WEBVTT - Weirdhouse Cinema: The Devil Bat

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<v Speaker 1>Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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<v Speaker 2>Hey, welcome to Weird House Cinema. This is Rob Lamb.

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<v Speaker 3>And I am Joe McCormick. And today on Weird House

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<v Speaker 3>Cinema we are going to be talking about the nineteen

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<v Speaker 3>forty horror thriller The Devil Bat, starring Bella Lagosi and

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<v Speaker 3>Suzanne Karen, a movie where the one sentence plot submarine

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<v Speaker 3>not only includes the phrase giant mutant bat, but also

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<v Speaker 3>the word lotion.

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<v Speaker 2>Yeah that's right. Yeah. In this episode, we're returning once

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<v Speaker 2>more to the nineteen forties. This is only our third

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<v Speaker 2>forties picture on Weird House with and the first in

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<v Speaker 2>a long time, following nineteen forties Doctor Cyclops and nineteen

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<v Speaker 2>forty six is The Beast with Five Fingers. So I

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<v Speaker 2>am excited to return to one of our least explored

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<v Speaker 2>decades on the show like this. The thirties and the

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<v Speaker 2>twenties haven't hit as much.

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<v Speaker 3>Yes, though, you know, some of our the sci fi

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<v Speaker 3>movies we've done from like the thirties and the forties

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<v Speaker 3>have been some of my favorites. Actually. Oh, I actually

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<v Speaker 3>in fact came to the idea of doing Devil Bat

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<v Speaker 3>this week by looking specifically for movies that are similar

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<v Speaker 3>to the Beast with Five Fingers starring Peter Lourie, which

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<v Speaker 3>I loved, and I was thinking, oh, I want something

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<v Speaker 3>in that zone, and this is what I turned up,

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<v Speaker 3>and I think it's close. Beast with Five Fingers I

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<v Speaker 3>think was a little more, you know, higher budget, a

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<v Speaker 3>little more, a little more elaborate, had a little bit

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<v Speaker 3>more class, but ultimately on I think the same frequency.

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<v Speaker 2>Yeah, i'd had more of a gothic flare. This one

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<v Speaker 2>is more Middle America meets mutant bats.

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<v Speaker 3>Yeah. And while I would say that the plot of

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<v Speaker 3>this movie is quite formulaic, like there was a pattern

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<v Speaker 3>that's established with how each of the bat murders takes

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<v Speaker 3>place that just sort of repeats and is the same

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<v Speaker 3>way each time. It's almost like the setup to a joke,

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<v Speaker 3>you know, where it's just like there's a very formulaic

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<v Speaker 3>repetition until the inversion. It's like that. And yet at

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<v Speaker 3>the same time, the script isn't actually half bad. I

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<v Speaker 3>think there is more kind of character and flare in

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<v Speaker 3>it than you would get for a lot of similar

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<v Speaker 3>movies from this time period. I'll also say for a

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<v Speaker 3>horror movie from nineteen forty. I found Devil Bat to

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<v Speaker 3>have a surprisingly lively pace after the first ten minutes

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<v Speaker 3>or so, that is the opening scene. I don't know

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<v Speaker 3>if you felt the same way. Rob opening scene is

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<v Speaker 3>almost comically dull. It's like they thought, you know what

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<v Speaker 3>people want to see Bela Lagosi looking through a pane

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<v Speaker 3>of glass for like three minutes straight while he microwaves

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<v Speaker 3>a bat.

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<v Speaker 2>Yeah. Yeah, there are a lot of scenes of Bella

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<v Speaker 2>Lugosi microwaving bats in this film, and you just need

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<v Speaker 2>to be on board for that. But but then again,

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<v Speaker 2>it's Bela Lugosi, and if you have to ask, you

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<v Speaker 2>have to watch any actor do these scenes, it might

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<v Speaker 2>as well be Bella because least you know he had,

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<v Speaker 2>you know, even at this point point in his career,

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<v Speaker 2>you know, he still had a lot of energy, a

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<v Speaker 2>lot of charisma, and you see that in a film

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<v Speaker 2>like this, where he's working alongside a lot of very

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<v Speaker 2>solid professional actors of the time period. This is not

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<v Speaker 2>this is a low budget picture, but it's not like

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<v Speaker 2>a zero talent picture. This is not the ed Woods

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<v Speaker 2>end of the spectrum for Bello's career. But even with

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<v Speaker 2>all these other like very perfectly, perfectly good and sometimes

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<v Speaker 2>kind of great performances around him. He still shines and

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<v Speaker 2>you still see that in him.

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<v Speaker 3>I totally agree. Yeah, Bella, Bella is the star. There's

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<v Speaker 3>no question about that, which is it's always a good

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<v Speaker 3>move to make the villain the real star of the movie.

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<v Speaker 3>I like that choice here, and I think it works out.

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<v Speaker 3>But also, as I was saying, I think even with

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<v Speaker 3>the more mundane characters and the more mundane scenes, I

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<v Speaker 3>think it's pretty lively, Like the pace really picks up

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<v Speaker 3>once we meet the journalist character, and there's there's a

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<v Speaker 3>good bit of snap and personality to the dialogue.

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<v Speaker 2>Absolutely, it doesn't have the times dull plotting pace that

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<v Speaker 2>you encounter in genre pictures from these decades. So of

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<v Speaker 2>course I had to look up this one in the

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<v Speaker 2>Psychotronic Encyclopedia. Film and Michael Weldon, the reviewer, the author there.

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<v Speaker 2>Look him up if you're not familiar with him. If

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<v Speaker 2>you love weird films, you'd love the work of Michael Weldon.

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<v Speaker 2>He points out that this was a Producer's Releasing Corporation

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<v Speaker 2>or PRC film, and PRC was the quote cheapest studio

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<v Speaker 2>in the business, bottom of the ranking. Of the eleven

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<v Speaker 2>Hollywood film companies active in the nineteen forties, they only

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<v Speaker 2>lasted from like nineteen thirty nine to nineteen forty seven,

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<v Speaker 2>and The Devil Bat was their very first horror film.

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<v Speaker 2>It was also a success, so they followed it up

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<v Speaker 2>in forty six with what Weldon refers to as a

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<v Speaker 2>cheat sequel, which does certainly sound like a cheat because

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<v Speaker 2>it concerns the daughter of bell Leegosi's character, while also, yeah,

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<v Speaker 2>it's his daughter.

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<v Speaker 3>Can't recall him having one in this movie.

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<v Speaker 2>I know he has one now, So introducing the unknown

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<v Speaker 2>daughter and then completely exonerating his character for all of

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<v Speaker 2>his actions in the first film and blaming them on

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<v Speaker 2>a new villain. This is a picture no spoilers. This

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<v Speaker 2>is a picture where there's never any doubt that mel

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<v Speaker 2>Legosi is plotting to murder people with mutant bats and

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<v Speaker 2>doing it, and there's scenes with internal dialogue about it.

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<v Speaker 3>Yeah. In fact, I would almost say if there were

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<v Speaker 3>any criticism I would make of the plot in this movie,

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<v Speaker 3>the first one I would probably make is that the

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<v Speaker 3>good characters are trying to solve a mystery, but you

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<v Speaker 3>know the answer to the mystery the whole time. You

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<v Speaker 3>know the answer before they even start investigating, so there's

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<v Speaker 3>no attention for the audience in resolving the mystery, except

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<v Speaker 3>like wanting to see what happens when Bella gets caught.

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<v Speaker 3>But there's no ambiguity. Yes, he's sending the bats. We

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<v Speaker 3>know he's sending the bats. We watched him make the bats.

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<v Speaker 2>Yeah. Yeah, you completely derail everything about the first movie.

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<v Speaker 2>So yeah, it's not supposed to be that great. It's

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<v Speaker 2>supposed to be more of a psychological thriller, unless horror film.

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<v Speaker 2>And I'm not even sure there are any bats in it.

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<v Speaker 2>But we're not talking about that bats. I know, I know,

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<v Speaker 2>but anyway, we're not talking about Devil Bat two or

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<v Speaker 2>the bat daughter of Bat Devil. I forget what it

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<v Speaker 2>was called now. But Weldon certainly liked this one. He

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<v Speaker 2>thought this one was pretty lively, and I have to say,

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<v Speaker 2>given the low budget nature of the picture, I have

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<v Speaker 2>to say, uh yeah, the pace is great and the

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<v Speaker 2>bad action looks I thought surprisingly good. I know we're

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<v Speaker 2>going to maybe disagree a little bit on the special

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<v Speaker 2>effects in this film, but I went into it with

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<v Speaker 2>very low expectations for my flapping bats. I love any

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<v Speaker 2>bad effects in a film from from Bad Puppets to

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<v Speaker 2>Great Puppets, from bad CGI to just you know, mind

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<v Speaker 2>bending CGI. I'll take any of it. And so I

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<v Speaker 2>was expecting everything to be a lot more flippity and floppity,

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<v Speaker 2>and I was pleasantly surprised that it was more believable

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<v Speaker 2>than that.

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<v Speaker 3>It is better than the batpuppet in Suspiria. But that's

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<v Speaker 3>not a high bar.

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<v Speaker 2>The bar is low. This sort of thing, I wouldn't.

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<v Speaker 3>It, But yeah, what will I say. I don't think

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<v Speaker 3>it looks great. I don't think it looks realistic, but

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<v Speaker 3>it it's fun. You know they staged the scenes.

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<v Speaker 2>Well, yeah, all right, I have an elevator pitch for

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<v Speaker 2>this one. I think it'll make sense once we get

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<v Speaker 2>into the plot. But it's breaking bad except with bats

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<v Speaker 2>and after shave.

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<v Speaker 3>Yeah that's right. Yeah, it's if Walter White, instead of

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<v Speaker 3>making methemphetamine was making bats.

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<v Speaker 2>Yeah, because you have a so you do have a

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<v Speaker 2>similar plot with him, like like he was this brilliant

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<v Speaker 2>innovator who kind of got jerked around by the moneymen

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<v Speaker 2>and has a lot of personal pride and his scientific powers.

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<v Speaker 2>But again, no math, just bats and after shave.

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<v Speaker 3>Yeah, I think a great villain. They always need one

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<v Speaker 3>like characteristic sin of your seven deadlys, and in both

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<v Speaker 3>cases the sin here is pride.

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<v Speaker 2>Yes, all right, let's go ahead and listen to at

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<v Speaker 2>least some of the trailer audio here. I think this

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<v Speaker 2>gives you some of the snappy dialogue as well. When

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<v Speaker 2>an animal attacks a human, there's bound to be a

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<v Speaker 2>lot of noise. A die is a scientist state, many

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<v Speaker 2>things se into consideration a laymen, my too.

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<v Speaker 3>Beulook, ever smelled anything like this before? Founded in Don

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<v Speaker 3>Martin's bathroom.

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<v Speaker 2>Yes, that's the same stuff that's been on every one

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<v Speaker 2>of the devil Bat's victims.

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<v Speaker 1>All four of the murdered people had this lotion on

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<v Speaker 1>them when the devil bats struck late.

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<v Speaker 3>And I'm afraid all these murders have affected you mind.

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<v Speaker 2>Now, My plan is to sit in the garden and

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<v Speaker 2>when the killer makes one of those power dives a blasting.

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<v Speaker 2>All right. Now, at this point you may be wondering,

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<v Speaker 2>where can I see the devil Bat? This one apparently

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<v Speaker 2>entered into the public domain a while ago, which may

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<v Speaker 2>sound good at first, but this isn't necessarily a good thing,

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<v Speaker 2>because while it means you can easily find a film

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<v Speaker 2>like this in various streaming and physical formats, not all

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<v Speaker 2>of them are going to be worth your time. The

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<v Speaker 2>best source that I'm aware of for the film is

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<v Speaker 2>the twenty thirteen Keino Classics disc. You can get it

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<v Speaker 2>on DVD or Blu Ray, mastered in HD from archival

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<v Speaker 2>film elements, and that one also features audio commentary by

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<v Speaker 2>film historian Richard Harlan Smith. I had every intention of

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<v Speaker 2>viewing it in this format. They have this disc at

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<v Speaker 2>Atlanta's own video drome, but then my week got super busy.

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<v Speaker 2>I wasn't able to make it over there and rent it,

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<v Speaker 2>so I had to find a stream instead. I found

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<v Speaker 2>a pretty solid stream of it. But I am going

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<v Speaker 2>to rent the disc at some point from the drone

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<v Speaker 2>and maybe dive in a little deeper, little forward facing

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<v Speaker 2>research for forthcoming Bell Legosi pictures.

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<v Speaker 3>I do want to see a higher resolution version than

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<v Speaker 3>I saw of the flat bats, the flat bats on

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<v Speaker 3>the coat hangers.

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<v Speaker 2>Yes, all right, let's get into the people who made

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<v Speaker 2>this film. Starting in the director's chair as usual, It's

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<v Speaker 2>gene Yarborough, who lived nineteen hundred through nineteen seventy five,

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<v Speaker 2>American producer and director who worked his way out. This

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<v Speaker 2>is one of those those crazy Hollywood stories. A guy

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<v Speaker 2>who worked his way up from being a chauffeur for

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<v Speaker 2>like a producer, his to all the way up to

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<v Speaker 2>being a director. His directorial duties began in RCO's short

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<v Speaker 2>subjects division, so doing a lot of shorts for RKO.

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<v Speaker 2>This is about beginning back in nineteen thirty six, and

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<v Speaker 2>then he went on to direct his first full feature

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<v Speaker 2>for the Poverty Row Studio. This is the term for

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<v Speaker 2>like the lower budget Hollywood studios Progressive Pictures in nineteen

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<v Speaker 2>thirty eight, Who's called Rebellious Daughters.

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<v Speaker 3>Oh boy.

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<v Speaker 2>The head of that studio would then go on to

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<v Speaker 2>found PRC, the studio behind this picture. So he did

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<v Speaker 2>this film in nineteen forty, followed by I believe a

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<v Speaker 2>few different PRC films Caught in the Act and South

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<v Speaker 2>of Panama and forty one, and The Brute Man in

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<v Speaker 2>forty six. That one starred Rondo Hatton. You know the

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<v Speaker 2>if you've ever seen a picture of him, you know

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<v Speaker 2>a very very famous character actor with an extremely unique look.

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<v Speaker 2>And even if you haven't seen a Rondo picture, you

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<v Speaker 2>may have seen The Rocketeer, which features a henchman character

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<v Speaker 2>who is modeled via special makeup effects to look like

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<v Speaker 2>a Ronde character. Okay, yeah so. Yarborough also directed for

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<v Speaker 2>other studios during this time, and moved on to work

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<v Speaker 2>for Monogram Pictures, which became Allied Artists in fifty three,

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<v Speaker 2>and ultimately Universal Pictures, where he directed the nineteen forty

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<v Speaker 2>six Rondo film House of Horrors and some of the

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<v Speaker 2>lesser known but still quite successful Abbot and Costello movies,

0:11:50.520 --> 0:11:53.599
<v Speaker 2>as well as multiple episodes of TVs. The Abbot and

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<v Speaker 2>Costello Show, which ran fifty two through fifty four. I

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<v Speaker 2>don't know about you, Joe, but I often forget that

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<v Speaker 2>there are all these Abd and Costello movie. There's something

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<v Speaker 2>like thirty seven of them. Though I'm mostly familiar with it,

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<v Speaker 2>and imagine a lot of you are only familiar with

0:12:05.840 --> 0:12:07.760
<v Speaker 2>the ones that have monsters in the title, like you know,

0:12:07.800 --> 0:12:11.240
<v Speaker 2>having Costello meet Frankenstein or whatever. He did not direct

0:12:11.280 --> 0:12:14.200
<v Speaker 2>any of those. He directed these various other ones that

0:12:14.280 --> 0:12:17.280
<v Speaker 2>don't even necessarily mention Abbat and Costello in the title.

0:12:17.520 --> 0:12:19.600
<v Speaker 3>I've actually never seen any of those, but I know

0:12:19.679 --> 0:12:21.480
<v Speaker 3>some of the core ones where they meet I don't

0:12:21.480 --> 0:12:25.040
<v Speaker 3>know Dracula or Frankenstein, whatever. The main universal crossover ones

0:12:25.040 --> 0:12:26.880
<v Speaker 3>are supposed to be pretty funny.

0:12:27.120 --> 0:12:28.800
<v Speaker 2>Yeah, I don't know. I don't think I've ever watched

0:12:28.800 --> 0:12:32.960
<v Speaker 2>one myself. So Yarborough cut his teeth on quick and

0:12:33.000 --> 0:12:36.760
<v Speaker 2>low budget film projects. He developed a great reputation and

0:12:36.840 --> 0:12:39.240
<v Speaker 2>skill set for quick turnaround and this made it be

0:12:39.320 --> 0:12:41.360
<v Speaker 2>natural for television. So he just ended up doing more

0:12:41.400 --> 0:12:44.040
<v Speaker 2>and more of that, serving as a director for TV

0:12:44.160 --> 0:12:47.160
<v Speaker 2>until around nineteen seventy one. His last feature film was

0:12:47.240 --> 0:12:50.520
<v Speaker 2>nineteen sixty seven's Hillbilly's in a Haunted House. I believe

0:12:50.559 --> 0:12:54.320
<v Speaker 2>I've seen a riff tracks version of this. It features

0:12:54.360 --> 0:12:58.959
<v Speaker 2>John Carradine, Lon Cheney Jr. Dasil Rathbone, and Merle Haggard.

0:12:59.080 --> 0:13:02.080
<v Speaker 2>Merle Haggard, Well, yeah, it is Hillbilly's and a Haunted House.

0:13:02.120 --> 0:13:05.880
<v Speaker 2>I think if memory serves, it's like a Nashville country act,

0:13:06.040 --> 0:13:10.480
<v Speaker 2>you know, contemporary to the time, encountering creepy characters in

0:13:10.520 --> 0:13:12.600
<v Speaker 2>a haunted house. I don't recall it being very good,

0:13:12.640 --> 0:13:14.600
<v Speaker 2>but I remember there being some laughs.

0:13:15.120 --> 0:13:18.160
<v Speaker 3>Mama tried to make me not a hillbillyon a Haunted.

0:13:17.880 --> 0:13:22.280
<v Speaker 2>House, but it failed. Now the screenplay here is by

0:13:22.320 --> 0:13:25.120
<v Speaker 2>John T. Neville, who lived eighteen eighty six through nineteen

0:13:25.200 --> 0:13:29.360
<v Speaker 2>seventy American screenwriter with credits going back to nineteen twenty seven.

0:13:29.400 --> 0:13:31.720
<v Speaker 2>He worked on a lot of westerns and adventure films

0:13:31.720 --> 0:13:33.800
<v Speaker 2>with some crime and sports thrown in there. And there's

0:13:33.880 --> 0:13:36.199
<v Speaker 2>like a boxing film called The Heart Punch, I think.

0:13:38.520 --> 0:13:41.480
<v Speaker 2>But however, this in nineteen forty six is The Flying Serpent.

0:13:41.559 --> 0:13:43.640
<v Speaker 2>Seems to be They seemed to be the only horror

0:13:43.679 --> 0:13:46.360
<v Speaker 2>films that he worked on, and The Flying Serpent is

0:13:46.360 --> 0:13:48.920
<v Speaker 2>said to be very similar in plot to The Devil Bat,

0:13:49.200 --> 0:13:52.840
<v Speaker 2>but with some sort of a giant Mesoamerican flying serpent

0:13:53.240 --> 0:13:57.040
<v Speaker 2>instead of a devil Bat. And I can only assume

0:13:57.040 --> 0:13:59.120
<v Speaker 2>this might have been at least some small influence on

0:13:59.200 --> 0:14:01.160
<v Speaker 2>the much later cue The Winged Serpent.

0:14:01.679 --> 0:14:05.720
<v Speaker 3>Ah Okay, you remember. Actually there is a similar plot

0:14:05.760 --> 0:14:09.360
<v Speaker 3>device to make a connection to another director who made

0:14:09.400 --> 0:14:12.319
<v Speaker 3>a name for himself by working fast and cheap, Roger

0:14:12.360 --> 0:14:14.880
<v Speaker 3>Corman's movie Not of This Earth, the one where the

0:14:15.280 --> 0:14:17.680
<v Speaker 3>guy from another planet is trying to send people back,

0:14:17.960 --> 0:14:21.120
<v Speaker 3>trying to steal people's earth blood because his home planet

0:14:21.120 --> 0:14:24.200
<v Speaker 3>has been contaminated. But he's also got a suitcase that

0:14:24.280 --> 0:14:26.960
<v Speaker 3>sends out this flying bat monster it's like an alien

0:14:27.040 --> 0:14:28.680
<v Speaker 3>that I guess steals people's blood.

0:14:29.040 --> 0:14:31.480
<v Speaker 2>I like that one. There's a there's a really cheap

0:14:31.640 --> 0:14:33.760
<v Speaker 2>kind of variation on this theme too, and the phantom

0:14:33.800 --> 0:14:38.240
<v Speaker 2>creeps the a time's exciting, at times exceedingly dull, Bella

0:14:38.320 --> 0:14:41.240
<v Speaker 2>Lugosi cereal for more or less this same time period,

0:14:41.240 --> 0:14:43.360
<v Speaker 2>they're like robot spiders or something of that effect.

0:14:43.800 --> 0:14:46.000
<v Speaker 3>A couple times recently that's come up. Did you say

0:14:46.000 --> 0:14:48.920
<v Speaker 3>there's a version of that that's like condensed that maybe

0:14:48.920 --> 0:14:49.920
<v Speaker 3>we could watch for the show.

0:14:50.040 --> 0:14:52.320
<v Speaker 2>There is At some point it was cut down from

0:14:52.360 --> 0:14:54.840
<v Speaker 2>like what did I would I say before something way

0:14:54.840 --> 0:14:58.280
<v Speaker 2>too much from an extremely long serial format into a

0:14:58.320 --> 0:15:01.200
<v Speaker 2>condensed film format. The probably may makes less sense, but

0:15:01.400 --> 0:15:04.560
<v Speaker 2>is probably less boring. Okay, all right, So that was

0:15:04.600 --> 0:15:07.320
<v Speaker 2>the screenwriter. The original story credit goes to George Bricker

0:15:08.040 --> 0:15:10.880
<v Speaker 2>eighteen ninety eight through nineteen fifty five. Worked from the

0:15:10.920 --> 0:15:13.600
<v Speaker 2>mid thirties to the mid fifties, with his most notable

0:15:13.600 --> 0:15:16.320
<v Speaker 2>works being A pair that pair of nineteen forty six

0:15:16.440 --> 0:15:19.800
<v Speaker 2>Rondo Hattan Films, nineteen forty six is She Wolf of London,

0:15:19.880 --> 0:15:22.760
<v Speaker 2>which was also directed by Yarborough, and nineteen fifty two's

0:15:22.840 --> 0:15:26.640
<v Speaker 2>macau all right, be getting into the cast. Yes, of

0:15:26.680 --> 0:15:29.240
<v Speaker 2>course this is a Bella Lagosi film, and we've talked

0:15:29.240 --> 0:15:32.920
<v Speaker 2>about Bella Lgosi at least briefly before, because we covered

0:15:33.000 --> 0:15:34.760
<v Speaker 2>Plan nine from Outer Space, and I think in that

0:15:34.840 --> 0:15:37.800
<v Speaker 2>one we said, this cannot be the first episode where

0:15:37.840 --> 0:15:39.880
<v Speaker 2>we really talk about Bella. We'll have to come back

0:15:39.880 --> 0:15:41.840
<v Speaker 2>to him. So I guess this is the episode where

0:15:41.880 --> 0:15:44.080
<v Speaker 2>we go into more detail about Bella Lagosi.

0:15:44.480 --> 0:15:47.480
<v Speaker 3>Okay, because in fact, I think we recently re ran

0:15:47.600 --> 0:15:50.160
<v Speaker 3>Plan nine from Outer Swedes, which of course made for

0:15:50.200 --> 0:15:52.920
<v Speaker 3>a really fun weird house episode. But yes, Bella is

0:15:53.000 --> 0:15:56.080
<v Speaker 3>barely in Plan nine and it's only a couple of scenes,

0:15:56.120 --> 0:15:58.000
<v Speaker 3>so I can understand why we said that. So let's

0:15:58.000 --> 0:15:58.760
<v Speaker 3>talk about him now.

0:15:58.880 --> 0:16:02.440
<v Speaker 2>Yeah, that was his last picture and certainly not his

0:16:02.520 --> 0:16:05.160
<v Speaker 2>best picture. This is not his best picture either, but

0:16:05.280 --> 0:16:07.160
<v Speaker 2>I think it's more fitting to talk about him here.

0:16:07.360 --> 0:16:09.120
<v Speaker 3>Yeah, Yeah, this is a good one.

0:16:09.280 --> 0:16:13.720
<v Speaker 2>Yeah, bell Goosie here plays doctor Paul Carruthers Lagosi lived

0:16:13.720 --> 0:16:18.000
<v Speaker 2>eighteen eighty two through nineteen fifty six, legendary Hungarian American

0:16:18.040 --> 0:16:21.520
<v Speaker 2>actor and classic horror icon who's of course best known

0:16:21.560 --> 0:16:24.640
<v Speaker 2>for his portrayal of Dracula in the nineteen thirty one

0:16:24.800 --> 0:16:27.840
<v Speaker 2>Universal horror film of the same name. I mean, it's

0:16:27.840 --> 0:16:32.800
<v Speaker 2>pretty impressive. I think that all these years after that

0:16:32.840 --> 0:16:35.080
<v Speaker 2>film came out, he is still like one of the

0:16:35.160 --> 0:16:38.320
<v Speaker 2>stars you think of when you think of Dracula, like you, yeah,

0:16:38.360 --> 0:16:40.920
<v Speaker 2>you think of Christopher Lee. You probably think of Gary Oldman.

0:16:41.280 --> 0:16:43.080
<v Speaker 2>Maybe there's one or two others in the mix, but

0:16:43.480 --> 0:16:46.040
<v Speaker 2>probably not like I feel like, I feel like Bela

0:16:46.120 --> 0:16:49.000
<v Speaker 2>Lagosi is still like somewhere in that top three for

0:16:49.160 --> 0:16:52.200
<v Speaker 2>most film fans or oh yeah, or horror fans in general.

0:16:52.520 --> 0:16:55.960
<v Speaker 2>So Lugosi started out in Hungarian theater in silent films,

0:16:56.040 --> 0:16:58.160
<v Speaker 2>before making his way to Germany and doing some silent

0:16:58.160 --> 0:17:01.480
<v Speaker 2>films there, and finally making his way to America his

0:17:01.560 --> 0:17:03.160
<v Speaker 2>May he made his way up to New York became

0:17:03.240 --> 0:17:05.720
<v Speaker 2>very active in the theater scene there, mostly as an actor,

0:17:05.760 --> 0:17:08.040
<v Speaker 2>but I think he did a little directing as well.

0:17:09.520 --> 0:17:11.800
<v Speaker 2>I don't have any details on that, but he also

0:17:11.880 --> 0:17:14.399
<v Speaker 2>did some silent films there, and it's here that he

0:17:14.520 --> 0:17:17.679
<v Speaker 2>landed the lead in the Broadway play Dracula in nineteen

0:17:17.680 --> 0:17:20.720
<v Speaker 2>twenty seven, and then moved to la in nineteen twenty eight.

0:17:20.720 --> 0:17:23.520
<v Speaker 2>I believe it's part of a tour of Dracula, and

0:17:23.560 --> 0:17:26.320
<v Speaker 2>this is where he kicked off his proper Hollywood career.

0:17:26.920 --> 0:17:29.960
<v Speaker 2>The next year, he appeared in Todd Browning's The Thirteenth Chair.

0:17:30.720 --> 0:17:32.800
<v Speaker 2>Browning would of course go on to direct Bella in

0:17:32.840 --> 0:17:36.359
<v Speaker 2>that nineteen thirty one adaptation of the Dracula stage play,

0:17:36.800 --> 0:17:39.159
<v Speaker 2>and this of course led to his many of his

0:17:39.200 --> 0:17:42.400
<v Speaker 2>best known films, especially the horror films that remained such

0:17:42.440 --> 0:17:45.640
<v Speaker 2>a central part of his legacy. Though we have to

0:17:45.680 --> 0:17:48.440
<v Speaker 2>point out that he was typecast by all of this,

0:17:48.640 --> 0:17:52.600
<v Speaker 2>and I think accounts indicate that he was. Rather he

0:17:52.640 --> 0:17:55.399
<v Speaker 2>felt limited by this, like he saw himself as a

0:17:56.680 --> 0:18:01.280
<v Speaker 2>more versatile actor, but he was mostly relegated two horror

0:18:01.400 --> 0:18:05.480
<v Speaker 2>roles and the scary Bella Legosi type characters that we

0:18:05.560 --> 0:18:09.080
<v Speaker 2>think of today, and wasn't really able to break out

0:18:09.119 --> 0:18:10.600
<v Speaker 2>of that. And we have to remember too and all

0:18:10.640 --> 0:18:12.360
<v Speaker 2>of this that, yeah, as big of a film as

0:18:12.440 --> 0:18:16.919
<v Speaker 2>Dracula was, as things like Frankenstein and Bride of Frankenstein

0:18:17.000 --> 0:18:20.359
<v Speaker 2>were horror science fiction, these other genres were very much

0:18:20.440 --> 0:18:24.920
<v Speaker 2>considered further down the studio pecking order. But anyway, I

0:18:24.920 --> 0:18:27.600
<v Speaker 2>had a number of notable films followed thirty two's Murders

0:18:27.640 --> 0:18:30.320
<v Speaker 2>in the Rooue Morgue, White Zombie, and Island of Lost

0:18:30.400 --> 0:18:33.080
<v Speaker 2>Souls thirty four as the Black Cat. That's when we

0:18:33.160 --> 0:18:36.240
<v Speaker 2>might come back to Mark of the Vampire thirty nine,

0:18:36.320 --> 0:18:40.520
<v Speaker 2>Son of Frankenstein and the Serial The Phantom Creeps nineteen

0:18:40.600 --> 0:18:43.320
<v Speaker 2>forty gave us the Devil Bat, followed by the likes

0:18:43.359 --> 0:18:46.440
<v Speaker 2>of forty two's The Ghost of Frankenstein and the Corpse Vanishes,

0:18:46.560 --> 0:18:49.920
<v Speaker 2>forty three's Frankenstein Meets the Wolfman forty eighth, Abbait and

0:18:49.960 --> 0:18:54.480
<v Speaker 2>Costello Meet Frankenstein. This being his last A List movie

0:18:54.800 --> 0:18:57.600
<v Speaker 2>and also his final portrayal of Count Dracula.

0:18:58.040 --> 0:18:59.919
<v Speaker 3>So I feel like the Devil Bat in the art

0:19:00.119 --> 0:19:03.040
<v Speaker 3>of Legosi's film career is kind of positioned in the

0:19:03.160 --> 0:19:07.960
<v Speaker 3>middle between his early apex with Dracula in the early

0:19:08.520 --> 0:19:11.879
<v Speaker 3>Universal movies and then what would happen later in the

0:19:11.960 --> 0:19:14.000
<v Speaker 3>fifties when he would end up working with ed Wood.

0:19:14.560 --> 0:19:18.760
<v Speaker 2>Yeah, the fifties were rougher, you know, including fifty two's

0:19:18.840 --> 0:19:22.119
<v Speaker 2>Bela Lugosi Meets a Brooklyn Gorilla. That's at least one

0:19:22.160 --> 0:19:25.119
<v Speaker 2>of the titles, and of course that trio of Edwood films.

0:19:25.160 --> 0:19:27.720
<v Speaker 2>Fifty three is Glenn or Glenda fifty five's Bride of

0:19:27.760 --> 0:19:30.679
<v Speaker 2>the Monster and fifty seven's Planned Nine from Outer Space.

0:19:31.200 --> 0:19:35.040
<v Speaker 2>And during this period, in particular, understand he battled physical ailments,

0:19:35.119 --> 0:19:38.680
<v Speaker 2>drug addiction for which he sought treatment, and financial problems.

0:19:40.320 --> 0:19:42.879
<v Speaker 2>It is fitting, though that he was apparently buried in

0:19:43.000 --> 0:19:47.159
<v Speaker 2>that Dracula cape. You know, he ultimately, you know, he

0:19:47.200 --> 0:19:49.639
<v Speaker 2>wanted to escape the legacy of that character to a

0:19:49.680 --> 0:19:53.920
<v Speaker 2>certain extent, but he also fully embraced, like the star power,

0:19:54.040 --> 0:19:56.640
<v Speaker 2>the lasting legacy of what that role meant.

0:19:57.040 --> 0:20:01.840
<v Speaker 3>I believe Devil Bat is not Belo SI's best performance

0:20:01.880 --> 0:20:04.120
<v Speaker 3>of all time. It's not in his top top tier.

0:20:04.880 --> 0:20:07.880
<v Speaker 3>But I would find Bella entertaining if he were sleepwalking.

0:20:08.000 --> 0:20:10.280
<v Speaker 3>And so I love all of his scenes, even the

0:20:10.359 --> 0:20:15.080
<v Speaker 3>ones where he's just like infinitely sniffing chemicals or looking

0:20:15.160 --> 0:20:17.240
<v Speaker 3>through the glass. You know, he's great and all that.

0:20:17.800 --> 0:20:21.320
<v Speaker 3>But the really good scenes are the dialogue scenes where

0:20:21.359 --> 0:20:23.560
<v Speaker 3>he's like trying to get somebody to try on the

0:20:23.720 --> 0:20:26.560
<v Speaker 3>lotion that makes the bats kill them. He has so

0:20:26.720 --> 0:20:29.960
<v Speaker 3>many hilariously overt like I am about to murder you

0:20:30.040 --> 0:20:31.080
<v Speaker 3>with the bat lines.

0:20:31.480 --> 0:20:34.639
<v Speaker 2>Yeah yeah, so yeah. The charisma and the dallent shines

0:20:34.720 --> 0:20:37.359
<v Speaker 2>through and One of the reasons again that planning from

0:20:37.600 --> 0:20:41.359
<v Speaker 2>outer space is not generally considered her a good film

0:20:41.800 --> 0:20:43.720
<v Speaker 2>is that Bella Agosie's barely in it. Like if he

0:20:43.800 --> 0:20:48.359
<v Speaker 2>had been in it more, had he not died, you know,

0:20:48.440 --> 0:20:50.879
<v Speaker 2>it would have been a better picture. Would it have

0:20:50.960 --> 0:20:52.760
<v Speaker 2>been good, No, but it would have been a better picture.

0:21:01.240 --> 0:21:03.240
<v Speaker 2>All right, Let's get into the supporting cast here, because

0:21:03.240 --> 0:21:05.720
<v Speaker 2>we have some interesting characters here as well. We have

0:21:05.920 --> 0:21:10.400
<v Speaker 2>Suzanne Karen playing Mary Heath. She's one of the daughters

0:21:10.480 --> 0:21:14.200
<v Speaker 2>of the main family, is involved in this pivotal fragrance

0:21:14.320 --> 0:21:15.440
<v Speaker 2>company in the film.

0:21:15.840 --> 0:21:18.199
<v Speaker 3>Yeah, the plot is sort of so like Bella Legosi

0:21:18.320 --> 0:21:20.680
<v Speaker 3>is trying to wipe out these two families who run

0:21:21.000 --> 0:21:25.000
<v Speaker 3>this cosmetics and perfume company, and there's this long list

0:21:25.080 --> 0:21:27.960
<v Speaker 3>of brothers he's working down before he gets to marry.

0:21:28.080 --> 0:21:29.960
<v Speaker 3>And I guess the whole point is the audience is

0:21:29.960 --> 0:21:32.000
<v Speaker 3>supposed to be like, no, you know, you can get

0:21:32.040 --> 0:21:33.560
<v Speaker 3>all the brothers, but don't hurt Mary.

0:21:34.080 --> 0:21:39.040
<v Speaker 2>Yeah. Classic, you know, classic classic structure. Here. You know,

0:21:39.119 --> 0:21:43.200
<v Speaker 2>you have your vengeful killer who either begins by killing

0:21:44.000 --> 0:21:47.760
<v Speaker 2>characters you want to see die or at least you're

0:21:47.800 --> 0:21:50.320
<v Speaker 2>neutral about, before working their way to the characters that

0:21:50.359 --> 0:21:52.600
<v Speaker 2>you're more invested in. Yeah, and this is the one

0:21:52.640 --> 0:21:56.760
<v Speaker 2>we're invested in. Yeah. So Karen was She lived nineteen

0:21:56.800 --> 0:21:59.920
<v Speaker 2>twelve through two thousand and four American actress and dancer

0:22:00.000 --> 0:22:02.320
<v Speaker 2>who also worked in the New York theater and on Broadway.

0:22:02.560 --> 0:22:05.560
<v Speaker 2>In Hollywood, she worked in I believe some Three Stooges shorts,

0:22:05.920 --> 0:22:08.560
<v Speaker 2>as well as some various uncredited roles and occasional lead

0:22:08.640 --> 0:22:10.879
<v Speaker 2>roles such as this. She was active on the screen

0:22:10.920 --> 0:22:13.600
<v Speaker 2>from around thirty three to forty four, but also made

0:22:13.600 --> 0:22:16.520
<v Speaker 2>an uncredited cameo in nineteen eighty four as the Cotton Club.

0:22:17.520 --> 0:22:20.960
<v Speaker 2>I think she's good in this. She has very captivating

0:22:21.040 --> 0:22:23.440
<v Speaker 2>eyes in a solid performance. Like I say, this is

0:22:23.480 --> 0:22:26.520
<v Speaker 2>a film that may be low budget, but is filled

0:22:26.560 --> 0:22:29.679
<v Speaker 2>with very competent actors. Yeah, all right. The next one

0:22:29.720 --> 0:22:32.280
<v Speaker 2>of note, ooh, this one's a real treat is the

0:22:32.359 --> 0:22:35.800
<v Speaker 2>character Johnny Layton. He's your hot shot reporter looking into

0:22:35.840 --> 0:22:38.479
<v Speaker 2>all these what turned out to be mutant bat murders

0:22:39.440 --> 0:22:44.399
<v Speaker 2>and for a time they think prehistoric bat murders. Played

0:22:44.440 --> 0:22:48.359
<v Speaker 2>by Dave O'Brien, who lived nineteen twelve through nineteen sixty nine,

0:22:49.040 --> 0:22:53.280
<v Speaker 2>American film actor. I think at least one time director,

0:22:53.720 --> 0:22:57.199
<v Speaker 2>also a screenwriter. He wrote a number of screenplays as well.

0:22:57.240 --> 0:23:02.080
<v Speaker 2>He's pretty prolific, and I think he part he was credited.

0:23:02.720 --> 0:23:05.320
<v Speaker 2>He has co credit on an Emmy for work on

0:23:05.359 --> 0:23:10.000
<v Speaker 2>The Red Skeleton show writing comedy. So this guy very talented.

0:23:10.960 --> 0:23:13.680
<v Speaker 2>He worked a lot in these categories, but he's best

0:23:13.760 --> 0:23:19.600
<v Speaker 2>remembered today, perhaps secondarily for his role in this film,

0:23:19.960 --> 0:23:25.840
<v Speaker 2>but mostly for his role as a deranged dope fiend

0:23:26.359 --> 0:23:29.960
<v Speaker 2>in the nineteen thirty six film Tell Your Children, better

0:23:30.040 --> 0:23:34.119
<v Speaker 2>known I think to everyone, as its re released title

0:23:34.480 --> 0:23:35.440
<v Speaker 2>refer Madness.

0:23:36.240 --> 0:23:40.879
<v Speaker 3>We just a powerhouse performance. He's the one who is

0:23:41.119 --> 0:23:45.240
<v Speaker 3>aggressively puffing the marijuana cigarette over and over as the

0:23:45.359 --> 0:23:47.879
<v Speaker 3>lady is playing the piano. He's screaming at her to

0:23:47.960 --> 0:23:51.720
<v Speaker 3>play faster, Play faster, Yes, And the narrator tells us

0:23:51.800 --> 0:23:55.080
<v Speaker 3>that this is what happens to the reefer addict that

0:23:55.240 --> 0:23:58.359
<v Speaker 3>he ends up with. Is they call him like inescapable

0:23:58.480 --> 0:23:59.560
<v Speaker 3>madness or something.

0:24:00.280 --> 0:24:05.720
<v Speaker 2>A notorious film, a piece of anti marijuana propaganda that

0:24:05.760 --> 0:24:08.200
<v Speaker 2>would later on to become like a cult classic because

0:24:08.240 --> 0:24:12.000
<v Speaker 2>it is so ridiculously over the top and an ultimately

0:24:12.160 --> 0:24:15.159
<v Speaker 2>very telling of this time period and it's sensibilities and

0:24:15.520 --> 0:24:20.080
<v Speaker 2>objectives in his messaging. But it's a delirious performance, and

0:24:20.320 --> 0:24:23.920
<v Speaker 2>it's interesting that it ultimately outshines a lot of his

0:24:24.800 --> 0:24:27.600
<v Speaker 2>very successful and popular contemporary work, Like he was a

0:24:27.760 --> 0:24:31.359
<v Speaker 2>successful contemporary actor. But you know, we often end up

0:24:31.440 --> 0:24:32.960
<v Speaker 2>remembering folks for the weird stuff.

0:24:33.520 --> 0:24:36.720
<v Speaker 3>Yeah, yeah, so yeah, as you said, in Devil Bat,

0:24:36.800 --> 0:24:39.760
<v Speaker 3>he plays our sort of Jack Rabbit wise newspaper man.

0:24:39.880 --> 0:24:43.359
<v Speaker 3>He's cool, he's quick witted, he's a touch devious, like

0:24:43.840 --> 0:24:45.919
<v Speaker 3>he's got a little bit of a flim flam artist

0:24:46.000 --> 0:24:49.400
<v Speaker 3>in him, but just enough that he's he's a bad boy,

0:24:49.520 --> 0:24:50.720
<v Speaker 3>but still the good guy.

0:24:51.440 --> 0:24:54.320
<v Speaker 2>Yeah, it's weird that there's a whole subplot that goes

0:24:54.359 --> 0:24:57.879
<v Speaker 2>on with him and his photographer attempting to fake a

0:24:57.960 --> 0:25:00.159
<v Speaker 2>bad attack or fake a bat so they can get

0:25:00.160 --> 0:25:03.680
<v Speaker 2>a photograph of it, so they don't have a they're

0:25:03.680 --> 0:25:07.200
<v Speaker 2>a little low on journalistic integrity. But there's still our heroes.

0:25:07.240 --> 0:25:08.800
<v Speaker 2>We're still totally rooting for them.

0:25:09.480 --> 0:25:11.360
<v Speaker 3>You know, we've talked on the show before about how

0:25:11.480 --> 0:25:15.280
<v Speaker 3>so many sci fi and horror films from before roughly

0:25:15.320 --> 0:25:18.720
<v Speaker 3>the sixties have very boring male leads. I mean, some

0:25:18.880 --> 0:25:21.640
<v Speaker 3>after the sixties do too, but especially like in the fifties,

0:25:21.720 --> 0:25:25.440
<v Speaker 3>that's just the dead zone for protagonists in this Male

0:25:25.520 --> 0:25:31.159
<v Speaker 3>protagonists in these genres the kind of low deaf rectangles

0:25:31.160 --> 0:25:33.600
<v Speaker 3>who are there to just kind of look vaguely handsome

0:25:33.720 --> 0:25:37.160
<v Speaker 3>and punch the villain, rescue the female lead, but don't

0:25:37.480 --> 0:25:40.920
<v Speaker 3>really have any interesting dialogue or sharp angles to their personality.

0:25:41.200 --> 0:25:43.560
<v Speaker 3>I found this guy refreshingly different. He's got a good

0:25:43.600 --> 0:25:47.200
<v Speaker 3>bit of personality. There are weird quirks about him, and

0:25:47.440 --> 0:25:49.480
<v Speaker 3>some of his dialogue is kind of witty.

0:25:50.240 --> 0:25:50.440
<v Speaker 2>You know.

0:25:50.520 --> 0:25:53.400
<v Speaker 3>Who he actually reminded me of was the male lead

0:25:53.640 --> 0:25:56.879
<v Speaker 3>in Doctor X from nineteen thirty two, that the pre

0:25:57.000 --> 0:26:01.560
<v Speaker 3>code horror film with synthetic flesh. That character was also

0:26:01.760 --> 0:26:03.520
<v Speaker 3>a wise cracking newspaper reporter.

0:26:04.080 --> 0:26:06.080
<v Speaker 2>That's good. I mean, I guess that ultimately like the

0:26:06.160 --> 0:26:10.119
<v Speaker 2>news paper reporter, just in the long term as a

0:26:10.240 --> 0:26:12.840
<v Speaker 2>fictional archetype, you know, kind of removed from the reality

0:26:12.880 --> 0:26:17.359
<v Speaker 2>of actual journalism. It is often a space where we

0:26:17.560 --> 0:26:20.440
<v Speaker 2>play with more rogue individuals. You know, they are in

0:26:20.520 --> 0:26:25.200
<v Speaker 2>this gray space between like pure authority figures and and

0:26:25.280 --> 0:26:28.800
<v Speaker 2>of course the criminal elemental forces of chaos and so forth,

0:26:29.200 --> 0:26:31.560
<v Speaker 2>and so there is often a lot of room there

0:26:31.600 --> 0:26:34.199
<v Speaker 2>for it to be wacky, weird, or even just completely

0:26:34.320 --> 0:26:36.639
<v Speaker 2>chaotic itself, you know. And it's like fear and loathing

0:26:36.640 --> 0:26:39.639
<v Speaker 2>in Las Vegas, you know, getting into gonzo journalism and all.

0:26:39.800 --> 0:26:42.480
<v Speaker 2>So even in this time period where there's a lot

0:26:42.560 --> 0:26:44.840
<v Speaker 2>that's you know, getting more and more straight laced and

0:26:45.240 --> 0:26:47.719
<v Speaker 2>buckled down, this is so much better than just your

0:26:47.760 --> 0:26:51.280
<v Speaker 2>square jawed, you know, steak eating policeman type character you

0:26:51.320 --> 0:26:53.000
<v Speaker 2>would get in various other pictures.

0:26:53.400 --> 0:26:56.240
<v Speaker 3>Yeah. And though I don't want to oversell the weirdness

0:26:56.320 --> 0:26:58.080
<v Speaker 3>of this character, he's not super I mean, he's not

0:26:58.240 --> 0:27:01.040
<v Speaker 3>Hunter Thompson, but he is kind of fox. He's kind

0:27:01.080 --> 0:27:04.840
<v Speaker 3>of like, he's kind of wily and funny and not

0:27:05.160 --> 0:27:07.560
<v Speaker 3>just there to be your you know, lawful, good slab

0:27:07.640 --> 0:27:08.000
<v Speaker 3>of meat.

0:27:08.280 --> 0:27:10.520
<v Speaker 2>Yeah. And ultimately I thought it held his own in

0:27:10.960 --> 0:27:12.800
<v Speaker 2>his big one on one scene with Bella at the

0:27:12.880 --> 0:27:13.480
<v Speaker 2>end of the picture.

0:27:13.720 --> 0:27:15.520
<v Speaker 3>Yeah, I agreed, all right.

0:27:15.760 --> 0:27:18.760
<v Speaker 2>Supporting character in this is Yolanda Donlin, who plays the

0:27:18.840 --> 0:27:22.159
<v Speaker 2>character Maxine, who is a French maid. She lived in

0:27:22.280 --> 0:27:25.520
<v Speaker 2>nineteen twenty through twenty fourteen, American born British based actress

0:27:25.880 --> 0:27:28.520
<v Speaker 2>who mostly worked in the UK. This is not the

0:27:28.600 --> 0:27:31.639
<v Speaker 2>only film where she plays a French maid, but her

0:27:31.760 --> 0:27:33.800
<v Speaker 2>career on the British stage seems to have been far

0:27:33.880 --> 0:27:36.600
<v Speaker 2>more substantial. So she worked with the likes of Laurence

0:27:36.640 --> 0:27:39.720
<v Speaker 2>Olivier and her last film was nineteen seventy six is

0:27:39.800 --> 0:27:40.760
<v Speaker 2>Seven Nights in Japan.

0:27:41.560 --> 0:27:44.040
<v Speaker 3>She was a ray of sunshine here. I loved Maxine

0:27:44.520 --> 0:27:44.879
<v Speaker 3>all right.

0:27:45.600 --> 0:27:50.000
<v Speaker 2>The main perfume boss is this guy, Henry Morton, and

0:27:50.200 --> 0:27:52.960
<v Speaker 2>he is played by Guy Usher, who lived eighteen eighty

0:27:53.000 --> 0:27:56.159
<v Speaker 2>three through nineteen forty four. Prolific character actor of the

0:27:56.240 --> 0:27:58.240
<v Speaker 2>thirties and forties. His films include The Case of the

0:27:58.240 --> 0:28:01.159
<v Speaker 2>Black Cat from thirty six, Buck Rogers thirty nine, and

0:28:01.440 --> 0:28:05.000
<v Speaker 2>The Spanish Kate Mystery from nineteen thirty five. I thought

0:28:05.000 --> 0:28:05.840
<v Speaker 2>he's pretty solid in this.

0:28:06.280 --> 0:28:08.320
<v Speaker 3>Yeah he is business man.

0:28:08.960 --> 0:28:11.800
<v Speaker 2>Yeah he has a kind of there's a very funny

0:28:12.200 --> 0:28:15.520
<v Speaker 2>but at times a very awkwardly written scene with him

0:28:15.560 --> 0:28:18.879
<v Speaker 2>in Bella Lagosi's character where bell We'll get to it,

0:28:19.000 --> 0:28:19.879
<v Speaker 2>but what is it?

0:28:20.000 --> 0:28:22.119
<v Speaker 3>One of the many scenes where Bella is trying to

0:28:22.160 --> 0:28:23.639
<v Speaker 3>convince somebody to put lotion on.

0:28:24.160 --> 0:28:28.080
<v Speaker 2>Yes, and also, like Belle Lagosi like eventually just out

0:28:28.119 --> 0:28:32.159
<v Speaker 2>of pride, like all but admitting to the previous murders

0:28:32.200 --> 0:28:35.159
<v Speaker 2>in the film, and Henry Morton is just kind of like,

0:28:35.320 --> 0:28:37.639
<v Speaker 2>what was this guy talking about? And then finally Don's

0:28:37.640 --> 0:28:38.960
<v Speaker 2>on him. Oh he killed all these people?

0:28:39.200 --> 0:28:41.760
<v Speaker 3>Yeah yeah, Oh wait next, are we going to get

0:28:41.800 --> 0:28:43.240
<v Speaker 3>to the newspaper editor.

0:28:43.560 --> 0:28:49.000
<v Speaker 2>Yes, the character is Joe McGuinty. The actor is Arthur Q. Bran,

0:28:49.400 --> 0:28:52.840
<v Speaker 2>who of eighteen ninety nine through nineteen fifty nine American

0:28:52.880 --> 0:28:56.280
<v Speaker 2>actor and radio personality who he had many other credits,

0:28:56.600 --> 0:28:58.720
<v Speaker 2>but he served as the voice of the Looney Tunes

0:28:58.800 --> 0:29:03.240
<v Speaker 2>character Elmer Fudd from nineteen forty through nineteen fifty nine. Yeah,

0:29:03.280 --> 0:29:06.120
<v Speaker 2>he was not the originator, and there were others who

0:29:06.160 --> 0:29:08.719
<v Speaker 2>did that voice during this time, but he was an

0:29:08.760 --> 0:29:11.880
<v Speaker 2>official Elmer Fudd, a voice actor.

0:29:12.120 --> 0:29:14.479
<v Speaker 3>That totally fits. I did not make that connection.

0:29:15.200 --> 0:29:18.240
<v Speaker 2>I mean, it's it's not it feels like the least

0:29:18.240 --> 0:29:19.840
<v Speaker 2>shocking thing in the world when you see him in

0:29:19.880 --> 0:29:23.520
<v Speaker 2>the film, because he looks like Elmer Fudd. It's like

0:29:23.640 --> 0:29:25.440
<v Speaker 2>he has a very Elmer Fudd look. He's just not

0:29:25.560 --> 0:29:26.960
<v Speaker 2>wearing the hunting cap.

0:29:27.280 --> 0:29:30.000
<v Speaker 3>But he's also so I mean, it's early in the

0:29:30.440 --> 0:29:33.200
<v Speaker 3>existence of this cliche, so I guess he's one of

0:29:33.320 --> 0:29:36.240
<v Speaker 3>the examples that is being copied in later films and

0:29:36.320 --> 0:29:40.320
<v Speaker 3>TV shows. But he is the classic like police chief

0:29:40.640 --> 0:29:44.680
<v Speaker 3>or newspaper editor who's barking at our rogue main character

0:29:44.760 --> 0:29:48.040
<v Speaker 3>about how you're a loose cannon. He's mcgarnigle's boss on

0:29:48.120 --> 0:29:51.000
<v Speaker 3>The Simpsons. He's like, well, mcgarnagle, you know Billy is dead.

0:29:52.920 --> 0:29:54.920
<v Speaker 2>Yeah, there are a lot of fun scenes with this character.

0:29:55.560 --> 0:29:58.160
<v Speaker 2>All right, And I'm gonna mention the musical director here.

0:29:58.280 --> 0:29:59.920
<v Speaker 2>This is you know, films of this nature from the

0:30:00.120 --> 0:30:04.040
<v Speaker 2>time period. They're often using like stock music, and ultimately,

0:30:04.160 --> 0:30:07.120
<v Speaker 2>I don't know, I couldn't tell. I didn't do deep

0:30:07.200 --> 0:30:10.440
<v Speaker 2>enough research to find out exactly how much this guy

0:30:10.560 --> 0:30:12.680
<v Speaker 2>worked on the music, how much of it is stock

0:30:12.920 --> 0:30:15.800
<v Speaker 2>and so forth. But he was very prolific, so I'm

0:30:15.840 --> 0:30:18.560
<v Speaker 2>just going to mention him briefly. Anyway. It's David Schudnow,

0:30:18.920 --> 0:30:21.840
<v Speaker 2>who lived nineteen oh nine through two thousand and two.

0:30:22.560 --> 0:30:25.600
<v Speaker 2>Russian born composer and musical director who worked as music

0:30:25.680 --> 0:30:28.560
<v Speaker 2>supervisor or musical director on one hundred and sixty four

0:30:28.760 --> 0:30:32.520
<v Speaker 2>credits between thirty eight and fifty six. His composer credits

0:30:32.560 --> 0:30:35.520
<v Speaker 2>include nineteen forty two Is the Mad Monster and then

0:30:35.840 --> 0:30:39.640
<v Speaker 2>later russ Meyer's nineteen sixty one film Erotica, and he

0:30:39.720 --> 0:30:41.880
<v Speaker 2>went on to produce a number of projects in the

0:30:41.960 --> 0:30:44.800
<v Speaker 2>sixties and seventies, mostly the films that were directed by

0:30:44.840 --> 0:30:49.280
<v Speaker 2>his son Byron shudnow born nineteen twenty six, including a

0:30:49.400 --> 0:30:53.440
<v Speaker 2>trilogy of G rated intelligent Doberman pictures. I've mentioned these

0:30:53.520 --> 0:30:57.080
<v Speaker 2>on the show before. They are The Doberman Gang seventy two,

0:30:57.400 --> 0:31:01.120
<v Speaker 2>The Daring Doberman's from seventy three, and The Amazing Doberman's

0:31:01.160 --> 0:31:05.120
<v Speaker 2>from seventy six. William Goldstein of Doctor Fib's fame was

0:31:05.200 --> 0:31:06.880
<v Speaker 2>one of the writers on that last picture.

0:31:07.600 --> 0:31:10.800
<v Speaker 3>These are Doberman. You're not talking about people named Doberman.

0:31:10.920 --> 0:31:12.080
<v Speaker 3>These are Doberman's the dog.

0:31:12.200 --> 0:31:17.000
<v Speaker 2>These are straight up dogs, I think, solving crimes and stuff. Again,

0:31:17.080 --> 0:31:18.960
<v Speaker 2>not a horror movie or anything. It's like apparently G

0:31:19.120 --> 0:31:22.000
<v Speaker 2>rated fun, but it was like a whole franchise that

0:31:22.120 --> 0:31:24.800
<v Speaker 2>I feel like is largely forgot beautiful.

0:31:25.240 --> 0:31:27.000
<v Speaker 3>Well, I don't want to be mean, but I do

0:31:27.200 --> 0:31:30.920
<v Speaker 3>not Nothing about the music in this movie really struck me.

0:31:31.160 --> 0:31:32.080
<v Speaker 3>It was kind of forgettable.

0:31:32.200 --> 0:31:34.680
<v Speaker 2>It does everything expect a film from this time period

0:31:34.720 --> 0:31:37.720
<v Speaker 2>to do, and nothing more. All Right, Well, shall we

0:31:37.800 --> 0:31:39.960
<v Speaker 2>unleash the plot and an unsuspecting audience.

0:31:40.080 --> 0:31:42.720
<v Speaker 3>Yeah, let's open the window and let the bats out. Okay.

0:31:43.600 --> 0:31:48.040
<v Speaker 3>So we begin with a text legend over like superimposed

0:31:48.080 --> 0:31:51.400
<v Speaker 3>over a shot of just a town that By the way,

0:31:51.720 --> 0:31:54.440
<v Speaker 3>did you have an idea of where this was supposed

0:31:54.440 --> 0:31:57.800
<v Speaker 3>to take place? Because the opening shots made me think

0:31:57.920 --> 0:32:01.080
<v Speaker 3>this is supposed to be in the American Southwest. Looks

0:32:01.160 --> 0:32:04.720
<v Speaker 3>like the southwest. But then the reporter that goes to

0:32:04.800 --> 0:32:06.880
<v Speaker 3>investigate is from the Chicago Register.

0:32:07.960 --> 0:32:10.560
<v Speaker 2>Yeah, who you know, they might just have a satellite

0:32:10.600 --> 0:32:14.480
<v Speaker 2>office here, So I don't know. Everything feels very solid

0:32:14.560 --> 0:32:15.560
<v Speaker 2>Middle America, you know.

0:32:16.120 --> 0:32:22.120
<v Speaker 3>Okay. Anyway, the text says, all Heathville loved Paul Carruthers.

0:32:22.200 --> 0:32:26.000
<v Speaker 3>They're kindly village doctor. No one suspected that in his

0:32:26.200 --> 0:32:30.160
<v Speaker 3>home laboratory on a hillside overlooking the magnificent estate of

0:32:30.360 --> 0:32:36.880
<v Speaker 3>Martin Heath, the doctor found time to conduct certain private experiments. Weird,

0:32:37.440 --> 0:32:44.000
<v Speaker 3>terrifying experiments. Period. Okay, So then we open on Bela

0:32:44.080 --> 0:32:47.520
<v Speaker 3>Lugosi hunched over a table covered in chemistry equipment. You

0:32:47.600 --> 0:32:51.800
<v Speaker 3>got beakers, flasks, gas flames, in a room with fake

0:32:51.920 --> 0:32:57.120
<v Speaker 3>stonework walls, and he's doing chemistry mixing solutions, decanting things

0:32:57.200 --> 0:33:00.520
<v Speaker 3>into bottles, occasionally just having him a little free sample,

0:33:00.720 --> 0:33:03.360
<v Speaker 3>like like sniffing, you know, getting a sniff yep.

0:33:03.240 --> 0:33:06.000
<v Speaker 2>Yep, doing some mad science. Basically, you know what he's

0:33:06.080 --> 0:33:08.160
<v Speaker 2>up to. You didn't even need the crawl. Of course,

0:33:08.200 --> 0:33:11.360
<v Speaker 2>Belle goes. He is up to weird, terrifying experiments. And

0:33:11.840 --> 0:33:13.800
<v Speaker 2>you know, I don't know, we don't know. It's illegal,

0:33:14.320 --> 0:33:16.280
<v Speaker 2>you know, God bless them. Go ahead do your weird

0:33:16.400 --> 0:33:17.120
<v Speaker 2>terrifying stuff.

0:33:17.480 --> 0:33:19.560
<v Speaker 3>Why would he be sniffing the chemicals if there was

0:33:19.560 --> 0:33:24.520
<v Speaker 3>anything wrong with them? So he goes into a secret passageway.

0:33:25.200 --> 0:33:27.800
<v Speaker 3>This is accessed by way of a hidden switch in

0:33:27.880 --> 0:33:31.240
<v Speaker 3>a bookcase, and this leads down into a dungeon, and

0:33:31.360 --> 0:33:35.560
<v Speaker 3>the dungeon is full of bats. It's hard to tell

0:33:35.640 --> 0:33:38.160
<v Speaker 3>exactly what's going on, So Rob, I'm gonna lay it

0:33:38.240 --> 0:33:40.360
<v Speaker 3>out what I thought was going on, and you tell

0:33:40.400 --> 0:33:43.520
<v Speaker 3>me if it matches your impression. I think there are

0:33:43.960 --> 0:33:48.520
<v Speaker 3>lots of bats, but for substantial portions of the movie,

0:33:49.040 --> 0:33:52.600
<v Speaker 3>only one bat seems to be active at a time,

0:33:53.240 --> 0:33:57.040
<v Speaker 3>So I believe these other bats are backup bats that

0:33:57.160 --> 0:34:02.520
<v Speaker 3>are in storage waiting to be activated by the microwave.

0:34:02.600 --> 0:34:04.640
<v Speaker 3>As you put it the thing that he's going to

0:34:04.680 --> 0:34:06.400
<v Speaker 3>put this bat into in a minute.

0:34:06.680 --> 0:34:09.040
<v Speaker 2>That's right. You can only cook up one mutant bat

0:34:09.080 --> 0:34:10.799
<v Speaker 2>at a time, but you've got to have a lot

0:34:10.840 --> 0:34:13.399
<v Speaker 2>of normal bats on hand to cook up if something

0:34:13.440 --> 0:34:14.919
<v Speaker 2>happens to that prime bat.

0:34:15.160 --> 0:34:18.000
<v Speaker 3>Okay, So the bats are dangling upside down from what

0:34:18.120 --> 0:34:21.480
<v Speaker 3>looked like coat hangers. There is one main bat at

0:34:21.480 --> 0:34:24.160
<v Speaker 3>the center of the room. It's bigger than all the others,

0:34:24.520 --> 0:34:27.440
<v Speaker 3>and Legosi approaches it to say the first line of

0:34:27.520 --> 0:34:29.279
<v Speaker 3>the film, what do you think the opening line of

0:34:29.400 --> 0:34:33.680
<v Speaker 3>dialogue in this movie will be? He says, ah, my friend,

0:34:34.160 --> 0:34:38.760
<v Speaker 3>our theory of glandular stimulation through electrical impulses was correct.

0:34:41.080 --> 0:34:43.520
<v Speaker 3>That's a hell of an opener. And then he goes

0:34:43.600 --> 0:34:46.400
<v Speaker 3>on to say, a few days ago, you were as

0:34:46.440 --> 0:34:49.600
<v Speaker 3>small as your companion, and now look at you, and

0:34:50.120 --> 0:34:52.600
<v Speaker 3>I think he's got to be a good thirty percent

0:34:52.680 --> 0:34:55.880
<v Speaker 3>bigger than the other bats. Now Here we cut to

0:34:56.080 --> 0:34:58.759
<v Speaker 3>a close up shot of a real bat's face. We

0:34:58.840 --> 0:35:01.800
<v Speaker 3>will see this exact same bat close up footage so

0:35:02.000 --> 0:35:04.800
<v Speaker 3>many times in the movie. I don't know if it

0:35:05.000 --> 0:35:06.920
<v Speaker 3>was something shot for the film or if they were

0:35:07.000 --> 0:35:09.400
<v Speaker 3>just getting you know, nature stock footage. But it's like

0:35:09.600 --> 0:35:11.640
<v Speaker 3>right up in the bat's face, and it's some kind

0:35:11.680 --> 0:35:15.719
<v Speaker 3>of bat like looking around, looking like it's struggling against restraints.

0:35:16.320 --> 0:35:18.480
<v Speaker 2>Yeah, I thought they did a pretty good job integrating

0:35:18.520 --> 0:35:22.120
<v Speaker 2>their live animal shots and their prop shots here. Of course,

0:35:22.200 --> 0:35:24.520
<v Speaker 2>as you might expect, this is often the case. The

0:35:24.600 --> 0:35:26.759
<v Speaker 2>bat we see enclose up is clearly a fruit bat

0:35:26.840 --> 0:35:29.520
<v Speaker 2>of some sort, yes, which is of course in real life,

0:35:29.600 --> 0:35:32.840
<v Speaker 2>absolutely not interested in human flesh or anything like that.

0:35:33.000 --> 0:35:36.680
<v Speaker 2>It wants to eat mangoes or something. But they to

0:35:36.760 --> 0:35:39.200
<v Speaker 2>the untrained eye, they look more ferocious. They look kind

0:35:39.200 --> 0:35:42.680
<v Speaker 2>of like wolves, so that's what we get. But yeah,

0:35:42.680 --> 0:35:45.239
<v Speaker 2>I thought the integration between the shots was pretty good though.

0:35:45.280 --> 0:35:47.759
<v Speaker 2>The hangar bat kind of looks like some sort of

0:35:47.800 --> 0:35:49.400
<v Speaker 2>like cured bat jerky, right.

0:35:49.600 --> 0:35:52.160
<v Speaker 3>Yes, it looks like a bat got caught into into

0:35:52.200 --> 0:35:55.160
<v Speaker 3>a hydraulic press and so it's just a furry pancake

0:35:55.239 --> 0:35:57.040
<v Speaker 3>with wings and then they left it out to dry

0:35:57.080 --> 0:35:57.520
<v Speaker 3>in the sun.

0:35:57.840 --> 0:35:58.680
<v Speaker 2>Exactly. Yeah.

0:35:59.080 --> 0:36:02.920
<v Speaker 3>So Legosi dismounts the bat hangar and transports it to

0:36:02.960 --> 0:36:07.000
<v Speaker 3>another room. This is a high voltage bombardment chamber behind

0:36:07.040 --> 0:36:10.920
<v Speaker 3>a steel door with thick glass viewing windows. He leaves

0:36:11.040 --> 0:36:13.600
<v Speaker 3>he like hangs the bat up in the room, leaves

0:36:13.680 --> 0:36:16.600
<v Speaker 3>the room, puts on welding goggles, flips a switch. The

0:36:16.680 --> 0:36:19.719
<v Speaker 3>electricity starts going nuts inside the room. It's like arcing

0:36:19.840 --> 0:36:23.279
<v Speaker 3>from all these tesla coils and stuff, and the bat

0:36:23.440 --> 0:36:26.160
<v Speaker 3>is just hanging there while Lugosi watches through the glass.

0:36:26.920 --> 0:36:29.640
<v Speaker 3>And I think the director must have thought that people

0:36:29.680 --> 0:36:32.520
<v Speaker 3>would just really get a kick out of the glandular

0:36:32.640 --> 0:36:35.560
<v Speaker 3>stimulation scene because it goes on for quite some time.

0:36:35.719 --> 0:36:38.640
<v Speaker 3>It's like zap zap zaps app for a while. Then

0:36:38.719 --> 0:36:42.359
<v Speaker 3>Lugosi goes inside the room to make some adjustments, then

0:36:42.400 --> 0:36:44.800
<v Speaker 3>goes back outside and starts zapping it again, and we

0:36:44.960 --> 0:36:45.719
<v Speaker 3>just get to watch.

0:36:46.239 --> 0:36:48.759
<v Speaker 2>Yeah, I mean, I guess it's worth pointing out that, like,

0:36:48.880 --> 0:36:51.880
<v Speaker 2>what the full run time of this picture is sixty

0:36:51.920 --> 0:36:55.080
<v Speaker 2>eight minutes, Yeah, so maybe we do have a certain

0:36:55.080 --> 0:36:56.359
<v Speaker 2>amount of padding going on here.

0:36:56.600 --> 0:37:01.000
<v Speaker 3>Yeah. But as the electrical stimulation continues, the bat begins

0:37:01.160 --> 0:37:04.439
<v Speaker 3>to flex its wings, so it's I guess it's coming

0:37:04.520 --> 0:37:08.840
<v Speaker 3>to life, coming out of cold storage now. Once the

0:37:08.920 --> 0:37:12.080
<v Speaker 3>stimulation is over, Legosi checks the bat for a heartbeat.

0:37:12.120 --> 0:37:14.200
<v Speaker 3>He goes in with like a stethoscope and he's checking

0:37:14.239 --> 0:37:16.800
<v Speaker 3>it out and he seems very very pleased with himself,

0:37:17.239 --> 0:37:19.840
<v Speaker 3>but he is interrupted by a phone call. It's a

0:37:19.880 --> 0:37:23.440
<v Speaker 3>call from his bosses that they are the business partners

0:37:23.480 --> 0:37:27.399
<v Speaker 3>Henry Morton and Martin Heath Heath of this heath Ville Heath,

0:37:27.440 --> 0:37:29.960
<v Speaker 3>the Heath Company, and Henry Morton is his partner, and

0:37:30.120 --> 0:37:33.080
<v Speaker 3>they are inviting doctor Carruthers to a family get together

0:37:33.200 --> 0:37:37.000
<v Speaker 3>at the Heath residence that night, and then Carrothers says

0:37:37.120 --> 0:37:40.640
<v Speaker 3>he appreciates the invitation quote, but I am very busy

0:37:40.719 --> 0:37:44.239
<v Speaker 3>working on a formula for a new shaving lotion. And

0:37:44.320 --> 0:37:46.920
<v Speaker 3>then Heath replies, oh, you know, but Doc, this is

0:37:47.040 --> 0:37:50.400
<v Speaker 3>my daughter's idea. And this is referring to Heath's adult

0:37:50.520 --> 0:37:54.399
<v Speaker 3>daughter Mary. They say, you know, Henry Morton's son Don

0:37:54.680 --> 0:37:57.880
<v Speaker 3>is going to propose to her tonight, and apparently she

0:37:58.080 --> 0:38:00.640
<v Speaker 3>will be very upset if BELLEA Lugosi isn't there for that.

0:38:02.280 --> 0:38:05.120
<v Speaker 3>So they hang up the phone and then Henry Morton

0:38:05.200 --> 0:38:08.000
<v Speaker 3>says he's going to be surprised when he finds the

0:38:08.080 --> 0:38:11.479
<v Speaker 3>special occasion is to present him with this bonus check.

0:38:12.200 --> 0:38:14.680
<v Speaker 3>He says this while holding the check in his hand,

0:38:15.040 --> 0:38:17.600
<v Speaker 3>and then Heath takes the check and stares at it

0:38:17.840 --> 0:38:23.000
<v Speaker 3>and says, almost wistfully, five thousand dollars. I don't know,

0:38:23.040 --> 0:38:25.160
<v Speaker 3>maybe it's not coming across in the way I'm describing,

0:38:25.200 --> 0:38:28.279
<v Speaker 3>But there are so many, like out loud references to

0:38:28.440 --> 0:38:31.320
<v Speaker 3>this five thousand dollar check. It got very funny to me.

0:38:31.560 --> 0:38:34.759
<v Speaker 2>Yeah, five thousand snaggers. Yeah, this is a lot of money.

0:38:35.080 --> 0:38:37.480
<v Speaker 3>Well, whatever the amount is, it is just all these

0:38:37.520 --> 0:38:40.239
<v Speaker 3>people gathered around being like, wow, this is the dollar

0:38:40.320 --> 0:38:44.880
<v Speaker 3>amount of the check. Anyway, Before Carothers goes to the party,

0:38:45.000 --> 0:38:47.960
<v Speaker 3>we see him explaining his giant bat scheme to the

0:38:48.040 --> 0:38:51.120
<v Speaker 3>giant bat. He dips a cotton ball in the new

0:38:51.200 --> 0:38:53.840
<v Speaker 3>shaving lotion he's making, and he holds it up to

0:38:53.920 --> 0:38:59.279
<v Speaker 3>the glandular stimulated bat, the glandularly stimulated bat, and the

0:38:59.360 --> 0:39:02.759
<v Speaker 3>bat starts screaming, and Legosi is like, good, Yes, I

0:39:02.880 --> 0:39:06.160
<v Speaker 3>taught you to hate this fragrance while you slept. Now

0:39:06.280 --> 0:39:08.319
<v Speaker 3>if you smell it while you are awake, you will

0:39:08.400 --> 0:39:09.279
<v Speaker 3>strike to kill.

0:39:10.040 --> 0:39:12.400
<v Speaker 2>All right, all right, murderous conditioning.

0:39:12.480 --> 0:39:14.680
<v Speaker 3>Okay, let me go to a scene of the party

0:39:14.719 --> 0:39:17.480
<v Speaker 3>at Morton and Heath's house. So Mary is Heath's daughter,

0:39:18.160 --> 0:39:21.720
<v Speaker 3>but they're also just a bunch of loose sons running around.

0:39:22.040 --> 0:39:24.160
<v Speaker 3>I don't remember whose son is. Who is There's a

0:39:24.239 --> 0:39:28.120
<v Speaker 3>bunch of them, and Morton is like, remember Roy, Tommy,

0:39:28.200 --> 0:39:30.800
<v Speaker 3>you're not supposed to say anything about this five thousand

0:39:30.800 --> 0:39:33.080
<v Speaker 3>dollars check that I hold in my hand until you

0:39:33.160 --> 0:39:36.600
<v Speaker 3>get the signal from Heath. And then Mary Heath and

0:39:36.800 --> 0:39:39.640
<v Speaker 3>a Morton son named don Are. They're sort of cuddling

0:39:39.719 --> 0:39:42.480
<v Speaker 3>and flirting on the other couch and Morton starts to

0:39:42.520 --> 0:39:44.520
<v Speaker 3>give them the same talk, and they have all these

0:39:44.600 --> 0:39:47.919
<v Speaker 3>ideas about how they should unveil the five thousand dollars check.

0:39:48.400 --> 0:39:51.120
<v Speaker 3>But then they find out her others is not going

0:39:51.160 --> 0:39:53.000
<v Speaker 3>to come to the party because he is busy with

0:39:53.120 --> 0:39:56.760
<v Speaker 3>his lotion. So Roy, one of the Heaths sons, offers

0:39:56.840 --> 0:39:59.839
<v Speaker 3>to take the check up to the laboratory and here

0:40:00.080 --> 0:40:02.720
<v Speaker 3>you get our first like put on the lotion Roy scene.

0:40:03.320 --> 0:40:06.560
<v Speaker 3>So Roy goes up to the lab and Carruthers reacts

0:40:06.640 --> 0:40:09.759
<v Speaker 3>with this strange, kind of hard to read cascade of

0:40:09.840 --> 0:40:13.200
<v Speaker 3>emotions when he receives the five thousand dollars check. He'll

0:40:13.239 --> 0:40:15.920
<v Speaker 3>explain why in a minute. But then he's like, okay,

0:40:16.080 --> 0:40:18.960
<v Speaker 3>Roy Heath, I want you to try my new aftershave.

0:40:19.520 --> 0:40:21.520
<v Speaker 3>And so Roy takes some of it and he smells it.

0:40:21.600 --> 0:40:25.200
<v Speaker 3>He says, ooh, pretty strong, isn't it. This establishes a pattern.

0:40:25.400 --> 0:40:27.560
<v Speaker 3>All the victims are going to say this like, wow,

0:40:27.680 --> 0:40:31.960
<v Speaker 3>smells really strong. But Legosi reassures him. He says, no, no,

0:40:32.200 --> 0:40:34.840
<v Speaker 3>the scent evaporates a short time after you use it.

0:40:35.480 --> 0:40:37.840
<v Speaker 3>So Roy takes a few drops in his hand, and

0:40:37.920 --> 0:40:41.360
<v Speaker 3>then the Legosi gleefully explains. He says, now, rub it

0:40:41.480 --> 0:40:43.120
<v Speaker 3>on the tender part of your neck.

0:40:43.320 --> 0:40:43.520
<v Speaker 2>Here.

0:40:44.239 --> 0:40:46.400
<v Speaker 3>I love these scenes. So he keeps like touching his

0:40:46.600 --> 0:40:48.879
<v Speaker 3>throat and being like, here's where you rub it. It's

0:40:49.000 --> 0:40:50.319
<v Speaker 3>so soft on the skin.

0:40:50.800 --> 0:40:52.719
<v Speaker 2>Yes, says you want to apply lots of it to

0:40:52.760 --> 0:40:54.320
<v Speaker 2>the esophagus and the jugular.

0:40:54.680 --> 0:40:58.880
<v Speaker 3>Yeah, that's right. So Roy rubs the lotion on his throat,

0:40:59.120 --> 0:41:02.040
<v Speaker 3>then he departs. When he leaves, he says good night, doctor,

0:41:02.480 --> 0:41:06.960
<v Speaker 3>and Legosi replies, goodbye, Roy. He will also do this

0:41:07.160 --> 0:41:08.480
<v Speaker 3>in every one of the murders.

0:41:08.840 --> 0:41:09.040
<v Speaker 2>Yes.

0:41:09.800 --> 0:41:12.880
<v Speaker 3>Then we get a weird voiceover of Legosi's thoughts. Is

0:41:12.960 --> 0:41:15.279
<v Speaker 3>this the only time in the entire movie when we

0:41:15.400 --> 0:41:18.320
<v Speaker 3>hear a character's thoughts out loud? I think, so it is.

0:41:18.480 --> 0:41:20.840
<v Speaker 2>Yeah, this really feels like one of those classic moments

0:41:20.880 --> 0:41:24.320
<v Speaker 2>of the director or someone in the production saying, I

0:41:24.360 --> 0:41:27.000
<v Speaker 2>don't think we got this across. Let's have some voice

0:41:27.000 --> 0:41:28.759
<v Speaker 2>over here, And that's what they do.

0:41:29.120 --> 0:41:32.080
<v Speaker 3>Absolutely feels tacked on, but what So he's standing there

0:41:32.120 --> 0:41:35.480
<v Speaker 3>staring at the check and we hear Legosi's voiceover say,

0:41:35.719 --> 0:41:39.120
<v Speaker 3>lovely check, isn't it? Doctor? They are wealthy because of you.

0:41:39.800 --> 0:41:43.760
<v Speaker 3>You made them rich. Doctor. It was your formula. Tonight.

0:41:43.960 --> 0:41:47.080
<v Speaker 3>They gave you five thousand dollars and wanted you to

0:41:47.200 --> 0:41:49.239
<v Speaker 3>come down to their house and thank them for it.

0:41:49.600 --> 0:41:52.440
<v Speaker 3>That was your money. They gave you, like a bone

0:41:52.640 --> 0:41:55.799
<v Speaker 3>tossed to a faithful dog. And we get some very

0:41:55.840 --> 0:41:59.919
<v Speaker 3>good facial expressions from Bella here. First he looks sad,

0:42:00.360 --> 0:42:02.480
<v Speaker 3>and then it turns into a grimace, and then it

0:42:02.560 --> 0:42:06.960
<v Speaker 3>turns into maniacal laughter and then straight into a furious glower.

0:42:07.280 --> 0:42:09.600
<v Speaker 3>He is ready now to send the bats, so he

0:42:09.680 --> 0:42:12.360
<v Speaker 3>goes down into the secret passageway. He goes to his

0:42:12.440 --> 0:42:15.120
<v Speaker 3>mutant bat and he says, tonight, you have work to do,

0:42:15.800 --> 0:42:17.160
<v Speaker 3>and the bat flies out.

0:42:17.600 --> 0:42:20.879
<v Speaker 2>Yep, yep. And I think the bat flying looks pretty good. Though.

0:42:20.880 --> 0:42:22.560
<v Speaker 2>There's going to be a plot element that kind of

0:42:22.600 --> 0:42:24.800
<v Speaker 2>tarnishes the effect a bit later on.

0:42:25.239 --> 0:42:37.879
<v Speaker 3>Yeah. Yeah, So first we see Don and Mary out

0:42:37.920 --> 0:42:40.000
<v Speaker 3>in the garden on a bench. Remember they were the

0:42:40.040 --> 0:42:42.600
<v Speaker 3>ones who were going to get engaged. This part I

0:42:42.920 --> 0:42:46.400
<v Speaker 3>found incredibly perplexing. Don says, you know, while our families

0:42:46.440 --> 0:42:49.120
<v Speaker 3>are here, tonight is a good time to announce our engagement,

0:42:49.760 --> 0:42:53.040
<v Speaker 3>and Mary says to him, looke, Don, I love you,

0:42:53.160 --> 0:42:55.279
<v Speaker 3>I've loved you since we were kids, but not in

0:42:55.440 --> 0:42:58.000
<v Speaker 3>that way. You're more like a brother to me. And

0:42:58.480 --> 0:43:00.440
<v Speaker 3>I was like, what, how did you get to the

0:43:00.480 --> 0:43:02.799
<v Speaker 3>point of thinking they were gonna be engaged?

0:43:03.480 --> 0:43:07.360
<v Speaker 2>Yeah? Yeah, he seemed exceedingly sure of this. Yeah so

0:43:07.640 --> 0:43:09.400
<v Speaker 2>this was yeah, this is a real head scratcher.

0:43:09.760 --> 0:43:12.360
<v Speaker 3>But he takes it well. He doesn't get mad or anything.

0:43:12.400 --> 0:43:13.879
<v Speaker 3>He's just like, oh, okay, fair enough.

0:43:14.360 --> 0:43:17.239
<v Speaker 2>Yeah, it's like we needed more information. Why was this

0:43:17.600 --> 0:43:21.680
<v Speaker 2>miscommunication in place where they betrothed? What was going on here?

0:43:22.000 --> 0:43:22.479
<v Speaker 2>The idea?

0:43:22.800 --> 0:43:25.000
<v Speaker 3>Okay? But yeah, Don takes it well, He's like okay.

0:43:25.120 --> 0:43:29.480
<v Speaker 3>Then meanwhile, nearby Mary's brother, Roy, the guy who put

0:43:29.520 --> 0:43:32.160
<v Speaker 3>the lotion on his throat, he arrives home, gets out

0:43:32.160 --> 0:43:34.680
<v Speaker 3>of his car and is immediately dive bombed by a

0:43:34.760 --> 0:43:38.920
<v Speaker 3>bat and we don't see a lot of it. I mean,

0:43:39.000 --> 0:43:40.800
<v Speaker 3>we see the bat flying, and we see sort of

0:43:40.880 --> 0:43:42.719
<v Speaker 3>a dark dive bomb thing, but it's not like we

0:43:42.800 --> 0:43:44.400
<v Speaker 3>get like a clear close up.

0:43:44.960 --> 0:43:48.440
<v Speaker 2>Eventually, we'll probably watch Life Force for Weird House Cinema

0:43:48.480 --> 0:43:51.080
<v Speaker 2>and we'll have to compare the dive bombing bat sequences.

0:43:51.120 --> 0:43:53.839
<v Speaker 2>I think they have some of these in Fright Night

0:43:53.920 --> 0:43:56.120
<v Speaker 2>as well, right in there, dive bombing bat scene in

0:43:56.200 --> 0:43:57.879
<v Speaker 2>that that sounds right. Yeah.

0:43:58.280 --> 0:44:00.920
<v Speaker 3>Oh, and so you know, the hear Hi's and marian

0:44:01.040 --> 0:44:03.600
<v Speaker 3>Don come running and they find Roy in the driveway

0:44:03.680 --> 0:44:07.680
<v Speaker 3>there and they're like, call doctor Carruthers. Good. So you know,

0:44:07.880 --> 0:44:10.200
<v Speaker 3>Carrothers comes to check on him and they have both

0:44:10.239 --> 0:44:13.120
<v Speaker 3>families gathered around him as he's lying there in the driveway,

0:44:13.800 --> 0:44:17.000
<v Speaker 3>and there's a dialogue exchange that goes like this. Carrothers says,

0:44:17.160 --> 0:44:20.000
<v Speaker 3>there's nothing I can do, and Heath says, you mean

0:44:20.080 --> 0:44:23.720
<v Speaker 3>he's dead. Car Others says, yes, I'd better call the coroner.

0:44:24.000 --> 0:44:26.800
<v Speaker 3>Heath says, you think it's murder? Carro other says, I

0:44:26.880 --> 0:44:29.640
<v Speaker 3>don't know. I never saw anything like it. Before the

0:44:29.760 --> 0:44:33.400
<v Speaker 3>jugular vein is severed, they all look down. It cuts

0:44:33.440 --> 0:44:36.919
<v Speaker 3>to black, and this is where the news media comes

0:44:36.960 --> 0:44:40.400
<v Speaker 3>into play. Yeah, but because everybody trusts Carruthers, I mean,

0:44:40.480 --> 0:44:41.200
<v Speaker 3>of course we should have.

0:44:41.320 --> 0:44:43.400
<v Speaker 2>Yeah, they tell us this a lot. They're always like,

0:44:43.400 --> 0:44:46.359
<v Speaker 2>everybody trusts corrects, everyone loves Corunthers, the community loves him.

0:44:46.640 --> 0:44:50.879
<v Speaker 2>We're given very little in addition to that to make

0:44:51.000 --> 0:44:52.960
<v Speaker 2>us believe this is the case, because come on, it's

0:44:52.960 --> 0:44:56.480
<v Speaker 2>bell Legosi. Uh, Like he brings that aura here. We

0:44:56.520 --> 0:44:59.400
<v Speaker 2>don't really see him doing like nice things for the community.

0:44:59.560 --> 0:45:02.280
<v Speaker 2>He just wants to do terrifying experiments in his laboratory.

0:45:02.440 --> 0:45:05.720
<v Speaker 3>Yeah, he's acting incredibly suspicious from the first scene.

0:45:06.120 --> 0:45:09.719
<v Speaker 2>Yeah, but all right, fair enough, nobody suspects him. All right.

0:45:09.800 --> 0:45:11.600
<v Speaker 3>So it's time to meet some new characters at the

0:45:11.680 --> 0:45:15.400
<v Speaker 3>offices of a newspaper, the Chicago Register. So it shows

0:45:15.480 --> 0:45:19.360
<v Speaker 3>a busy, bustling newsroom. We're two guys on the floor

0:45:19.440 --> 0:45:22.239
<v Speaker 3>of the newsroom throwing punches. Looked like it, but then

0:45:22.280 --> 0:45:23.120
<v Speaker 3>it cuts away quick.

0:45:23.480 --> 0:45:26.920
<v Speaker 2>Yeah it's you know, it's a scrappy environment. They're having fun,

0:45:26.920 --> 0:45:28.200
<v Speaker 2>they're working hard, they're playing hard.

0:45:28.480 --> 0:45:30.239
<v Speaker 3>And so we're going to meet a couple of characters here.

0:45:30.360 --> 0:45:34.720
<v Speaker 3>The assignment editor McGinty who Again, he's your classic large

0:45:35.000 --> 0:45:39.719
<v Speaker 3>cigar chewing police chief slash newspaper editors. He's telling the

0:45:39.840 --> 0:45:43.080
<v Speaker 3>cop or reporter, you're a loose cannon. You're off the force.

0:45:43.200 --> 0:45:45.160
<v Speaker 3>Here's your new partner. And in fact, we get all

0:45:45.239 --> 0:45:46.479
<v Speaker 3>three of those in this movie.

0:45:46.920 --> 0:45:49.800
<v Speaker 2>Yes, yes, I do like the elements too, though with

0:45:50.239 --> 0:45:52.960
<v Speaker 2>our newspaper editor here, who is like we got to

0:45:53.000 --> 0:45:55.560
<v Speaker 2>remember the Heath company. It's a big account, you know,

0:45:55.600 --> 0:45:58.880
<v Speaker 2>big advertising accounts for the paper. So they do interject

0:45:58.960 --> 0:46:04.160
<v Speaker 2>a little bit of like realistic news room politics.

0:46:03.640 --> 0:46:07.080
<v Speaker 3>Here, well kind of, but I didn't understand the dynamics.

0:46:07.120 --> 0:46:09.279
<v Speaker 3>So yeah, I thought that was interesting. They're like, Heath

0:46:09.400 --> 0:46:11.680
<v Speaker 3>is a big advertising account, so you've got to go

0:46:11.760 --> 0:46:14.880
<v Speaker 3>to Heathville. You've got to get a photo a photographer

0:46:15.000 --> 0:46:19.040
<v Speaker 3>to go with you, go to Heathville and do a

0:46:19.120 --> 0:46:23.240
<v Speaker 3>big sensational news story about his son's unsolved mutant bat murder.

0:46:23.760 --> 0:46:27.239
<v Speaker 2>Yeah. Yeah, I mean that part makes less sense. It

0:46:27.280 --> 0:46:29.479
<v Speaker 2>would be it would be more realistic where it's like, Okay,

0:46:29.520 --> 0:46:31.520
<v Speaker 2>you're going you're going up there, but make sure you

0:46:31.600 --> 0:46:34.440
<v Speaker 2>play it really respectful. We've got to cover this. But

0:46:34.520 --> 0:46:37.520
<v Speaker 2>they're a huge advertiser. So again, some things are maybe

0:46:37.600 --> 0:46:38.560
<v Speaker 2>lost in the message here.

0:46:38.800 --> 0:46:41.680
<v Speaker 3>I mean normally, if there's like a big industry mogul

0:46:41.760 --> 0:46:44.800
<v Speaker 3>who has a child with an their adult child is

0:46:44.880 --> 0:46:48.080
<v Speaker 3>killed in an unsolved murder, you want the National Inquirer

0:46:48.239 --> 0:46:49.320
<v Speaker 3>up there getting into it.

0:46:50.120 --> 0:46:52.560
<v Speaker 2>Yeah, well they send the a team, as we'll see.

0:46:52.920 --> 0:46:55.839
<v Speaker 3>That's right. So our hero here is Johnny Layden. He's

0:46:55.880 --> 0:46:59.680
<v Speaker 3>a scrappy reporter who's always causing trouble. Somebody's always calling

0:46:59.760 --> 0:47:02.160
<v Speaker 3>the to get him fired, but you know what, he

0:47:02.280 --> 0:47:07.360
<v Speaker 3>gets results. And McGinty explains, there's this mystery killing in Heathville.

0:47:07.640 --> 0:47:10.360
<v Speaker 3>It's old Martin Heath's son. He wants Layden looking into it.

0:47:11.280 --> 0:47:15.000
<v Speaker 3>Leyton is unfamiliar. He's like, who's Martin Heath? And McGinty

0:47:15.320 --> 0:47:17.640
<v Speaker 3>this was also weird. McGuinty's like, who's Martin Heath?

0:47:18.040 --> 0:47:18.200
<v Speaker 2>Say?

0:47:18.440 --> 0:47:20.759
<v Speaker 3>Have you ever had a date with a girl? And

0:47:20.960 --> 0:47:22.880
<v Speaker 3>Leyden says, you know, he might have had one at

0:47:22.920 --> 0:47:26.240
<v Speaker 3>some point and McGinty says, well did she smell sweet?

0:47:26.760 --> 0:47:30.200
<v Speaker 3>If so, that's because of Martin Heath Cosmetics Limited. They

0:47:30.320 --> 0:47:32.800
<v Speaker 3>make all that goo that women put on their faces.

0:47:34.280 --> 0:47:36.640
<v Speaker 3>So is the premise here that Heath is the only

0:47:36.920 --> 0:47:40.320
<v Speaker 3>perfume and cosmetics company in the world and invented and

0:47:40.480 --> 0:47:43.560
<v Speaker 3>has exclusive rights to the concept of makeup and perfume.

0:47:43.960 --> 0:47:44.279
<v Speaker 2>I don't know.

0:47:44.320 --> 0:47:46.880
<v Speaker 3>I guess they're just a major player anyway. So Layton

0:47:46.960 --> 0:47:50.319
<v Speaker 3>goes to Heathville. He takes along with him a photographer.

0:47:50.400 --> 0:47:52.759
<v Speaker 3>As he was told to. This character has a great name.

0:47:52.960 --> 0:47:57.040
<v Speaker 3>It's one Shot McGuire. One shot McGuire is a bow

0:47:57.120 --> 0:48:00.239
<v Speaker 3>tie guy who keeps his suit jacket buttoned. He has

0:48:00.280 --> 0:48:03.880
<v Speaker 3>a kind of he's a little bit more nerdy than Layton,

0:48:03.960 --> 0:48:06.239
<v Speaker 3>but also has he's kind of got a nerdy but

0:48:06.480 --> 0:48:08.600
<v Speaker 3>rascally temperament to match Layton's.

0:48:09.160 --> 0:48:11.520
<v Speaker 2>Yeah, and I don't know from the title, I'm not

0:48:11.560 --> 0:48:13.120
<v Speaker 2>sure is he if he's supposed to be a really

0:48:13.160 --> 0:48:16.520
<v Speaker 2>good photographer or just a really sloppy photographer, Like, oh,

0:48:16.719 --> 0:48:19.040
<v Speaker 2>did you get pictures of the sporting event? I got

0:48:19.080 --> 0:48:21.400
<v Speaker 2>one shot? Does that mean you only needed one like

0:48:21.480 --> 0:48:25.440
<v Speaker 2>perfect shot, first take? Or you just really don't care?

0:48:25.560 --> 0:48:26.560
<v Speaker 2>He just like good enough.

0:48:27.120 --> 0:48:29.000
<v Speaker 3>I didn't know. Yeah, So if it's a writer and

0:48:29.080 --> 0:48:31.480
<v Speaker 3>they call you like first draft maguire, what does that

0:48:31.680 --> 0:48:32.480
<v Speaker 3>mean that.

0:48:32.600 --> 0:48:36.400
<v Speaker 2>Good yeah, nailed it first draft? Well, I guess sometimes

0:48:36.440 --> 0:48:40.960
<v Speaker 2>it works like that, but one has right to be suspicious.

0:48:41.360 --> 0:48:45.800
<v Speaker 3>So our two reporters go to Heathville. They meet the

0:48:45.840 --> 0:48:48.160
<v Speaker 3>police chief there and they begin the inquest, and the

0:48:48.200 --> 0:48:50.600
<v Speaker 3>police chief admits that they have not gotten very far

0:48:50.680 --> 0:48:54.920
<v Speaker 3>with the investigation, but that Roy Heath suffered the strangest wounds.

0:48:55.000 --> 0:48:57.920
<v Speaker 3>He had shallow slashes in his throat, too deep for

0:48:58.080 --> 0:49:01.400
<v Speaker 3>fingernails and not deep enough to be a knife. And

0:49:01.480 --> 0:49:03.800
<v Speaker 3>then the coroner says that they could have been the

0:49:03.920 --> 0:49:07.839
<v Speaker 3>talons of a bird, a bird, but the sheriff says

0:49:08.000 --> 0:49:10.160
<v Speaker 3>they know that it wasn't a bird because they found

0:49:10.200 --> 0:49:13.160
<v Speaker 3>several hairs on the shoulder of Heath's coat, so it

0:49:13.200 --> 0:49:14.200
<v Speaker 3>couldn't have been a bird.

0:49:15.080 --> 0:49:17.240
<v Speaker 2>Soide note that there's gonna be a lot of dialogue

0:49:17.239 --> 0:49:19.200
<v Speaker 2>in this film related to the idea that people think

0:49:19.280 --> 0:49:21.680
<v Speaker 2>bats are birds, yes, and need to be corrected on

0:49:21.760 --> 0:49:22.080
<v Speaker 2>the matter.

0:49:22.600 --> 0:49:26.160
<v Speaker 3>Multiple characters have to correct I think doctor Carruthers and

0:49:26.440 --> 0:49:29.720
<v Speaker 3>Layton are frequently correcting people on calling bats birds.

0:49:29.760 --> 0:49:32.520
<v Speaker 2>Yeah, nobody knows exactly what a bat is, but.

0:49:32.560 --> 0:49:35.560
<v Speaker 3>They say that the hairs on the coat they're not human.

0:49:35.840 --> 0:49:39.040
<v Speaker 3>Lab tests showed that they came from a mouse, and

0:49:39.200 --> 0:49:42.480
<v Speaker 3>Layton says, say a bat has hair like a mouse.

0:49:42.560 --> 0:49:44.719
<v Speaker 3>What if it was a bat? And I don't know,

0:49:45.040 --> 0:49:47.600
<v Speaker 3>I call bs. I think that is too extreme of

0:49:47.680 --> 0:49:50.799
<v Speaker 3>a bull's eye connection there, unless Layton has like undisclosed

0:49:51.120 --> 0:49:54.680
<v Speaker 3>psychic powers or something. Another clue though, They say there

0:49:54.760 --> 0:49:58.000
<v Speaker 3>was a peculiar odor about the wounds, but the police

0:49:58.040 --> 0:50:00.719
<v Speaker 3>were unable to identify it, and now it has been

0:50:00.760 --> 0:50:04.759
<v Speaker 3>destroyed by evaporation. So we're going to go on to

0:50:05.040 --> 0:50:08.160
<v Speaker 3>the meeting with Mary that the reporters are continuing the

0:50:08.280 --> 0:50:11.239
<v Speaker 3>investigation the share there. The police chief is just like,

0:50:11.320 --> 0:50:14.040
<v Speaker 3>oh yeah, sure, look into it. You know, you'll get

0:50:14.120 --> 0:50:17.120
<v Speaker 3>no objection from me, which is kind of unusual for

0:50:17.200 --> 0:50:19.760
<v Speaker 3>these films. I feel like it's always a territorial squabble

0:50:19.800 --> 0:50:23.840
<v Speaker 3>about who gets to investigate. So the newspaperman go to

0:50:23.920 --> 0:50:27.560
<v Speaker 3>the Heath residence. Of course, it's immediately clear that Leyden

0:50:27.600 --> 0:50:29.719
<v Speaker 3>and Mary are going to fall in love, and then

0:50:29.760 --> 0:50:32.560
<v Speaker 3>there's a secondary romance as well, because Mary's got the

0:50:33.000 --> 0:50:36.280
<v Speaker 3>French maid, the gorgeous French maid named Maxine, who's running

0:50:36.280 --> 0:50:40.240
<v Speaker 3>around saying we metemoiselle and apparently she is just wild

0:50:40.440 --> 0:50:44.360
<v Speaker 3>for photo journal East and from their very first introduction,

0:50:44.600 --> 0:50:47.600
<v Speaker 3>one shot maguire is saying, yes, I will marry this

0:50:47.680 --> 0:50:52.960
<v Speaker 3>French maid. And now they've got competing theories about the murder.

0:50:53.760 --> 0:50:56.120
<v Speaker 3>They ask, you know, did this guy have any enemies?

0:50:56.280 --> 0:51:00.000
<v Speaker 3>Not really? Was it an animal attack? Carruthers says, yeah,

0:51:00.239 --> 0:51:03.160
<v Speaker 3>it was a wild animal who attacked him, but Leyden says,

0:51:03.280 --> 0:51:06.399
<v Speaker 3>I don't think so. And this sort of leads into

0:51:06.440 --> 0:51:08.680
<v Speaker 3>this middle section of the movie that's more just sort

0:51:08.719 --> 0:51:12.520
<v Speaker 3>of investigating the murders and more murders taking place. So

0:51:12.680 --> 0:51:14.800
<v Speaker 3>there is a murder of another one of the Suns.

0:51:14.880 --> 0:51:18.759
<v Speaker 3>This time it's a guy named Tommy. Legosi gives him

0:51:18.800 --> 0:51:21.440
<v Speaker 3>the lotion to try, and Tommy puts it on and

0:51:21.480 --> 0:51:24.120
<v Speaker 3>he's like, ooh, that feels great, very very soothing, and

0:51:24.239 --> 0:51:27.680
<v Speaker 3>Legosi says, I don't think you will ever use anything else.

0:51:29.280 --> 0:51:31.759
<v Speaker 3>So he's, you know, walking around with the lotion on,

0:51:31.880 --> 0:51:34.240
<v Speaker 3>and he gets attacked by a bat in the garden patio.

0:51:34.840 --> 0:51:38.480
<v Speaker 3>Now at this bad attack, the journalists witness it, they

0:51:38.600 --> 0:51:41.360
<v Speaker 3>see it happen, and so they try to report on it.

0:51:41.440 --> 0:51:43.480
<v Speaker 3>They call it McGinty. They're like, yeah, he was attacked

0:51:43.520 --> 0:51:46.560
<v Speaker 3>by a devil bat. McGuinty doesn't believe them at first,

0:51:46.640 --> 0:51:48.600
<v Speaker 3>but then he does run with their story and the

0:51:48.640 --> 0:51:52.960
<v Speaker 3>headline is mysterious Devil Bat kills Thomas Heath. I do

0:51:53.200 --> 0:51:55.880
<v Speaker 3>like this movie shows us lots of newspaper headlines.

0:51:56.320 --> 0:51:59.160
<v Speaker 2>Yeah. My one disappointment was I couldn't make any of

0:51:59.280 --> 0:52:03.320
<v Speaker 2>the lower headlines out. You know, that's always there's always

0:52:03.320 --> 0:52:05.400
<v Speaker 2>a lot of fun there, especially in like parodies on

0:52:05.480 --> 0:52:09.120
<v Speaker 2>the Simpson like what the stories that didn't make the

0:52:09.239 --> 0:52:12.920
<v Speaker 2>very top because of whatever supernatural shenanigans are going on.

0:52:13.320 --> 0:52:15.440
<v Speaker 3>I feel like multiple times we see a newspaper and

0:52:15.560 --> 0:52:19.320
<v Speaker 3>there's another article with the headline praise from cheerleaders.

0:52:19.920 --> 0:52:22.799
<v Speaker 2>Hmm okay, otherwise a slow news day.

0:52:24.440 --> 0:52:26.399
<v Speaker 3>Oh and then they show a second paper that says

0:52:26.520 --> 0:52:30.040
<v Speaker 3>who will be the Devil Bat's next victim? Villagers cringe

0:52:30.120 --> 0:52:32.800
<v Speaker 3>and terror of murderer. Oh and another one of the

0:52:32.920 --> 0:52:35.880
<v Speaker 3>articles it has the headline pericles the great.

0:52:36.000 --> 0:52:38.439
<v Speaker 2>What Yeah, local theater.

0:52:38.560 --> 0:52:42.440
<v Speaker 3>Maybe I don't know Laura mipsum. So anyway, there's this

0:52:42.520 --> 0:52:44.920
<v Speaker 3>whole middle section where they've seen the Devil Bat. But

0:52:45.080 --> 0:52:47.400
<v Speaker 3>McGinty's like, hey, I need a photo. We got to

0:52:47.440 --> 0:52:51.279
<v Speaker 3>run a photo. So they stage a hoax photo using

0:52:51.400 --> 0:52:53.839
<v Speaker 3>a stuffed bat from a taxidermy shop.

0:52:54.560 --> 0:52:57.399
<v Speaker 2>Yes, I loved and hated this because it's just such

0:52:57.400 --> 0:53:00.319
<v Speaker 2>a weird, wacky element that suddenly, like journalists contact, he's

0:53:00.320 --> 0:53:02.680
<v Speaker 2>out the window and they're gonna fake this shot. But

0:53:02.800 --> 0:53:06.080
<v Speaker 2>then it does feel, from a filmmaking standpoint like kind

0:53:06.120 --> 0:53:08.760
<v Speaker 2>of an error because, let's face it, these bat effects,

0:53:09.360 --> 0:53:11.920
<v Speaker 2>I think they're pretty great considering the budget and the

0:53:12.000 --> 0:53:16.279
<v Speaker 2>time period. But when you also introduce a fake, fake

0:53:16.440 --> 0:53:20.920
<v Speaker 2>bat into the scenario, that fake bat looks too much

0:53:21.000 --> 0:53:22.959
<v Speaker 2>like the actual bat, Yes, and it makes me second

0:53:23.000 --> 0:53:26.440
<v Speaker 2>guess the effects on some level. So I didn't like that.

0:53:27.000 --> 0:53:29.320
<v Speaker 3>Same thought the hoax bat looks the same as the

0:53:29.400 --> 0:53:30.160
<v Speaker 3>real devil bat.

0:53:30.480 --> 0:53:32.800
<v Speaker 2>Yeah, it's like if somebody wears a monster mask in

0:53:32.880 --> 0:53:36.279
<v Speaker 2>a movie that also features a monster, that monster mask

0:53:36.640 --> 0:53:40.239
<v Speaker 2>can't look too good and your actual monster effects better

0:53:40.320 --> 0:53:41.360
<v Speaker 2>be like a cut above.

0:53:41.680 --> 0:53:45.200
<v Speaker 3>Yes, yeah, yeah so this. Oh, but also this movie

0:53:45.280 --> 0:53:49.240
<v Speaker 3>has a debunking scene. So the hoax photo is debunked

0:53:49.400 --> 0:53:52.880
<v Speaker 3>by a skeptical scientist on a national radio program, and

0:53:52.960 --> 0:53:55.120
<v Speaker 3>it shows just like everybody in the country sitting around

0:53:55.200 --> 0:53:58.719
<v Speaker 3>listening to this radio program. They introduce a scientist named

0:53:58.840 --> 0:54:03.360
<v Speaker 3>Professor Percival Garland rains whom the announcer calls the world's

0:54:03.560 --> 0:54:08.240
<v Speaker 3>greatest authority on animals and rains says that devil bats

0:54:08.320 --> 0:54:11.319
<v Speaker 3>may have existed in the dark ages when people lived

0:54:11.400 --> 0:54:14.560
<v Speaker 3>in caves, but not anymore. And he has proof that

0:54:14.680 --> 0:54:17.160
<v Speaker 3>the photo is a fake. He analyzed it under a

0:54:17.239 --> 0:54:20.160
<v Speaker 3>magnifying glass, and he says the bat has a tag

0:54:20.320 --> 0:54:23.759
<v Speaker 3>on it which says made in Japan. But I was thinking,

0:54:23.840 --> 0:54:25.759
<v Speaker 3>wait a minute, what if the real devil bat is

0:54:25.800 --> 0:54:30.000
<v Speaker 3>simply a manufactured object, you know, created by magic.

0:54:30.360 --> 0:54:35.719
<v Speaker 2>How did they get a fake bats manufactured? Yeah, either

0:54:35.719 --> 0:54:38.960
<v Speaker 2>across the ocean or like, are they selling these at

0:54:38.960 --> 0:54:41.800
<v Speaker 2>the local store? Did just so many questions arise from this.

0:54:42.120 --> 0:54:44.560
<v Speaker 3>I would have thought that taxidermy bats would be a

0:54:44.640 --> 0:54:57.080
<v Speaker 3>more locally produced article. Yeah, oh hey, folks were back.

0:54:57.160 --> 0:54:58.719
<v Speaker 3>We had to just take a break in the middle

0:54:58.719 --> 0:55:01.520
<v Speaker 3>of our recording session. But but now we are in

0:55:01.640 --> 0:55:04.520
<v Speaker 3>real time a few hours later, continuing our discussion of

0:55:04.680 --> 0:55:07.320
<v Speaker 3>the devil bat. So where did we leave off it

0:55:07.600 --> 0:55:09.719
<v Speaker 3>was where? Oh, they just pulled off the hoax and

0:55:09.800 --> 0:55:12.200
<v Speaker 3>they got caught. They got caught by the radio guy.

0:55:14.239 --> 0:55:16.279
<v Speaker 2>Yeah, yeah, they attempted to do the fake photo. And

0:55:16.440 --> 0:55:18.399
<v Speaker 2>is it now or in just a little bit where

0:55:18.600 --> 0:55:20.360
<v Speaker 2>like basically it's like, I gotta fire you guys, this

0:55:20.480 --> 0:55:23.440
<v Speaker 2>is awful, and they're like, you can't fire us because

0:55:23.440 --> 0:55:25.920
<v Speaker 2>we're onto this great case. We're going to keep working it.

0:55:26.239 --> 0:55:28.880
<v Speaker 3>That's right. So McGinty. They're on the phone with McGuinty,

0:55:29.000 --> 0:55:32.680
<v Speaker 3>the chief the editor, and he fires Leyton and one

0:55:32.760 --> 0:55:36.439
<v Speaker 3>shot McGuire though I guess they did conspire, so fair enough. Yeah,

0:55:36.960 --> 0:55:39.000
<v Speaker 3>and obviously this is not the first time he has

0:55:39.040 --> 0:55:41.560
<v Speaker 3>fired them. They even say so. They're like, you'll hire

0:55:41.640 --> 0:55:45.279
<v Speaker 3>us back. You always do. But the real downside they

0:55:45.320 --> 0:55:47.399
<v Speaker 3>don't seem all that upset about getting fired. The real

0:55:47.480 --> 0:55:50.239
<v Speaker 3>downside is there now on the outs with their new

0:55:50.320 --> 0:55:53.319
<v Speaker 3>lady friends, Mary and Maxine are not happy with them

0:55:53.400 --> 0:55:57.120
<v Speaker 3>for doing a hoax, especially since this hoax involves the

0:55:57.560 --> 0:56:02.080
<v Speaker 3>creature that allegedly killed their brothers and family friends and

0:56:02.239 --> 0:56:03.680
<v Speaker 3>so forth and almost fiance.

0:56:04.280 --> 0:56:07.160
<v Speaker 2>Yeah, it seems like a massive misstep, especially on that angle.

0:56:07.719 --> 0:56:09.800
<v Speaker 3>But Layton's a real go getter. He doesn't let this

0:56:11.120 --> 0:56:14.440
<v Speaker 3>put him to bed. He keeps investigating and he finds

0:56:14.440 --> 0:56:17.560
<v Speaker 3>out about the history of Corruthers and the Heath Company.

0:56:17.719 --> 0:56:20.440
<v Speaker 3>He finds out the Coruthers missed out on getting part

0:56:20.480 --> 0:56:23.080
<v Speaker 3>of the Heath Company fortune by just being being paid

0:56:23.120 --> 0:56:27.480
<v Speaker 3>in cash instead. And there's some notes somewhere in here

0:56:27.520 --> 0:56:31.600
<v Speaker 3>about like a chemist examines the Legosi lotion and finds

0:56:31.640 --> 0:56:34.759
<v Speaker 3>out that it has a previously unknown element in it

0:56:34.920 --> 0:56:39.040
<v Speaker 3>that could not be identified. I love this detail. It

0:56:39.120 --> 0:56:43.640
<v Speaker 3>seems a bit much. But Bella explains that the otherwise

0:56:43.760 --> 0:56:47.719
<v Speaker 3>unknown element was something he found in Tibet, which the

0:56:47.920 --> 0:56:49.879
<v Speaker 3>Lamas use in their ceremonies.

0:56:50.680 --> 0:56:53.800
<v Speaker 2>Okay, all right, okay, I don't know what those ceremonies

0:56:53.840 --> 0:56:57.840
<v Speaker 2>could be if it gets bats riled up in the scenario,

0:56:57.960 --> 0:56:58.839
<v Speaker 2>but okay, fair enough.

0:56:59.360 --> 0:57:03.479
<v Speaker 3>Anyway, so En goes to confront Legosi with questions about

0:57:03.480 --> 0:57:04.960
<v Speaker 3>all this stuff that they take him some of the

0:57:05.000 --> 0:57:08.560
<v Speaker 3>aftershape to analyze, I believe, and Legosi is like, oh,

0:57:09.239 --> 0:57:11.120
<v Speaker 3>you know, to the chief of police and to Leyden,

0:57:11.160 --> 0:57:13.320
<v Speaker 3>why didn't you both each take a bottle of this

0:57:13.400 --> 0:57:14.680
<v Speaker 3>stuff home with you and use it.

0:57:15.600 --> 0:57:15.719
<v Speaker 2>Now?

0:57:15.800 --> 0:57:18.240
<v Speaker 3>The chief of police he's having none of it. He says,

0:57:18.360 --> 0:57:21.680
<v Speaker 3>if my wife ever smelled perfume on me, she'd suspect me. Sure,

0:57:22.320 --> 0:57:25.240
<v Speaker 3>so he won't take it. But Leyton he's like, yeah, sure,

0:57:25.440 --> 0:57:28.080
<v Speaker 3>I'll take some and of course he gets attacked later

0:57:28.240 --> 0:57:30.160
<v Speaker 3>that night while he is sitting out in the garden

0:57:30.280 --> 0:57:33.360
<v Speaker 3>with one shot. But this actually works out to their

0:57:33.400 --> 0:57:36.640
<v Speaker 3>benefit because Leyden pulls a revolver out of his coat pocket,

0:57:37.040 --> 0:57:40.800
<v Speaker 3>shoots the devil bat, kills the devil bat. So the

0:57:40.880 --> 0:57:43.160
<v Speaker 3>devil Bat wasn't I don't know all that threatening. In

0:57:43.240 --> 0:57:46.640
<v Speaker 3>the end, they get destroyed by rather mundane means, and

0:57:46.800 --> 0:57:50.160
<v Speaker 3>then it's the biggest story on all the newspapers. The

0:57:50.280 --> 0:57:54.520
<v Speaker 3>headline is reporter kills devil bat, subhead shoots monster.

0:57:56.040 --> 0:57:58.200
<v Speaker 2>Well, I wondered, did he write this story for the paper?

0:57:58.280 --> 0:58:01.360
<v Speaker 2>That seems like it would be a massive misstep as well,

0:58:01.440 --> 0:58:03.640
<v Speaker 2>But I don't think he would. He would probably fight

0:58:03.720 --> 0:58:05.480
<v Speaker 2>for it. He's like, look, I killed the devil Bat,

0:58:05.680 --> 0:58:09.280
<v Speaker 2>I should get to write the article. Yes, I can

0:58:09.960 --> 0:58:13.240
<v Speaker 2>maintain my journalistic integrity. Yes, I did just try and

0:58:13.320 --> 0:58:14.240
<v Speaker 2>fake a bat photo.

0:58:15.640 --> 0:58:20.240
<v Speaker 3>Do you see the article underneath shoots monster is called Americanism.

0:58:20.920 --> 0:58:23.200
<v Speaker 2>I was trying to figure out or if the Americanism

0:58:23.320 --> 0:58:24.960
<v Speaker 2>is part of the monster shooting or is this a

0:58:25.040 --> 0:58:29.000
<v Speaker 2>separate like article. There's a subsection somebody's like Weekly Callum

0:58:29.080 --> 0:58:30.200
<v Speaker 2>on Americanism in.

0:58:30.280 --> 0:58:33.200
<v Speaker 3>A classic display of americanism. The reporter has shot the

0:58:33.280 --> 0:58:37.000
<v Speaker 3>devil bat. But you know now that they've actually got

0:58:37.600 --> 0:58:40.240
<v Speaker 3>a real dead devil bat corpse in hand, and not

0:58:40.480 --> 0:58:43.880
<v Speaker 3>just a taxidermid object, they can prove they were right

0:58:44.000 --> 0:58:48.000
<v Speaker 3>all along. So everybody has to eat crow. There's another

0:58:48.120 --> 0:58:51.640
<v Speaker 3>radio program with the remember the skeptic professor rains. He

0:58:51.720 --> 0:58:54.400
<v Speaker 3>comes back. He's like, look, I was wrong. The devil

0:58:54.480 --> 0:58:57.800
<v Speaker 3>bat does exist and it is the last of its kind,

0:58:58.000 --> 0:59:01.560
<v Speaker 3>a giant bat from the Neolithic age, which he explains

0:59:01.600 --> 0:59:04.640
<v Speaker 3>is another word for the Stone Age. Thank you, professor.

0:59:05.000 --> 0:59:06.960
<v Speaker 2>Of course, we know this is not true. We know

0:59:07.120 --> 0:59:10.880
<v Speaker 2>that this bat is not an ancient creature. It is

0:59:11.200 --> 0:59:14.040
<v Speaker 2>newly cooked up in Lagosi's microwave.

0:59:14.320 --> 0:59:16.720
<v Speaker 3>But how but he's the foremost authority on animals.

0:59:17.680 --> 0:59:21.160
<v Speaker 2>Well yeah, I mean maybe he recognizes the process that's

0:59:21.200 --> 0:59:23.440
<v Speaker 2>going on, but he doesn't understand the technology involved.

0:59:24.160 --> 0:59:26.280
<v Speaker 3>Shows how much you know, professor, Get out of your

0:59:26.320 --> 0:59:30.080
<v Speaker 3>ivory tower. You don't even know about Bella Legosi's bat microwave.

0:59:30.600 --> 0:59:33.120
<v Speaker 3>So Bella has to cook up another bat from the freezer,

0:59:33.160 --> 0:59:36.520
<v Speaker 3>which he does. He gets it out and he cooks

0:59:36.560 --> 0:59:39.120
<v Speaker 3>it with the electricity, and then he goes and checks

0:59:39.160 --> 0:59:42.480
<v Speaker 3>the bat with the stethoscope and he's smiling. He says, splendid,

0:59:42.600 --> 0:59:46.440
<v Speaker 3>you will be even greater than your unfortunate predecessor, and

0:59:46.520 --> 0:59:50.520
<v Speaker 3>then the bat screams in stock footage and he's like enraged,

0:59:50.600 --> 0:59:54.400
<v Speaker 3>aren't you fine? I'm enraged also tonight I shall call

0:59:54.480 --> 0:59:58.480
<v Speaker 3>on Henry Morton and you shall strike him down. So

0:59:58.600 --> 1:00:01.160
<v Speaker 3>we get another scene, another one of these classic scenes

1:00:01.200 --> 1:00:04.160
<v Speaker 3>of Bella convincing somebody to put the lotion on their skin.

1:00:04.720 --> 1:00:08.160
<v Speaker 3>He goes to the offices of Heath Cosmetics where he's

1:00:08.560 --> 1:00:11.680
<v Speaker 3>showing everything to Morton, the big boss, and he's like,

1:00:11.760 --> 1:00:13.640
<v Speaker 3>you know, my lotion's so good, try it out, and

1:00:13.720 --> 1:00:16.720
<v Speaker 3>Morton says, no, I'll try it tomorrow after I shave,

1:00:16.920 --> 1:00:20.640
<v Speaker 3>you know, because it's after shave. He says, quote, then

1:00:20.760 --> 1:00:23.760
<v Speaker 3>my skin will be more tender and receptive to the lotion.

1:00:24.280 --> 1:00:26.560
<v Speaker 3>And Legosi is like, yeah, why not try it now?

1:00:26.840 --> 1:00:29.240
<v Speaker 3>See you can put it right over the jugular vein

1:00:29.360 --> 1:00:32.240
<v Speaker 3>where the skin is always tender and receptive to a lotion.

1:00:33.280 --> 1:00:37.240
<v Speaker 3>Once again comments about isn't it too strong? He's like, no, no, no,

1:00:37.400 --> 1:00:40.240
<v Speaker 3>it'll evaporate quickly. So he sort of bullies Morton into

1:00:40.280 --> 1:00:43.680
<v Speaker 3>putting the lotion on his throat. Then Morton starts gloating

1:00:43.760 --> 1:00:46.280
<v Speaker 3>about how all of the doctor's formulas have been highly

1:00:46.360 --> 1:00:48.760
<v Speaker 3>successful and it was quite foolish of him to take

1:00:48.840 --> 1:00:51.000
<v Speaker 3>cash for his work instead of a cut of the profits.

1:00:51.000 --> 1:00:53.080
<v Speaker 3>Otherwise he would be he would be a rich man. Now,

1:00:53.600 --> 1:00:56.480
<v Speaker 3>So you're not feeling that bad for Morton's just being

1:00:56.560 --> 1:00:57.200
<v Speaker 3>a jerk.

1:00:57.040 --> 1:01:00.480
<v Speaker 2>Here, Yeah, yeah, he is, he absolutely So he does

1:01:00.560 --> 1:01:03.280
<v Speaker 2>seem a bit oblivious too, Like, so he's not I

1:01:03.320 --> 1:01:06.320
<v Speaker 2>don't know, it's a weird mix of him being kind

1:01:06.360 --> 1:01:11.240
<v Speaker 2>of like accidentally jerky and still a bit maliciously jerky.

1:01:11.600 --> 1:01:14.840
<v Speaker 3>Yeah, yeah, you're right. He's like, huh, isn't it funny?

1:01:14.880 --> 1:01:16.520
<v Speaker 3>You're the one that did the work, but I got

1:01:16.640 --> 1:01:18.360
<v Speaker 3>rich and that that's funny, isn't it.

1:01:18.600 --> 1:01:22.200
<v Speaker 2>Yeah, And then he continues here as Legosi keeps making

1:01:22.320 --> 1:01:26.200
<v Speaker 2>even more like cutting and suggestive comments that imply that

1:01:26.280 --> 1:01:27.760
<v Speaker 2>he has been murdering people with bats.

1:01:28.000 --> 1:01:30.680
<v Speaker 3>Yeah, that's right. So he's like, you know, you've had

1:01:30.680 --> 1:01:32.960
<v Speaker 3>a lot of fun in your laboratory with your experiments,

1:01:33.040 --> 1:01:35.840
<v Speaker 3>dreaming up something new. You're a dreamer, doc. Money's bad

1:01:35.920 --> 1:01:39.800
<v Speaker 3>for dreamers, and Legosi is just dissecting Morton's brain with

1:01:39.920 --> 1:01:44.440
<v Speaker 3>his eyes, and Legosi tells more tells Morton that his

1:01:44.560 --> 1:01:48.000
<v Speaker 3>feeble intellect cannot begin to comprehend the magnitude of his

1:01:48.080 --> 1:01:51.960
<v Speaker 3>scientific discoveries. Morton's like, what discovery are you talking about?

1:01:52.280 --> 1:01:54.640
<v Speaker 3>And he says, when you find out, Henry, it will

1:01:54.720 --> 1:02:01.160
<v Speaker 3>be too late for you anyway, good night. Oh and

1:02:01.320 --> 1:02:04.080
<v Speaker 3>also before he leaves, he mentioned something about having already

1:02:04.160 --> 1:02:07.480
<v Speaker 3>proved his discovery three times. There have been three murders.

1:02:07.960 --> 1:02:10.800
<v Speaker 2>Yeah, and this still doesn't instantly sink in for Morton.

1:02:11.960 --> 1:02:12.760
<v Speaker 3>It takes a minute.

1:02:12.800 --> 1:02:13.520
<v Speaker 2>It takes a minute.

1:02:13.800 --> 1:02:16.360
<v Speaker 3>Morton starts thinking about that and he's like, huh. So

1:02:16.520 --> 1:02:18.640
<v Speaker 3>he puts in a phone call to Martin Heath and

1:02:18.720 --> 1:02:20.320
<v Speaker 3>he's like, I think I've got a clue to solve

1:02:20.360 --> 1:02:23.520
<v Speaker 3>the murders. He says, if half of what I suspect

1:02:23.640 --> 1:02:26.480
<v Speaker 3>is true, it's the most diabolical plot then a madman

1:02:26.600 --> 1:02:30.600
<v Speaker 3>ever concocted. So they're both out driving on a dark

1:02:30.720 --> 1:02:34.400
<v Speaker 3>road and Legosi leaves first, and he's also going to

1:02:34.600 --> 1:02:38.840
<v Speaker 3>Martin Heath's house. But Legosi gets there before Morton and

1:02:39.000 --> 1:02:41.520
<v Speaker 3>he parks. He opens the trunk of his car and

1:02:41.640 --> 1:02:44.160
<v Speaker 3>a bat just screams and flies out of the trunk,

1:02:45.280 --> 1:02:47.920
<v Speaker 3>and so of course right after this, Morton arrives. But

1:02:48.000 --> 1:02:51.360
<v Speaker 3>the bat it gets him. It devil bats him. Now,

1:02:51.440 --> 1:02:53.280
<v Speaker 3>in this case, a bunch of the guys in the

1:02:53.320 --> 1:02:56.000
<v Speaker 3>house like they don't I think they don't see the bat,

1:02:56.120 --> 1:02:58.880
<v Speaker 3>but they see Morton like he's banging on the door,

1:02:58.960 --> 1:03:00.840
<v Speaker 3>screaming for help, and they go and open the door

1:03:01.120 --> 1:03:04.360
<v Speaker 3>and he just like collapses into the foyer dead, and

1:03:05.240 --> 1:03:07.760
<v Speaker 3>you know, they're like, oh, whoop's another one. So we

1:03:07.840 --> 1:03:11.320
<v Speaker 3>see a newspaper headline again, call and it's Devil Bat's

1:03:11.520 --> 1:03:14.560
<v Speaker 3>mate kills Henry Morton. Yeah, don't how do they know

1:03:14.640 --> 1:03:15.200
<v Speaker 3>it's his mate?

1:03:15.840 --> 1:03:17.920
<v Speaker 2>Yeah? I feel like that that headline the editor was

1:03:17.920 --> 1:03:19.480
<v Speaker 2>playing it up a little bit like, let's get a

1:03:19.560 --> 1:03:20.200
<v Speaker 2>love angle in.

1:03:20.240 --> 1:03:22.560
<v Speaker 3>Here between the bats, bride of devil Bat.

1:03:22.800 --> 1:03:25.640
<v Speaker 2>Yeah, that was probably one of the candidates.

1:03:26.040 --> 1:03:28.040
<v Speaker 3>Oh and while it's showing us all the headlines this

1:03:28.200 --> 1:03:31.240
<v Speaker 3>time this has happened before, it's like superimposing the shots

1:03:31.280 --> 1:03:34.760
<v Speaker 3>of the newspaper with that footage of close up footage

1:03:34.800 --> 1:03:39.000
<v Speaker 3>of a bat face. So who's the next victim going

1:03:39.040 --> 1:03:42.000
<v Speaker 3>to be? Well, we see a silhouette of Bella Lagosi

1:03:42.120 --> 1:03:44.480
<v Speaker 3>wearing a hat in the dark room with the bottle

1:03:44.520 --> 1:03:48.040
<v Speaker 3>of his formula and he's surreptitiously adding it to something.

1:03:48.160 --> 1:03:52.080
<v Speaker 3>What could it be? Well, after the scene, we get

1:03:52.280 --> 1:03:56.040
<v Speaker 3>a scene where Leyton Leyton is addressing Martin Heath, Mary

1:03:56.400 --> 1:04:00.520
<v Speaker 3>Legosi and one Shot maguire and he explains he's very

1:04:00.840 --> 1:04:03.400
<v Speaker 3>glad that mister Heath invited him to come live in

1:04:03.520 --> 1:04:07.000
<v Speaker 3>their home until Devil Bat two is defeated, because he's

1:04:07.000 --> 1:04:09.080
<v Speaker 3>worried about Mary, right, you know, he thinks she may

1:04:09.120 --> 1:04:13.480
<v Speaker 3>be targeted next. It's logical, but Heath hasn't quite caught

1:04:13.560 --> 1:04:15.960
<v Speaker 3>on yet. He's like, why would you think that? And

1:04:16.640 --> 1:04:19.600
<v Speaker 3>Leydon explains, well, the other victims were members of the

1:04:19.680 --> 1:04:23.120
<v Speaker 3>Morton and Heath families. Therefore, he concludes that someone is

1:04:23.280 --> 1:04:27.160
<v Speaker 3>using the bat to wipe out these two families. Legosi,

1:04:27.280 --> 1:04:30.680
<v Speaker 3>of course, claims this is preposterous. He says the thought

1:04:30.720 --> 1:04:35.520
<v Speaker 3>of a human controlling a bat is fantastical, and as

1:04:35.560 --> 1:04:38.480
<v Speaker 3>a counterexample, he points out that even one Shot McGuire

1:04:38.680 --> 1:04:40.600
<v Speaker 3>was attacked by a bat, and he's not a Heather

1:04:40.680 --> 1:04:43.400
<v Speaker 3>or a Morton, so that's a good point. But one

1:04:43.480 --> 1:04:46.640
<v Speaker 3>Shot McGuire argues, now wait a second, I'm basically a

1:04:46.720 --> 1:04:49.240
<v Speaker 3>member of this family because I am definitely going to

1:04:49.320 --> 1:04:51.240
<v Speaker 3>get married to the French maid.

1:04:51.600 --> 1:04:53.080
<v Speaker 2>Oh well, yeah, that works out.

1:04:53.360 --> 1:04:55.520
<v Speaker 3>So they all say they're good nights, and then Legosi

1:04:55.840 --> 1:04:58.560
<v Speaker 3>once again does it instance you know, Mary says good

1:04:58.640 --> 1:05:01.880
<v Speaker 3>night to him and he says good by Mary. So

1:05:02.080 --> 1:05:04.480
<v Speaker 3>later we see Mary getting ready for bed. She wonders

1:05:04.520 --> 1:05:08.200
<v Speaker 3>if Maxine has filled her perfume bottles with something new,

1:05:08.320 --> 1:05:11.040
<v Speaker 3>because there is a strong, smelling new fragrance in them.

1:05:11.480 --> 1:05:14.600
<v Speaker 3>Maxine denies it, and Mary concludes that it must have

1:05:14.640 --> 1:05:18.960
<v Speaker 3>been her father, who apparently secretly switcheroose her perfume every

1:05:19.000 --> 1:05:24.600
<v Speaker 3>time his factory produces a new one. That's a bold move. Also,

1:05:24.880 --> 1:05:26.520
<v Speaker 3>she's putting on perfume to go to bed.

1:05:27.600 --> 1:05:29.760
<v Speaker 2>I mean, I don't need Maybe she skipped a shower,

1:05:30.120 --> 1:05:31.680
<v Speaker 2>I don't I don't really know what the rules here,

1:05:32.400 --> 1:05:33.880
<v Speaker 2>and maybe that was the thing in the forties or

1:05:34.040 --> 1:05:34.760
<v Speaker 2>maybe people do that.

1:05:34.840 --> 1:05:36.800
<v Speaker 3>I don't know what people do with perfume. Do people

1:05:36.840 --> 1:05:38.000
<v Speaker 3>put on perfume to go to bed?

1:05:38.080 --> 1:05:40.560
<v Speaker 2>Maybe they do? After this nitty though, you'll never put

1:05:40.600 --> 1:05:42.280
<v Speaker 2>on perfume before you go to bed again.

1:05:43.120 --> 1:05:47.120
<v Speaker 3>Yeah, So anyway, so Mary goes to bed and we

1:05:47.200 --> 1:05:49.520
<v Speaker 3>see the bat fly out and what's going to happen.

1:05:49.560 --> 1:05:51.040
<v Speaker 3>Of course, you know it's going to come to her room,

1:05:51.120 --> 1:05:53.520
<v Speaker 3>but it actually doesn't get in. It like zooms through

1:05:53.560 --> 1:05:56.720
<v Speaker 3>the night, screeching until it reaches Mary's window and then

1:05:56.800 --> 1:05:59.080
<v Speaker 3>it's just there banging against the window and she wakes

1:05:59.160 --> 1:06:02.760
<v Speaker 3>up alarms. All the dudes come running and Mary survives

1:06:02.840 --> 1:06:06.160
<v Speaker 3>the night. But the next morning there's an investigation what

1:06:06.400 --> 1:06:10.600
<v Speaker 3>could have happened, and they discover the perfume switch. So Leyden,

1:06:10.800 --> 1:06:13.400
<v Speaker 3>he's finally putting all the pieces together here. He thinks

1:06:13.440 --> 1:06:15.560
<v Speaker 3>he's figured out the case, and he comes up with

1:06:15.640 --> 1:06:18.720
<v Speaker 3>a plan. He's like, Okay, we're gonna lie to Carrothers

1:06:18.800 --> 1:06:22.160
<v Speaker 3>and make him think that Mary was injured or perhaps

1:06:22.320 --> 1:06:24.960
<v Speaker 3>driven insane by the bat, and then we're going to

1:06:25.040 --> 1:06:27.600
<v Speaker 3>trick him into coming over to the house and then

1:06:27.760 --> 1:06:31.440
<v Speaker 3>stall him here for time. Meanwhile, Leyden's gonna run around

1:06:31.560 --> 1:06:34.800
<v Speaker 3>and do what he calls a little private bat hunting.

1:06:36.000 --> 1:06:38.200
<v Speaker 3>What this really means is he's going up to Carruther's

1:06:38.280 --> 1:06:41.720
<v Speaker 3>lab to snoop around. He does that and he finds

1:06:41.880 --> 1:06:44.400
<v Speaker 3>the secret passageway and goes into the bat dungeon.

1:06:44.720 --> 1:06:47.320
<v Speaker 2>All right, So now all is becoming revealed.

1:06:47.720 --> 1:06:50.520
<v Speaker 3>But the others don't do a great job at their

1:06:50.600 --> 1:06:53.320
<v Speaker 3>part of this plan. So like they're trying to stall

1:06:53.480 --> 1:06:56.560
<v Speaker 3>Corrothers at the house and he's trying to leave if

1:06:56.600 --> 1:06:59.000
<v Speaker 3>he needs to get back to his lab, and one

1:06:59.040 --> 1:07:01.480
<v Speaker 3>shot Maguire like, I don't feel so good. You ought

1:07:01.520 --> 1:07:03.600
<v Speaker 3>to see my tongue. It looks like a squirrel's tail.

1:07:04.200 --> 1:07:07.240
<v Speaker 3>But Carrothers just advises him to take a mercury compound.

1:07:08.360 --> 1:07:10.920
<v Speaker 3>And so Carrothers goes back to the lab. There's some

1:07:11.160 --> 1:07:14.160
<v Speaker 3>cat and mouse there with Leyden sneaking around while Carrothers is,

1:07:14.560 --> 1:07:18.600
<v Speaker 3>you know, doing things, and Leyden witnesses carr others talking

1:07:18.680 --> 1:07:21.560
<v Speaker 3>to his bats. So there's there's no going back now

1:07:21.640 --> 1:07:25.840
<v Speaker 3>he knows what's up. I think he's going to let

1:07:25.920 --> 1:07:28.520
<v Speaker 3>them out for the night, because if you interpreted this

1:07:28.640 --> 1:07:30.560
<v Speaker 3>the same way, Rob, I think he thinks the jig

1:07:30.680 --> 1:07:32.800
<v Speaker 3>is up and he doesn't want the bats around if

1:07:32.800 --> 1:07:34.120
<v Speaker 3>somebody comes snooping.

1:07:33.920 --> 1:07:36.800
<v Speaker 2>Mm hmm, yeah, let him go like flush the bats

1:07:36.840 --> 1:07:37.680
<v Speaker 2>down the toe.

1:07:37.680 --> 1:07:43.760
<v Speaker 3>Yeah, exactly. And so Leyden sneaks around around the house,

1:07:43.840 --> 1:07:46.240
<v Speaker 3>knocks on the front door and he asks for some

1:07:46.320 --> 1:07:48.480
<v Speaker 3>of the shaving lotion. He says he thinks that if

1:07:48.520 --> 1:07:51.880
<v Speaker 3>he douses himself in it, it might attract the killer

1:07:52.520 --> 1:07:55.400
<v Speaker 3>Legosi plays dumb, but you know, gives him the bottle anyway,

1:07:55.880 --> 1:07:58.320
<v Speaker 3>and Leyden dabs some around his throat and he really

1:07:58.400 --> 1:08:00.720
<v Speaker 3>gets it up in there, and he's plains his plan

1:08:00.840 --> 1:08:03.080
<v Speaker 3>is to go sit in the garden and quote, when

1:08:03.120 --> 1:08:05.600
<v Speaker 3>the killer bat does one of its power dives, I'll

1:08:05.720 --> 1:08:08.360
<v Speaker 3>blast it, which is what he did last time. So

1:08:08.440 --> 1:08:10.560
<v Speaker 3>I guess he's planning to do this again. Maybe he's

1:08:10.600 --> 1:08:14.800
<v Speaker 3>hoping there are only two bats total. And so Carrothers

1:08:14.840 --> 1:08:18.479
<v Speaker 3>agrees to come along and watch this experiment. So they

1:08:18.520 --> 1:08:21.320
<v Speaker 3>have a little tense conversation in the garden at night.

1:08:21.960 --> 1:08:24.479
<v Speaker 3>They're a little apprehensive, or at least Corrothers is. They

1:08:24.560 --> 1:08:28.080
<v Speaker 3>trade some comments with heavy implication that maybe they understand

1:08:28.160 --> 1:08:31.640
<v Speaker 3>one another's motives. And then suddenly, at one point in

1:08:31.680 --> 1:08:34.200
<v Speaker 3>the conversation, Leyden just like tosses a bunch of the

1:08:34.240 --> 1:08:37.320
<v Speaker 3>shaving lotion on her Others and then reveals that he

1:08:37.479 --> 1:08:40.599
<v Speaker 3>knows the whole plot. And so at first Carothers seems

1:08:40.680 --> 1:08:43.439
<v Speaker 3>weirdly kind of gloomy. He just kind of accepts his fate,

1:08:43.840 --> 1:08:45.640
<v Speaker 3>but then tries to make a break for it, Like

1:08:45.720 --> 1:08:48.000
<v Speaker 3>he tries to grab and wrestle the gun from Leyden,

1:08:48.400 --> 1:08:51.360
<v Speaker 3>but the devil Bat appears and everybody scatters.

1:08:51.479 --> 1:08:53.240
<v Speaker 2>Right right, And you know what's going to happen next.

1:08:53.600 --> 1:08:56.639
<v Speaker 2>What is the comeuppance of any mad scientist that creates monsters?

1:08:56.760 --> 1:08:59.960
<v Speaker 3>Oh, of course, foiled by his own monster. Yeah, not foil,

1:09:00.439 --> 1:09:03.519
<v Speaker 3>so carruthers. Well, first he tries to trick Mary into

1:09:03.600 --> 1:09:06.160
<v Speaker 3>coming back to his lab, but he doesn't make it

1:09:06.360 --> 1:09:09.400
<v Speaker 3>gets he gets devil Bat dive bombed in the garden

1:09:09.800 --> 1:09:13.760
<v Speaker 3>on the way there, and so then Leyden comes and

1:09:13.880 --> 1:09:16.479
<v Speaker 3>has to explain to Mary. I laughed out loud at

1:09:16.479 --> 1:09:19.679
<v Speaker 3>this part where he's like, the devil Bat belonged to him, Mary,

1:09:20.000 --> 1:09:23.320
<v Speaker 3>he committed those murders. And then Mary just lays her

1:09:23.360 --> 1:09:26.559
<v Speaker 3>head on Leyden's shoulder, and then it's the end title,

1:09:26.720 --> 1:09:27.080
<v Speaker 3>the end.

1:09:27.439 --> 1:09:29.200
<v Speaker 2>Yeah, they're like, check on the doctor, and they're like,

1:09:29.200 --> 1:09:30.760
<v Speaker 2>I don't think the doc made. Yeah.

1:09:31.000 --> 1:09:34.320
<v Speaker 3>I love the abruptness with which these older movies end.

1:09:34.400 --> 1:09:38.400
<v Speaker 3>It's just the bad guy dies, the leading lady like

1:09:38.560 --> 1:09:40.880
<v Speaker 3>kisses or lays her head on the shoulder of the

1:09:41.000 --> 1:09:44.400
<v Speaker 3>leading man, and then you get title card the end,

1:09:44.520 --> 1:09:46.200
<v Speaker 3>all within twenty seconds.

1:09:46.600 --> 1:09:48.559
<v Speaker 2>Yeah, I mean it's been over an hour. People need

1:09:48.640 --> 1:09:51.040
<v Speaker 2>to get home from the theater and or they need

1:09:51.080 --> 1:09:53.519
<v Speaker 2>to watch the next movie that's playing immediately after this one.

1:09:53.840 --> 1:09:56.320
<v Speaker 2>But I think All Things Considered is a pretty good

1:09:56.360 --> 1:09:58.680
<v Speaker 2>final showdown, like with the back and forth between the

1:09:58.760 --> 1:10:04.200
<v Speaker 2>hero and the villain. You know, sometimes they're even more

1:10:04.280 --> 1:10:08.240
<v Speaker 2>by the books than this. Just we definitely watched some

1:10:08.360 --> 1:10:10.719
<v Speaker 2>of those and talked about them on Weird House Cinema

1:10:10.760 --> 1:10:13.040
<v Speaker 2>where it's like Bady gets makes a break for it

1:10:13.120 --> 1:10:15.760
<v Speaker 2>and is shot by the police. Monster is shot by

1:10:15.760 --> 1:10:18.320
<v Speaker 2>the police, Monster is killed by.

1:10:19.760 --> 1:10:20.400
<v Speaker 3>The military.

1:10:20.920 --> 1:10:22.960
<v Speaker 2>Military arrives, Clint Eastwood is in a jet play.

1:10:23.040 --> 1:10:24.400
<v Speaker 3>Yeah, exactly. Tarantula.

1:10:24.520 --> 1:10:26.639
<v Speaker 2>Yeah, so this one, this one is a little more

1:10:27.000 --> 1:10:29.679
<v Speaker 2>thought out than that and a little less by the numbers.

1:10:29.800 --> 1:10:33.600
<v Speaker 2>But then it does have that classic abrupt thirties and

1:10:33.680 --> 1:10:37.080
<v Speaker 2>forties ending, which yeah, I mean, it cleans it up nicely.

1:10:37.080 --> 1:10:38.120
<v Speaker 2>It's just like Bam, that's it.

1:10:39.200 --> 1:10:43.320
<v Speaker 3>Nothing could destroy the monster except the power of explosives.

1:10:43.920 --> 1:10:47.240
<v Speaker 2>And it's just so ridiculous that, granted years later, someone

1:10:47.280 --> 1:10:49.560
<v Speaker 2>would say I got an idea for a sequel to

1:10:49.640 --> 1:10:52.800
<v Speaker 2>this picture. What if he didn't do those murders. The

1:10:52.920 --> 1:10:56.439
<v Speaker 2>whole movie was about him doing the murders. It's not

1:10:56.600 --> 1:10:57.040
<v Speaker 2>in question.

1:10:57.360 --> 1:10:59.760
<v Speaker 3>I've almost got to watch that now. Oh, I don't know.

1:11:00.320 --> 1:11:01.840
<v Speaker 2>Maybe it's fun. I don't know. I haven't seen it.

1:11:02.120 --> 1:11:03.720
<v Speaker 2>But it doesn't have legosy. Oh.

1:11:03.800 --> 1:11:05.280
<v Speaker 3>It's called Devil Bat's Daughter.

1:11:05.520 --> 1:11:08.720
<v Speaker 2>That's what it is, which is weird because she's not

1:11:08.840 --> 1:11:11.120
<v Speaker 2>the daughter of the Devil Bat. She's Carrother's daughter.

1:11:11.240 --> 1:11:14.240
<v Speaker 3>But you know, yeah, the poster makes it look like

1:11:14.280 --> 1:11:15.360
<v Speaker 3>a Western.

1:11:15.439 --> 1:11:17.160
<v Speaker 2>Yeah, I don't know. It's supposedly yeah, less of a

1:11:17.200 --> 1:11:19.559
<v Speaker 2>horror film. And it has Miss America from nineteen forty

1:11:19.600 --> 1:11:22.280
<v Speaker 2>one in it. So oh, it's got that going for it. Okay,

1:11:23.120 --> 1:11:26.240
<v Speaker 2>all right, So there you have it. Devil Bat, the

1:11:26.400 --> 1:11:31.640
<v Speaker 2>Devil Bat, sorry except no substitutes. Yeah, this is a

1:11:31.760 --> 1:11:37.479
<v Speaker 2>it's a surprisingly fun watchable flick. Moved right along, had

1:11:37.520 --> 1:11:38.680
<v Speaker 2>some fun performances in it.

1:11:38.960 --> 1:11:41.320
<v Speaker 3>I feel like we really shouldn't stop here. We should

1:11:41.439 --> 1:11:45.479
<v Speaker 3>just keep going with Killer Bat movies and find them,

1:11:45.720 --> 1:11:48.120
<v Speaker 3>rank them, discuss what they have in common, the themes

1:11:48.200 --> 1:11:51.479
<v Speaker 3>they address. To what extent was Devil Bat really about

1:11:51.560 --> 1:11:54.040
<v Speaker 3>the bats? And to what extent. Was it really about

1:11:54.080 --> 1:11:54.960
<v Speaker 3>pride and lotion?

1:11:55.880 --> 1:11:58.400
<v Speaker 2>Yeah? I think it essentially is about pride and lotion,

1:11:58.600 --> 1:12:01.920
<v Speaker 2>much like Breaking Bad. His Breaking Bad is not really

1:12:01.960 --> 1:12:07.000
<v Speaker 2>about the math, it's about other things. But undeniably a

1:12:07.439 --> 1:12:10.920
<v Speaker 2>giant bat movie. So yeah, I'd be interesting to look

1:12:10.960 --> 1:12:12.599
<v Speaker 2>and see what all we have to consider in terms

1:12:12.600 --> 1:12:14.360
<v Speaker 2>of other giant bad films, aside from the ones we

1:12:14.439 --> 1:12:18.439
<v Speaker 2>already mentioned, like Life Force and possibly Friday Night. Oh

1:12:18.479 --> 1:12:18.880
<v Speaker 2>what do you know?

1:12:19.080 --> 1:12:22.280
<v Speaker 3>The British Film Institute website has a list of ten

1:12:22.360 --> 1:12:23.479
<v Speaker 3>great bat films.

1:12:24.080 --> 1:12:26.639
<v Speaker 2>Oh, excellent, just straight up bat films, not like bad

1:12:26.720 --> 1:12:29.760
<v Speaker 2>human hybrids, because that's the kind of another subgenre which

1:12:30.080 --> 1:12:32.120
<v Speaker 2>I can think of at least one really good example there.

1:12:32.680 --> 1:12:36.679
<v Speaker 3>But oh, one of the examples is Abominable Doctor Fibes

1:12:36.720 --> 1:12:39.240
<v Speaker 3>because remember one of the guys gets attacked by bats.

1:12:39.439 --> 1:12:42.559
<v Speaker 2>Oh that's right. Yeah, I mean, if you have vampires

1:12:42.600 --> 1:12:44.080
<v Speaker 2>in your film, there's a very good chance you're can

1:12:44.200 --> 1:12:46.160
<v Speaker 2>have bats. There's a good chance is going to turn

1:12:46.200 --> 1:12:51.400
<v Speaker 2>into a bat or bats, And yeah, I'm here for it.

1:12:51.720 --> 1:12:53.320
<v Speaker 3>All right. I think that does it for this one.

1:12:53.840 --> 1:12:56.080
<v Speaker 2>All right, we'll gohe and close it out. But just

1:12:56.120 --> 1:12:58.760
<v Speaker 2>a reminder that stuff to Blow Your Mind is primarily

1:12:58.800 --> 1:13:01.479
<v Speaker 2>a science and culture podcast. Asked core episodes on Tuesdays

1:13:01.479 --> 1:13:03.719
<v Speaker 2>and Thursdays, but on Fridays we set aside most serious

1:13:03.760 --> 1:13:06.080
<v Speaker 2>concerns to just talk about a weird film on Weird

1:13:06.120 --> 1:13:07.840
<v Speaker 2>House Cinema. If you want to see a list of

1:13:07.840 --> 1:13:09.680
<v Speaker 2>all the episodes we've done over the years, look us

1:13:09.720 --> 1:13:11.519
<v Speaker 2>up on the letterbox dot com. That's L E T

1:13:11.640 --> 1:13:13.320
<v Speaker 2>T E R B O x D dot com. Our

1:13:13.360 --> 1:13:16.120
<v Speaker 2>profile is weird House and we got a list right there.

1:13:16.160 --> 1:13:18.639
<v Speaker 2>You can look at it, look at all the fun

1:13:19.400 --> 1:13:22.439
<v Speaker 2>you know, box arts and poster arts. You can arrange

1:13:22.479 --> 1:13:24.560
<v Speaker 2>things by decade and see what we've gotten into what

1:13:24.640 --> 1:13:27.960
<v Speaker 2>we haven't gotten into. Write in with your suggestions because

1:13:28.000 --> 1:13:29.800
<v Speaker 2>we always want to hear what kind of films you'd

1:13:29.920 --> 1:13:32.160
<v Speaker 2>like us to talk about, and we also want your

1:13:32.240 --> 1:13:34.479
<v Speaker 2>feedback on the films that we've discussed. If you have

1:13:34.560 --> 1:13:37.120
<v Speaker 2>a history with the Devil bat If, so let us

1:13:37.160 --> 1:13:37.560
<v Speaker 2>know about it.

1:13:38.040 --> 1:13:41.680
<v Speaker 3>Huge thanks as always to our excellent audio producer Jjposway.

1:13:42.080 --> 1:13:43.720
<v Speaker 3>If you would like to get in touch with us

1:13:43.800 --> 1:13:46.280
<v Speaker 3>with feedback on this episode or any other, to suggest

1:13:46.360 --> 1:13:48.400
<v Speaker 3>a topic for the future, or just to say hello,

1:13:48.800 --> 1:13:51.280
<v Speaker 3>you can email us at contact at Stuff to Blow

1:13:51.320 --> 1:13:52.519
<v Speaker 3>Your Mind dot com.

1:13:59.120 --> 1:14:01.640
<v Speaker 1>Stuff to Blow Your Mind and is production of iHeartRadio.

1:14:02.000 --> 1:14:05.960
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1:14:06.080 --> 1:14:07.799
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