Almost AIP: Arnold

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Arnold?
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Do you think this woman would be a lawfully wedded wife?
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I do.
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Arnold is dead.
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And a newly wed.
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Don't miss his honeyborn.
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Love has found a way on this our wedding day.
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Arnold.
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Arnold.
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Arnold.
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Rated PG.
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We're not talking about actors.
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We mean a real monster.
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I brought her back.
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She'll live and I'll get her another body.
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I know they're gonna catch me but don't let anyone see me like that.
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Please, Doctor! Help me!
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Biologically speaking, it's a primary importance that man should want to mate.
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Hey, that’s or sure!
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You don't get all your kicks from surfing do you?
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We want to be free to ride our machines without being hassled by the man.
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And we want to get loaded.
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You think you're gonna make a slave of the world?
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I'll see you in hell first!
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The American International Podcast.
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Are you ready?
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Welcome to the American International Podcast.
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I'm Cheryl Lightfoot.
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And I'm Jeff Markin.
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And in this episode we invite you to join us as we attend one wedding and eight funerals
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in the almost A.I.P. feature Arnold.
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Wait, almost A.I.P.? What does that mean?
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I think you know better than I do.
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Well strictly speaking, Arnold is not an A.I.P. movie, seeing that was released by
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Cinerama Releasing Corporation in 1973.
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However, Cinerama Releasing had previously been a theatrical distributor for ABC Pictures,
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but ABC shut down its movie operation in early 1973.
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Cinerama also had an ongoing relationship with Bing Crosby Productions,
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by then owned by Cox Podcasting, having acquired BCP in 1967.
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And they produced a number of films for Cinerama to distribute. Among these
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was Arnold, which was produced by Bing Crosby Productions and Fenady Associates.
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Then in 1974, A.I.P. became Cinerama Releasing's Domestic Distribution Agent,
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and while digging through some promotional material, we came across my A.I.P.s product brochures
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from 1974, promoting its current and upcoming releases from 1975,
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and sitting right there among the A.I.P. titles as Arnold, identified as “In current release from Cinerama".
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So since A.I.P. itself apparently considered Arnold relevant enough to put in front of its exhibitors,
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that makes it relevant enough for us to cover on the podcast.
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So to justify this, instead of pretending that this was secretly an A.I.P. production,
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or to rewrite the filmography to make it fit, we're calling this one “Almost A.I.P."
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It's a designation we will occasionally use for movies that monitor the A.I.P.s orbit
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without ever quite becoming an American International Picture.
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There are actually quite a few of these, and the connections will vary.
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Some were titles that were announced but A.I.P. never released them.
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A lot of these titles were developed or finance with the A.I.P. involvement
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and then ended up being distributed by another company.
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And then there's Arnold, which was an existing Cinerama release,
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but nevertheless, on its way into A.I.P.s own sales material.
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So now that we've got all the corporate genealogy out of the way,
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we're going to talk about our first Almost A.I.P. movie, Arnold from 1973.
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Alright, so here we go.
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Arnold was directed by George Fenady.
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It was written by Jameson Brewer and John Fenton Murray,
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and produced by Andrew J. Fenady and Charles A. Pratt for Bing Crosby Productions
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and distributed, as we said, by Cinerama Releasing Corporation.
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Arnold stars Stella Stevens as Karen, Roddy McDowall as Robert,
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Elsa Lanchester as Hester, Shani Walise as Lady Jocelyn Dwellyn,
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Farley Granger as Evan Lyons, Victor Buono as Minister, John McGiver as Governor.
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It also stars Bernard Fox as Constable Hook, Patrick Knowles as Douglas Whitehead,
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Jamie Farr as Dybbi, Norman Stewart as Lord Arnold Dwellyn, Ben Wright as Jonesy,
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Wanda Bailey as Flo, Steven Marlo and Leslie Thompson as Dart players,
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and Murray Matheson as the uncredited voice of Lord Arnold Dwellyn.
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Arnold opens with bells ringing their ominous chimes.
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We're in a church graveyard. It's foggy.
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It's gloomy. It's very wet looking.
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A raven cause and a black cat meows.
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The raven lands on a fountain near where the caretaker, Jonesi, is working.
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Jonesi tells Reggie the raven he's too busy to play and to mine the cat.
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The cat tries to pounce on it, but the raven eludes the cat and flies off.
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Lighting strikes and thunder claps, and Jonesi stands at attention
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when a coffin is brought through the yard and into the church.
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Nearby, Constable Hook cops off his bike and sluts the procession.
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Then he heads over to speak with Jonesi, hooks bicycle topples over as he goes.
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Hook tells Jonesi that Dwellyn Hall will never be the same,
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not that his lordship is dead, and Jonesi agrees.
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Then the plot takes a hard right turn as we hear the peel of wedding bells ringing out,
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and a song starts to play as credits roll.
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The song seems very on a place with the sight that we're seeing.
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Because it's a love song.
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You see a bride flanked by two bridesmaids and two flower girls,
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and they're filing into a church as the ode to warm sweet Arnold finishes.
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Hook and Jonesi are utterly grop smack by the sight.
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As the women head into the church, Jonesi turns to Constable Hook and says,
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"There's been a terrible mistake. They mixed up the Marion with the Marion."
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Constable Hook goes over to the church and peeks inside.
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The bridal march is playing in a minor key.
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Thuggles whitehead attorney is walking the bride down the aisle towards the minister,
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who's looking very uneasy.
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Well, it's Reverend Victor Buono, and he's sneaking a few hits out of the communion cup.
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Our bride, whose name is Karen, is escorted to the altar,
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where her groom is fitted with a standing coffin open at the top.
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His face is fixed with a wide eyed grin in a blank stare.
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The groom is the late Lord Arnold Dwellin.
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Also in attendance for the ceremony are Evan Lyons,
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Jocelyn, Lord Arnold's widow, Dibi, wearing a pink turban eye patch and a hook for his left hand,
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and Arnold's brother Robert is the best man.
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Now that everyone is in position, the minister begins the ceremony.
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But the tipsy preacher can't keep his services straight.
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Is this a wedding or a funeral?
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Anyway, he gets on with the strange proceedings.
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When he gets to the part where he asks if anyone has any objections,
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he seems to be pleading for someone to please speak rather than hold their peace.
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The groom's widow, still dressed in black, looks grim, but like everyone else, says nothing.
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So the minister has no choice but to continue, crossing as hard as he does so.
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He gets to the until death to you part but stops himself again.
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He asks Karen if she takes this man to be her laughily wedded husband.
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"I do," she says, "the minister stares at her, then shakes himself out of it."
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He repeats the question to Arnold, and a voice replies, "I do."
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Everyone seems shaken, but not stirred.
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So the Reverend has no choice but to pronounce them husband and wife,
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and may heaven ever mercy on his soul.
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At that, he drains the wine goblet, and the wedding party exits the church,
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followed by the Paul Bears, lugging the casket back to the manner,
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as the wedding recessional plays.
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Outside, Constable Hook and Jonesy watch as the wedding/futural party leaves.
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Hook says it doesn't look like Jonesy will have to be putting Arnold in the crypt anytime soon.
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Instead, he might be just going on his honeymoon.
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On the church steps Douglas Whitehead, barricer to the deceased,
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slash groom, introduces his associate, Evan Lyons, to the late Lord's widow, Jocelyn.
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He offers condolences to her, but when they notice Brother Robert standing there,
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Robert declines condolences.
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What he needs is his stiff drink.
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Then he goes off in search of one.
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Jocelyn asks Douglas what Arnold was trying to prove with his farce of his ceremony
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with this over-sexed airline hostess.
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He tells her all will be explained at the mannerhouse this evening.
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He excuses himself and goes over to Jonesy and tells him there is a meeting at the mannerhouse this evening,
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and that all staff should be in attendance.
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Douglas tells the Constable he should come as well.
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Constable Hook asks, "With what religion was Arnold affiliated,
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because that funeral service was like nothing he had ever seen.
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Douglas explains that it wasn't a funeral, it was a wedding.
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That makes sense to Hook, because it's sure seen more like a wedding ceremony,
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with a slow exception being, in this case, the groom was dead."
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"It was cold as a cod."
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"But Arnold already had a wife, Lady Jocelyn."
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"No, no, no, no, Lady Jocelyn is a widow now," explains Douglas.
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Constable Hook's brain starts to smoke as he attempts to understand this.
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And now we see that the wedding recessional has reached the manner,
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as the Arnold song plays again.
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As the Paulbearers carrying the now-closed coffin enter with Karen,
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they are greeted by Hester, Arnold's sister, and her pussycat.
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Hester runs down the stairs to welcome her new sister to the family.
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She apologizes for not being able to attend the ceremony,
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but she had to get the place ready for the guests.
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And she does weep so at weddings.
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Hester supposes that Karen would like some alone time with her new hubby,
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and Karen helps out the Paulbearers by telling Hester that they need to put him somewhere,
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so Hester sends them into the drawing room.
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In the drawing room, a large portrait of Arnold hangs on the wall.
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Hester informs Karen that Arnold was born in this house.
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Then she tells Arnold that she's going to fix him up nice, straighten his tie, etc.
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Karen says, "Maybe it would be best to keep the casket closed for now."
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And Hester seems quite disappointed.
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Arnie loves parties.
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So no.
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And the cat thinks that now might be the time to bug her off.
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The cat and Arnie weren't on the best of terms Hester tells us,
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and then Hester corrects herself.
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Arnels' new wife should be taking care of her groom now,
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and instructs Karen on which button to push to turn the casket into a convertible.
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Yeah, the lid slides open and Arnold rises up.
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That evening, all I've gathered for the meeting at the manner.
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Arnold lays in his coffin, and in attendance around the room are Jocelyn, the deceased widow.
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Karen, the deceased bride.
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Robbie, the brother.
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Hester, the sister.
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And basically everyone else we've met in the movie so far.
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Except for the minister.
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Except for him.
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And the flower girls and the bride's mates.
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Douglas announces that the will is to be read at the manner in the evening following the ceremony,
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which is now, except, says Douglas, he will not be the one reading it.
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Instead, the words will be spoken by his lordship, Arnold Dwellin.
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And how is this going to be accomplished?
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Well, that's via the cassette tape that he's holding.
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Douglas puts the tape into the player built into the casket.
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This is a modern casket, complete with stereo sound.
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And we hear Arnold's voice warmly greeting his guests.
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He tells his heirs that he's gone to great pains to see to it that they get exactly what they deserve,
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as thunder claps outside.
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To his sister, Hester, he bequeaths a lifetime trust of 100 pounds a month,
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plus the incontestable right to his side in this house for as long as she shall live.
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Thank you, Arnie, says Hester.
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You're welcome, Arnold's voice replies from the tape.
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As for Cousin Douglas, the solicitor, he entrusts the settlement of his estate and marriage and such,
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with his retainer continuing at its, quote, "more than generous level."
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Douglas's expression is inscrutable here.
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To his younger brother, Robbie, who had never wished for anything, never worked for anything,
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and consequently has nothing, to him, Arnold bequeaths nothing.
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Robbie smiles and raises his glass.
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At this point, the storm blows open the French doors and the lights go out,
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and Douglas stops the tape.
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Karen barks in order at Dibby to light the candles and he does.
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In the light we see the cat on top of the casket, hissing at Arnold.
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Hester retrieves the cat from atop the casket, telling the cat she shouldn't sit on Port Arnie.
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He's allergic to kiddies.
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Douglas turns the tape on again, and Arnold's voice continues.
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To Jocelyn is bereaved in grieving widow, he leaves the title of Lady Dwellyn,
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and the role's Royce, so she can continue the facade of nobility she cherishes.
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That which she has always treasured more than him, her title.
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As she refuses offer of 1 million pounds for a divorce, it's obvious that money has no value to her.
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In addition, she will receive one share in the Lady D Cosmetics Company.
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Jesus stounded.
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One share, what about the rest of the estate she asks, and Arnold continues.
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As for the rest of the estate, which everyone knows is monumental,
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he leaves it to his new bride, Karen.
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She'll get sole ownership of Dwellyn chemicals, all subsidiary companies stock spawns,
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and an enormous horde of cash, currently stored in a vault,
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to be revealed later. The voice of Arnold continues.
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He tells Karen that even though she was frustrated by his heartless wife's refusal to grant a divorce,
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and though she knew he was suffering from a terminal illness these past two years,
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she remained a warm and tender lover.
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He knows that she'll abide by the terms of this agreement,
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and their prenuptial agreement to keep him with her, just as she sees him now,
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for as long as she shall live, and Karen's eyes bug out of her face.
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And Jocelyn smiles just a little too much.
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Later, Karen is showing hook and Jonesy to the door.
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Jonesy says it was most generous for his lordship to remember all of them in his will.
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He was one and a million, says Constable Hook, as he puts on his Macintosh.
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He wishes Karen and his lordship many happy years together.
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Karen opens the door for them, and it's pouring rain.
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Lovely day for the sort of wedding exclaims hook, and he and Jonesy bid Karen adieu.
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Douglas Whitehead and Evan are also leaving.
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Douglas has to go deliver pool, but Evan has a business errand to run first.
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As Douglas leaves, he tells Karen to call, "Should she need anything?"
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She asks about the money in the fall, but he hasn't the fagious notion.
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But he says he sure that she'll find out soon enough where it is.
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Douglas says Arnold always prepare for every contingency, and this seems to be no exception.
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Jocelyn instructs Dibby to take her bag to the car.
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He seers at it, then slowly takes it. She descends the stairs and tells Karen.
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She hopes that she and her dead husband spend many happy years together in this medieval mausoleum.
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Karen chides Jocelyn for not providing more love and affection to her husband.
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Jocelyn snaps that Karen gave him enough affection for the both of them,
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and then Jocelyn asks what Karen's going rate was.
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Arnold and I never discussed money, says incense Karen.
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What did he do, leave it on the mantle each night?
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As Jocelyn as she pushes past Karen, Karen says that their love was true,
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and that's why she will stand by Arnold even after his death.
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Jocelyn informs Karen that it's quite illegal to marry a corpse,
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but Karen says Douglas Whitehead believes he can prove the marriage valid
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by using the precedent of women who marry soldiers at the front by proxy.
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Men who might already have died, but Jocelyn is done.
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As she goes, she says that the courts will award her the rightful widow and heir,
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the entire estate. Then she wishes Karen well again by saying, "Happy honeymoon, you bitch."
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[Music]
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Now Karen returns to the drawing room with the dearly departed,
257
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but she's not alone there.
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Robbie is still there. He reaches for Karen and they kiss.
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He says he hadn't had a chance to congratulate the bride yet.
260
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Besides, now that Arnold is gone, the two of them don't have to hide anymore.
261
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Karen doesn't want to do this in front of Arnold,
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but Robbie doesn't seem to have any trouble with it.
263
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Arnold can't see a thing or a canny.
264
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We see someone's eye peeping through the eye of the portrait of Arnold hanging on the wall.
265
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Then Robbie and Karen go over to the casket.
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Karen says that his eyes and smile make her skin crawl.
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Robbie tries to prove that he's dead as a sausage by touching her hand to Arnold's face,
268
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but this creeps Karen out even more.
269
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And then Robert says something that I didn't really understand.
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He says that Arnold had his joints articulated so he could be moved in any position.
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Really, I'm just trying to imagine how much surgical intervention that would require.
272
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If it was done after his death, maybe it was done before.
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Robbie suggests they could strip him down to his shorts and stand him into the croquet court.
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That's sacrilegious, Protessa Karen, but Robbie just laughs.
275
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You married him.
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Karen says she married Arnold to inherit the estate.
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And Robbie tells her that they can get the best solicitor in England to break that ridiculous agreement.
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And then she can spend the rest of her life with him.
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The kiss says Hester pushes into the room with the post.
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They're just small package for Karen.
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Hester hands the package to Karen.
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Asked to the three of them are having fun and then turns in exits before anyone can answer.
283
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Karen opens the envelope. It's another cassette tape.
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She doesn't want to hear that voice again, but Robbie takes the tape saying that voice may be ready to tell her where the money is.
285
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Instead, as a voice plays, be your Arnold cast-gaining Robbie for coveting everything he's ever owned.
286
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And now he wants to take his bride away.
287
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Robbie is shocked because somehow Arnold knows about them, which Arnold confirms via the tape.
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Karen is a bit flustered by this. The timing of the tape's arrival was perfect.
289
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How could that be unless Arnold was still alive? But Robbie thinks that's ridiculous.
290
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Arnold has always been able to anticipate Robbie's every move, so the tape had to be made before Arnold died.
291
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Karen asks who sent the tape and then Robbie says maybe it was cousin Douglas.
292
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He'd do anything for money. Or sister Hester who always did Arnold's bidding.
293
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Or Dibi, who he picked up in India years ago when he lost his arm saving Arnold's miserable life.
294
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Many pauses were forgetting someone says Robbie.
295
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Ooh, Karen asks. The poor grieving widow.
296
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And as for Jocelyn, she's in the role's voice with Evan. They're plotting something.
297
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Evan says that the state landed just where it belongs. And Jocelyn seems unfazed by this.
298
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Evan says that he can outwit whitehead. He's going to do his errand to then meet her at the shield and plume at midnight, where he will tell her his plan.
299
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Now we're at the shield and plume, a local pub. And a couple of guys are throwing darts and an older gentleman, whom everyone refers to as governor, sits at the counter with a checkerboard.
300
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The waitress flow rushes back to the counter. It's her turn to checkers.
301
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And we see all the men in the pub are eyeing the fuxen barmaids ample cleavage spilling out of her low cut top.
302
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As she makes her move in checkers, the governor kisses her hand and she spots him away.
303
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Constable Hook comes in saying that Brandon puppies and pussy's tizz.
304
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We'll look with a storm. Blue in says governor. He's your son says flow. Don't remind me governor replies.
305
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Hook asked flow for a kiss and then says he was at a wedding today. And it made him want to ask her when they were going to exchange vows.
306
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All in good time she says hook says they've been betrothed for over a year now and all that waiting is hard on a man.
307
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He tells her that he really stopped by and to ask if she fancy a ride home on his handlebars.
308
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And then afterwards maybe he could pop up to her flat to watch TV with her and her mom.
309
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She tells him that sweet of him to offer and governor calls him sex fiend.
310
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Just then jaslin comes down the stairs and announces to flow that she is retiring for the evening and asks that she not be disturbed.
311
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Hook says he didn't know lady dwell and was staying there. Lends a little class to the place.
312
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And then he steals a look at flows bosom governor while staring at the checkerboard in front of him tells hook to stop his blathering.
313
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He's trying to figure out his next move in a room lady jaslin stairs at a portrait of Arnold and calls him an idiot.
314
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She puts his photo on the table with her travel case and starts taking out items.
315
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She tells Arnold that her years with him weren't as dreary and loveless as he might have imagined for her.
316
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She also had a lover someone he never even knew and she starts putting cold cream on her face.
317
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She says he'll be there shortly to keep her company and to discuss how they can break his ludicrous will.
318
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Despite that farce of a wedding, she's his widow, not his ex-wife.
319
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Thunder claps on side and jaslin stairs to shake. The cold cream is eating away at her flesh.
320
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She screams.
321
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Down stairs hook helps flow like candles because the power went out.
322
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She's telling these squeals and hook asks what happened. The governor says flow. He just made his move.
323
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He coosed her. Upstairs jaslin's death throws have her shattering the mirror.
324
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Just then Evan arrives at the pub and we see that upstairs jaslin is still dying in agony.
325
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Her screams reach the governor but hook here's nothing.
326
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Evan sneaks up to the jaslin's room. He goes in and finds her dead on the floor. Her face eaten away by that cold cream.
327
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By now governor has convinced hook that he should investigate so hook excuses himself and heads upstairs.
328
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From inside, Evan hears a knock at the door and he goes to the window. He climbs out until the storm and disappears.
329
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Then we cut to the headstone of jaslin, beloved wife. She's put to rest in the graveyard and not in the crypt.
330
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Karen and Hester are there as our diabetes Jonesy who dug the grave. Hook rides up on his bicycle which falls over as he hops off had to join the others.
331
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I didn't even know this was supposed to be a bit at first.
332
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Karen and Hester express their shock at this terrible death but hook cheerfully says that we all die eventually.
333
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Karen objects to his tone and the constable tells her at least she's the soul surviving widow now. Hester corrects him.
334
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Karen is the wife, not the widow.
335
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That's right, says hook. He's forgetting the whole thing is so weird.
336
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Karen asks the constable if he has the results of the investigation and hook pulls on his notebook and reads off his report.
337
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Lady Dwellen was alone in a room putting goo on her face when something strange happened and chucks her face started to fall off.
338
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It started to peel her like an onion. He laughs that the stuff was a real rickle remover har har har.
339
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Karen looks very distressed and runs off and Hester chases after her.
340
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Then hook asked Jonesy if they built a cemetery here because it's always foggy or did the fog roll in because this is where the cemetery is.
341
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I give up says Jonesy expect the answer to this riddle but there is none. They banter a little bit and then read you the raven shits on hookshead.
342
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Now we go to the manner. Karen's on the phone calling Robbie. She orders him to come to the manner. She knows who killed Jocelyn.
343
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And then there's a significant shot of Arnold in his casket.
344
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So Robbie drives over to the manner and Karen's waiting outside for him.
345
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Who did it? He asks Arnold. He puts something terrible in her cold cream.
346
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As they head inside, Robbie tries to make sense of this. Is she saying that Arnold who have been dead for a week by this time snuck into Jocelyn's room and put acid in her room?
347
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Karen says he must have planted in advance somehow. Robbie says well if that's the case then bless him.
348
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Now there's no one to contest the will. They kiss as Dibi comes in and Robbie yells at him for not announcing himself but Dibi never says anything.
349
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Instead, Dibi silently hands an envelope to Karen.
350
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She knows that the postman had already stopped by today and inquires if this had been delivered by messenger.
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Dibi slowly nods and answer then leaves. He's the perfect houseboy for a corpse says Robbie.
352
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Karen says that she knows that this wasn't Jocelyn's doing this time, but that she still doesn't want to play the tape.
353
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She can be content with just the estate. She doesn't need to know anymore, but that doesn't work for Robbie. He wants the money.
354
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"We are not going to leave that money lying around for somebody else to find," says Robbie, taking a tape from her and inserting it into the casket.
355
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The settlement of that estate could take months or years. They need something now.
356
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Robbie plays the tape in which Arnold references Jocelyn's messy end.
357
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Karen takes this as proof that Arnold did do this and that the two of them could be next.
358
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From the tape, Arnold says he knows that Karen must be worried. She might be next, but she must understand.
359
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He wishes her no ill will, so as long as she upholds her end of the agreement, she has nothing to worry about.
360
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Or else she may be destroyed and Robbie too. Now Robbie has had enough and he throws the tape into the fire.
361
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Robbie thinks that Arnold made a very in-depth psychological study of the two of them, but he has a disadvantage because Arnold is working with a fixed plot that he can't change.
362
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But the two of them, they can out-fox him by doing something that he's not expecting.
363
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This will give them the upper hand and Karen agrees to this.
364
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Throughout all of this, somebody is looking through the eye hole in the portrait.
365
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Karen really wants to leave this place though and Robbie says that they could go to his flat in the village.
366
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Just as Hester comes in and tells them that tonight she is going out, it's her weekly quilting night.
367
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Karen tells Hester that she and Robbie are going out for supper tonight.
368
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And Hester thinks it's wonderful that Karen is getting to know the family.
369
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And she sure Arnold wouldn't mind her going out once in a while.
370
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Robbie offers to give Hester a ride, but Hester says she'd prefer to walk. She likes the smell of the Heather after sundown.
371
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She loves to cross those mowers. She goes and then Karen calls for Dibi.
372
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She asks him to have Jonesy bring the car around.
373
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When next we see them, Robbie is parking as car as flat.
374
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He and Karen go inside and she tells them that she's happy that they stopped for champagne.
375
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However, Robbie would rather just jump her right now.
376
00:20:58,000 --> 00:21:01,000
As they start to get busy on the couch, we see that they aren't alone in the room.
377
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There's someone sitting in a chair nearby.
378
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Robbie says that they'd probably be more comfortable in the bedroom.
379
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And when Karen stands, her gal in a Kimbo, she sees that Arnold is in the chair dead-eyed and smiling at them.
380
00:21:11,000 --> 00:21:13,000
Karen gasps and runs from the room.
381
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And even Robbie is stuttle by the sight of his dead older brother smiling at him.
382
00:21:16,000 --> 00:21:19,000
He too runs from the room, stumbling as he goes.
383
00:21:19,000 --> 00:21:20,000
He falls on his golf clubs.
384
00:21:20,000 --> 00:21:23,000
And then we see Robbie driving like a bat out of hell back to the manor.
385
00:21:23,000 --> 00:21:26,000
But then he stops and pulls over. He's an idiot. They should have stayed.
386
00:21:26,000 --> 00:21:27,000
Arnie wanted them to run.
387
00:21:27,000 --> 00:21:29,000
Karen wonders how Arnold got there.
388
00:21:29,000 --> 00:21:31,000
Obviously, Selling Put Him There says Robbie.
389
00:21:31,000 --> 00:21:34,000
And whoever it was is taking him back to the manor right now.
390
00:21:34,000 --> 00:21:37,000
So they brush back to the manor, but find that Arnold has beaten them there.
391
00:21:37,000 --> 00:21:41,000
Yes, he's already resting comfortably in his coffin when they return.
392
00:21:41,000 --> 00:21:45,000
But how, as Karen, just then Esther arrives and starts bustling around,
393
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thanking Arnie for letting them all go out to enjoy themselves.
394
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Robbie asks Hester if she saw anybody outside, but she says no, just Josie, and goes to make some tea.
395
00:21:53,000 --> 00:21:56,000
Karen tells Robbie that's it. She's leaving.
396
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Robbie says she has to stay until the estate is settled, or at least until Arnold tells her where the cash is.
397
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Karen is starting to think the cash doesn't exist, but Robbie gets to thinking.
398
00:22:03,000 --> 00:22:05,000
The cash might be hidden here in the manor.
399
00:22:05,000 --> 00:22:07,000
Maybe even in this very room.
400
00:22:07,000 --> 00:22:10,000
What if it's in the most obvious place of all?
401
00:22:10,000 --> 00:22:15,000
He opens the casket into his great shock he sees, mud and grass all over Arnold's shoes.
402
00:22:15,000 --> 00:22:17,000
Karen rushes over to see what's going on.
403
00:22:17,000 --> 00:22:19,000
He walked across the mors, she gasps.
404
00:22:19,000 --> 00:22:22,000
Robbie closes the lid. It's obvious the money isn't hidden there.
405
00:22:22,000 --> 00:22:24,000
Karen still doesn't want to stay there.
406
00:22:24,000 --> 00:22:26,000
So Robbie says they can stay at an intonate.
407
00:22:26,000 --> 00:22:28,000
What in? What difference does it make?
408
00:22:28,000 --> 00:22:32,000
And in. That way Arnold can't possibly know if even Karen doesn't know.
409
00:22:32,000 --> 00:22:36,000
Karen kisses him. I'll go pack a bag she says, screwing off.
410
00:22:36,000 --> 00:22:38,000
Robbie decides that he wants to change his clothes too.
411
00:22:38,000 --> 00:22:40,000
And he'll borrow one of Arnie's suits.
412
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After all he won't mind. Upstairs, Robbie and Karen share a kiss in the hallway outside her room.
413
00:22:45,000 --> 00:22:46,000
She says she feels better now.
414
00:22:46,000 --> 00:22:50,000
So Robbie goes into Arnie's room for histories opening a large box addressed to Arnold.
415
00:22:50,000 --> 00:22:52,000
It's from London and it must be a wedding gift.
416
00:22:52,000 --> 00:22:54,000
At least it's not a tape, he says.
417
00:22:54,000 --> 00:22:57,000
Robbie says they should take a look at it. It's a new suit and it's purple.
418
00:22:57,000 --> 00:23:00,000
It's a lilac purple velvet suit.
419
00:23:00,000 --> 00:23:03,000
And exactly what Robbie wants to wear right now.
420
00:23:03,000 --> 00:23:04,000
He holds it up against himself.
421
00:23:04,000 --> 00:23:08,000
Oh Robbie says, Hester, you were always trying to help yourself to Arnold's goodies.
422
00:23:08,000 --> 00:23:12,000
Maybe that's because he always had so many more goodies than I had.
423
00:23:12,000 --> 00:23:15,000
He says, Hester leaves and Robbie starts to put on the suit.
424
00:23:15,000 --> 00:23:18,000
Again we see someone staring through the eye of Arnold's portrait.
425
00:23:18,000 --> 00:23:21,000
Meanwhile in Karen's room she's in her fancy underthings.
426
00:23:21,000 --> 00:23:24,000
Robbie resplendent in purple knocks on her door.
427
00:23:24,000 --> 00:23:26,000
She says she's not dressed just yet.
428
00:23:26,000 --> 00:23:27,000
I know he says let me in.
429
00:23:27,000 --> 00:23:31,000
But she says she'll be right down. So he sulks away down the hallway.
430
00:23:31,000 --> 00:23:33,000
Looking and clanging a suit of armor as he goes down the hall.
431
00:23:33,000 --> 00:23:38,000
Meanwhile we see that someone has gone behind the sliding bookshelf by the fireplace in the drawing room.
432
00:23:38,000 --> 00:23:43,000
And that person looks out from the portrait eye hole as Robbie enters the room to show off Arnie's new suit.
433
00:23:43,000 --> 00:23:44,000
If it's Robbie perfectly.
434
00:23:44,000 --> 00:23:47,000
Then he goes to the corpse telling him that his plan isn't working.
435
00:23:47,000 --> 00:23:50,000
Robbie will get his fortune and to tap it off his bride as well.
436
00:23:50,000 --> 00:23:52,000
She never was his.
437
00:23:52,000 --> 00:23:56,000
Robbie says he glots about how Karen has always been with him since the beginning.
438
00:23:56,000 --> 00:23:57,000
But then he gasps.
439
00:23:57,000 --> 00:23:59,000
Even dead Arnold has to have the last word.
440
00:23:59,000 --> 00:24:04,000
The purple suit starts to tighten around Robbie choking him and squeezing the air from his lungs.
441
00:24:04,000 --> 00:24:08,000
We see Robbie fall flat on his back as the suit shrinks until it's like a second skin.
442
00:24:08,000 --> 00:24:11,000
You bastard Robbie chokes as the suit squeezes him tighter and tighter.
443
00:24:11,000 --> 00:24:15,000
The suit grows so tight that eventually Robbie pops.
444
00:24:15,000 --> 00:24:20,000
He explodes all over the drawing room splashing the casket with red and purple.
445
00:24:20,000 --> 00:24:22,000
Karen comes downstairs calling Robbie that she's ready to go.
446
00:24:22,000 --> 00:24:24,000
She walks into the drawing room screams.
447
00:24:24,000 --> 00:24:27,000
Then runs back into the hall and collapses on the stairs.
448
00:24:27,000 --> 00:24:29,000
We didn't get to see it but that's okay.
449
00:24:29,000 --> 00:24:31,000
And now the raven sits upon a new headstone.
450
00:24:31,000 --> 00:24:32,000
Robert beloved brother.
451
00:24:32,000 --> 00:24:35,000
But Jonzy and Dibby are the only ones at Robbie's burial.
452
00:24:35,000 --> 00:24:39,000
Dibby places flowers on the grave and Jonzy says rest in peace and rest in peace.
453
00:24:39,000 --> 00:24:41,000
Patting down the dirt over the grave.
454
00:24:41,000 --> 00:24:46,000
At the shield in plume, flow and hook, gusp about how master Robbie popped his buttons.
455
00:24:46,000 --> 00:24:48,000
Hook says his buttons were about all that was left of him.
456
00:24:48,000 --> 00:24:50,000
Jonzy comes in for a quick drink.
457
00:24:50,000 --> 00:24:52,000
Then says he's got to be going back.
458
00:24:52,000 --> 00:24:53,000
He might have another hold to dig.
459
00:24:53,000 --> 00:24:56,000
He takes off and flow notices he left the package behind.
460
00:24:56,000 --> 00:24:58,000
It's addressed to Karen so Hook says he can take it to her.
461
00:24:58,000 --> 00:24:59,000
He's headed that way anyway.
462
00:24:59,000 --> 00:25:01,000
She's expecting his report on Robbie's death.
463
00:25:01,000 --> 00:25:04,000
She's not set a word to anyone since master Dwellen exploded.
464
00:25:04,000 --> 00:25:05,000
He tells us and flow.
465
00:25:05,000 --> 00:25:07,000
And now we're in the drawing room where Hook addresses Karen.
466
00:25:07,000 --> 00:25:09,000
He has a few things to clear up.
467
00:25:09,000 --> 00:25:14,000
But first he needs to describe for her and us the state of Robbie's body after the death.
468
00:25:14,000 --> 00:25:17,000
He notes that he found pieces of him all over the drawing room.
469
00:25:17,000 --> 00:25:20,000
His head was on the mantle, all blue it was, and blown up like a ready circus plume.
470
00:25:20,000 --> 00:25:23,000
He notes that the mantle is be cleaned up nicely.
471
00:25:23,000 --> 00:25:24,000
But then he continues.
472
00:25:24,000 --> 00:25:26,000
His shoes were in the corner and scattered about.
473
00:25:26,000 --> 00:25:30,000
Higgledy-piggledy were wee bits of what goes between the head and the shoes.
474
00:25:30,000 --> 00:25:31,000
Like a jigsaw puzzle.
475
00:25:31,000 --> 00:25:32,000
Hook defaulse.
476
00:25:32,000 --> 00:25:35,000
Karen pleads with him to get to the bloody point already.
477
00:25:35,000 --> 00:25:39,000
Hook apologizes and says he wants to confirm if all the pieces belong to Robert or if some
478
00:25:39,000 --> 00:25:41,000
of the pieces might belong to someone else.
479
00:25:41,000 --> 00:25:42,000
Like a midget.
480
00:25:42,000 --> 00:25:43,000
Karen stares at him in disbelief.
481
00:25:43,000 --> 00:25:45,000
There was only Robert, she says.
482
00:25:45,000 --> 00:25:48,000
Hook thinks her and notes that Arnold seems to be holding up well.
483
00:25:48,000 --> 00:25:51,000
Hook supposes he just needs a little dusting every now and then.
484
00:25:51,000 --> 00:25:54,000
Hook goes to leave but then remembers that package that Jonesy had left in the pub.
485
00:25:54,000 --> 00:25:56,000
He gives it to Karen and wishes her good day.
486
00:25:56,000 --> 00:25:59,000
Karen opens the package and of course it's one of those tapes.
487
00:25:59,000 --> 00:26:00,000
But she refuses to play it.
488
00:26:00,000 --> 00:26:03,000
She tells Arnold that she's leaving him and runs upstairs.
489
00:26:03,000 --> 00:26:05,000
As she does, Dye becomes into the room.
490
00:26:05,000 --> 00:26:08,000
Upstairs we see Karen opening her bag and throwing things into it.
491
00:26:08,000 --> 00:26:11,000
And then we hear Arnold's voice coming over the inner calm,
492
00:26:11,000 --> 00:26:13,000
which the house is apparently equipped with.
493
00:26:13,000 --> 00:26:16,000
The voice tells Karen that he's disappointed in her just as he was with Robbie.
494
00:26:16,000 --> 00:26:18,000
And that he had that suit designed especially for him.
495
00:26:18,000 --> 00:26:21,000
Here minds her that he and she will always be together.
496
00:26:21,000 --> 00:26:24,000
Karen runs for the door but Arnold tells her that there's no escape.
497
00:26:24,000 --> 00:26:29,000
And with Robbie dead, she has far fewer distractions so she can devote herself to him alone.
498
00:26:29,000 --> 00:26:32,000
And of course we see that someone is peeking in through the portrait in her room.
499
00:26:32,000 --> 00:26:35,000
So Karen calls Douglas Blighthead and he agrees to meet her.
500
00:26:35,000 --> 00:26:36,000
But she isn't want to meet at the manner.
501
00:26:36,000 --> 00:26:38,000
Douglas says she'll be there rest assured.
502
00:26:38,000 --> 00:26:42,000
And we see that Evan is listening to Douglas's side of the conversation upstairs.
503
00:26:42,000 --> 00:26:45,000
That night Karen meets Douglas in the gloom of the graveyard.
504
00:26:45,000 --> 00:26:47,000
He asks why she wanted to meet in this dreadful place.
505
00:26:47,000 --> 00:26:50,000
But she says at least she knows that everyone here is actually dead.
506
00:26:50,000 --> 00:26:53,000
Karen confesses that she is sure that Arnold is going to kill her.
507
00:26:53,000 --> 00:26:58,000
Douglas asks her to elaborate and she delivers a conspiracy theory that Arnold might have bribed a doctor
508
00:26:58,000 --> 00:27:01,000
to falsify a death certificate and place a dummy in the casket in his place.
509
00:27:01,000 --> 00:27:03,000
Why would he do that inquires Douglas?
510
00:27:03,000 --> 00:27:06,000
Who knows what went on in that twisted mind of his says Karen?
511
00:27:06,000 --> 00:27:08,000
She begs for Douglas's help.
512
00:27:08,000 --> 00:27:11,000
How can she be freed from the sadistic agreement that she signed?
513
00:27:11,000 --> 00:27:16,000
Douglas ponders this and says that it will take some skilled legal maneuvering, but he could do it.
514
00:27:16,000 --> 00:27:21,000
Karen offers him 10% of her share of the estate, but Douglas thinks 50% is a better price.
515
00:27:21,000 --> 00:27:22,000
Plus, fringe benefits.
516
00:27:22,000 --> 00:27:23,000
By which he means sex.
517
00:27:23,000 --> 00:27:27,000
She says she won't pay 50% without addressing the fringe benefits.
518
00:27:27,000 --> 00:27:29,000
So he decides that he's going to leave now.
519
00:27:29,000 --> 00:27:31,000
As he turns to leave, he wishes her luck.
520
00:27:31,000 --> 00:27:33,000
So she says 50% Douglas turns towards her.
521
00:27:33,000 --> 00:27:35,000
Plus, fringe benefits, she continues.
522
00:27:35,000 --> 00:27:43,000
[Music]
523
00:27:43,000 --> 00:27:47,000
Inside the manner, Karen is all smiles as Douglas proposes a drink to seal the bargain,
524
00:27:47,000 --> 00:27:50,000
but just then Arnold's voice beams into the room from somewhere.
525
00:27:50,000 --> 00:27:53,000
Arnold asks Karen why she's always rushing to another man.
526
00:27:53,000 --> 00:27:56,000
You saw what happened to Robbie and she knows what happened to Jocelyn.
527
00:27:56,000 --> 00:27:58,000
Yet Karen fails to heed his warnings.
528
00:27:58,000 --> 00:28:01,000
Once again, we see someone peering at them from behind Arnold's portrait.
529
00:28:01,000 --> 00:28:04,000
Douglas walks over to the casket and he checks the tape.
530
00:28:04,000 --> 00:28:05,000
That's a relief, he says.
531
00:28:05,000 --> 00:28:07,000
I was almost convinced the corpse was talking.
532
00:28:07,000 --> 00:28:10,000
Some very life person is behind this, and Douglas has an idea.
533
00:28:10,000 --> 00:28:12,000
He tells Karen to go up and get some sleep.
534
00:28:12,000 --> 00:28:13,000
She protests.
535
00:28:13,000 --> 00:28:15,000
He says he's got a scheme to scheme the skimmer.
536
00:28:15,000 --> 00:28:18,000
That night, we see Douglas circling Arnie's coffin, going over past grievances,
537
00:28:18,000 --> 00:28:21,000
and telling Arnold that now he'll get his bootle and his bride.
538
00:28:21,000 --> 00:28:25,000
And when his friend sneaks in, he's going to get it hot off the goose.
539
00:28:25,000 --> 00:28:26,000
He says, "Brandishing a gun."
540
00:28:26,000 --> 00:28:28,000
And of course, someone is watching all this.
541
00:28:28,000 --> 00:28:30,000
Upstairs, Karen is sleeping fiftily.
542
00:28:30,000 --> 00:28:32,000
She's dreaming of running through fog in her nightie.
543
00:28:32,000 --> 00:28:35,000
She sees Robbie being squeezed by his suit.
544
00:28:35,000 --> 00:28:36,000
Then she's being chased by Arnold.
545
00:28:36,000 --> 00:28:39,000
Douglas arrives to save her and shoots Arnold, but Arnold just laughs.
546
00:28:39,000 --> 00:28:41,000
Then Karen sees her own grave and she wakes up.
547
00:28:41,000 --> 00:28:43,000
Now, midnight chimes.
548
00:28:43,000 --> 00:28:46,000
Douglas is frustrated that the accomplice hasn't shown herself yet.
549
00:28:46,000 --> 00:28:48,000
He gets up for a drink and then he hears some glass breaking.
550
00:28:48,000 --> 00:28:51,000
He goes out into the hall to find that the cat is knocked over a lamp,
551
00:28:51,000 --> 00:28:53,000
and is now licking the base of it.
552
00:28:53,000 --> 00:28:55,000
It was to put some tuna down there.
553
00:28:55,000 --> 00:28:58,000
He doesn't notice the door to the drawing room closed behind him.
554
00:28:58,000 --> 00:29:00,000
Somebody snuck past him, while he was distracted.
555
00:29:00,000 --> 00:29:03,000
Well, we actually saw somebody do it, but we didn't see who.
556
00:29:03,000 --> 00:29:06,000
Then Douglas returns to the drawing room, where we see there's another tape in the casket.
557
00:29:06,000 --> 00:29:09,000
Douglas pours himself a drink and a stir-dole when the tape begins to play.
558
00:29:09,000 --> 00:29:12,000
From the tape, Arnold says Douglas is an ungrateful rich.
559
00:29:12,000 --> 00:29:16,000
It was only because Arnold had kept him on retainer all these years that he hadn't fallen into destitution.
560
00:29:16,000 --> 00:29:18,000
Douglas disagrees with his assessment.
561
00:29:18,000 --> 00:29:21,000
Arnold asked if Douglas enjoyed his very expensive cognac.
562
00:29:21,000 --> 00:29:25,000
Douglas smiles until Arnold explains that he was certain that Douglas would help himself to it.
563
00:29:25,000 --> 00:29:26,000
He always does.
564
00:29:26,000 --> 00:29:29,000
Douglas stares at the glass in his hand and drops it to the floor.
565
00:29:29,000 --> 00:29:31,000
He grabs it as throat and starts to choke.
566
00:29:31,000 --> 00:29:34,000
But the voice of Arnold assures him that the cognac isn't lethal.
567
00:29:34,000 --> 00:29:37,000
It will merely put him into a prolonged and very restful sleep.
568
00:29:37,000 --> 00:29:39,000
And Douglas collapses on the couch.
569
00:29:39,000 --> 00:29:43,000
When we next see his body, it's in a bag in the dumpster being picked up by the trash collectors,
570
00:29:43,000 --> 00:29:47,000
dumping the contents into the crush-all, disposed-all with the other garbage.
571
00:29:47,000 --> 00:29:49,000
But not all of them went in there.
572
00:29:49,000 --> 00:29:52,000
No, as the raven crows, we see a boot has been left behind.
573
00:29:52,000 --> 00:29:54,000
The foot included, and the cat jumps on it.
574
00:29:54,000 --> 00:29:57,000
Back at the manner, Karen is following a trail of mud on the floor.
575
00:29:57,000 --> 00:30:00,000
It leads to Douglas's boot, being dragged down on the room by the cat.
576
00:30:00,000 --> 00:30:02,000
It is jealous-ly guarding its treat.
577
00:30:02,000 --> 00:30:05,000
I know Douglas is buried, beloved cousin it says on the headstone.
578
00:30:05,000 --> 00:30:10,000
Josie says that the whole grave is a waste of space for Douglas, with just the one foot to bury.
579
00:30:10,000 --> 00:30:14,000
Constable Hook is there, and Hester asks him if he was sure that this foot belonged to Douglas.
580
00:30:14,000 --> 00:30:19,000
Long windedly, Constable Hook explains how he tracked the shoe down, and that it was especially made for Douglas.
581
00:30:19,000 --> 00:30:23,000
He pulls on his notebook to read his report, and Hester asks how Douglas might have met his demise.
582
00:30:23,000 --> 00:30:29,000
Hook, who says he has put his investigative skills to work, says the trail of blood went from the boot, not onto the street.
583
00:30:29,000 --> 00:30:31,000
Douglas went out, wearing a dark suit, and...
584
00:30:31,000 --> 00:30:35,000
Well, he expects he'll be finding bits and pieces of him between here and Liverpool.
585
00:30:35,000 --> 00:30:38,000
And tells her to call him, should the cat locate any more of Douglas?
586
00:30:38,000 --> 00:30:42,000
Hester leaves, and Josie tells Hook he's heard of one foot in the grave, but...
587
00:30:42,000 --> 00:30:43,000
But what asks Hook?
588
00:30:43,000 --> 00:30:45,000
It's an expression, one foot in the...
589
00:30:45,000 --> 00:30:48,000
Oh, never mind, says an exasperated Josie.
590
00:30:48,000 --> 00:30:50,000
Like the antithesis of a comedy routine.
591
00:30:50,000 --> 00:30:53,000
Hook goes over to where his bike is laying on the ground and kicks it.
592
00:30:53,000 --> 00:31:00,000
In the shield and plume, flow in some money off the other dark players, and then goes to ask Constable Hook if any of the dust have been due to foul play.
593
00:31:00,000 --> 00:31:03,000
Hook stares at her cleavage as he declares that they were all accidents.
594
00:31:03,000 --> 00:31:06,000
"It's plain as the nose on your pretty little chest," he says.
595
00:31:06,000 --> 00:31:10,000
At the bar, Governor falls off a stool, and Hook helps him up, assisted by the dark players.
596
00:31:10,000 --> 00:31:13,000
Hook says he's got to be off, but he'll be back later to see Flow Home.
597
00:31:13,000 --> 00:31:15,000
She tells him she's sorry, but she's got other plans this evening.
598
00:31:15,000 --> 00:31:19,000
Hook tells her a man can only take so much before he starts questioning things,
599
00:31:19,000 --> 00:31:20,000
so he asks her point blank.
600
00:31:20,000 --> 00:31:21,000
Are they engaged or not?
601
00:31:21,000 --> 00:31:24,000
Of course, she says, so he says he'll see her tomorrow.
602
00:31:24,000 --> 00:31:27,000
And then, after he's gone, she and the governor share a look.
603
00:31:27,000 --> 00:31:32,000
At Douglas Whitehead's office, Evan takes his leave, glancing at the late Douglas' nameplate on the door.
604
00:31:32,000 --> 00:31:35,000
Then we see Evan arriving at the manor house, and Dibi lets him in.
605
00:31:35,000 --> 00:31:38,000
He takes his code, and Evan hangs his hat on Dibi's hook hand.
606
00:31:38,000 --> 00:31:40,000
Then Evan goes to meet with Karen.
607
00:31:40,000 --> 00:31:42,000
She catches him up on what's been going on.
608
00:31:42,000 --> 00:31:44,000
Arnold killed Douglas and Robert and Joslyn.
609
00:31:44,000 --> 00:31:46,000
Evan says he's been a busy one.
610
00:31:46,000 --> 00:31:49,000
But Karen says he's going to murder her. Then why don't you leave, ass-7?
611
00:31:49,000 --> 00:31:51,000
Karen says Arnold will find her.
612
00:31:51,000 --> 00:31:54,000
Evan says it seems unlikely that the corpse in this room is going to murder her.
613
00:31:54,000 --> 00:31:56,000
Well, not now, says Karen.
614
00:31:56,000 --> 00:31:59,000
She's doing exactly what he wants, just sitting there, being with him.
615
00:31:59,000 --> 00:32:01,000
She'll stay there as long as she shall live.
616
00:32:01,000 --> 00:32:04,000
Evan tells her that she's too young and beautiful to continue this macabre arrangement.
617
00:32:04,000 --> 00:32:07,000
He says that now that he's on the case, he can get her out of this.
618
00:32:07,000 --> 00:32:10,000
She says he shouldn't be talking like that, especially in front of Arnold.
619
00:32:10,000 --> 00:32:11,000
He'll hear him.
620
00:32:11,000 --> 00:32:12,000
At least Dibi will.
621
00:32:12,000 --> 00:32:14,000
He's standing outside the door, listening.
622
00:32:14,000 --> 00:32:19,000
Evan closes the casket, obscuring Arnold's face, and then asks about her arrangement with Douglas.
623
00:32:19,000 --> 00:32:22,000
He says that he'll be happy to make her the same deal.
624
00:32:22,000 --> 00:32:24,000
But Karen says that then Arnold will kill him too.
625
00:32:24,000 --> 00:32:27,000
But Evan isn't afraid. Arnold doesn't even know about him.
626
00:32:27,000 --> 00:32:29,000
There's no way he could have predicted he'd come here.
627
00:32:29,000 --> 00:32:32,000
And he's smarter than the other two men who try to get her out of this.
628
00:32:32,000 --> 00:32:34,000
Maybe you can do something, says Karen.
629
00:32:34,000 --> 00:32:39,000
Evan asks Karen where Arnold likes to hang around when he was alive, and she reveals that he had a laboratory in the cellar.
630
00:32:39,000 --> 00:32:40,000
Though she's never seen it.
631
00:32:40,000 --> 00:32:42,000
Evan says they should go down there when they get around to it.
632
00:32:42,000 --> 00:32:45,000
But right now he's decided it's time to start collecting his payment.
633
00:32:45,000 --> 00:32:47,000
So he kisses Karen and mother distract him with each other.
634
00:32:47,000 --> 00:32:49,000
Dibi seeks past them and opens the door to the cellar.
635
00:32:49,000 --> 00:32:53,000
He goes down there and finds a secret room behind the rack of wine bottles.
636
00:32:53,000 --> 00:32:55,000
He starts looking around and finds the door to the laboratory.
637
00:32:55,000 --> 00:32:58,000
By now Evan and Karen have made their way to the wine cellar as well.
638
00:32:58,000 --> 00:33:01,000
Evan notices the secret door and the adventure forward.
639
00:33:01,000 --> 00:33:04,000
Meanwhile, Dibi, who's still ahead of them, finds a cloth with an elephant embroidered onto it.
640
00:33:04,000 --> 00:33:07,000
He pulls it away from the wall to find a dumb waiter.
641
00:33:07,000 --> 00:33:10,000
He opens it and peers into the hole, and a gill team blade appears.
642
00:33:10,000 --> 00:33:12,000
And then the blade comes down.
643
00:33:12,000 --> 00:33:14,000
Evan and Karen continue into the laboratory.
644
00:33:14,000 --> 00:33:16,000
They find Dibi's body lying on the floor.
645
00:33:16,000 --> 00:33:17,000
Evan opens the dumb waiter door.
646
00:33:17,000 --> 00:33:20,000
"There's the rest of them," he says, seeing Dibi's head.
647
00:33:20,000 --> 00:33:23,000
And now Dibi gets a headstone, faithful servant.
648
00:33:23,000 --> 00:33:27,000
Constable Hook is trying to hit Reggie the Raven with a rock, but Jonesy stops him.
649
00:33:27,000 --> 00:33:31,000
Hook marvels at how there hasn't been an intact corpse in the last three burials.
650
00:33:31,000 --> 00:33:33,000
They've all been chopped into bits and pieces.
651
00:33:33,000 --> 00:33:36,000
Jonesy says he's going to miss having Dibi around to talk to.
652
00:33:36,000 --> 00:33:39,000
Hook asks if Dibi said very much, and Jonesy says no, but he could listen a blue streak.
653
00:33:39,000 --> 00:33:43,000
And then Jonesy asks Hook how Dibi's head could have been separated from his body.
654
00:33:43,000 --> 00:33:47,000
Hook reads his report, which says that Dibi got his head trapped in the door while cleaning.
655
00:33:47,000 --> 00:33:52,000
"He couldn't see well with the one eye in all, so was all an accident, killed in the line of duty, as it were."
656
00:33:52,000 --> 00:33:54,000
Okay, back in the manner. Evan heads upstairs.
657
00:33:54,000 --> 00:33:57,000
He goes into Karen's room and finds that she's in the shower.
658
00:33:57,000 --> 00:33:59,000
He starts stuffing his clothes so that he can join her.
659
00:33:59,000 --> 00:34:02,000
Where he only a tell, he climbs into the shower with her.
660
00:34:02,000 --> 00:34:04,000
When Karen sees him, she asks, "What if Hester saw him?"
661
00:34:04,000 --> 00:34:06,000
"Nobody saw me," he assures her.
662
00:34:06,000 --> 00:34:08,000
He just came in to scrub her back.
663
00:34:08,000 --> 00:34:14,000
She tells him she feels close to him. They kiss, and then they get even closer, as the walls push inward, squishing the pair, and destroying the shower head.
664
00:34:14,000 --> 00:34:18,000
"It seems like a very weird device to install in a shower. What if you trigger it by mistake?"
665
00:34:18,000 --> 00:34:20,000
So now Karen has joined the others in the graveyard.
666
00:34:20,000 --> 00:34:23,000
I guess Evan's body was returned to his people because he's not there.
667
00:34:23,000 --> 00:34:27,000
Karen's headstone reads, "Beloved wife," and Hester puts flowers on her grave.
668
00:34:27,000 --> 00:34:29,000
Jonesy says they're running out of space in the family plot.
669
00:34:29,000 --> 00:34:32,000
If this continues, they'll have to start burying them biggie back.
670
00:34:32,000 --> 00:34:39,000
And of course Constable Hook is there, and Hester asks if he really thinks that those two deaths were an accident.
671
00:34:39,000 --> 00:34:40,000
And of course Hook does.
672
00:34:40,000 --> 00:34:43,000
He says he found them in Evan's car at the foot of the cliff.
673
00:34:43,000 --> 00:34:45,000
They must have missed the turn and plunged over the edge.
674
00:34:45,000 --> 00:34:47,000
The car caught fire when they were burned to a crisp.
675
00:34:47,000 --> 00:34:49,000
They were cooked to a turn, he must say.
676
00:34:49,000 --> 00:34:52,000
They were also a flat ass pancakes, and it's all in his report.
677
00:34:52,000 --> 00:34:55,000
Hester looks sad, and Hook says things are sad all over.
678
00:34:55,000 --> 00:34:58,000
Why just yesterday he lost his father and his fiance.
679
00:34:58,000 --> 00:35:02,000
They died, asked Hester, he grimaces, and then confesses to being cuckled by his own father.
680
00:35:02,000 --> 00:35:05,000
Those two alopeed, but you knew that was going to happen.
681
00:35:05,000 --> 00:35:07,000
Hook moths his bicycle and rides off.
682
00:35:07,000 --> 00:35:10,000
Hester goes back into the drawing room and puts a tape into Arnold's casket.
683
00:35:10,000 --> 00:35:13,000
She says to listen to what Arnold has to tell her, "Well done, my devoted Hester."
684
00:35:13,000 --> 00:35:16,000
The playing of this tape means you've carried out your final assignment.
685
00:35:16,000 --> 00:35:18,000
I got two of this last time, says Hester.
686
00:35:18,000 --> 00:35:20,000
Why didn't you even count it on?
687
00:35:20,000 --> 00:35:23,000
Arnold says that now the two of them can be together forever.
688
00:35:23,000 --> 00:35:26,000
He knew Jocelyn would never agree to it, and though Karen did agree,
689
00:35:26,000 --> 00:35:28,000
in the end she was as faithless as Jocelyn.
690
00:35:28,000 --> 00:35:33,000
But then Arnold goes a little too far, and congratulates himself on a masterful plan,
691
00:35:33,000 --> 00:35:35,000
powered by his skill and his genius alone.
692
00:35:35,000 --> 00:35:37,000
Hester tells Arnold to shut up.
693
00:35:37,000 --> 00:35:39,000
Without her, his plan would never have worked.
694
00:35:39,000 --> 00:35:42,000
She's the one who timed the delivery of the tapes and the suit.
695
00:35:42,000 --> 00:35:45,000
She got Jonesy to help her put Karen and Evan into Evan's car,
696
00:35:45,000 --> 00:35:47,000
and she got diving to dispose of Douglas in the trash.
697
00:35:47,000 --> 00:35:50,000
Without her, his plan was just yards of tape.
698
00:35:50,000 --> 00:35:52,000
And do he really think she would keep him around forever,
699
00:35:52,000 --> 00:35:54,000
like some monstrous stuffed animal?
700
00:35:54,000 --> 00:35:56,000
She only used him.
701
00:35:56,000 --> 00:35:59,000
Hester closes the coffin, saying she's going to tuck him in nice and warm.
702
00:35:59,000 --> 00:36:01,000
And then we see that she's having the casket cremated.
703
00:36:01,000 --> 00:36:04,000
She returns to the graveyard, holding her kitty cat and an urn.
704
00:36:04,000 --> 00:36:06,000
She goes over to Jonesy, who's dug another grave.
705
00:36:06,000 --> 00:36:07,000
And thanks him.
706
00:36:07,000 --> 00:36:11,000
She says she's appreciative, and he suggests she's sure appreciation with some cash.
707
00:36:11,000 --> 00:36:15,000
After all, she promised she would, and he's been putting in a lot of extra hours lately.
708
00:36:15,000 --> 00:36:19,000
She agrees, but says, as soon as we dispose of Arnie, he wonders where the coffin is,
709
00:36:19,000 --> 00:36:20,000
and she points at the urn.
710
00:36:20,000 --> 00:36:21,000
There's no coffin.
711
00:36:21,000 --> 00:36:22,000
She had him cremated.
712
00:36:22,000 --> 00:36:25,000
Jonesy marvels that his lordship cooked down to almost nothing.
713
00:36:25,000 --> 00:36:27,000
The hole his dug is plenty big enough.
714
00:36:27,000 --> 00:36:29,000
Jonesy was expecting him to take up a lot more space.
715
00:36:29,000 --> 00:36:32,000
Hester asked Jonesy to remove a large rock from the grave.
716
00:36:32,000 --> 00:36:35,000
She wouldn't be, and comfortable for a year on out.
717
00:36:35,000 --> 00:36:38,000
As Jonesy bends down to a blige, Hester hits him over the head with a shovel.
718
00:36:38,000 --> 00:36:40,000
The grave is not for Arnie, she says.
719
00:36:40,000 --> 00:36:41,000
It's for you, Jonesy.
720
00:36:41,000 --> 00:36:46,000
She laughs maniacally, then tells her cat that Jonesy was a good worker, but greedy.
721
00:36:46,000 --> 00:36:48,000
And now he's dug his own grave.
722
00:36:48,000 --> 00:36:53,000
Ha ha ha. And now it's time for her and the kitty cat to enjoy what everyone was fighting for.
723
00:36:53,000 --> 00:36:55,000
What Hester really wants is to travel.
724
00:36:55,000 --> 00:36:58,000
She opens up Arnie's crypt and puts his urn in there and closes the door.
725
00:36:58,000 --> 00:37:00,000
And then she says that she's going to find the vault.
726
00:37:00,000 --> 00:37:02,000
But then a light bulb goes off over her head.
727
00:37:02,000 --> 00:37:04,000
This is the vault.
728
00:37:04,000 --> 00:37:07,000
She climbs into the crypt and starts feeling around the back for an opening,
729
00:37:07,000 --> 00:37:11,000
finding a switch, a false door opens, and beyond it is piles of cash.
730
00:37:11,000 --> 00:37:13,000
It looks like a Scrooge McDucks home bank.
731
00:37:13,000 --> 00:37:16,000
There's cash, coins, stocks and bonds, etc. there.
732
00:37:16,000 --> 00:37:19,000
While she's goggling at all the money, the crypt door closes.
733
00:37:19,000 --> 00:37:22,000
And we hear Arnie's voice for the last time.
734
00:37:22,000 --> 00:37:26,000
My dear devoted Hester, I was sure you were the one person who would love me for myself alone,
735
00:37:26,000 --> 00:37:28,000
with no thought of monetary reward.
736
00:37:28,000 --> 00:37:30,000
Yes, Arnie, says Hester, picking up handfuls of cash.
737
00:37:30,000 --> 00:37:32,000
You know how close we've always been?
738
00:37:32,000 --> 00:37:37,000
But dear sister, just in the terrible event you should prove me wrong, I devised this final moment of reckoning.
739
00:37:37,000 --> 00:37:40,000
No Arnie cries, Hester. I've done everything you said.
740
00:37:40,000 --> 00:37:44,000
The vault door closes, and Arnie says that this was his last calculation.
741
00:37:44,000 --> 00:37:47,000
She wouldn't be there unless she disposed of him against his wishes.
742
00:37:47,000 --> 00:37:51,000
Hester tries to plead for him to release her, but he's not really there.
743
00:37:51,000 --> 00:37:53,000
There's no one around anymore.
744
00:37:53,000 --> 00:37:56,000
Hester screams, "There's really no need for tears," the voice continues.
745
00:37:56,000 --> 00:37:58,000
We both have what we most want.
746
00:37:58,000 --> 00:38:03,000
You have that horde of money at your fingertips, and I have you with me here, for all eternity.
747
00:38:03,000 --> 00:38:04,000
Now we're outside the crypt.
748
00:38:04,000 --> 00:38:08,000
The cat, who had wisely left Hester alone in there, runs into the graveyard.
749
00:38:08,000 --> 00:38:11,000
Constable Hook is there, but tells the cat that there's no one at the matter.
750
00:38:11,000 --> 00:38:16,000
Indeed there's no one around here. He thinks Lady Hester must have finally gone in that long trip that she was planning.
751
00:38:16,000 --> 00:38:18,000
He gets on his bike and rides away.
752
00:38:18,000 --> 00:38:22,000
The Ravenfly is behind a gravestone, and the cat pounces on it. The cat screeches and the mother's fly.
753
00:38:22,000 --> 00:38:27,000
Somebody's getting shredded back there, and then Arnold's theme song plays again, credits roll, and that's the end.
754
00:38:27,000 --> 00:38:39,000
Welcome back to the American International Podcast where we're talking about Arnold from 1973.
755
00:38:39,000 --> 00:38:44,000
Director George Fennity and his brother, producer Andrew J. Fennity, shot this film and terror in the wax museum,
756
00:38:44,000 --> 00:38:47,000
which was released the same year, back to back with some of the same actors.
757
00:38:47,000 --> 00:38:52,000
Usalon, Tester, Patrick Nalles, Shiny Wells, Stephen Marlow, Ben Wright, and Leslie Thompson.
758
00:38:52,000 --> 00:39:00,000
Exterior shots for Arnold took place at the Mount Kalmia estate, also known as the Fairy Lady Castle, on sunset Boulevard in Switzerland Avenue in Los Angeles.
759
00:39:00,000 --> 00:39:08,000
Now owned by actor Johnny Depp, then Castle was built in 1932, and was once home to Motown producer Barry Gordy, divorce lawyer Marvin Mitchellson,
760
00:39:08,000 --> 00:39:15,000
and Noah Dietrich, the man who ran Howard Hughes' movie-making empire, according to an LA Times article published in 2006.
761
00:39:15,000 --> 00:39:18,000
The movie's interiors were shot at Paramount Studios.
762
00:39:18,000 --> 00:39:23,000
British actor Murray Matheson, veteran of films and television, provided the voice for Arnold's corpse,
763
00:39:23,000 --> 00:39:24,000
Norman Stewart served as the body.
764
00:39:24,000 --> 00:39:29,000
Shannie Wallace, who played the first victim, Lady Jocelyn, also sang the movie's lively theme song,
765
00:39:29,000 --> 00:39:32,000
which featured lyrics by Andrew Fennity and music by George Dunning.
766
00:39:32,000 --> 00:39:39,000
She was called the English Judy Garland by writer Kenneth Tinen, and Settie Ballet and Dance Before Attending the Royal Academy of Dramatic Arts in Great Britain.
767
00:39:39,000 --> 00:39:46,000
She played Nancy in the film version of Oliver, but moves the United States where she became a naturalized citizen, and still lives there today.
768
00:39:46,000 --> 00:39:56,000
Rodaim McDowell said in an October 1973 interview with syndicated columnist Dorothy Manners, that acting in Arnold was sort of a relief after being trapped in a monkey suit for his role in the plan of the Davis movies.
769
00:39:56,000 --> 00:40:02,000
Arnold is something else. My face is out. I can breathe and see Stella Stevens and Elsa Lanchester and others in the cast.
770
00:40:02,000 --> 00:40:05,000
Arnold just happens to be rotten to the core. He's fun.
771
00:40:05,000 --> 00:40:11,000
Producer Andrew Fennity was also at the interview with Dorothy Manners, and he told her that McDowell designed the suit that shrinks him to death.
772
00:40:11,000 --> 00:40:14,000
He said to Manners, "I've never worked with a less temperamental actor."
773
00:40:14,000 --> 00:40:24,000
Elsa Lanchester, who played the bite of Frankenstein in the 1935 classic, jokingly called herself the Queen of Horror films in a syndicated interview with Bill Mann, published in August of 1973.
774
00:40:24,000 --> 00:40:35,000
She said of Arnold, "I believe that when you see a film like Arnold, or my one before this, terror it in the wax museum, the sight of so many bizarre murders and such, actually help a person who has a lot of repressed hostilities building up inside of him."
775
00:40:35,000 --> 00:40:41,000
Lanchester also spoke about her career, saying that when actors are young, they want to play only Shakespeare, Shaw, or Ibsen.
776
00:40:41,000 --> 00:40:50,000
But when they get older and the parts are not as tempting, she says, "You must make do with what they offer you. You must be discriminating, but, quote, "a little romp like Arnold doesn't hurt you as an actor."
777
00:40:50,000 --> 00:40:54,000
Arnold premiered in theaters in October of 1973. It was waited PG.
778
00:40:54,000 --> 00:41:04,000
And like we said before, the only information we have tying Arnold to A.I.P. is that the title is mentioned in a book for exhibitors, released in 1974 as a preview of coming attractions.
779
00:41:04,000 --> 00:41:10,000
In addition to Arnold, the book mentioned other cinema titles like Walking Tall, Digby the Biggest Dog in the World, and Street Gangs of Hong Kong.
780
00:41:10,000 --> 00:41:17,000
Fox office magazines suggested theater owners put a dummy in a coffin to get across the idea of who and what Arnold is in the film.
781
00:41:17,000 --> 00:41:23,000
That would kind of spoil it though. Taglines for Arnold include, "Call Horror by its first name, Arnold."
782
00:41:23,000 --> 00:41:24,000
Arnold is a scream.
783
00:41:24,000 --> 00:41:28,000
Arnold is dead, and a newlywed don't miss his honeymoon.
784
00:41:28,000 --> 00:41:31,000
Seven dead, who's next? The clues lie with Arnold.
785
00:41:31,000 --> 00:41:37,000
A funeral in Arnold is the body. A wedding, and Arnold is the groom. Eight murders in Arnold is the suspect.
786
00:41:37,000 --> 00:41:42,000
Tony Masteryani, in the Cleveland playing dealer, said he was the only one in the theater tonight Arnold opened in that city.
787
00:41:42,000 --> 00:41:47,000
There had been no reviews, no chance for a first night audience to tell anyone what kind of a picture it is.
788
00:41:47,000 --> 00:41:51,000
But the public knew, I sat there all alone, washing Arnold and fold.
789
00:41:51,000 --> 00:41:55,000
Anyone with any sense was at home, or in a saloon, or at some other movie.
790
00:41:55,000 --> 00:42:01,000
He also said the intention was to make a comedy horror picture, but the comedy turned out horrible, and the horror is ridiculous, and often revolting.
791
00:42:01,000 --> 00:42:10,000
The preview blur for Arnold published in the Des Moines Register said that the film had plenty of chill factor, but little visible blood, and that some of the demise are unusual.
792
00:42:10,000 --> 00:42:15,000
Fox office magazines review called Arnold one of the funnier horror spoof in many of full moon.
793
00:42:15,000 --> 00:42:18,000
The multiple murders are novel without being horrid.
794
00:42:18,000 --> 00:42:21,000
Sure do we talked about is McDowell's unique demise.
795
00:42:21,000 --> 00:42:24,000
Tom McElfresh and this Cincinnati inquired, called Arnold a turkey, saying,
796
00:42:24,000 --> 00:42:30,000
"At first, when the bride and bride's maid arrive at a funeral, and the tipsy person begins marrying the girl to a corpse,
797
00:42:30,000 --> 00:42:35,000
you might think that Arnold might be one of those deliciously mad little horror films that the British do so well.
798
00:42:35,000 --> 00:42:50,000
Wrong. Right after that bizarre moment, it turns into an utterly mechanical, utterly predictable, even littler who done it, with great chunks of alleged comedy which waste John McGuyvers' large quirky talent, and prove forever more that Bernard Fox's imitations of Oliver Hardy are a thing of no joy, whatever."
799
00:42:50,000 --> 00:42:53,000
Will Jones in his column in the Minneapolis Star Tribune wrote,
800
00:42:53,000 --> 00:42:57,000
"There's a weirdly funny throwaway of a movie called Arnold currently playing.
801
00:42:57,000 --> 00:43:02,000
Arnold is a spoof of those who's going to get it next movies, staged in spooky old mansions.
802
00:43:02,000 --> 00:43:08,000
From the way the advertising has been handled, I suspect several of them may deals not to have their names used in connection with the film."
803
00:43:08,000 --> 00:43:11,000
Robert Jennings of the Memphis Commercial Appeal asked,
804
00:43:11,000 --> 00:43:16,000
"When, oh when, will they stop misusing Stella Stevens? She might well have become a Latter-day Carol Lombard,
805
00:43:16,000 --> 00:43:22,000
but she not been so consistently cast in ridiculous roles, and even more ridiculous pictures. The newest is called Arnold.
806
00:43:22,000 --> 00:43:28,000
This is an abomination, the offensive which is compounded that it not only bogs down the potentially marvelous Stella,
807
00:43:28,000 --> 00:43:33,000
but waste other talented folk as Arradi McDowell, Elsa Langezter, Farley Granger, and Victor Buono.
808
00:43:33,000 --> 00:43:38,000
Stella said the picture was shot in 20 days. They should not have shot the picture. They should have shot whoever dreamed it up."
809
00:43:38,000 --> 00:43:44,000
But Jerry Stein of the Cincinnati Post liked Arnold, calling it an evil, delightful, bizarre mystery comedy,
810
00:43:44,000 --> 00:43:49,000
and said Jameson Rure and John Fenton Murray's script, for the most part, is at once so humorous and morbid,
811
00:43:49,000 --> 00:43:52,000
the effect is like being tickled in the middle of a chill.
812
00:43:52,000 --> 00:44:00,000
Director Fennity maintains a certain imbalance by suddenly leaving the tone of Mary Ghostly Satire to move to straight horror, then quickly back again to mock the horror.
813
00:44:00,000 --> 00:44:04,000
It cast as having a wild time playing these exaggerated characters.
814
00:44:04,000 --> 00:44:20,000
We have decided to do almost AIP movies, which may be cheating a little bit, so tell me why did you want to include Arnold amongst all the other movies that we still have yet to do.
815
00:44:20,000 --> 00:44:24,000
It's just my quest for Thurinus. I don't want to leave anything behind.
816
00:44:24,000 --> 00:44:30,000
But can you argue that this really isn't within our remit? It's not AIP. It might have been AIP, but it wasn't.
817
00:44:30,000 --> 00:44:35,000
Well, we're doing several other titles with a less tenuous connection to AIP than Arnold.
818
00:44:35,000 --> 00:44:39,000
And to cover those, we've decided to glue those as almost AIP.
819
00:44:39,000 --> 00:44:43,000
Basically, anything that we find that has a connection to AIP is fair game.
820
00:44:43,000 --> 00:44:44,000
That's fine. I'm not complaining.
821
00:44:44,000 --> 00:44:50,000
And there's not going to be that many of them. There's going to be more than a few, but it's not like it's going to add hundreds to our roster here.
822
00:44:50,000 --> 00:44:53,000
There were like a couple in that one press package that we found.
823
00:44:53,000 --> 00:44:59,000
And a number of those were already on our list because they were in the Sinorama Features television package or a later package.
824
00:44:59,000 --> 00:45:05,000
Yeah, I was surprised that this wasn't a television movie because this is something I can totally imagine seeing on a Saturday afternoon.
825
00:45:05,000 --> 00:45:07,000
That would be a good time to watch a film like this.
826
00:45:07,000 --> 00:45:13,000
It really puts me in mind of movies like Clue or Murder by Death, where it's more of a spoof than an actual straight-up murder mystery.
827
00:45:13,000 --> 00:45:18,000
Right, but those were outright comedies and satire parodies.
828
00:45:18,000 --> 00:45:21,000
Whereas this one, I think, tries to be more of a dark comedy.
829
00:45:21,000 --> 00:45:27,000
It does seem like it's playing with the conventions of those horror movies, the eye behind the portrait, the mysterious death.
830
00:45:27,000 --> 00:45:35,000
Right. And I think it falls under dark comedy because the way the murders play out are darker than the murders in the other movies you mentioned.
831
00:45:35,000 --> 00:45:40,000
I will say that dark comedy is probably my favorite genre. I did enjoy this one.
832
00:45:40,000 --> 00:45:44,000
I did too. It's really funny. And I think it's funnier when it tries not to be funny.
833
00:45:44,000 --> 00:45:49,000
I don't know. I think that Constable Hook is so over the top funny that it's funny.
834
00:45:49,000 --> 00:45:52,000
Yes, but some of the bits that he and Jonesy did went on a little too long.
835
00:45:52,000 --> 00:45:56,000
And to me, that was part of the humor when you drive something into the ground.
836
00:45:56,000 --> 00:45:58,000
Well, they drove a lot of things into the ground.
837
00:45:58,000 --> 00:46:00,000
Yeah, they had to. People kept dying and you had to put them somewhere.
838
00:46:00,000 --> 00:46:04,000
Luckily, once the entire cast was disposed of, there was room for everyone in the grave and hurt.
839
00:46:04,000 --> 00:46:07,000
And they had the foresight to kill the grave jigger last.
840
00:46:07,000 --> 00:46:10,000
So, also Lenshester didn't have to get out there and bury people.
841
00:46:10,000 --> 00:46:13,000
Right. Did any of the deaths surprise you the first time you saw this?
842
00:46:13,000 --> 00:46:16,000
Did you think that somebody would have made it further along?
843
00:46:16,000 --> 00:46:20,000
For me, I'm thinking that Divey died a little too soon. He died before like Evan.
844
00:46:20,000 --> 00:46:24,000
Yeah, well, we didn't know whose eye we were watching. Watch everybody through the portrait.
845
00:46:24,000 --> 00:46:28,000
I guess it was Hester the whole time because you never see it happen when she's in the room.
846
00:46:28,000 --> 00:46:33,000
You see it seconds before and seconds after not giving her enough time to get into position, but it still must have been her.
847
00:46:33,000 --> 00:46:37,000
But I think they do a good job with the misdirect because they always have Divey lurking about.
848
00:46:37,000 --> 00:46:39,000
But then he's dead and then he can't be him anymore.
849
00:46:39,000 --> 00:46:42,000
Another reason why Divey died too soon because I thought he was him too.
850
00:46:42,000 --> 00:46:47,000
I would have been less surprised if Karen had made it a little further, like if she had made it to the vault as well.
851
00:46:47,000 --> 00:46:50,000
I would have expected her to make it at least that far.
852
00:46:50,000 --> 00:46:52,000
Because we see everything through her eyes to begin with.
853
00:46:52,000 --> 00:46:56,000
Right. She seems to be the character that we're following the whole time and then she dies before.
854
00:46:56,000 --> 00:46:59,000
There's still like 20 minutes of the movie left when she dies.
855
00:46:59,000 --> 00:47:06,000
So even though this wasn't technically AIP, I think it fits really well within the AIP family of films.
856
00:47:06,000 --> 00:47:07,000
Well, yeah, of course.
857
00:47:07,000 --> 00:47:09,000
It seems like it could have been AIP.
858
00:47:09,000 --> 00:47:12,000
I was surprised to find out that it wasn't completely AIP.
859
00:47:12,000 --> 00:47:15,000
I would have expected them to really suss in some fashion. I wonder why they didn't.
860
00:47:15,000 --> 00:47:18,000
This was a pretty hard movie to find for a while.
861
00:47:18,000 --> 00:47:23,000
A couple of years ago, I was at a convention and I saw a bootleg DVD and I almost picked it up.
862
00:47:23,000 --> 00:47:25,000
And I decided not to.
863
00:47:25,000 --> 00:47:29,000
And just a couple of months later, vinegar syndrome announced that they were putting it out.
864
00:47:29,000 --> 00:47:30,000
So I got that instead.
865
00:47:30,000 --> 00:47:32,000
And I'm glad I didn't buy both.
866
00:47:32,000 --> 00:47:34,000
I really liked Elsa Lanchester in this.
867
00:47:34,000 --> 00:47:36,000
I loved her as the bride of Frankenstein.
868
00:47:36,000 --> 00:47:38,000
She is the queen of horror at that point.
869
00:47:38,000 --> 00:47:39,000
She would have been.
870
00:47:39,000 --> 00:47:42,000
But it's fun to see her aging gracefully taking on these spinster roles,
871
00:47:42,000 --> 00:47:46,000
but then turning them on their ear and doing comedy horror.
872
00:47:46,000 --> 00:47:48,000
I think that she was great in this.
873
00:47:48,000 --> 00:47:49,000
This is a good role for her.
874
00:47:49,000 --> 00:47:54,000
And I think it's fun to see my name McDowell in here too, as the scusy Robbie.
875
00:47:54,000 --> 00:47:58,000
He was in so many movies that year when I'm doing the research for this movie.
876
00:47:58,000 --> 00:48:00,000
His name came up in so many movie ads.
877
00:48:00,000 --> 00:48:05,000
The planet of the apes movies were coming out at this time and just seemed like he was in theaters.
878
00:48:05,000 --> 00:48:07,000
Whether it's holdover movies or new ones.
879
00:48:07,000 --> 00:48:12,000
Well, other movies around this time that will be watching for the podcast include "Legit of Hell House,"
880
00:48:12,000 --> 00:48:14,000
which not A.I.P. again.
881
00:48:14,000 --> 00:48:16,000
It's another one that will follow their almost A.I.P.
882
00:48:16,000 --> 00:48:19,000
but it was produced by James Nicholson after he left A.I.P.
883
00:48:19,000 --> 00:48:20,000
Oh yeah, that count.
884
00:48:20,000 --> 00:48:23,000
And the devil's widow is another one that was.
885
00:48:23,000 --> 00:48:26,000
I think Commonwealth United and then handled by A.I.P.
886
00:48:26,000 --> 00:48:27,000
But what do you think of the story?
887
00:48:27,000 --> 00:48:31,000
I think that Arnold must have been a real jerk in life because he certainly was after death.
888
00:48:31,000 --> 00:48:32,000
Well, he's a rich man.
889
00:48:32,000 --> 00:48:34,000
That's kind of the package.
890
00:48:34,000 --> 00:48:36,000
You don't get rich by being a nice guy.
891
00:48:36,000 --> 00:48:37,000
I don't know.
892
00:48:37,000 --> 00:48:41,000
The story, you can't think about it too closely because there are some plot holes.
893
00:48:41,000 --> 00:48:46,000
One in particular, the ending, where Hester has figured out where the money is stashed.
894
00:48:46,000 --> 00:48:50,000
What if she did that while Arnold was still in the drawing room in his casket?
895
00:48:50,000 --> 00:48:51,000
Well, technically she left him there.
896
00:48:51,000 --> 00:48:53,000
But she's allowed to leave the house.
897
00:48:53,000 --> 00:48:55,000
She got to go to her quilting parties at the church.
898
00:48:55,000 --> 00:48:57,000
Why couldn't she figure out where the money is?
899
00:48:57,000 --> 00:49:02,000
So I think that assuming that she had disposed of him, I guess he knew she might have been pretending.
900
00:49:02,000 --> 00:49:05,000
So you would just assume that, but that wouldn't have necessarily been the case.
901
00:49:05,000 --> 00:49:11,000
Well, I think is even though you'd never expect it, every time a package comes, it's not a good thing.
902
00:49:11,000 --> 00:49:13,000
And Robbie eagerly puts on that suit.
903
00:49:13,000 --> 00:49:17,000
I guess that having a squeeze me to death would be the furthest thing from my mind.
904
00:49:17,000 --> 00:49:19,000
I definitely was surprised.
905
00:49:19,000 --> 00:49:22,000
You should have started on buttoning immediately.
906
00:49:22,000 --> 00:49:24,000
That seemed to never occur to him.
907
00:49:24,000 --> 00:49:26,000
That's what happens when I put something on and it's too tight.
908
00:49:26,000 --> 00:49:28,000
Or I eat dinner and now it doesn't fit anymore.
909
00:49:28,000 --> 00:49:29,000
You take it off.
910
00:49:29,000 --> 00:49:31,000
But I guess he just really loved purple velvet.
911
00:49:31,000 --> 00:49:37,000
I think that makes what is arguably the most amusing scene in the movie, especially when it comes back during the dream sequence
912
00:49:37,000 --> 00:49:39,000
because he's just standing there being squeezed.
913
00:49:39,000 --> 00:49:40,000
Contorted face.
914
00:49:40,000 --> 00:49:42,000
It's all done for comedy.
915
00:49:42,000 --> 00:49:45,000
Looking at the plot and trying to pick it apart is a complete waste of time.
916
00:49:45,000 --> 00:49:47,000
But still, you did ask about the story.
917
00:49:47,000 --> 00:49:50,000
But it's funny the way the people play it so straight at times.
918
00:49:50,000 --> 00:49:53,000
And they really don't freak out as much as they should.
919
00:49:53,000 --> 00:49:56,000
That just sort of adds to the surreality that's going on here.
920
00:49:56,000 --> 00:50:05,000
Again, I'm going to have to bring up a possible hook because the way he makes note of everything that's happening, it's funny because he's got this morbid sense of humor.
921
00:50:05,000 --> 00:50:06,000
And he keeps on laughing.
922
00:50:06,000 --> 00:50:09,000
He's got this really strange hole, hole laugh too.
923
00:50:09,000 --> 00:50:12,000
And he's talking about this most morbid stuff.
924
00:50:12,000 --> 00:50:14,000
And everybody else is just a pall that what he's saying.
925
00:50:14,000 --> 00:50:17,000
He's talking to the grieving widow or the grieving sister-in-law.
926
00:50:17,000 --> 00:50:20,000
He's talking to the people who you would think had loved the deceased.
927
00:50:20,000 --> 00:50:23,000
And he's making terrible puns about their death.
928
00:50:23,000 --> 00:50:25,000
Yeah, he never seems to be taking his job that seriously.
929
00:50:25,000 --> 00:50:30,000
He just does the bare minimum necessary describing everything as bits and pieces.
930
00:50:30,000 --> 00:50:31,000
And that's enough to go on.
931
00:50:31,000 --> 00:50:36,000
And he comes to the incorrect conclusion as possible to come to you when he does his investigation.
932
00:50:36,000 --> 00:50:39,000
But at least it's completely he can go on to his next bit of work,
933
00:50:39,000 --> 00:50:42,000
which is probably going to the shield and plume and hitting on flow.
934
00:50:42,000 --> 00:50:44,000
Well, she's gone. She took off with his paw.
935
00:50:44,000 --> 00:50:47,000
We've got some pretty very character actors appearing here.
936
00:50:47,000 --> 00:50:51,000
Well, there's Victor Buano, who I know from playing King Touch on Batman series.
937
00:50:51,000 --> 00:50:54,000
He has a brief role here as a drunken person.
938
00:50:54,000 --> 00:51:00,000
And there's Jamie Far, who as former Toledoans, we have heard a lot about Jamie Far in our lifetimes.
939
00:51:00,000 --> 00:51:02,000
Yeah, he was originally from Toledo.
940
00:51:02,000 --> 00:51:07,000
And he appeared on the television show Mash and his character there, Klinger, was also from Toledo.
941
00:51:07,000 --> 00:51:09,000
So Toledo represents.
942
00:51:09,000 --> 00:51:12,000
Exactly.
943
00:51:12,000 --> 00:51:14,000
But in this movie, he plays a Hindu man, an Indian.
944
00:51:14,000 --> 00:51:18,000
And he puts on this terrible brown face makeup.
945
00:51:18,000 --> 00:51:22,000
And yeah, you could get away with that in 1973, but it's really cringey now.
946
00:51:22,000 --> 00:51:25,000
He's sort of dark-complexed anyway. I don't think that was necessarily necessary.
947
00:51:25,000 --> 00:51:30,000
He's Lebanese. So you're not white, but you're also not chocolate brown.
948
00:51:30,000 --> 00:51:35,000
He also puts scars on his face because I guess his whole left side of his body had some damage.
949
00:51:35,000 --> 00:51:38,000
He has the eye patch over his left eye, the hook on his left hand.
950
00:51:38,000 --> 00:51:42,000
He never speaks. He's the faithful man servant until he's had less.
951
00:51:42,000 --> 00:51:44,000
And he's kind of a creepy guy.
952
00:51:44,000 --> 00:51:47,000
Right, but I kind of understand that because people just yell at him to do stuff.
953
00:51:47,000 --> 00:51:50,000
And nobody seems to care about him as a person.
954
00:51:50,000 --> 00:51:53,000
And I wonder if he can speak. He just chooses not to.
955
00:51:53,000 --> 00:51:58,000
I wonder how Norman Stewart managed to stay so composed as the corpse of Arnold.
956
00:51:58,000 --> 00:52:00,000
Because it seems like that is a real person in there.
957
00:52:00,000 --> 00:52:04,000
Yeah. And it's an unsung job, but I think he did a pretty good one.
958
00:52:04,000 --> 00:52:09,000
Because he never see him breathing or blinking. He just has that same blank stare
959
00:52:09,000 --> 00:52:12,000
and sort of grin on his face the entire time.
960
00:52:12,000 --> 00:52:16,000
I think his grin was wider when he was putting the chair at his brother Robbie's place.
961
00:52:16,000 --> 00:52:20,000
Oh, definitely. He just has slight smile when he was standing at the wedding ceremony.
962
00:52:20,000 --> 00:52:24,000
Yeah. So his expression actually changes a little subtle, but it changes.
963
00:52:24,000 --> 00:52:27,000
Maybe that's part of that wiring had done.
964
00:52:27,000 --> 00:52:31,000
Oh, God. He's basically a puppet, but an actor played him.
965
00:52:31,000 --> 00:52:36,000
So that's just really wild to think of that as a job, or you're just laying in a coffin grinning
966
00:52:36,000 --> 00:52:38,000
for significant periods of time.
967
00:52:38,000 --> 00:52:40,000
It doesn't sound that hard, but it probably really is.
968
00:52:40,000 --> 00:52:43,000
I can't even stand still for like 10 seconds.
969
00:52:43,000 --> 00:52:44,000
I tend to fidget.
970
00:52:44,000 --> 00:52:47,000
It's not even that I'm trying. It's just that my body twitches.
971
00:52:47,000 --> 00:52:49,000
Now, John McGuyber looks really familiar as the governor.
972
00:52:49,000 --> 00:52:51,000
Do I see him as a former police officer?
973
00:52:51,000 --> 00:52:53,000
That's a title they give them.
974
00:52:53,000 --> 00:52:54,000
And he's really funny in this.
975
00:52:54,000 --> 00:52:58,000
And he was mentioned in one of those reviews, but I don't know what else he's done.
976
00:52:58,000 --> 00:53:04,000
He best remembered today as being one of Gilbert Godfrey's impressions that he did all the time on his podcast.
977
00:53:04,000 --> 00:53:05,000
Oh, really?
978
00:53:05,000 --> 00:53:09,000
Arlene Episodal would go by where he didn't do a John McGuyber impression.
979
00:53:09,000 --> 00:53:11,000
And Bernard Fox from Bewitch was in this.
980
00:53:11,000 --> 00:53:14,000
He played Dr. Bombay on Bewitch and here he's the constable.
981
00:53:14,000 --> 00:53:16,000
And he's got a much different accent here.
982
00:53:16,000 --> 00:53:18,000
I think it's his native Welsh accent.
983
00:53:18,000 --> 00:53:23,000
I was surprised if I know this movie was made in America because it has a very British feel to it.
984
00:53:23,000 --> 00:53:25,000
In addition to a lot of British cast members.
985
00:53:25,000 --> 00:53:27,000
I don't think I realized there wasn't made in Britain.
986
00:53:27,000 --> 00:53:30,000
I didn't until I was looking into it and they found out where it was filmed.
987
00:53:30,000 --> 00:53:32,000
Oh, yeah, eventually it came to light.
988
00:53:32,000 --> 00:53:33,000
Obviously it wasn't the case.
989
00:53:33,000 --> 00:53:36,000
It was filmed in the castle, but it was an American castle.
990
00:53:36,000 --> 00:53:40,000
You mentioned the castle and how it's located in Los Angeles and currently owned by Johnny Depp.
991
00:53:40,000 --> 00:53:42,000
The castle itself doesn't get a lot of screen time.
992
00:53:42,000 --> 00:53:48,000
There are some quick establishing shots, but mostly we're in this studio graveyard or the studio sets of the manner.
993
00:53:48,000 --> 00:53:50,000
They do the wedding processional outside.
994
00:53:50,000 --> 00:53:51,000
We see them coming back to the house.
995
00:53:51,000 --> 00:53:52,000
That's the graveyard though.
996
00:53:52,000 --> 00:53:54,000
And it still looks like it's in a studio.
997
00:53:54,000 --> 00:53:56,000
No, we see them coming into the house.
998
00:53:56,000 --> 00:53:57,000
Yeah, okay.
999
00:53:57,000 --> 00:53:59,000
Once they get out of the graveyard.
1000
00:53:59,000 --> 00:54:01,000
It's just like a few seconds of time.
1001
00:54:01,000 --> 00:54:06,000
I think we see still Stephen standing outside of it and Roddy McDowell pulls up in his car.
1002
00:54:06,000 --> 00:54:09,000
There's only one or two long shots where you see the entire castle.
1003
00:54:09,000 --> 00:54:10,000
They're quick.
1004
00:54:10,000 --> 00:54:14,000
I recognized it when I was looking it up and I found a picture that had been taken of the exterior.
1005
00:54:14,000 --> 00:54:16,000
I'm like, "Oh, yeah, that wasn't the movie."
1006
00:54:16,000 --> 00:54:20,000
The castle itself is a long and storied history that we don't need to get into here, but it's really interesting.
1007
00:54:20,000 --> 00:54:25,000
My point being that it might have been nice to have some extended long shots of the castle
1008
00:54:25,000 --> 00:54:29,000
to get out of the house instead of the quick studio stuff that we saw.
1009
00:54:29,000 --> 00:54:30,000
I don't know.
1010
00:54:30,000 --> 00:54:35,000
I think that adds to the surreality of it that we're obviously not in reality here.
1011
00:54:35,000 --> 00:54:37,000
The graveyard looked like a Roger Corman set.
1012
00:54:37,000 --> 00:54:38,000
It did.
1013
00:54:38,000 --> 00:54:42,000
It looked like Vincent Price could be coming out of the tomb at any moment.
1014
00:54:42,000 --> 00:54:47,000
So this almost AIP film still gets a grade the way our regular AIP films do.
1015
00:54:47,000 --> 00:54:49,000
And it's the same rating system.
1016
00:54:49,000 --> 00:54:52,000
A is for awesome eyes for intermediate and P is for pathetic.
1017
00:54:52,000 --> 00:54:53,000
What grade do you give Arnold?
1018
00:54:53,000 --> 00:54:56,000
Despite with the many critics thought of Arnold, I really enjoyed this.
1019
00:54:56,000 --> 00:55:00,000
I think because it was a comedy and there aren't a lot of comedies,
1020
00:55:00,000 --> 00:55:03,000
at least funny ones, that we get to watch for this podcast.
1021
00:55:03,000 --> 00:55:05,000
So it kind of stood up because of that.
1022
00:55:05,000 --> 00:55:10,000
And with the morbid subject matter, it still felt like it would fit well within AIP's body of work.
1023
00:55:10,000 --> 00:55:12,000
So I'm going to give this one an A.
1024
00:55:12,000 --> 00:55:13,000
I think it's a fun watch.
1025
00:55:13,000 --> 00:55:18,000
I could see myself putting this one on again and not having to take notes and just going along for the ride.
1026
00:55:18,000 --> 00:55:21,000
I don't think I'm going to catch anything watching it again that I haven't already caught.
1027
00:55:21,000 --> 00:55:25,000
I don't think there's any specific rewards for me watching it.
1028
00:55:25,000 --> 00:55:27,000
But I think it's enjoyable enough for an occasional rewatch.
1029
00:55:27,000 --> 00:55:29,000
So it's an awesome A for me.
1030
00:55:29,000 --> 00:55:30,000
How are you going to rate it?
1031
00:55:30,000 --> 00:55:31,000
We did watch this one twice.
1032
00:55:31,000 --> 00:55:35,000
And on the second watch, I did catch a few things more than I did the first time around.
1033
00:55:35,000 --> 00:55:39,000
But having done that, I don't think there's anything else to be gleaned from the material.
1034
00:55:39,000 --> 00:55:42,000
But this movie really reminded me of when I was about eight years old or so,
1035
00:55:42,000 --> 00:55:44,000
my family took a trip to Cleveland.
1036
00:55:44,000 --> 00:55:46,000
We lived in North Central Indiana.
1037
00:55:46,000 --> 00:55:48,000
And my dad was a big fan of the Cleveland Indians.
1038
00:55:48,000 --> 00:55:52,000
So one summer holiday just to keep us kids from getting too bored.
1039
00:55:52,000 --> 00:55:55,000
We went to see Murder by Death in the theater when it came out.
1040
00:55:55,000 --> 00:55:58,000
And I thought that movie was hysterical and I've loved it ever since.
1041
00:55:58,000 --> 00:56:01,000
And this movie really put me in mind of that experience.
1042
00:56:01,000 --> 00:56:02,000
It's about the same time period.
1043
00:56:02,000 --> 00:56:04,000
It kind of plays out the same way.
1044
00:56:04,000 --> 00:56:05,000
There's a bunch of murders.
1045
00:56:05,000 --> 00:56:07,000
Nobody knows who's doing it.
1046
00:56:07,000 --> 00:56:11,000
There's a mysterious somebody behind everything narrating the whole experience.
1047
00:56:11,000 --> 00:56:14,000
And so based on that, I really enjoyed it.
1048
00:56:14,000 --> 00:56:15,000
And this movie is really funny.
1049
00:56:15,000 --> 00:56:17,000
There are some extremely funny moments.
1050
00:56:17,000 --> 00:56:21,000
I just think that there are times when they kind of belabor the humor a little too much.
1051
00:56:21,000 --> 00:56:24,000
But when they're not doing that, there are a lot of laughs to this movie.
1052
00:56:24,000 --> 00:56:27,000
And I think Stella Stevens is a lot better here than she was in slaughter.
1053
00:56:27,000 --> 00:56:28,000
Oh definitely.
1054
00:56:28,000 --> 00:56:30,000
Which came out within a few years of this movie.
1055
00:56:30,000 --> 00:56:32,000
And I think that she's having fun here.
1056
00:56:32,000 --> 00:56:34,000
It seems like everybody's having fun here.
1057
00:56:34,000 --> 00:56:36,000
And as an audience member, I also had fun.
1058
00:56:36,000 --> 00:56:38,000
And so I will likewise give it an A.
1059
00:56:38,000 --> 00:56:41,000
It's good because we haven't agreed in quite a while here.
1060
00:56:41,000 --> 00:56:42,000
No, we agreed on Gorp.
1061
00:56:42,000 --> 00:56:43,000
Oh, that's true.
1062
00:56:43,000 --> 00:56:46,000
Actually, we had to make up a new rating system for how awful Gorp was.
1063
00:56:46,000 --> 00:56:47,000
But we both hated it.
1064
00:56:47,000 --> 00:56:50,000
Well, while we're rummaging around in the stranger corners of A.
1065
00:56:50,000 --> 00:56:50,000
I.
1066
00:56:50,000 --> 00:56:50,000
P.
1067
00:56:50,000 --> 00:56:53,000
History, you could do some digging of your own at aippod.com.
1068
00:56:53,000 --> 00:56:57,000
Our ever expanding online museum devoted to all things
1069
00:56:57,000 --> 00:56:58,000
A.
1070
00:56:58,000 --> 00:56:59,000
I.
1071
00:56:59,000 --> 00:57:00,000
P.
1072
00:57:00,000 --> 00:57:01,000
You'll find posters, lobby cards, trailers, radio spots, production, release information.
1073
00:57:01,000 --> 00:57:04,000
Plus our growing guide to American International Television.
1074
00:57:04,000 --> 00:57:06,000
And it's many syndication packages.
1075
00:57:06,000 --> 00:57:11,000
You'll also find a list of films we hope to track down to cover in future episodes of American International Podcast.
1076
00:57:11,000 --> 00:57:15,000
As well as links to our socials and to our store where your purchase will help keep the podcast
1077
00:57:15,000 --> 00:57:16,000
and website going.
1078
00:57:16,000 --> 00:57:18,000
It's all waiting for you at aippod.com.
1079
00:57:18,000 --> 00:57:23,000
And as the podcast comes to a close, fortunately we have found ourselves on the right side of
1080
00:57:23,000 --> 00:57:27,000
the closed crypt door where we will hopefully remain until our next episode.
1081
00:57:27,000 --> 00:57:30,000
For the American International Podcast, I'm Cheryl Lightfoot.
1082
00:57:30,000 --> 00:57:31,000
And I'm Jeff Markin.
1083
00:57:31,000 --> 00:57:34,000
And we'll meet you at the drive-in.
1084
00:57:34,000 --> 00:57:44,000
Follow the American International Podcast on Instagram and Letterbox @aip_pod and on Facebook at facebook.com/AmericanInternationalPodcast
1085
00:57:44,000 --> 00:57:50,000
The American International Podcast is produced and edited by Jeff Markin.
1086
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A man whose mind is distorted by hatred.
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And Cheryl Lightfoot.
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A girl hungry for too many things.
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The American International Podcast is part of the Pop Culture Entertainment Network.
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[Music]