Intro: This sandwich tastes as dry as hell.
Richard: Hello, and welcome to Hello This Is The Doomed Show.
Richard: I am Richard.
Richard: Folks, I am on top of a mountain because my guest co-host chased me up there so that we could talk about a movie.
Richard: I am here with Arnie, AKA The Gordon Knight.
Richard: Hello, sir.
Arnie: Hello.
Arnie: Oh my god.
Richard: This is the place.
Richard: You're not in the wrong chat, dude.
Richard: Folks, we're going to talk about a little movie from 1983, called Mountaintop Motel Massacre, or as I call it, Mountaintop, Mountaintop, Mountaintop.
Richard: This is directed by Jim McCullough, Jr.
Richard: and written by his son, Jim McCullough, Jr.
Richard: Before we get started, just spoiler alert, because if you haven't seen this, the trailer I'm about to play is like the whole movie.
Arnie: It's the cliff notes for sure.
Richard: Yes, yes.
Richard: This is the, why did we bother, going out to the movies version.
Richard: So please watch this film beforehand, especially if you like roaches.
Trailer: Far from the beaten path lies a friendly little inn Girl, you better come get your cleaner before I chop his head off.
Trailer: where folks come from miles around.
Trailer: Hold on.
Trailer: to rest, relax, and make new friends.
Trailer: Honeydell.
Trailer: I'm Tanny.
Trailer: I'm Bill McWilly.
Trailer: I'm Evan Crenshaw.
Trailer: This is my cousin, Prissy.
Trailer: Your relative?
Trailer: Cousin.
Trailer: Are you okay, man, Evan?
Trailer: Crenshaw.
Trailer: Edwin.
Trailer: Tell your little wife I'll have a surprise for you.
Trailer: where no one ever complains.
Trailer: You mean we got to go down there after?
Trailer: We have to.
Trailer: And get my ice-cream lesson on, please, white woman.
Trailer: No way, O.C.
Trailer: Where people are dying to get a reservation.
Trailer: Hello?
Trailer: And any moment might be checkout time.
Trailer: I'm getting out of here.
Trailer: Is this any way to run a motel?
Trailer: You bet your life it is.
Trailer: Mountain Top Motel Massacre.
Richard: That was the trailer for the movie.
Richard: For some reason, I still find it necessary to read the plot synopsis.
Richard: Even though, you know, and we're going to talk about the plot too.
Richard: So I don't know what we're doing here, but we're going to make this the most memorable Mountaintop Motel Massacre you've ever seen, heard, heard.
Richard: I keep forgetting this is not a video show.
Richard: This is from the New World Pictures VHS tape.
Richard: Welcome to the Mountaintop Motel.
Richard: Remote, secluded, private.
Richard: All the fresh air you can breathe and the best views that money can buy.
Richard: Young marrieds on a honeymoon, country preacher on vacation, road weary traveler looking for a warm room and a home cooked meal.
Richard: You can check in any time you want, but you can never leave.
Richard: Little do the guests here know that the Mountaintop Motel is run by a deeply troubled middle-aged woman who is slowly going berserk.
Richard: That's not slow.
Richard: No, she is in the grip of a stifling madness and she attends to the guests in her own wicked ways.
Richard: Poisonous snakes, roaches, butcher knives, or any available kitchen utensil will do.
Richard: She is on a bloody rampage from which there is no escape.
Richard: Mountaintop Motel Massacre, The Terror is Real, color, 95 minutes.
Richard: The tagline is, please do not disturb Evelyn.
Richard: She already is.
Richard: Or it's always wine o'clock somewhere.
Richard: Right, ladies?
Richard: We're gonna go over some of the cast because this movie has a lot of characters and a lot of these wonderful people never worked again.
Arnie: That's a shock.
Richard: I know, you're gonna be okay.
Richard: Oh, but first, the director, Mr.
Richard: Jim McCullough Sr.
Richard: here, he was a producer for Creature from Black Lake from 1976, a masterpiece.
Richard: I love Creature from Black Lake.
Richard: He also did something called Video Murders, which I was mixing up with something that was shot on video.
Richard: But then when I looked at the movie, like it just looks like this totally different movie.
Richard: I was mixing up with video violence.
Richard: So I just have no idea, but I'm gonna look up Video Murders.
Richard: But he also did a movie called The Aurora Encounter.
Richard: Regionally made sci-fi epic children's movie set in the Old West.
Richard: The writer, his son, Jim McCullough Jr., he wrote Creature from Black Lake, and he produced something called Teen Vamp from 1989, which I am seeking out.
Richard: Let's just say the internet has a copy of Teen Vamp.
Richard: How promising is Teen Vamp?
Richard: 3.3 on IMDb.
Richard: Which is kind of brutal, honestly.
Richard: Although I did watch, Leigh-Anne and I watched The Visitants.
Richard: It's a Halloween movie that the guy who did Blood Theatre did, and I loved it.
Richard: 3.7.
Richard: Yeah, The Visitants.
Arnie: Is that a word?
Richard: It is for this title of this movie.
Richard: But that was 3.7, so that's like, that's too good.
Richard: Anyway, so yes, this cast.
Richard: We got Bill Thurman, who plays Reverend Bill McWillie.
Richard: And I don't know if you know this, but the McWillie is my most favorite McDonald's menu item that got canceled a long time ago.
Richard: He's a big time character actor in Silverado, Last Picture Show.
Richard: Speaking of regionally made horrors, Gator Bait was another one.
Richard: Is that?
Richard: That's not a horror movie.
Richard: It's more like a country thriller, I guess.
Richard: Anna Chappell, who plays Evelyn, never did anything else.
Richard: No, I'm sorry.
Richard: She did one other thing.
Richard: She peaked in this movie.
Arnie: I think she comes from a community theater background.
Richard: Yeah, she's real big.
Richard: She's like way over up over the top.
Richard: So I could absolutely see that.
Richard: Yep, we got James Bradford as the sheriff.
Richard: He is very successful TV and small roles in movies.
Richard: 40 years in the biz.
Richard: That guy, crazy.
Richard: Next up, we've got Greg Brazel, who plays Vernon, the newlywed, who spends most of the time in bed with a fricking snake bite in his face.
Richard: He's a stunt guy, 116 credits for stunt work.
Richard: Couple other characters who just did not go on to do anything.
Richard: Al, who's the fake record executive.
Richard: We got Prissy and Tanya, the singers.
Richard: This movie features them singing and it's not good.
Richard: You heard a little sample of it in the trailer.
Richard: They even included their singing in the trailer.
Arnie: Yeah.
Arnie: And I also noticed there's a credit for singing voice.
Richard: So it wasn't all they were being dubbed.
Arnie: It might not have even been them.
Arnie: Yeah.
Richard: That is brutal.
Richard: That is so sad.
Richard: So then we have my favorite character, Major Brock.
Richard: He plays Crenshaw, the self-proclaimed gentleman carpenter.
Richard: How is this guy not in hundreds of movies?
Arnie: Yeah.
Richard: Because he's great.
Arnie: He is great.
Richard: Oh my God.
Richard: So yeah.
Arnie: Crenshaw is a great name too.
Richard: He will nail your trap door shut and that's not a euphemism.
Richard: We'll come back to the crew later.
Richard: We will talk about who else worked on this beauty when we talk about some trivia.
Richard: We actually for very rare on this show, we actually have some trivia.
Richard: In a recent episode of Cameron Road, it was too much trivia.
Richard: Oh, it was the Amityville 2 episode.
Richard: They would have been three hours long if we did all the trivia.
Richard: Whereas most of the movies we cover on this show have no trivia.
Richard: This has a fair amount.
Richard: But yes, here comes the plot of the movie.
Richard: We get some blood dripping t-shirt font credits.
Richard: And we get the beautiful stats, like a baseball card of stats for Evelyn.
Richard: I forgot to take a screenshot to read this.
Richard: It's like institutionalized 1978, released 1981.
Richard: And I'm like, Ronald Reagan, why did you let all those poor people out of the asylums?
Richard: You son of a bitch.
Richard: I think that's one of the things Reagan was known for.
Richard: You posed a good question.
Richard: So Evelyn has a dead husband.
Richard: What do you think about this situation?
Arnie: So I personally think that she killed her husband and that is why she was institutionalized.
Richard: Right.
Arnie: The sheriff, no, the preacher says that he was a friend of hers and then kind of trails off like he doesn't come out and say that she killed him.
Arnie: Right.
Arnie: But I think that's got to be what's implied there.
Richard: Okay.
Richard: I didn't even think of that.
Richard: I love the portrait, the sexy portrait of her dead husband that she kind of talks to a little bit.
Richard: She has a daughter, which is amazing.
Richard: Talk about a character I thought would be in the whole fricking movie.
Richard: Oh, yeah.
Richard: This is her daughter, Laurie, which I don't even know.
Richard: Is this another actress that did not work again?
Richard: Jill King.
Richard: I didn't look her up, I forgot.
Richard: Yep, her only credit, which is a crime.
Arnie: Wow.
Richard: She loves animals.
Richard: She's having a tea party with her bunny and her goat, and her mom is killing her.
Richard: Was that a guinea pig or a bunny?
Arnie: It was either a guinea pig.
Arnie: Yeah, maybe it was a guinea pig.
Arnie: I was gonna say hamster, but yeah.
Richard: Some creature.
Richard: Luckily, it's fake.
Richard: This is all fake.
Arnie: And it was just full of blood.
Richard: Yeah, like like a water balloon.
Arnie: Yeah, of blood just spread.
Richard: Meanwhile, Lori is down in the cellar doing some intense summoning.
Richard: She's communing with the dead or something.
Richard: It's not established what she's doing, but when her mom finds her, all hell breaks loose and she goes into a rage and is using her scythe and scything up all the shit in the room, breaking all the stuff, does a 180 and then slashes her daughter's throat.
Richard: Show me a sign.
Richard: But this is a smart lady, she calls the fricking cops and the ambulance and what happens?
Arnie: She convinces them that there was a gardening accident, right?
Arnie: And they're quiet all over the garden.
Arnie: Oh yeah, in the kitchen.
Richard: So there's blood in the cellar, which nobody knows exists.
Richard: We'll find out later that nobody knows about the secret cellar situation, which is of course the fricking tunnel, speaking of hamsters, there's a tunnel.
Richard: And then there's just a little blood in the kitchen.
Richard: She moved the body to the kitchen.
Richard: So there's this tiny little bit of blood on the floor.
Richard: She's bled out, she's dead.
Richard: And yet they believe her.
Richard: Totally works.
Arnie: No reason to be suspicious of her.
Richard: No, but you had a, you said it looked like a certain film in your notes.
Arnie: Oh yeah, the scene.
Arnie: So in the kitchen, when the EMTs are there and the sheriff is there and the preacher.
Richard: Yeah, everybody's there.
Arnie: And the sun is like coming through the kitchen window where she has a box fan in the window and the sun is shining through the fan blades.
Arnie: So the shadow is going around and around everybody and there's this loud sound effect.
Arnie: Boom, boom, boom, boom, boom, boom, boom.
Arnie: The whole time.
Arnie: It looks like Apocalypse Now.
Richard: I'm trying to remember the line from Apocalypse Now.
Richard: He's like, I'm back in Shreveport.
Richard: God damn Shreveport.
Richard: No, here it is.
Richard: Shit.
Richard: I'm only in Shreveport.
Richard: Every time I think I'm going to wake back up in the Mountaintop Motel.
Richard: I can't believe after all those times watching freaking Apocalypse Now over and over again, I forgot that line.
Richard: That's like my brain's old or something.
Richard: So now the unexpected result of killing her is now that Laurie is free from her mortal coil.
Richard: She's commanding her mother to do things, which is part of the many not well-established stuff that's going to happen.
Richard: I have a serious opinion about Laurie.
Richard: But we'll talk about that when we get to the end of the movie.
Richard: Our buddy, the preacher, he just is staying in one of the cabins, presumably to like look after Evelyn.
Richard: So he's staying in one of these awful cabins, and he's about to have dinner when his new best friend shows up, Crenshaw, the superstar of this movie.
Arnie: I'm glad to hear you say that, because I really do love that guy.
Richard: He is great.
Richard: He's definitely the most smartest of everybody.
Richard: And he has the best line in the fricking movie.
Richard: He and he was thinking about going to get some dinner in like a nearby diner.
Richard: And that's when Mr.
Richard: McWillie, Reverend McWillie suggests they have somebody eat.
Richard: What does he suggest?
Arnie: Viennese sausages.
Arnie: Yes.
Arnie: And old crow.
Richard: A bottle of old crow and some vi-ini sausages.
Richard: I've never heard it pronounced that way.
Arnie: I still have to catch myself.
Arnie: That's the way that people still say it.
Arnie: Where I grew up in Eastern Kentucky, which is nowhere near Shreveport at all.
Arnie: Even though it looks extremely similar.
Richard: Sure.
Arnie: But yeah, I still have, sometimes I have to mentally check myself before I start to say Vienna sausages.
Richard: How often do you say that?
Arnie: Surprisingly often because that is a very popular lunch food at my workplace.
Richard: Nice.
Richard: See, my dad loved that.
Richard: My dad loved that when I was a kid.
Richard: And I, the color, I was like, oh, no, I'll eat a hot dog that's like been cooked.
Richard: That just looks like a raw hot dog to me.
Richard: And then I saw him spreading it on a cracker and I was like, oh, no, that's not for me.
Richard: I do like liver now, like pate once in a while.
Richard: So I probably get into it now.
Richard: I mean, I'm eating fricking sardines.
Richard: So, you know, who cares, right?
Richard: So now we got some newlyweds who, spoiler alert, they're going to be newly deads.
Richard: But yes, they're on their honeymoon.
Richard: It's so cute.
Richard: This is, this is the aforementioned Vernon, I believe.
Richard: And then his, his wife, Mary?
Richard: Yes, Mary.
Richard: That's Mary.
Richard: Again, her name is Marion Jones.
Richard: But yeah, that's these two.
Richard: He's, he's very horny, very excited about his wedding night.
Richard: They almost run over a dog, which was, I'm going to say this, it was a white dog and we never see it again in the movie.
Richard: So maybe it was a ghost dog, aka ghost dog, Colin, the way of the samurai.
Arnie: Ah, you know, you mentioned earlier that the guy that plays Vernon was mainly a stunt guy.
Richard: Yeah.
Arnie: So I guess that's why they had to have the little spin out in the truck on the dirt road.
Richard: He says something like, I should have been a stunt driver.
Arnie: Yeah, yeah, he does.
Richard: Clever, clever.
Richard: I love it.
Richard: He's like, hey, director and writer.
Richard: I wrote a line for myself.
Richard: We love it.
Richard: We do nothing about your character until just now.
Richard: He utters the immortal line.
Arnie: This is it.
Richard: What the hell do you expect?
Richard: A holiday inn?
Richard: And, you know, like folks, if you're ever out on your honeymoon and you check into a hotel because it's convenient and you're tired, you don't give a shit.
Richard: If it's bad, just get out of there.
Richard: It's not worth dying over.
Richard: Oh, my God.
Arnie: Spend the extra $15.
Richard: Dude, I'm telling you, go to the holiday inn, find it.
Richard: Use your phone.
Richard: Okay.
Richard: So while this couple is getting ready for their big moment, what is going on with Evelyn?
Richard: Where is she at this point?
Arnie: So she's in the tunnels with a bag.
Arnie: And then we see her pop up through a trap door.
Arnie: Inside the bathroom of the newlyweds cabin, just like in, you know, most roadside motels.
Richard: That's how you get them clean.
Arnie: Yeah.
Arnie: You use the tunnel.
Arnie: You can't disturb the guest.
Arnie: You have to use the servant tunnels.
Arnie: No.
Arnie: So she dumps out some type of snake.
Arnie: I have no idea.
Arnie: Oh my God.
Arnie: What type of snake it's supposed to be.
Richard: You had mentioned, I'm sorry.
Richard: I didn't mean to skip that part.
Richard: Actually, her daughter's bedroom is really interesting.
Richard: Her daughter's bedroom is where she gets the snake.
Richard: Cause of course her daughter has all these animals.
Richard: But yeah, she's got all these child's drawings everywhere.
Richard: But these child's drawings are all over the whole fricking place.
Richard: Like every room.
Richard: We need some art for this room, Laurie.
Richard: Could you draw something up for me?
Arnie: Yeah.
Arnie: Here's a crayon scroll.
Richard: My favorite is a heart, like a really simple heart.
Richard: And it just says Laurie under it.
Richard: And I'm like, wait, does she love herself?
Richard: Or was that the signature?
Richard: She's pro Laurie, this Laurie person.
Richard: So she brings a snake, and it's a real snake for like five seconds in this movie.
Richard: The rest of the time, it's this hilarious fake snake.
Richard: Whenever this Evelyn lady is handling it, it's a fake snake.
Richard: Vernon gets bit in the face, and they spend the rest of the movie waiting for help.
Richard: I said that these tunnels are very convenient.
Arnie: Yes.
Richard: Oh God.
Richard: What if they were appropriated from like part of the Underground Railroad?
Richard: Like they were like helping people get out of Shreveport.
Arnie: Okay.
Richard: I don't know.
Richard: I don't know where I could that just pull that out of nowhere.
Richard: I have no idea why I thought that.
Richard: But there's your tunnel explanation, everybody.
Richard: We meet the singers, Tanya and Prissy.
Richard: Now, I call them, their stage name is the Brawlous Wonders.
Richard: They're in their Volkswagen Bug cruising down the middle of nowhere on the highway.
Richard: They break down.
Richard: They're stranded in the rain.
Richard: Very convenient for the teenage boys watching.
Richard: But they're rescued by the fake hero of the movie.
Richard: Tell me about Al.
Arnie: Al is, he's too smooth for his own good.
Arnie: That's his problem.
Arnie: He's just way too smooth.
Arnie: He's an advertising guy of some type, but he presents himself as apparently the head of Columbia Records.
Arnie: So, you know, if you're going to go, go big.
Arnie: I guess he says, you know, Columbia Records, that's my baby.
Richard: I have a pack of 12 lawyers working for me.
Arnie: Yeah, come on, dude.
Arnie: So that's how he entices the girls who he has.
Arnie: Yeah, he stops to help.
Arnie: Right.
Arnie: He sees him on the side of the road and stops to help him.
Arnie: And as soon as he gets a close up look, that's when the Columbia Records scam comes out.
Richard: He truly is a mad man from the show Mad Men.
Arnie: Oh, God.
Arnie: So he's enticing them because they want to be singers.
Arnie: Right.
Arnie: We've already heard them sing a little bit at this point.
Arnie: Yeah.
Richard: Yeah.
Richard: They they they were singing in the car.
Richard: And one of them goes, Oh, watch out, Loretta.
Richard: No, Loretta is fine.
Richard: Leave Loretta out of this.
Richard: Yeah, they're singing is is brutally bad.
Richard: And I mean, they could sing better than I can.
Richard: But they're supposed to be harmonizing together.
Arnie: Very like baby dollish.
Arnie: Yeah.
Arnie: Way too soft and sweet.
Richard: Oh, Al has a good poker face.
Richard: He's putting up with it.
Richard: He's like, if I'm going to get laid, I got to I got to pretend this is really great.
Richard: I love it.
Richard: So meanwhile, our buddy Crenshaw is reading in his room.
Richard: It's not important at all, not important at all, but I had to look it up.
Richard: He's reading a book called The Sealed Verdict.
Richard: It's a novel, it's a hit by Lionel Shapiro in the 50s.
Richard: And it says, out of the embers of a conquered country comes a flaming love story.
Richard: So strange.
Richard: It couldn't be, but was.
Richard: Bob Lashley, a young, handsome courtroom prosecutor, bitter in his hatred for the enemy.
Richard: Themis Delisle, beautiful, supple, mocking.
Richard: What was she?
Richard: Devil or angel?
Richard: And this is apparently a movie.
Richard: It's one of those novels that was such a hit.
Richard: Paramount Pictures bought it and put it out, starring Ray Milan and Florence Marley.
Arnie: I still have no idea what the story of that could be.
Richard: I don't know.
Richard: He's a prosecutor, but he hates the enemy.
Richard: I don't know.
Richard: Is this supposed to take place in World War II?
Richard: I don't know.
Richard: I'm very confused.
Richard: Let's see.
Richard: The sealed verdict.
Richard: I am the butthole.
Richard: Oh, in 1948.
Richard: OK, so 40.
Richard: So yes, he's he's going against former Nazi war criminals.
Richard: That's who the enemy is.
Richard: Gotcha.
Richard: Directed by Lewis Allen.
Richard: Looks fascinating.
Richard: But anyway, so he's reading.
Richard: He eventually falls asleep.
Richard: And the worst trick of all is played on him because Evelyn brings in the roaches.
Richard: This is after she did the rats on her buddy, the reverend.
Richard: What are your opinions on this rat and roach combo?
Arnie: Yeah.
Arnie: Oh, man.
Arnie: The roach one.
Arnie: I do not like bugs, especially any type of beetle.
Arnie: Anything with antennae.
Arnie: Sure.
Arnie: So that's really grossed me out.
Arnie: The rats was pretty silly, too.
Arnie: Here's a thought I had earlier today.
Arnie: So she started with the snake.
Arnie: Yeah.
Arnie: Bites burning in the face.
Arnie: And I have to think that she thought to herself, okay, whoa, I got to dial this back a little bit.
Richard: This plot's moving too fast.
Arnie: Yeah.
Arnie: Let's just try some gross inconveniences.
Arnie: Let's just say it goes in the daughter's room and gets in the daughter's roach collection.
Richard: Yeah.
Richard: I love her trying to wrangle roaches into a bag.
Richard: I'm like, roaches don't behave that way.
Richard: They don't.
Richard: No, I, yeah, the rats, I'm not, I don't want a rat in my house.
Richard: I would be very perturbed if one ran across my feet right now or something like that.
Richard: I don't like that, but I'm not afraid of them.
Richard: And I don't think I'm afraid of roaches so much.
Richard: I have a visceral, and this is normal, a visceral disgust where I don't want to look at them if I don't have to.
Richard: But I like pretty much all other bugs.
Richard: Silverfish, I don't like them.
Richard: Don't even like to bring them up.
Richard: You know, beetles I'm cool with, spiders I'm cool with, as long as they're not biting me.
Richard: But yeah, dude, roaches and this actor, this is this is not cool.
Richard: They has a roach on his fucking face by his eye.
Arnie: Oh, they're so dirty.
Richard: That's the other thing is they're filthy.
Richard: That's one of the reasons why people are freaked out.
Richard: They're dirty, dirty, dirty, dirty.
Richard: Anyway, this could be a make or break moment, folks.
Richard: If you are not into the roach scene, I never watch the original Creep Show.
Richard: I never watch it.
Richard: And if I do, I skip that whole sequence.
Richard: Don't like it.
Richard: Congrats to the filmmakers for going there and doing it.
Richard: This ends with the best line in the fricking movie from our pal Crenshaw.
Richard: He's like, we ought to call this a roach motel.
Arnie: Oh, yeah.
Richard: That should have been on the poster.
Richard: Oh, my God, I love that so much.
Richard: Oh, yeah.
Richard: Yeah.
Richard: His attitude is so funny.
Richard: He's just like, I'm out of here.
Arnie: This place sucks.
Richard: So good.
Richard: When Al and Tanya are hooking up, Prissy gets mad and goes to be in the bathroom to, like, maybe turn on the sink so she can't hear their hump fest.
Richard: Or as we call it on the Doom show, making the sex act.
Richard: And she gets gotten by Evelyn, because of course she's coming in through the floor, the trap door bathroom shit.
Richard: Al sort of realizes quickly that, I mean, he's not, there's nobody in this movie who's like, whoa, there's just some blood on the floor.
Richard: I wonder where Prissy is.
Richard: Like, they're all like concerned immediately.
Richard: Like, oh, shit's gone wrong.
Richard: Yeah.
Richard: We got to deal with this.
Richard: So Al gets Crenshaw and Crenshaw immediately gets the idea to nail these trap doors shut.
Richard: I love that.
Richard: And that's why I wrote down on my notes, we need a sequel Crenshaw and Al, the adventure continues.
Richard: But Tanya doesn't deal with anything very well.
Richard: Tell me about Tanya's wonderful mental breakdown here.
Arnie: Oh, yeah, she really does just shut down into a quivering mess, crime.
Arnie: I can't remember if, let's see, Prissy.
Arnie: Oh, yeah, their cousin.
Arnie: Yeah, she cannot handle because initially they had no idea where Prissy could have gone.
Arnie: Right.
Arnie: Just open up the bathroom door and there's blood and she's gone.
Arnie: Of course, Al immediately has to run off and, you know, let the other people know get get his right hand man Crenshaw.
Richard: Yeah, he's called the sheriff to get medical help for Vernon by this point.
Arnie: So to to try and keep Tonya safe, he sends her well, I guess he doesn't send her out to the car yet, but she's by herself and she just repeatedly is just doing a very dramatic pig Bundy impersonates and just yelling out.
Richard: Oh, man, like Meredith Children taught me a lot of things.
Richard: It taught me how to never have a conversation without insulting the person I'm talking to because that's all that show is just constant put downs.
Richard: Every every word is a put down in that show.
Richard: And the other thing it taught me was my taste in women because Peggy Bundy, I was always mad at Al for not sleeping with her.
Arnie: Oh, God.
Arnie: Yeah.
Richard: Like there's like just a very few episodes where he actually gives in and you know, she rocks his world.
Richard: And I'm like, what is the problem here?
Richard: He should be happier in every episode after that.
Richard: The man is deranged.
Richard: He was clearly deranged.
Richard: So shit is hitting the fan.
Richard: You know, they assure Mary and Vernon that they're going to be okay, and they nail the door shut and they leave.
Richard: And of course, Evelyn was already hiding in there.
Richard: Oh, no way.
Richard: They put something heavy on top of it.
Arnie: So they move a chair right to the trap door.
Arnie: And she ain't getting through that.
Richard: Yes.
Richard: Sorry, Crenshaw ran out of nails.
Arnie: Yeah, ran out of nails.
Richard: The gentleman carpenter, he had to make that supply run while he was got into the diner.
Richard: Oh, my God.
Richard: It's so funny.
Richard: So they get killed.
Richard: And I was actually sad because it was just like their wedding night, dude.
Richard: Come on.
Richard: Love them.
Richard: You know, you've got something special when you actually care about these fricking characters.
Richard: They go down into the tunnels and the movie turns into very cheap.
Richard: My bloody Valentine.
Richard: And the sheriff has been on this way this whole time.
Richard: He's been on this way this whole time through this storm.
Richard: By the way, it's still raining.
Richard: This is where the movie starts to lose me.
Richard: Not for long.
Richard: Here at Hello, This is the Doomed Show.
Richard: We are friends, not personally.
Richard: We are friends of Lamberto Bava, aka Lam Bava, son of the great Mario Bava.
Richard: The more Lam Bava, the more better.
Richard: And the one thing that he taught his son is my son, little Lam Bava, make all your movies too long.
Richard: I love Lamberto Bava's entire filmography just about.
Richard: There's a couple of zingers in there I can't watch, but he always makes his movies between five and 10 minutes too long.
Richard: And I love him for it.
Richard: This should have been 90 minutes, I think, because everything comes to a complete standstill in these tunnels, man.
Arnie: Yeah.
Richard: It's not a deal breaker.
Richard: It's not like the roaches.
Richard: It's the roach on the face of the pacing.
Richard: What happens, though, when the sheriff shows up and tries to take on Evelyn?
Arnie: This is a whole thing, too.
Arnie: Oh, man.
Arnie: So somehow we have Al Crenshaw, Evelyn and the sheriff are all in the tunnels.
Arnie: Yep.
Arnie: And they're not finding each other initially.
Arnie: Somehow in this labyrinthine network of tunnels under the six bungalows of the hotel.
Arnie: Right.
Arnie: But once the sheriff gets down there, one of the first things he does is in a whisper, he says.
Richard: Oh my god, he's the Evelyn Whisperer.
Arnie: Yeah.
Arnie: And then, he doesn't run into Al or Crenshaw either.
Arnie: Nope.
Arnie: But Evelyn gets the drop on him, which she's very good at.
Arnie: Yeah, she totally comes out of the shadows from somewhere.
Richard: Yeah, she takes out Crenshaw.
Arnie: Yeah.
Richard: Which makes me so sad.
Arnie: Yeah.
Richard: And I'm like, Sheriff, be careful.
Arnie: That was a shame.
Richard: Yep, it's a damn shame.
Arnie: But yeah, this, what?
Arnie: I don't know, maybe late 50s sheriff, 60 year old lady, this fighting in the tunnels.
Arnie: And it goes on for, I think, much too long.
Arnie: It should not have been a struggle at all.
Richard: Oh, it's the UFC fight you didn't know you wanted.
Arnie: Yeah.
Richard: Oh my God.
Arnie: He does finally clock her pretty good.
Arnie: That was, that surprises me each time I watch it, that he finally does just all off and punch her right in the face.
Richard: He should have opened with that.
Arnie: Yeah, definitely.
Richard: So she gets her scythe stuck in the beam, in the ceiling, and she's rasslin with it, trying to get it out so she can kill the sheriff while they're fighting.
Richard: And she ends up pulling down the roof of this, this tunnel.
Richard: And amazingly, her stuck scythe swings down with the big support beam and almost cuts her head off completely.
Richard: And of course, we get a nice fake out where, you know, we all know she's not dead.
Richard: Sheriff's like, hmm, Evelyn, you know, give me a sign of life.
Richard: And she opens up her eyes and tries to grab him.
Richard: But of course, she's dead.
Richard: And that's that's the end of that's the end of Evelyn and we go we go outside and is it is morning now and Tanya is convinced that Al is dead and she's totally upset about it.
Richard: But then Al just shows up.
Richard: Hey, yeah, I heard the shot.
Richard: What's going on here?
Richard: And when he says, I heard the shot, I'm like, wait, what gunshot?
Richard: Yeah, we'll get to that in a second.
Richard: I got trivia.
Richard: So they're leaving and from the cabin to the car, Tanya turns into Ghost Tanya.
Richard: She has black circles around her eyes.
Richard: Her skin is completely pale and her hair has been turning gray.
Richard: From the cabin to the cop car, it's amazing.
Richard: But her look is very reminiscent of a key figure in our movie.
Richard: Tell me about Ghost Laurie.
Arnie: Oh, yeah.
Arnie: I, you know, the first glimpse we get of Ghost Laurie is during, I think it's during the sheriff and Evelyn's fight.
Richard: Yeah.
Arnie: There's a couple of little Pazoozoo flashes.
Richard: Yeah, yeah.
Arnie: Yeah.
Arnie: And she looks really cool.
Arnie: I mean, she, you know what she looks like is the little girl from Night of the Living Dead that's in the, winds up in the basement.
Richard: Good call.
Arnie: And then, so as Al, the sheriff and Tanya are driving down the road away from the Mountaintop Motel, we see Ghost Laurie just kind of hanging out in the field, watching them go by.
Richard: Like walking along, like I was like, oh, she's going to catch up to them.
Richard: Nope.
Richard: The end of the movie happened.
Arnie: Here we go.
Arnie: I think she was just out there to turn the sign back on.
Richard: Oh, yeah.
Richard: Yeah.
Richard: So I never do this with this show.
Richard: Like I might do this with Lietta or my friends.
Richard: You know, you're my friend now.
Richard: You don't have a choice.
Arnie: Yes.
Richard: But I proposed one thing already that this movie should have been a five minutes shorter.
Richard: We should have wrapped up the tunnel stuff a little faster.
Richard: No problem.
Richard: However, what I really want is Lori was never dead.
Richard: She was in a coma and they took her away.
Richard: And then she escaped from the morgue or they think someone stole her body.
Richard: And she's now this like ghoul running around actually commanding her mom, not just psychically, not just from beyond the grave.
Richard: She's back from the morgue.
Arnie: Interesting.
Richard: See, that's hot stuff right there.
Arnie: Yeah, I could be into that.
Arnie: I was going to say ghost Lori lines, but the lines that Evelyn is hearing in her head, the voice of her daughter.
Richard: Yeah.
Arnie: That Evelyn is hearing in her head has some pretty good lines.
Richard: Yeah.
Arnie: Like one time she just says, they all know you're crazy.
Arnie: They're going to.
Arnie: Yeah, they all know you're crazy.
Arnie: They're going to send you back to the hospital.
Arnie: Kill them all.
Richard: Yeah.
Richard: She's moving the story along.
Richard: She's here to help us.
Richard: Bless her heart.
Richard: So, yeah, that's the end of the movie.
Richard: I got some crew here before we talk about the trivia.
Richard: We've got music by Ron DiIulio.
Richard: Not a lot of significant credits.
Richard: He did do something interesting with this movie.
Richard: This movie is that the music is sparse, but interesting kind of synthesizer stuff.
Richard: But what he does is he's credited for sound effects as well.
Richard: And so he was doing the weird sound effects of the rats, like the rats doing the little chirping thing that rats do.
Richard: He was doing that with a synthesizer.
Arnie: Interesting.
Arnie: Yeah, I was really, this last time I watched it, I was noticing just the sound in general more before.
Arnie: Like, the whole sequence with the snake.
Richard: I was just going to say, yeah.
Arnie: Just like this ratchet going the whole time.
Richard: Yep, yep.
Richard: He's like, hey, this is the setting on the synthesizer nobody uses.
Arnie: For a reason.
Arnie: Yeah.
Arnie: But some of the little, just little analogs and cool little riffs in there, he's got some neat little parts.
Richard: This is why I'm excited.
Richard: I've recently got a Blu-ray from Good Old Vinegar Syndrome or Vinegar Sandstorm.
Richard: Nobody calls it that.
Richard: He did a movie called Through the Fire from the 80s.
Richard: I forget what year its alternate title is.
Richard: The Gates of Hell Part Two.
Richard: So Lucio Fulci's City of the Living Dead has an unofficial American sequel.
Richard: Whoa, right.
Arnie: And they're playing, I guess.
Richard: Touche, Italy.
Richard: Yeah.
Richard: But yes, that is called the Gates of Hell Part Two.
Richard: I have not watched it yet, but I recently picked it up and I'm very excited.
Richard: Check out this zombie movie that has nothing to do with Italy at all.
Richard: It's like the Italians making all those sequels to the Evil Dead, the La Casa films.
Richard: This was produced by the legend Roger Corman and the McCullers, the junior and senior.
Richard: They were like the filmmakers in the Shreveport area.
Richard: Yeah, so they were not the only ones, but they were major folks.
Richard: Like they worked with everybody, which is why they also worked on Creature from Black Lake and stuff like that.
Richard: Cinematographer was interesting.
Richard: His name was Joseph M.
Richard: Wilcox, and he shot Roots.
Richard: He also shot the aforementioned Video Murders, which I want to see now.
Richard: He was the first African American to join Hollywood's Camera Operators Union.
Arnie: Wow.
Richard: And America was so progressive that he was able to join in 1966.
Richard: Oh, yeah.
Richard: Good for him.
Richard: That's awesome.
Richard: Pioneer.
Richard: But thanks, America.
Richard: Look, how long was that Camera Operators Union around before?
Richard: Bastards.
Richard: Anyway, so trivia.
Richard: Like I said, I have a tasteful amount of trivia here.
Richard: This is filmed in Oil City and Shreveport and other areas of Louisiana.
Richard: The working title was Mountaintop Motel.
Richard: And of course, that ain't sexy enough.
Richard: You got to throw another word on there.
Arnie: That's Roger Corman's influence.
Richard: Of course.
Richard: Bless his heart.
Richard: So this was released on VHS on New World Video, along with so many movies.
Richard: I mean, there's so many movies I could list, but here's just a few.
Richard: House, House 2, VAMP, The Stuff, The Vineyard, which if you haven't seen The Vineyard, folks, give it a whirl.
Richard: It's wild.
Richard: And of course, everyone's favorite movie to wake up during the credits and go, Oh shit, when did I fall asleep?
Richard: Ghost Keeper.
Richard: Now, I say that lovingly because I love Ghost Keeper.
Richard: It's great.
Richard: But it's a sleepy movie.
Richard: This had some production woes in terms of distribution.
Richard: So this was filmed in 1983, which I'm going to talk about how I feel this movie feels older than 83 later.
Richard: But this was self-released by the director and his son in Opelucis, Louisiana in 83.
Richard: So they finished in 83 and then screened it just that like one time.
Richard: Then they took it on the road and went all the way to Jackson, Mississippi in 1984 to screen it again.
Richard: And then Roger Corman picks it up and goes, OK, add Massacre to the title.
Richard: And we got to do some reshoots for this ending, because the ending sucks.
Richard: So the shot that Al said he heard was the sheriff not fist fighting, her not pulling the ceiling down and accidentally cutting her head off.
Richard: He just shoots her.
Arnie: OK.
Richard: Yeah.
Richard: Which I kind of want to see that ending.
Richard: I would love if that existed somewhere.
Arnie: Yeah.
Richard: So that was in 85 when they re-did those reshoots.
Richard: So two years after they were done, they had to do that.
Richard: And finally, this got a theatrical release in April of 1986.
Richard: Then in May of 1986, they had the VHS release.
Arnie: Wow.
Richard: Which I hope those dates are correct, because that's an insane turnaround time.
Richard: What the fuck?
Richard: Let's see.
Richard: The hotel, in quotes, was an abandoned fishing camp on Cross Lake in Shreveport.
Richard: They had to fix it up.
Arnie: This was the fixed up version.
Richard: This was the fixed up.
Richard: That's how bad that place was.
Richard: That's insane.
Richard: Not to mention, you can see everybody's breath when they're out in the rain.
Richard: So, you know, these were not good conditions for filming.
Richard: Of course, the underground tunnel sequences were filmed above ground.
Richard: They made all these sets for folks to run around in, got creative, filmed from different angles, so it wouldn't look like the same tunnel over and over again.
Richard: But they had to cover the whole thing in visqueen, which is, I guess, plastic sheets to keep the light out.
Richard: And that's all my trivia.
Richard: I didn't watch all of the reviews, all of the interviews on the disk.
Richard: I should have, but I'm so, so bad about that.
Arnie: Ooh, I would love to see some of the, I have the, probably the, what did you say it was?
Arnie: New image?
Arnie: New world.
Arnie: I have the DVD release.
Richard: Yeah, that.
Arnie: Anything on it.
Richard: Was that the Anchor Bay version?
Richard: The Midnight Madness series or something like that?
Richard: I just traded up for the, for the Blu-ray recently.
Richard: And yeah, it's, it's, it's solid.
Richard: It's a great release.
Richard: Arnie, I gotta ask you the most important question.
Richard: How do you feel about Mountaintop, Mountaintop, Mountaintop?
Arnie: The way this movie makes me feel is really why I love it so much, because it feels like I've gone back to my hometown when I was in about sixth grade.
Arnie: Because in Eastern Kentucky, where I grew up, the town I grew up in is right on Lake Cumberland, which is a big, you know, like vacation fishing spot in Eastern Kentucky.
Arnie: And it's not really like this so much now, but back then, there were little fishing motels just exactly like that in the hills around the lake.
Arnie: I mean, the little bungalows, super run down, everything's kind of mildewy, you know?
Arnie: And it's so, I don't know, it gives me a really strange, comfy feeling, even though it's so everything's so damp and gross.
Arnie: Right.
Arnie: The whole time, pretty much.
Arnie: But yeah, the setting, and I really like that the cast is mostly older.
Arnie: Yeah.
Arnie: Especially for a slasher.
Arnie: And there's just so many things about it.
Arnie: I like Evelyn a lot.
Arnie: I like her performance a lot.
Richard: She's weird.
Arnie: She's really weird.
Arnie: And do you notice how her makeup, she's putting on makeup in between murders.
Richard: Yep.
Arnie: More eyeshadow, more eyeshadow every time.
Richard: Yep.
Richard: And it changes.
Arnie: Yeah.
Richard: Good for her.
Arnie: This is one of those movies that I stumbled across.
Arnie: And my reaction was, why didn't anybody ever tell me about this?
Arnie: Like I felt like I had found like a lost treasure.
Richard: Yes.
Arnie: Never heard of it.
Arnie: And it just really just ticked off all the boxes.
Arnie: I really like this movie.
Richard: Excellent.
Arnie: When you were going over the trivia, it reminded me and I already knew this wasn't the case, but I had seen that the writer and director were or the writer director producer were anyway, father and son.
Richard: Right.
Arnie: I was really hoping that they were also Al and Vernon.
Arnie: I really wanted that to be the case because they look like it could have been.
Richard: Oh, man.
Richard: Or like the Reverend McWillie was the dad and then Vernon was the son.
Arnie: Right.
Richard: Oh, we can dream.
Richard: We can only dream.
Richard: Yeah, I like this one, too.
Richard: Like I said, the only thing that throws me other than the roaches is the fricking that little bit of pacing issues.
Richard: I just wish this thing would hurry up a little bit or do something a little different.
Richard: Wow.
Richard: People are lost in the tunnels, like cut away from that shit more, like give something to other people to do.
Richard: But, you know, by that point, everyone's fricking dead.
Richard: But yeah, they were just in love with those tunnel scenes.
Richard: It's like the ones from that Friday the 13th remake where I'm just like, yeah, why why does Jason have his leather face tunnels under the roof?
Richard: Like, that's all I could think of was leather face.
Richard: And during that remake, I mean, not that leather face is known for tunnels, but part two, come on.
Richard: Anyway, I love the weird sound design and the music.
Richard: This to me feels like an older script that they shot in 83.
Richard: This gives me like a eaten alive, the Toby Hooper movie vibes a little bit, very grind housey.
Richard: And then the fact that it didn't see the light of day outside of the south until 86 just blows my mind.
Richard: People must have thought it was made in 1966 or something.
Richard: The grimy and gross set design is wonderful.
Richard: I love all the candles that light up a whole ass room.
Richard: That this is probably the most egregious of that I've ever seen in a horror movie, where someone lights a candle and it is like neon, like fluorescent lighting with those candles.
Richard: It cracks me up.
Richard: But yeah, yeah, I recommend this one.
Richard: Absolutely.
Richard: I love that you had that connection to it.
Richard: That's how I feel about movies that are set around, in or around Georgia in fall, because that was one of my most crystal clear memories as a burgeoning horror fan was, it was a fall day on a Saturday or Sunday, and I watched The Creeping Flesh, the Peter Cushing movie, Christopher Lee movie, when I was eight.
Richard: I don't know.
Richard: It was on TV.
Richard: And I just was like, whoa, that was weird.
Richard: I feel freaked out about that.
Richard: And I had to get out of the house because our house was super dark.
Richard: So I threw on my jacket and I went outside, and it was this perfect, completely overcast, like the sun didn't exist, kind of an overcast day and just stomping around in the crunchy leaves and just I can't get that final image of the creeping flesh out of my mind, which folks watch the creeping flesh.
Richard: It's so good.
Richard: So I have this memory.
Richard: So anytime I see movies that are just have that Southern vibe with the fall feeling, and this movie certainly has that.
KFC: There's something special happening at Kentucky Fried Chicken.
KFC: We start with real buttermilk, and we make them fresh all through the day.
KFC: Fresh, like our chicken, because that's the Colonel's way.
Richard: So, Mountaintop Motel Massacre came out in 1983.
Richard: Have you ever noticed how weird 1983 is for a year in horror?
Richard: Like you should look up the Wikipedia list of 1983.
Richard: It's 1983 horror films.
Richard: These movies are bonkers.
Richard: There's so much weird stuff.
Richard: Like there's a lot of normal horror movies, but then there's all this other stuff that's so outlandish.
Richard: Like you know, you get your normal stuff like Christine and Cujo, the Dead Zone, like normal Stephen King adaptations.
Richard: But then you've got the Devonsville Terror, which is a surreal witch movie.
Richard: Eyes of Fire, which is an even more surreal witch movie.
Richard: You've got an anthology horror film called Nightmares.
Richard: That's the one with Emilio Estevez versus the killer video game.
Richard: You've got Amityville 3D, which is bonkers.
Richard: Panic Beats with Paul Nashie.
Richard: The Demons of Ludlow.
Arnie: A Polish vampire in Burbank.
Richard: That is also a movie.
Richard: The Demons of Ludlow, which if I recall correctly is about a killer piano.
Richard: I can't remember.
Richard: It's very bizarre.
Richard: Sweet Sixteen, the Native American themed slasher that's also like a coming of age film.
Richard: The Being came out in 83, which is the Easter set movie with Martin Landau, José Ferrer, Ruth Buzzi, and it's just this weird, weird movie.
Richard: The main actor in the movie is the least charismatic actor ever.
Richard: He's hideous and he's just strutting around in his tight 70s pants in 83.
Richard: Oh my God.
Richard: Yeah, The Being highly recommended that, highly recommend that.
Richard: And it's an Easter movie.
Richard: It actually has a Easter scare that's really fun.
Richard: But yeah, 83.
Richard: I don't know what was in the water.
Richard: Very bizarre.
Richard: But before I let you go, sir, I ask my guests to talk about a recently seen and loved movie.
Richard: This can be an old favorite or an unseen until just recently for you.
Richard: What have you got?
Arnie: I have just recently seen, and I wish I had seen this earlier, but I just watched Off Season from, I believe, 2019.
Richard: I think 2021.
Arnie: Oh, dang, 2021.
Arnie: I spent a good part of this movie trying to decide if this was a remake of The Beyond or Messiah of Evil or maybe Carnival of Souls.
Arnie: I wasn't sure.
Arnie: And then I was just like, okay, it's its own thing.
Arnie: It's just that's the vibe though.
Arnie: Yeah.
Arnie: And it really nails it.
Arnie: Man, I really loved it.
Arnie: I only have one complaint.
Arnie: It did the montage explanation at the end.
Arnie: And I'm not a fan of that, but it's fine.
Richard: You can forgive it that.
Arnie: Yeah.
Richard: It's so funny how many horror movies can't stick the ending.
Richard: They just can't.
Richard: They just cannot do it.
Arnie: I don't want to give away the ending of that, but they had the perfect image to just cut the black on.
Richard: Sure.
Arnie: They should have.
Richard: People are scared.
Richard: That's one of the things that like, people are scared not to explain everything.
Arnie: Yeah.
Richard: And I don't need the explanation.
Richard: I have an imagination, like movies that are trippy and weird or vague.
Richard: That I don't care.
Richard: Let me run with it, bruh.
Arnie: Yeah.
Arnie: Don't ruin it now.
Arnie: I've been confused the whole time.
Arnie: But, you know, don't take that away from me.
Richard: I was confused before I started the movie about my own life.
Richard: It's fine.
Richard: So yes, I would love to rewatch that because I did enjoy it.
Richard: I saw it when it was new to streaming and was like, nice.
Richard: My pick is an old favorite that I upgraded to the Blu-ray during a Aero video sale at Barnes and Noble.
Richard: I got the double feature of the Executioner, Executioner 2 with good old Sonny Chiba.
Richard: And yeah, I hadn't seen this in years.
Richard: There's an old set that's probably still pretty cheap on Amazon or on eBay of Sonny Chiba movies.
Richard: And I'm pretty sure the Executioner was in that set with a couple of other just classic weird movies.
Richard: And they were all decent copies in a single, like, DVD case was very nice.
Richard: But this is, you know, he's a karate expert and he's being called in for a mission.
Richard: He's got to break out the his partner, who's also a karate expert from jail.
Richard: But it's also a comedy.
Richard: It's one of those multi-genre movies where it's a spy, kind of most like a spy movie setup slash high setup slash comedy.
Richard: And it's bizarre.
Richard: It's really, really strange.
Richard: But this director who I neglected to look up until just now is Teruo Ishii.
Richard: He directed a masterpiece, Blind Woman's Curse from 1970.
Richard: Folks, if you watch one female-centric samurai movie that isn't Lady Snowblood, Lady Snowblood is the famous one.
Richard: Blind Woman's Curse.
Richard: I like better because it's so surreal and weird.
Richard: So Executioner recommended Executioner 2.
Richard: Also recommended it, but I don't remember it as well.
Richard: And I definitely recommend freaking Blind Woman's Curse.
Richard: Hot damn.
Richard: But Arnie, before I let you go, I discovered your channel through our mutual pal Katie of the Night.
Richard: And I was very taken with your seeking out those budget movies at these thrift stores, like used movie shops, wherever we can find these things.
Arnie: Right.
Richard: Tell the folks about your channel and how to find you.
Arnie: So, my channel is the Gordonite, named because I kind of got into the actual collecting side of horror when I decided to collect all of Stuart Gordon's films.
Arnie: Oh, gotcha.
Richard: Okay.
Arnie: Which was a director I did not realize had made so many movies that I liked.
Arnie: And once I really looked at the list, I was like, all right, I'm getting all these.
Arnie: And it just kind of stuck.
Arnie: I just kept being like, okay, well now what am I going to get?
Arnie: But I'm a big thrift store guy, flea market guy, because I like it when things are $1.
Arnie: That's like the sweet spot for me.
Arnie: Okay, yeah, I'll give it a shot.
Arnie: So that's what my videos are.
Arnie: Mainly is pawn shops, flea markets, comic book stores, video game stores.
Arnie: Anywhere I can find movies for a couple of bucks, and I just love getting movies.
Arnie: Nice, nice.
Richard: And I love watching you get those movies, because I like to shop.
Richard: So I like to shop vicariously with you.
Arnie: You can also find me on Instagram.
Arnie: I think on there it's the underscore gordonite.
Arnie: Perfect.
Arnie: If you want to see just more random horror fan stuff.
Richard: Yeah.
Richard: In the immortal words of Lori, they think you're crazy.
Richard: They're going to put you back in the hospital.
Richard: You have to kill them all.
Richard: But seriously, dude, thank you so much for hanging out.
Richard: It was great to finally get to talk to you.
Arnie: Oh, yeah.
Arnie: This was really cool.
Arnie: And I'm glad you wanted to talk about this movie because I've been wanting to talk about it for a while.
Richard: Oh, man.
Richard: I'm easy.
Richard: I'd say easy like Sunday morning, but I'm easy like a mountaintop motel.
Arnie: Something.
Arnie: I don't know.
Arnie: Easy like a motel tunnel.
Richard: Yes.
Richard: Bye, folks.
Richard: That's the way to go.
Richard: Folks, thanks so much for listening to this episode.
Richard: If you'd like to write in to the show, send an e-mail to DoomedMovieThon at gmail, or hit us up at DoomedMovieThon on Instagram, or at DoomedMovieThon on Twitter, or at DoomedMovieThon at Discord, or go to Hello This Is The Doom Show on Facebook and message us there.
Richard: If you want more Hello This Is The Doomed Show, go to doomedmoviethon.com and click the podcast button for the archive, or go to YouTube and look up DoomedMovieThon and you'll find the classic episodes of Hello This Is The Doom Show.
Richard: And if that's still not enough, I have written some books, you know, about my love of movies over on amazon.com.
Richard: Just look up Richard Glenn Schmidt and you'll find Giallo Meltdown, A Moviefon Diary, Giallo Meltdown 2, Cinema Somnambulist, or Doomed Moviefon, The Book.
Richard: Hello This Is The Doomed Show is a proud member of the Legion Podcast Network.
Richard: Goto LegionPodcasts.com and check out the other great shows over there.