun. I've noticed some people online kind of, as

2011
01:44:24,970 --> 01:44:29,309
Speaker 2: with a lot of Umberto Lindsay, I think sometimes people

2012
01:44:29,430 --> 01:44:33,720
Speaker 2: see it as kind of lukewarm. Like it's not Troll 3.

2013
01:44:33,720 --> 01:44:36,920
Speaker 2: And it's also not housed by the cemetery. And that's true,

2014
01:44:37,680 --> 01:44:40,339
Speaker 2: but it's somewhere in the middle and its own comfortable

2015
01:44:40,400 --> 01:44:43,849
Speaker 2: zone of like creepiness and schlockiness. And I think there's

2016
01:44:43,890 --> 01:44:47,010
Speaker 2: a lot to enjoy here. Did I say troll three?

2017
01:44:47,050 --> 01:44:49,570
Speaker 3: I meant troll two. Oh, I thought you meant like

2018
01:44:49,670 --> 01:44:50,590
Speaker 3: the next troll two.

2019
01:44:50,630 --> 01:44:53,030
Speaker 2: The next troll. Yeah. Don't get me started on what

2020
01:44:53,090 --> 01:44:55,839
Speaker 2: film was called troll three, but no, troll two, troll

2021
01:44:55,850 --> 01:44:56,480
Speaker 2: two is what I meant.

2022
01:44:57,640 --> 01:45:00,650
Speaker 3: I agree. It is neither one. I'd say it's Closer

2023
01:45:00,770 --> 01:45:02,690
Speaker 3: to the Troll 2 end of the spectrum than the

2024
01:45:02,729 --> 01:45:04,030
Speaker 3: House by the Cemetery end.

2025
01:45:04,729 --> 01:45:08,610
Speaker 2: Yeah, except when the effects are really firing up on

2026
01:45:08,650 --> 01:45:11,420
Speaker 2: all cylinders. And then I think it's pretty strong. Yeah.

2027
01:45:12,260 --> 01:45:16,320
Speaker 3: But yeah, I would say definitely some fun, pretty funny,

2028
01:45:16,680 --> 01:45:17,820
Speaker 3: spooky Halloween viewing.

2029
01:45:18,939 --> 01:45:21,980
Speaker 2: All right. Well, that's Ghost House. We'd love to hear

2030
01:45:22,000 --> 01:45:26,080
Speaker 2: from everyone out there. If not about Ghost House itself,

2031
01:45:26,240 --> 01:45:29,750
Speaker 2: then maybe about Poltergeist. Or any other haunted house movie,

2032
01:45:30,050 --> 01:45:33,790
Speaker 2: haunted doll movie, haunted clown doll movies. Any of these

2033
01:45:33,830 --> 01:45:36,910
Speaker 2: genres and subgenres are fair game. Write in. We'd love

2034
01:45:36,930 --> 01:45:39,810
Speaker 2: to hear from you. Just in general, you know, it's Halloween.

2035
01:45:39,840 --> 01:45:42,080
Speaker 2: I always like to hear what do people watch around Halloween?

2036
01:45:42,320 --> 01:45:45,559
Speaker 2: Are there certain films that you watch every year? Were

2037
01:45:45,600 --> 01:45:48,960
Speaker 2: there a particular couple of films that you made sure

2038
01:45:48,979 --> 01:45:51,480
Speaker 2: to watch this year? That's exactly the kind of thing

2039
01:45:51,520 --> 01:45:53,600
Speaker 2: we'd like to tear into when we get into our

2040
01:45:53,640 --> 01:45:57,220
Speaker 2: Halloween hangover edition of Lister Mail, which we'll get to

2041
01:45:57,320 --> 01:45:57,820
Speaker 2: in November.

2042
01:45:58,340 --> 01:46:00,300
Speaker 3: Absolutely. Please send your favorites, yeah.

2043
01:46:00,979 --> 01:46:02,540
Speaker 2: In the meantime, we'll just remind you that Stuff to

2044
01:46:02,560 --> 01:46:04,639
Speaker 2: Blow Your Mind is primarily a science and culture podcast

2045
01:46:04,660 --> 01:46:08,260
Speaker 2: with core episodes on Tuesdays and Thursdays, short form on Wednesday,

2046
01:46:08,460 --> 01:46:10,720
Speaker 2: and then on Fridays we set aside most serious concerns

2047
01:46:10,740 --> 01:46:12,300
Speaker 2: to just talk about a weird film here on Weird

2048
01:46:12,340 --> 01:46:17,210
Speaker 2: House Cinema. Let's see, if you're on letterboxd.com, we are

2049
01:46:17,270 --> 01:46:19,229
Speaker 2: weirdhouse on there. You'll find a nice list of all

2050
01:46:19,250 --> 01:46:21,950
Speaker 2: the movies we've covered over the years and sometimes a

2051
01:46:21,990 --> 01:46:25,229
Speaker 2: peek ahead at what comes next. Wherever you get the podcast,

2052
01:46:25,390 --> 01:46:28,170
Speaker 2: in audio form or in video form on Netflix or

2053
01:46:29,229 --> 01:46:31,590
Speaker 2: We just ask that you rate, review, subscribe. If you're

2054
01:46:31,610 --> 01:46:34,710
Speaker 2: on Netflix, two thumbs up. Ask to be reminded about

2055
01:46:34,770 --> 01:46:37,840
Speaker 2: new episodes. These are some small things that help us

2056
01:46:37,900 --> 01:46:38,519
Speaker 2: out in the long run.

2057
01:46:38,960 --> 01:46:42,240
Speaker 3: Huge thanks, as always, to our excellent audio producer, J.J.

2058
01:46:42,280 --> 01:46:42,780
Speaker 2: Posway.

2059
01:46:43,260 --> 01:46:44,720
Speaker 3: If you would like to get in touch with us

2060
01:46:44,760 --> 01:46:47,120
Speaker 3: with feedback on this episode or any other, to suggest

2061
01:46:47,180 --> 01:46:49,040
Speaker 3: a topic for the future, or just to say hello,

2062
01:46:49,400 --> 01:46:52,370
Speaker 3: you can email us at contact at stufftoblowyourmind.com.

2063
01:46:59,750 --> 01:47:02,180
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2064
01:47:02,560 --> 01:47:05,900
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2065
01:47:05,920 --> 01:47:08,270
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