H.Y.S.T? | S2E5 | Thir13en Ghosts & The Serpent and The Rainbow

Thir13en Ghosts

Directed by Steve Beck

Story by Robb White, Screenplay (Neal Marshall Stevens and Richard D’Ovidio) and James Gunn.

Starring Tony Shalhoub, Matthew Lillard, Shannon Elizabeth, Alec Roberts, and Embeth Davidtz.

The Serpent and the Rainbow

Based on the book by Wade Davis (screenplay by Richard Maxwell and Adam Rodman).

Directed by Wes Craven

Starring Bill Pullman, Cathy Tyson, Zakes Mokae, Paul Winfield, Brent Jennings, and Conrad Roberts.

Episode Transcript

(00:00):
Welcome to Heist, the Halloween episode.

(00:05):
I'm Bradly Hackworth, joined by Jonathan Ems otherwise known as Doc.
Aloha, motherfuckers!
Happy Halloween!
This week we're going to be covering 13 ghosts and the serpent and the rainbow.
And...
Ooh!

(00:26):
Ooh!
I loved it.
I loved it.
We're going to go right ahead and we're going to jump in on the 13 ghosts because...
Well, it's going to get us going and the serpent and the rainbow, I feel like that's going
to be... that's going to kick up a lot of side conversations.
I feel like that's really going to kick some stuff.

(00:47):
So I think the 13 ghosts, I think that's going to be kind of easy just to kind of bust through.
All right.
By the way, did you check the writers on 13 ghosts?
You know, I remember I was looking at the opening credits and I remember going, oh,

(01:07):
but now I can't remember why.
So...
All right, well, let's get into it.
13 ghosts, directed by Steve Beck, story by Rob White, screenplay by Neal Marshall Stevens
and Richard de Ovideo and James Gunn.

(01:28):
Oh, OK.
That was the O. Yep.
I feel like after seeing where James Gunn went to, what he has become, I feel like I
can see where his influence was in this movie.
Absolutely.
Yeah.
Well, I'm betting the nanny's lines, all of the nanny's lines were very James Gunn lines.
That and a lot of what Matthew Lillard said.

(01:51):
Yeah, yeah, him too, for sure.
A lot of his lines were, yeah.
Hmm.
Gunn kind of like keeps working with the same people over and over again.
I wonder why I've never seen any of these actors show up in anything he's ever done
since.
That's a good question.

(02:12):
I don't know.
I'd say off the top of my head, probably a studio thing for some weird reason.
I can't for the life of me figure out why Hollywood does not seem to be as enamored
with Lillard as they used to be.
No, not so much.
And that is a mistake.
Yeah, I agree.
He's been doing pretty good.
He's been doing pretty good on TV, though.

(02:32):
He's doing OK.
So.
Wow.
Yeah, I mean, he absolutely can carry any film.
For sure.
Like, no, he's like, hopefully we get a return of him back into the limelight.
But this one starring Tony Shalhoub, Matthew Lillard, Shannon Elizabeth, Alec Roberts and

(02:54):
M Beth Davids.
Now you know M Beth Davids from quite a few things, right?
I looked at some of her credits and there was pretty much just a bunch of stuff that
you like.
Who was she again?
The one who played Kalina.
Oh, you know, the whole time I kept thinking I recognized her somewhere and I couldn't

(03:15):
quite place it.
Quite a few places, actually.
Yeah.
Yeah, I wouldn't.
I didn't do my IMDb research on this one because I did way too much and I watched both movies
today because this week has been kind of crazy.
So I didn't do enough and I didn't write as much as I should have down.
But I do recommend checking that out.

(03:36):
OK, 13 ghosts.
OK, how many good movies came from Dark Castle Entertainment?
Oh, those those guys, they kind of they were kind of the it, you know, in the same way
that I was thinking of the wrong one, because I remember just jumping on a huge kick of

(03:58):
really terrible horror movies in like the early 2000s and I thought they were all Dark
Castle.
You know, it's possible.
I remember I'm trying to remember my company names.
Maybe I'm yeah, because I'm thinking before what's his name, the the guy Blum before Blumhouse
came around.
There were a couple of companies Rodriguez, not Rodriguez.

(04:21):
No, I'm thinking like Miller.
Full Moon.
I've been thinking about Full Moon.
He's there that might OK, that might be the one I'm thinking of like Doll Man and the
toy toy master or no puppet master.
OK, it's been too long since I've seen puppet masters.
Those movies were like when I was a kid, they absolutely terrified me.

(04:45):
So I don't know if I can.
I don't know what I can say on that one.
We open on F. Murray Abraham as Cyrus and his overly shiny collection team, which I
knew was common.
It was like one of the very few details I remembered about this movie, but it was like,
oh, God, I get it.
I get it.
It was like it was like because especially when you get like as soon as Lillard shows

(05:09):
up and he and he's doing his whole like thing there, they're in my head.
I'm thinking this is like the Dark Mirror universe Scooby Gang, you know, because he
you know, Lillard Lillard is still Shaggy, but he's Shaggy without the weed.
And you know, now he's got a career as a as a ghost hunter.

(05:29):
And you got F. Murray.
You're saying this is Shaggy further down the rabbit hole because he was on amphetamines.
Oh, right, right, right.
Yes, that's that's right.
Yeah.
So he upgraded from weed and he went a little further.
Right.
Yeah.
And he yeah, you know, yeah, he you know, and and F. Murray Abraham, he's he's Freddie.

(05:50):
You know, he's the guy with the money in the plan.
So you know, doesn't really do anything but bark and orders at everybody.
You know, so we we were we were missing, you know, our Daphne and Velma from this instead.
We just got a tech team of some kind that.
Yeah.
Oh, see, you're just talking too early in the movie.
Shannon Elizabeth is Daphne.
The you got the nanny maybe being Velma or maybe the nannies Daphne.

(06:14):
You got the little kid being Scooby Doo and you got the dad being Fred.
OK, I did this whole thing, but like she like a few later in my notes.
Honestly, I think I think Shalhoub is closer to to to Velma than anybody else in the in
the movie, I would say.

(06:37):
Well I'm just going to flat out disagree like, I mean, make your case.
OK, you're right about the kid being Scooby Doo.
And I think both the daughter and the babysitter are both are two Daphne's.
So we got two Daphne's.
So there's anybody there who's going to be like, you know, an actual like problem solver.

(07:03):
The Velma.
Shalhoub comes the closest.
He's not great in this, mind you.
He kind of fumbles a bit, but you got Lillard kind of, you know, not wanting to get involved
until until he's forced to.
And then everybody else is a villain, you know.
And in this one, Fred is the villain because F. Murray Haberham is basically Fred and the

(07:24):
whole way through.
He's just an evil mirror universe.
Fred.
See, I think you're reaching really far to not make Tony Shalhoub Fred because Tony Shalhoub
is Fred.
He he comes up with a plan there and they're in the library.
They come with that.
They come with a plan.
It doesn't work.
It comes to this.
It falls apart.
That's literally Fred.

(07:45):
OK, he is.
He's the driver of the car.
He is the one looking over.
I mean, it's OK.
Well, see, I liked the idea of F. Murray Abraham being evil, Fred.
That's why I kind of wanted to stick with that one.
Well, I mean, this is an episode of Scooby Doo.
There is literally the rich guy who's behind everything.
It's an he.
Like that is where Abraham is the Scooby Doo villain.

(08:05):
Yeah, that's a very good point.
Yep, that's true.
I guess it just it seems.
Yeah, I guess that means this is the this is the Scooby Gang Scoop Scooby Gang.
That's Velma list for some reason.
We got two Daphne's.
Oh, my God, Doc.
This is literally an episode of Scooby Doo.
They get lured because a rich uncle died and left everything to Scooby.

(08:29):
I think that's like 10 of their episodes.
Yeah, yeah.
Matthew Lillard in this one is the psychic who helps.
And then we get another John DeSantis appearance.
I think this is the third John DeSantis appearance on this channel.
Really?

(08:50):
Yeah, he was the he was the in life.
They called him the breaker.
But in the context of the myth and everything that we need for the house, he is the juggernaut.
Right, right.
OK, I remember.
Yeah, that's OK.
And what did we see him in last?

(09:10):
Can't remember what he was in last that we covered.
Probably another one of the monsters in one of these horror movies.
He's a he's a he's a big intimidating looking dude.
Yeah, that he is.
But in Master and Commander, he was the giant guy who was obsessed with all of it, like
with polishing the silver of the entire movie.
Right.
OK, all right.
A very funny role for him to be in, but which.

(09:34):
I just loved it.
And Lillard has that unbreakable power.
Literally.
Right.
Bruce Willis in this in the sixth sense, that is literally Matthew Lillard's power in this
movie.
I believe the word for it is clairvoyance.
If I'm remembering my my psychic talk correctly, to be able to touch something and see its

(09:54):
past or or history or something like that, and maybe even its future.
I think that's called clairvoyance.
I might be.
That's a detail I don't have.
It's been a long it's been a long time since I ordered the the time life series on that
subject, so.
Pretty much October is the month that I kind of bone up on all this stuff every year and

(10:16):
kind of get my refresher.
Right.
The super.
So we go through and in the scene, you got them spraying blood all over the place to
try to lure the juggernaut in a freaking gas.
One of those like gasoline tanker trucks that is apparently full of blood.
They're hosing down the junkyard that this ghost is hiding in to tempt him out.

(10:40):
No, it's just a water truck.
Well, I mean, tankers, you don't go to races.
Huh?
So you don't go to races that often, do you?
Don't believe I have ever been to a race in my life.
On dirt track racing, they have trucks like that that will spray the track with water
to make it so it's more so it's more mud for the race.

(11:01):
That's just your standard ass water truck that does that.
Oh, that is that has a specific purpose.
But that's going through and they're laying this trail to get the juggernaut to come in
and that scene in between Lillard and for him freaking out and everything that he's
going through was seeing everything and that's coming.

(11:23):
The Santas coming through as the juggernaut.
I thought like this was a high tension scene for me.
Like I thought it really has to go.
And you know, tech team guys are getting, yeah, tech team guys are getting slaughtered
left and right.
In amazing ways.
Yeah.
And that's what that's what's crazy about this movie.

(11:44):
This movie compared to most horror movies does not have a very high body count, but
the body count it has is unsettling.
Everybody who dies in this movie dies horribly.
Huh?
I mean, yeah.

(12:05):
But I thought I got a really, really potentially too big of a kick out of the supernatural
activists.
Yeah, that was yeah.
I mean, that felt a little like why like of all the things like and we'll get to that
in a second, but it's like, okay, that's a weird take to have.

(12:26):
Okay.
I don't think I have ever had a ghost activists in any other movie that I've ever seen any
TV show, any story.
I think this is the only time I've seen that and it's still gets the biggest kick out of
me.
It's an untapped resource for sure in the literary world.
I have to agree.
Like I said, I was having so much fun of it, but then we get our first mention of the 13

(12:49):
ghosts and Leathered freaking out.
He's like, what do you mean 13 and all of this?
And Abraham asked Cyrus, Cyrus's response.
Yes, 12 and one more.
That was to me, that was such a cheeky piece of dialogue.
I really enjoyed that.

(13:12):
The bait trucks, spewing the blood, the Latin chance over the speakers and like you're catching
so much exposition, but you're getting it in the world building of this.
Like a lot of it gets said, but a lot of it is unsaid and I love that.
Right.
I was really impressed with how like this was a wildly high concept kind of horror movie

(13:36):
and they had to do a lot of info dumping, but they did it remarkably naturally.
Never felt lost.
Yeah, like in conversation and argument and stuff like that and like they established
that this is a world where magic exists by having F. Murray Abraham insult the tiny little
magic book you're carrying still.

(13:57):
And yeah, I was kind of impressed with how they were able to do this without having,
without dumbing it down, and yeah, able to follow along pretty quickly and kind of made
me wonder why we don't have more high concept horror like this.
Horror still is like one thing and that thing is going like this.

(14:21):
I do have to kind of, I'm gonna cut you off a little bit only because you don't watch
enough horror to really comment on that.
No, that is a very good point.
There is really incredible stuff that is coming out all the time.
And that's the thing, like the older I get, the more I'm enjoying horror movies because

(14:42):
yes, I loved them as a kid because of the creativity and I love to be scared, but the
older I get, horror movies are the movies that get the most reaction from me.
And that is why I kicked the movies on in the first place to get that reaction.
Okay.
And so I gotta say, I'll check through, but realistically we'll be doing this all over

(15:04):
again next year.
So we got some more horror movies that are going to be.
You have a year, you have a year to recover.
At this moment captured, we got John DeSantis as the juggernaut.
He's captured and he's captured in a box and one of the tech team is captured in the box

(15:26):
with him and is mutilated for his trouble.
Yeah, I felt real bad for that guy.
But then Cyrus is dead.
Yeah.
And I got, go ahead.
In the chaos, in the chaos, he gets shrapneled.
Yeah.
Oh, hardcore.
Like his head, like dang near gets decapitated, which right over to flashing to happy times

(15:53):
to our actual opening credits for this movie, because everything we just described was the
cold open.
Right.
But the flashing to the happy times, we get this beautiful one shot and this pan that
goes around the room from where they were to where they are now.
And Tony Shalhoub, and it starts with the scene on Tony Shalhoub and he's very happy.

(16:15):
He's like, he loves where he's at.
And you hear the story of his wife dying in a fire in the background as the camera pans
around the room and then lands back on Tony Shalhoub, a much different man.
And that was strikingly beautiful.
Like I have again, given us, given us a massive info dump without having to dumb it down too

(16:42):
much.
Yeah.
Yeah.
The opening credits in this fashion are eerie and in such a beautiful, such a beautiful
way.
The little kid, Bobby, his gruesome hobby of just going through the newspaper, learn
like this day and today on death in America, somebody has been decapitated.

(17:04):
People are being flogged.
Like he's looking for all the like, I love it.
If it was, if it wasn't you, it was someone you knew at that age.
We all either were the kid who was obsessed with gruesome deaths or we had a friend who
was obsessed with gruesome deaths.
There's one in every neighborhood, at least.
I'm thinking back to.

(17:25):
Well, OK.
No, that that's just a lot of the women that I knew.
And that is all turned into like those same women being obsessed with murder podcasts.
OK.
I don't think I knew any guys that were the grim ones like that.
I think it was like five women.
I know.
I knew a couple when I when I was that kid's age, like I had a couple of friends in grade

(17:47):
school that were like maybe they weren't going through the newspaper every day.
But it's like I had a kid who sat next to me, I think, in like fourth grade, fifth grade,
or something like that.
Every day he was drawing somebody getting horribly mutilated in his notebook.
You know, like nowadays they call that a warning sign.
That kid would be, you know, checked for weapons before he came into the school every day.

(18:10):
But back then, that was back then that was just, you know, that was one of those boys
will be boys type thing.
You know?
Well, I mean, OK, so that is that is the concept that that is boys will be boys.
That is kids will be kids.
That is like, you know, let them express themselves and stuff like that.
If you catch them torturing little rabbits, then that's something that's a whole.
Yeah, that's a whole drawing, everything like that.

(18:33):
No, creativity comes out how it comes out.
Just let it be.
And I like that.
Love the nanny.
You need to find a new hobby.
Right.
Yeah.
Shalhoub like knocking his daughter played by Shannon Elizabeth, Elizabeth Shannon.
Why did I write in Elizabeth Shannon Elizabeth?

(18:53):
OK, yeah, I love this.
Like why don't you let Maggie cook?
That's why we hired her.
And she's like, have you tasted her cooking?
Well, yeah, but just the one time.
OK, you're right.
I can see that being James Gunn all over the place.
Oh, yeah, I really can.
That I do have to give you that.

(19:14):
The kid calls her kid calls his sister a slut.
Yeah.
And then the mom is like, or the nanny, don't call her a slut.
I prefer bitch.
Right.
Yeah, I love this nanny.
I mean, dude, this is all breakfast time.

(19:34):
Did you have anything you wanted to say on that one?
Not so far.
No, I mean, we're getting some good character building here.
We're getting the feeling, the dynamic of the family, you know, Shalhoub's, you know,
especially when we follow all of that kind of like comedic banter is immediately offset
when he trips on the kid's scooter and kind of like immediately melts down, like has it

(19:57):
like, you know, it gives us a very, very good insight into the fact that he's done everything
he can to just keep it together, but he is not.
Yeah, he is not succeeding.
Yep.
This is a very loving family, but they are still very much feeling the pain of what they've
been through.
And yeah, and he's he's just barely managing to hold it together for his family.

(20:20):
And yeah, although, you know, they're living in that tiny little place now, barely getting
by.
He's supposed to be starting a new job, apparently.
We don't ever find out exactly what happened to that, because it seems like, you know,
he fucked it off on the first day to go.
Oh, no.
Yeah.
Yeah, he was saying that he's a math teacher and he can't afford to do all of these things.

(20:42):
Yeah.
And then we get J.R. Bourne, which man does he do a good job of playing a sleazeball every
time he's cast in that role.
Oh, no, that is a guy who that is a guy who looks like a sleazy lawyer for sure.
Yeah, definitely.
And I mean, man, he ate that to pieces.
But J.R. Bourne has been must to talk about the squandered family fortune, except there's

(21:06):
a house.
And I like that line from Elizabeth or from Shannon where.
Oh, yeah.
Yeah, we have a family fortune had he squandered it.
Right.
Yeah.
I thought that was like the relationship dynamics in this one.
They did fantastic.
And I don't know who to give credit for, but because James Gunn's name on there, I just

(21:27):
want to scream James Gunn, but he is the right because vinyl writer on this one.
Yeah.
Yep.
But you know, and also at the same time, you know, you got to imagine that there might
have because we've got a lot of like known powerhouses who have done comedy before Shannon.
Elizabeth was in American Pie.
Tony Shalhoub was in Wings.
Matthew Lillard Lillard Lillard is Matthew fucking Lillard.

(21:50):
I was wondering where you're going to go with that one.
Yeah.
Yeah.
All right.
We know that these are folks that if you say, hey, once you go ahead and ad lib, you're
probably going to get gold within a couple of takes from these guys.
So who knows who's responsible for some of these lines?
So here's a question for you.
Given what we know about technology and where it got to and potentially where it was then,

(22:11):
do you think Cyrus was actually on webcam with that family?
Because the way that he responded actually, well, like a key, a key to what?
A key to the house.
He was responding like it was a video call.
You know, that didn't occur to me.
But then again, at the same time, it's also not that hard to predict something like that.

(22:32):
If you told your lawyer, OK, here's the script.
This is what I say.
And that's where you give him the key.
And then I wait.
So while I'm waiting a beat, a key to the house.
But at the same point, if you are that kind of person and you are that kind of control
freak, and you're doing all that, are you ever going to take your eyes off the situation?
Hmm.

(22:52):
It's a good question.
That's a good question.
Nothing to do with the movie.
It just about random little thought that came up.
And then they go and we get to see the supernatural extremist now preparing because I mean, yes,
you have environmental activist, you have environmental extremist, you have environmental
terrorist.

(23:13):
This was like watching the supernatural activists become the extremist and then like kind of
wonder where that was going to go.
Well, yeah.
Well, yeah, because we're we're we're of the you know, we're led to believe that she was
already an activist against him capturing these ghosts.
And now that her her boyfriend died in the juggernaut attack, she's been radicalized.

(23:36):
So or so, you know, think that's the thing.
Yeah.
And I still like that's like because when she does show up later in the movie and she's
talking about how, yeah, I'm here to set all these ghosts free.
These ghosts have already killed like six people that we've seen.
With the look in her eye when she's like, I must set them free.

(23:58):
Yeah, very much more subtle than what I just did.
But oh, my God, she creeped me all the way out.
But let's get there.
This is what I love.
When they get to the house and Lillard is already there in a power man outfit or anything
like that.

(24:19):
Power company, power company uniform.
There you go.
Power company uniform.
Yeah, we got power out in the the triquat area.
I'm like, oh, right.
Yeah, I never.
Five thousand.
There's over five thousand households without power because of whatever's happening inside
this house, you know.
Which the lawyer lets him in, even though the lawyer knows that it's on its own power
grid and everything like that.

(24:40):
Like, OK, you plot holes.
A little bit.
Yeah, you.
But it's I mean, I mean, the fact that like even the fact like he turns the key when Shalhoub
puts the key in the door, turns the key and all the lights come on and all of the you
know, and all the things start moving in the house.
Our first big reveal of just how freaking bizarre this house is.

(25:02):
But at the same time, should have been like a powers out, huh?
So you say so you say you're here for a power outage.
See and the lawyer wasn't set in on what was going on.
So that's where I kind of struggle with that one a little bit.
But that is super nitpicking.
Doesn't really matter.
The key in the pendulum swings.
They see treasures from all around the world.

(25:22):
And Shalhoub understands that the writing on the walls of the house are in Latin and
he even speaks a little Latin.
Never explained, but his uncle is crazy into this stuff.
So maybe.
I don't know.
Family thing.
Right.
Well, I mean, he like he is a teacher.
And even though he's a math teacher, he's clearly some he's an educated man.
That's kind of really, you know, he's an academic of some kind.

(25:46):
And that's pretty.
Yeah, but the fact that he actually translates some Latin later that is not like a pluribus
unum.
Like, yes, we all know some Latin.
I'll give you that.
But if you understand the eye of hell or whatever, and you translate that, you know a little
more Latin than the average person.
And so I think that it's probably maybe something to do with the family.

(26:10):
Maybe I suppose that's true.
I'm pretty sure like Greeks don't study Latin just for fun.
Like I don't think that's just a part of being Greek.
I mean, I don't know.
So but yeah, I was I would go with the academic route.
He is an academic of some type.
There, Lillard, you crazy son of a bitch.

(26:30):
What did you do that first ring rotating on the floor?
I loved the mechanic and the visualization of the rings rotating on the floor.
Wow, and that count up, I guess.
Yeah, I really love that.
Lillard heads right to the basement.
And I thought that was such a great decision.

(26:50):
Get us right into it.
Not a bunch of every jump scare was a reveal.
It was not hiding something.
Right, exactly.
We're getting we're already getting the high tension because we as the audience are clued
in way early on that something is off.
Something is weird.

(27:11):
This is not right.
It's partially has to do with because we saw what F. Murray Abraham was up at the beginning
of the movie, and we're seeing Matthew Lillard's reactions to everything he's seeing so far
in the house.
There is a danger here.
We may not know what, but there is a danger.
And that just makes the family big, huge smiles on their faces wandering blindly from room

(27:34):
to room that much more stressful.
We don't we don't get to share in the joy with this family.
We are constantly for the more the happier they are, the more freaked out we get because
we know that their guard is down.
That was where I was telling you, like you need to have like your cuddle armor or something
like that, because the whole movie was tension.

(27:56):
The whole like it was a little armor is that is that see, that's the thing is like when
you said when you first said that to me, I thought like, is this is this a slang that
he and his wife has that he doesn't realize nobody else says?
Nope, I was never heard.
Okay, I had never heard cuddle armor before and I was like, what the hell I just messaged
to something and came up with shit.

(28:18):
I don't know.
But no, like the whole this whole movie, it was all about tension.
I'm sitting here watching the movie and my stomach is going in knots.
I'm feeling really unease.
Like, the anxiety is high and the whole time I'm like Doc is gonna hate this.
I did.
Yes, I was so upset the whole time.
But at the same time, I was like, it's so good the way they're doing this, the anticipation

(28:42):
everything I'm feeling they are doing so well.
So I was like, okay, yeah, great.
And Doc's gonna hate it.
Shalou being overprotective and the kids being kids, Lillard finds the basement cells, which
we were just talking about.
Right.
And he didn't expect that Cyrus kept them all but gets blasted by a vision.

(29:09):
And that was one of those things like because he went into it later.
It's like if it gets 10 feet within a ghost, he loses, he freaks out, he flips out and
he catches all this.
So him being in the basement with all 13 or 12 of them must have been crazy.
Yeah.
Like it just had to be.
We talked about this a little bit, but Shalou explains that he can't keep up, he can't afford

(29:33):
up keeping taxes on a place like that.
And then the lawyer is like, oh, don't worry, money has been taken care of.
You don't have to worry about money for the rest of your life.
He's not actually British, but when you have that stiff of an upper lip, you come off British.
Well, and that's the thing is, and we don't know if that's true or not.
We come to find out that this lawyer's job is to put them at a state of ease and get

(29:57):
them in the house.
That's what he's there to do.
So you tell this guy whatever he needs to hear to get him to sign the papers and stay
the night in the house while the machine is running.
That's his job.
Which I never, like, why did they have to kill the lawyer?
I didn't really get that.
That seemed really unnecessary.
I mean, the lawyer could have just left.
Oh, I mean, well, because this is, you know, like I said before, this movie has a surprisingly

(30:22):
low body count for most movies.
They needed someone to die to raise the stakes.
Someone has to die at the very beginning.
Even if he only died to set up the joke later on.
Oh my God, is that half the lawyer?
Just right off the bat.
Not even is that the lawyer.
Is that half the lawyer?

(30:43):
She immediately identifies that there's a half of him.
But also when they can't find him.
That's some awareness.
The exact same.
The oh, God, what was her name?
Rio Diga, I think her name was.
The nanny.
Did you catch her name?
I did.
I did.
I did catch her name, but it didn't stick because it was it was a peculiar name for

(31:05):
that for that matter.
I think.
Yeah, but her last name is Diga.
I know that.
So I just refer to her as Diga or Maggie.
There we go.
She does kind of get a lot of the best lines.
Oh, she does.
You know, I was going to bring that up like a lot of like a lot of people kind of knock
on the fact that black people like black people get certain jokes in movies and everything

(31:29):
like that.
They're like, oh, yeah, well, you got to get the black person say that.
I'm like.
They get all the best lines.
Why is this a thing that we're whining like I get I get a lot of black guys first and
like I get where a lot of that stuff does come from.
But in modern day and in the 90s, every single great line, that great comedy line that came

(31:52):
out of a horror movie came from a black person.
They got all of those great lines.
And that is something that I would say I would say if anything, it had to deal with that
the the stereotypical sass that came with it.
They couldn't just give her those lines.
She had to be sassy with them.
I think that's probably where where the complaint comes from.

(32:14):
Like the extra stank.
Right.
Yeah.
She can't just be witty.
She has to be witty with an accent.
OK, OK.
I can give you that.
I can give you that.
Lillard puts on the special specs and sees all the terror shows up.
This was great.
This was a great moment in my mind.

(32:34):
This was great.
Immediately, Lillard cuts the bullshit, shows up and tells everything, doesn't try to hide
it, doesn't try to survive, it doesn't try to do anything like that.
He shows up and just tells him almost everything except about the fourth ghost.
Well, I don't think he knew until right after that, because it's not after that first.
It's after that first info dump.

(32:56):
And he starts having another seizure.
Shalhoub touches him and be like, oh, are you OK?
And that's when he gets that's when he his clairvoyance kicks in and he gets Shalhoub's
life history.
That's the moment he realizes that the fourth ghost was his wife.
He didn't know up until that moment.
I don't know.
Because Cyrus had the same last name as Shalhoub did in the movie.

(33:19):
So if they were going to a hospital to collect a very particular ghost with the same last
name as Cyrus, you got to imagine Lillard know to something.
Because Lillard even said that he was at that hospital.
So he probably saw that family.
Maybe that was that.
That's my that's my guess.

(33:39):
OK, because it seemed to me that he didn't know.
Like it seemed to me he was saying I didn't know who she was.
I didn't know who I didn't.
And he even says, like he says, I didn't know you.
OK, like that's what I didn't know that she was married.
He also said he said he didn't know that she had a husband or a family.
He didn't know anything about her, he said.

(33:59):
Oh, I'm definitely going to go back and watch it again.
Because, OK, because it was good enough.
And I mean, between watching it and taking the notes, I know I missed things about it.
And I love this movie.
It creeps me out in all the right ways.
Um.
I used to hunt ghosts with your uncle.

(34:20):
This is a line that Tony Shalhoub.
This is why you get Tony Shalhoub to deliver stuff like this.
I used to hunt ghosts with your uncle.
Goats?
That is that that was perfect.
Shalhoub can deliver that line without it coming off hammy as for sure.
Yes, that was great.
And then Lillard flips and just get everybody outside.

(34:43):
Then we get Nanny Maggie.
She finds the special specs and Shannon finds her bedroom.
Which I was thinking the same thing that she was thinking, like, I really hope the bathrooms
aren't clear the same way.
But the way they did the bathroom to keep it glass was beautiful.

(35:03):
And that's the thing is like that's another way you kind of feel sorry for this family
because at the end of the day, that was a beautiful house.
It was?
Even with all of its flaws.
It was.
And I'm kind of wondering, and I should have looked this up.
That looked like a real house.
When they blew it up at the end.

(35:24):
Yeah, kind of.
That looked like a real house.
So I am guessing somebody built a glass house and then thought it was going to be the fanciest
thing in the world and then wound up selling it to a production to have it blown up.
I mean, that would be one way to take care of an investment.

(35:47):
That's one way to get your money back.
Absolutely.
It'd be a tough sell because that's the thing about houses is that if you live there
long enough, you make it your own.
Then if you need to sell it or get rid of it, you got to find someone exactly like you
to appreciate it.
Otherwise, they're going to go for something else that doesn't need as much fixing up.

(36:08):
That is fair.
That is true.
That's why they talk about, you know, you can actually see it behind me.
They're referring to this now as the real estate color.
It's real estate white.
Oh, like kind of like the base, like the base setting.
Oh, yeah.
Yeah.
Beige.
Beige.
It's the fact that no one paints their walls any color other than this, because if you

(36:32):
have any color than this, that reduces your likelihood of being able to sell the house
when you want to.
I get that.
But that's why you I mean, almost every place that I've ever rented, I painted the walls
at some point and then I painted them before I left because I wanted to make it mine.
If you live in a place, do your thing.
Whatever.
Oh, I totally agree.

(36:52):
And I would feel that way if I were the type of person who wanted to do that much work.
For me, it's like I'd be willing to do the decorating part.
It's the undecorating part that I don't look forward to.
There is that because when you're doing it, it's always fun.
When you're undoing it, that is a chore.
I do have to give you that.

(37:13):
However, it's always great when I get to the end of doing something like that and just
looking at what I did, whether it's painting it the first time or putting it back to how
it was, I just love seeing the results of work.
That is a very enjoyable thing to me.
No, I feel you there.
This might be my favorite line in the movie, I'm getting my ass out of the big glass house.

(37:36):
How Lillard delivered that was absolutely perfect.
Yes.
Hands down.
I mean, Lillard was just perfect in this movie.
I don't think he had a moment that was not dynamite.
We're sitting here talking about the glass house.
We're absolutely skipping over Shalhoub's great delivery as they're walking in the house
and says to the family, okay, I suppose it goes without saying, but nobody is allowed

(37:58):
to throw any stones.
Oh, that's the thing that I liked.
Nobody can break anything until we have insurance.
He's like, once we get paid for you breaking it, then we're good to go.
That was the dad moment for me.
I was like, okay, I really did like this.

(38:21):
Tony Shalhoub does make, he plays a good dad.
He doesn't get to play dad often enough.
And now they have him playing, well, just kind of now he's back to just kooky.
No, not back to.
He's been playing kooky characters his entire career.
Right.
But I do agree with you.
He didn't really get enough of the dad role.

(38:42):
But he was amazing in Monk.
I kind of want to go back and just watch Monk again.
It's been forever since I've seen that.
Monk is one of those shows.
Yeah, Monk is one of those shows where even if the show in its entirety is kind of cookie
cutter and not great, if you get a good character played by a good actor in there, it's worth
your time.
Agreed.

(39:02):
Just to see their performance.
And Tony Shalhoub is that for Monk.
Agreed.
Another good example is Blacklist.
Blacklist, by far and away one of the worst shows on TV, except for the fact that.
James Spader.
Thank you, James Spader.

(39:23):
James Spader fucking owns every second that he's on screen.
Like King of the World.
Like he's that show is worth watching just for him.
I will agree.
Even though everything else about it stinks.
I watched many seasons of that and it was hard to get through.
But you're right, every time James Spader shows up and he's one of those actors that

(39:45):
one, talented, two, very lucky.
You know he has photographic memory.
I did not know that.
No, that explains so much.
Oh yeah.
When you go back and watch some of his scenes and you just kind of see him kind of like
looking past the actor, not looking at the actor, looking past the actor and just delivering

(40:06):
this full monologue, James Spader is just reading the freaking page.
Exactly.
Wow.
Come on.
I mean, yes, you can't just having that ability does not mean you have that level of talent.
But I mean, wow, does that really give you a.
It doesn't hurt.
Sure.

(40:27):
Absolutely.
100%.
The suit kicks on the special specs and heads downstairs.
Grab the bait and then pick and then begins the lockdown.
So his whole suitcase full of money, he kicks that or picks that off the ground and that
is what actually begins.
All the things it's got a weighted trigger.
And that's the question.
Was that the determinative part where that was a trap set for him?

(40:51):
Your money's in the basement.
And that's why I'm calling it potentially a plot hole.
Why was he targeted?
That's what I didn't get.
Everybody else I understood.
But why?
Okay.
Every like there was a purpose behind every targeted death in this movie except his.
If I if I were to guess and well, and that's the question.

(41:13):
Like was it was he supposed to do that or was somebody else?
But he knew about it.
Someone like maybe he was supposed to tell a shaloub.
Oh, yeah, don't worry about the taxes.
There's a bag of cash downstairs that'll that'll cover every.
But when you think he stole the money thinking that it was supposed to go to the family.
Exactly.

(41:33):
Right.
Wow.
Wow.
Lillard is having his meltdown and shaloub is like, are you OK?
That's when the lawyer sneaks out and goes and grabs the bag of cash.
OK, I can get on board with that because then you have greed being the the sin that takes
you all the way into that classic horror movie trope.
OK, OK, I can get on board with that.
They don't they don't say it for they don't say outright how it goes.

(41:55):
But that was my take on that because especially the way he but it makes sense.
Yeah.
And he's really doing that smarmy grin when he's when he's looking at the money going
like not a bad per hour, you know, like he's really rubbing it into whoever's there to
hear him.
I definitely am going to give you that.
Now we get into my real notes here.
The house transforms and we unleash the angry princess played by Shawna lawyer.

(42:21):
This is her only credit.
Oh, really?
One.
Oh, that poor girl.
Wow.
What else did she is she just like a model or what else has she done?
I don't know.
Outside of she hits like conventional.
She got a cult following because of this one role and she has made a living off of it.

(42:42):
OK, well, good for her, which not bad.
The way the lawyer says that is he looks at her and says, got a bad agent or whatever
like that was bad representation, bad representation.
And like she spends his whole movie naked and that's her only credit.
So potentially she did have some pretty rocky representation and maybe that's not the kind

(43:06):
of actor she wanted to be.
Maybe yeah, but yeah, if she didn't if she didn't really need the work after that because
she got you know, she now lives off the convention circuit.
Hey, you know, lemons lemonade, as they say.
The lawyer gets the glass door treatment and oh, oh my God, the way he slid off that, I

(43:26):
thought that was fantastic.
Oh, Jesus.
What did the lawyer split?
Thank you.
Thank you for that line.
That was so good.
I had a lot of fun.
That whole that whole scene that one that like it reminded me I can't remember which
one of these came first.
I think this one might have been first, but it reminded me of the scene from Ghost Ship

(43:51):
when oh my God, Doc, way to run into this.
The director of this movie has only one other directing credit and it's Ghost Ship.
OK, well, then that makes sense.
Yes.
Yeah, that that whole like because they did the same on Ghost Ship, same thing like a
cable snaps and spins through entire dance company and kills everybody all at once.

(44:15):
And it was the same thing where it was like the glasses fell, you know, and his necktie
comes off and then the same thing.
I can't get away from this shit no matter how hard I try, man.
I keep I keep dating chicks who love this shit.
You have a type.
That is true.

(44:35):
I have met multiple women that you have dated and you do have a type.
I do absolutely have to get.
What was that?
I mean, I want to call her Lilith.
Come on.
A woman that you dated.
I think that's her name.
Come on.
Black, not right now.
She's a burlesque dancer.

(44:56):
Oh, Rue.
You talk about Rue.
Rue.
Yes.
Rue.
Oh, God.
Yeah, she was the worst.
I don't think she saw anything but horror movies.
And I didn't even know that about her.
I'm just saying the women that you have introduced me to, they got a vibe.
Yeah.
Yeah.
But then at this point, we get our first look.

(45:17):
Oh, go ahead.
I was going to say, I mean, it's kind of understanding.
Like I've mentioned before, my first Hollywood crush was Christina Ricci.
Oh, yeah.
So, you know, a neuron got switched in the brain and that's where I'm stuck at.
Well, one of my earliest mega crushes was Sidney Prescott.

(45:37):
Which because it's Halloween, because we've been talking so much about Wes Craven and
all this, I didn't even mean to do this.
I watched all the Scream movies in one day.
I did not mean to.
That's a lot, dude.
I just sat down and I was like, man, I haven't seen Scream in so long.
Sat down, watched it, I was like, God, that's good.
Then I had to watch the second one, I'm like, man, this cast is studded.

(46:01):
Sidney was a solid character for a final girl in multiple times over, for sure.
I'll give you that.
I think that was one of the things that really sold Scream to a lot of folks was how Sidney
broke the mold as far as that character went.
Oh, very much.
And now that Wes Craven has died, she said that she's kind of done with the Scream movies,

(46:25):
but she did come back and she was in the first one that they made after Wes Craven died because
the two directors for Scream 4, the two directors for that one, they reached out to her and
they talked about how much they admired Wes Craven, how he's the reason that they became

(46:45):
directors, all this.
They had to convince her and then once they did, she was in.
By the way, Scream 3, not great.
Scream 4, amazing.
Oh really, okay.
Hands down.
Okay.
I gotta give it that praise.
But then we get our first look at the torn prince, played by Craig Olesznyk.

(47:08):
There's no way I'm saying that, right?
But I gave it my best.
The angry princess admiring herself in the mirror next to Shannon?
Nope!
But also, I don't think I've ever seen that happen like that.
That was pretty, because they, you know, the glasses that you see the ghosts are sitting

(47:30):
there on the shelf and we kind of camera through them to let us know we're going into this
sort of spectral vision and we see now it's still Shannon Elizabeth doing her thing in
front of the mirror, except now the walls are fucking covered in blood and the psycho
girl with the knife is standing behind her fixing her hair the same way that Shannon

(47:52):
Elizabeth is fixing her hair.
I genuinely thought we were gonna get a possession story here the way this was going on.
Because I knew that wasn't what was there, I was fearful of so many other things, but
it was just how creepy that was, how well she did on that.
I understand why she got a cult following after this movie.

(48:15):
And her voice whispering, I'm sorry, as she's doing that.
Did you notice the floor?
Yeah, well that's the thing, it made the floor hit harder because while she's sitting there
doing the hair fixing thing, we hear her whisper, I'm sorry.

(48:35):
That's where you're sitting there going like, oh Jesus, this is gonna go very, very badly.
And then we pan to another shot.
Now she's in the bathtub and we're seeing her in the bathtub from above and I'm sorry
is written in blood on the floor and I'm like, oh God, what is she gonna do to this
poor girl?
Amazing, amazing.
I loved it so much.

(48:57):
Oh, that my next two notes right there.
Bobby gets lured and warned to the basement.
He's like, Bobby, come down here.
And then you hear his mom saying, don't come down here.
But then of course you hear your dead mom, you're going to go.
Like, I'm sorry, you're a kid, you're a little kid, your mom died six months before that.

(49:23):
You're hearing her voice telling you to go away.
No, there's a part in your brain that's gonna go, mommy?
No, it's yeah, exactly.
It's like, plus even if her mom was still alive and she said, don't go down there, he'd
still go down there.
Probably, but I like the fact that he stops at the bottom stair and goes, I'm gonna tell
dad.
Right, yeah.
That was a great, great moment.

(49:47):
Then we talked earlier about how Lillard is shaggy in this.
Well, Lillard is completely drugged out and does not want to join this search party.
Gotta agree with him.
More switches flipping, more ghosts unleashed, and Bobby just keeps going right towards it.
Ooh.
I'm telling you, man, I got so nervous in this.

(50:10):
I got so wrapped up in it.
I loved it.
Well, yeah.
And like I said, like they just got done, like I said, raising the stakes by horribly
killing the lawyer, cutting him in half with these shatterproof, which I don't think even
fire doors close that fast.

(50:31):
Like, holy shit.
No, actually, fire doors close pretty slow.
Okay, so yeah, there you go.
That's kind of one of those like, yeah, that was a death trap of a door for sure.
But yeah, so again, weirdly enough, with such a low body count, you still stressed out because

(50:54):
one person dies.
It takes another 30 minutes for the next person to die, but you are freaking out that whole
30 minutes because you're still thinking about how the first guy died.
Well made movie.
That's why you're freaking out.
Well made and that is, that's why I mean, got two, like the first, we've covered a few

(51:15):
movies that it was their first time directing and they didn't go on to do much afterwards.
And like Jeff Probst, making when he, his first time his directorial debut was finder's
fee and I didn't even see the second movie that he did, but finder's fee is absolutely
incredible.
Sure.
Yeah.

(51:35):
Like, nah, it's kind of crazy how that happens.
So Lillard is explaining that the writing on the walls are spells and the bound woman
played by Laura Manel, freaks Bobby into running into the torso played by Daniel Wesley.
The world building in this, I really, really love.

(51:56):
And then everyone's like going to go search for Bobby and then they're going upstairs
like, whoa, whoa, whoa, whoa.
Did I say there's a petting zoo downstairs?
Lillard just, yeah, Lillard.
I mean, what do you, what can you really say about him that hasn't been said?
I mean, yeah, no, it's a good question.

(52:19):
I don't know.
Like he's, he's beloved for a reason.
And I, yeah, I get like, yeah, don't understand why Hollywood doesn't like him as much as
they used to.
It's weird.
I don't think that's the case.
I think he likes doing just what he likes doing.
You think?
He took time off from making movies to go teach a class up in Vancouver.

(52:41):
Oh.
Like not at like UCLA or any of these top schools.
No, he went up to Vancouver for Vancouver Film School and he taught a class up there.
He's a pretty awesome guy.
Okay.
I tried to get in on the class, but couldn't get into Canada.
I imagine that that was a class that filled up pretty fast.

(53:04):
I'm guessing so.
I'm guessing.
Yeah.
But like I said, warnings and instructions come from Bobby's speaker and we see the mom.
And oh God, that hurt, that hurt, that hurt, that hurt.
Maggie sees a ghost, the hammer played by Herbert Duncanson.

(53:26):
And when Lillard flips him the bird and then sees his own future and the look on Lillard's
face as he's walking away from that moment.
I loved it.
Like I can't, I can't really fully explain how incredible I think so many of the like

(53:50):
the small moments in this movie is.
This is why I was really excited for Halloween to come around so we could cover some of these
movies.
There's a time.
Sure.
Shalhoub finds the recorder and then gets uber nervous hearing a scream because he backs
it up until he can hear some voices on the recorder, presses play, hears that scream

(54:11):
and he shuts it off immediately because he's terrified that he just heard his child's dying
scream.
Right.
Yeah.
And Shalhoub sold it.
Yeah, he did.
I remember personally, you know, and that was kind of one of those like, and I know
this is a common thing, you know, when watching horror movies, when you're like shouting at
the characters, like don't, like, don't, don't be stupid.

(54:34):
Don't go in there.
You know, for me, I'm like, no, keep playing the tape because maybe if you hear your dead
wife's voice in the tape, that'll get you clued in as what's going on here, pal.
You react, you react.
I mean, the characters don't react like they're in movies most of the time.
They react like they're...
That is, you know, that is true.
I mean, a lot of horror movies, they do act like they're in movies.

(54:56):
That is, that is the frustrating part for bad horror movies.
Right.
Well, especially like, I mean, speaking of like moments before that, like how it would
be just before he gets the tape recorder, we have the, you know, the house is too big,
let's all split up moment.
And Matthew Lillard going like, are you fucking nuts?
And I love that.
But they do it.

(55:17):
They do it anyway.
They split up anyway, because he's like, no, no, no, we got to cover ground quickly.
So we're this way and we'll go this way.
When they split up in this movie, they all make it back.
No, that's true.
Yes.
So at least they go to die.
They don't die.
They die when you think they're not going to.
This movie did a really good job of like, it shocked me.
Misdirect.

(55:37):
Misdirect.
Thank you.
I couldn't find the word.
Lillard mentions the jackal played by Shane Weiler and then Shannon gets attacked by him.
And the scene with Shannon getting attacked by the jackal, I felt that I really did.
And the way that the flare comes off and it disappears and how she slams down to the ground.

(55:59):
That they really, they soften that up a lot of times and they cut away from it.
They like, oh God, we all just kind of fell into each other.
They don't let it go that far most of the time.
So I really appreciated the fact that they did.
So like I said, rescued by the activists and Lillard runs to the firstborn son played by
Nicole Spidel.

(56:20):
That's a fun name by the way.
Yeah.
And then he just goes, ow.
And the nanny is like, are you making fun of him?
But then Shalhoub gets the glasses and sees the jackal and David says that she's going
to free them and looks wildly euphoric when she says that.

(56:42):
That look made me uncomfortable.
I'm like, was that bad acting or was that, what was that?
And that's where I'm sitting here going like, why doesn't anyone bring up, set them free?
Are you out of your fucking mind?
We're going to let these monsters loose on the world?
No, we banish them to hell.
We keep them locked up until we can call in the priests or something.

(57:03):
Like we don't, we don't like.
Yeah.
Nobody steps up to try to stop her on that one.
And I thought that was kind of weird too.
Right.
And you know, it's like, look, I'm all for-
My family was just attacked and you want to let it go?
What if it decides to attack my family again?
That should have been the thing that came out of his mouth and it never did.
Well, it's like, you know, you hear about these people keeping pet tigers in New York

(57:26):
City and it's like, no, no, no, you shouldn't do that.
That's fucked up.
You do not let the tiger loose in Manhattan.
Go be free, my brother.
Like, that's not how you do that.
Okay, I do see where you're coming from with that.
Okay, that we get the exposition on the house and that it was designed while a guy was possessed.
And then Cathy goes missing.

(57:49):
Right.
Okay.
And-
We don't really get an explanation as to how that's done.
We get kind of clue wins as to who's responsible, but we don't get how.
They just sort of vanish.
Thank you.
But I guess that's kind of one of those things where it's like, it's not important.
All that's important is that it happened, that you don't need to know why.

(58:10):
Fair enough.
And then the house goes into full armored lockdown.
Lillard sacrifices the glasses and then, like when he looks at Maggie, good job.
Just how casual.
I loved it.
But then they need to get to the library because that's the area of the house that has the
full spell protection.

(58:31):
And okay.
That makes sense, I mean, I guess.
Sure.
Yeah.
Why not?
Lillard and Diga meet the great child played by C. Ernst Harth and the dire mother played
by Laurie Soper.
Oh my God.
I think those two were the most disturbing ghosts.

(58:51):
That's what I was going to say.
Those two were the ones that freaked me the fuck out the most.
That was an uncool imagery right there of those two together.
That-
Yeah.
That insinuated a massive story that I do want to watch that movie, but at the same
time, it's because I don't want to know that story.

(59:13):
Right, yes.
No, absolutely.
Of all these ghosts, I imagine their backstory is the worst, for sure.
So then we get- I don't know, man.
I'm curious about the jackal with that cage over his head.
Oh, that's true, yeah.
And the pilgrimess, when she's locked in those shackles too.

(59:35):
Oh, well, that one's kind of- I mean, she was clearly burned as a witch.
That one we-
No, I know, but the thing that I'm saying is, this movie did a fantastic job of making
me want ten more movies.
Every single-
Which they-
Go ahead.
I feel like they probably had in mind, when you consider how this ended, they probably

(59:57):
thought they had a franchise on their hands here.
Potentially.
I mean, this was remade after the original movie came out like fifty years before.
I do want to see the original.
I want to know how they did their version, like way back then, before all the film tricks,
before the technology, before everything.
I do want to see what this was.

(01:00:19):
It was like 1960 when that came out, right?
I think so.
That first one came-
Yeah.
Somewhere right around there.
Yeah.
I think that's why I want to read the book too.
Because I mean, yeah, like the stuff that I write now, I have a lot of things that have
come to mind from other things that I have already seen.
I want to know what these guys did just as originals.

(01:00:42):
Sure, yeah.
As the progenitors of what we got.
I think that would- and I wanted to do the same with The Bone Collector until I realized
how recent of a book that was, and I'm like, I can get to that whenever.
Yeah.
Lithered asked him, how do you lose an entire family in a glass house?

(01:01:03):
And the look from Shalhoub.
Yeah, like not now, motherfucker.
Not now.
If you could bleed from being looked at, Shalhoub has that power.
Right.
And then we get chased by the Pilgrimists, which, good chase, played by Zantha Radley
in the exposition in the library about stealing souls, and we find out about the fourth ghost,

(01:01:29):
Arthur's wife, the withered lover, played by Catherine Anderson.
What a heartbreaking revelation.
Yeah.
And kind of, it's interesting too, because of the twelve ghosts that we see, she's the
least fucked up looking one.

(01:01:49):
Oh, she's only been dead for six months.
True, yeah.
And she's got the burns, but generally speaking, out of all of them, yeah, you don't get as
much of a monster vibe off her like you do with the others.
So it's kind of interesting how they-
No, but I kind of think if you go with supernatural rules, you're not a crazy ghost right away.

(01:02:11):
It takes time.
No, yeah, that's a good point.
And I mean, the mechanic of a ghost coming mad over time, that's not just supernatural.
I feel like that's pretty standard ghost lore.
Yeah, yeah.
The visuals of them being a reflection of their mental state kind of thing that it deteriorates

(01:02:33):
over time for sure.
Yeah, that's pretty standard lore.
I forgot I had this note in here.
Trying to control the ocularis, which if you hear the description of the ocularis, the
Eye of Hell, that is the Eye of Sauron.
There's no way that didn't come into your mind as they were talking about that.
They actually did not.

(01:02:54):
Now that you mention it.
Fuck off.
No, seriously.
Now that you've said it, it's pretty obvious.
I'm like, oh yeah, I should have clued into that.
I thought that was pretty ridiculous.
Shalhoub finds out that he is supposed to be the 13th ghost, a willing spirit of love.

(01:03:19):
And then we get that moment where Lillard is like, wait, this doesn't add up.
Something is wrong here, everything like that.
And I really appreciated that.
Because Lillard was our good guy.
Right.
He was.
He wasn't the best guy.
There was some borderline stuff, because he was doing a job at the beginning of the movie.
But he brings up a good point.
I step within ten feet of a ghost, I lose my mind.

(01:03:41):
I touch somebody, I see their entire lives and I have a conniption fit.
He's like, I'm a little bit of a freak.
I needed money so I could live.
It's like, yeah?
Okay.
I do empathize with him way more than I was expecting to.
But yeah.
When he says it doesn't add up, the look on David's face.

(01:04:06):
Like she's pan- like you see that panic?
And that was where I was like, okay, I'm-
Arrrr!
Because I forgot.
It had been so long.
And it's interesting.
Yeah, well, and it's interesting too, because there were other- like, that's not the first
clue that Lillard gets that something's off.
Earlier in the movie, when everyone's got their own set of glasses, the nanny notices

(01:04:32):
that there's more Latin written on the floor that you can't see until you put the glasses
on.
And he makes a comment about how, well, that doesn't make any sense.
Like there's a few things in there where we don't get the why, we don't get the explanation,
but Lillard being the sort of pseudo-expert here keeps going, well, it doesn't make sense

(01:04:52):
that it's like that.
And even though the mystery of these individual things don't really get solved, it's enough
to clue in Shalhoub to understand that nothing is as straightforward, and it puts him in
the mindset to figure things out later.
Even though if we don't get all the- even if we don't get all the answers, it's enough
for him to know that he can't just walk right into whatever he's been told.

(01:05:15):
Fair enough.
That was a good call.
I enjoyed using a chunk of the wall as a shield to go find the kids.
Clever.
Lillard calling Shalhoub Captain America.
Funny.
Enjoyable.
Then Lillard, there's no place like home.
There's no place like home.
Like going over, over doing that.
Oh, we already talked about this.
Oh my god, is that half the lawyer?

(01:05:37):
What a line.
What a freaking- oh my god, I love that too much.
Then the torn prince versus the shield wall, and then yes, that look from Davids was foreshadowing,
because Cyrus, you sneaky little turd bucket, this is literally how I wrote my notes.
Everything I just said is word for word.

(01:05:58):
This was me, I was having fun watching this.
But then he freaks because, like gets that book from her and they have this whole exchange,
like I did everything you wanted me to.
Are you mad at me?
And he gets back and he can't find the spells.
He's like, where are they?
And like, are you mad at me?
No.
Right?
Man, that was a crazy one.

(01:06:23):
And yay, I didn't get a lot of time to really fall in love with any of these characters,
so you kind of got to give the movie that.
It didn't really build up a lot of that.
So when Lillard was caught between the juggernaut and the hammer, there was no emotional connection
to that.
It was cool.
It was really stunning, all that.

(01:06:43):
The emotional connection wasn't really in this movie.
We didn't, yeah, we didn't really get a lot of emotional connection.
We got just enough to like, you know, we know just enough about the kids to maybe not be
like, I don't want the kid to die, but enough to be like, oh, don't kill the kid.
Like we, and that's basically where we are on everybody.

(01:07:04):
I think this movie could have used another hour.
Maybe it could have used a couple more characters to kill off, but I mean, I think it did.
Okay.
Yeah, exactly.
But I think it, I think it told the line pretty carefully.
Maybe two more kids, an extra cousin.
Yeah, yeah.
You know, a wacky neighbor that happened to tag along, something, you know, a paralegal,

(01:07:25):
you know, two lawyers.
Let's kill off both lawyers.
Why not?
We brought a nanny into the story, presumably to redshirt her, but we didn't.
Right.
That's the thing.
I mean, why is she even a family that is, you know, we are being made very, very aware
of how fucking broke they are, but they can afford a nanny and not even a very good one,

(01:07:46):
sure, but it's-
One thing I did key in on, like since I've been living in the city, after I moved out
from the country into the city, a lot of people have nannies they do not pay.
They just live their rent free, and that's how they get paid.
That makes sense.
And I can see that if not for the fact that Shalhoub has like two separate lines where

(01:08:13):
he comments how much he's paying her.
He says, that's what we pay you for.
Oh, that's a good point.
Okay, okay.
So I was thrown, okay.
All right, fair enough.
I don't know how much math teachers get paid in New York.
I didn't think it was that much.
And maybe it's a combo thing.
Maybe she gets the free rent plus like maybe 50 bucks a week or something like that.
I mean, maybe.
Uh-oh.

(01:08:33):
I mean-
I'm not saying like I actually did meet people who offered.
They're like, hey, I'll clean your place, everything like that.
I know you have an extra room.
And I'm like, yeah, but I kind of want somebody to pay rent in that room.
So that is a thing that I did come across.
Thought about it.
I don't like cleaning.
So, you know.

(01:08:55):
Okay.
David's hesitation to put the kids in danger always breaks a good villain for me.
You're going to kill all these people.
You're going to end the world.
You're going to do all this.
But they're kids.
Like, dude, come on.
You are like, you're doing all this stuff.
All these kids are going to go out there.
But you're having a problem literally because you can see them.
That is always a thing that breaks villains for me.

(01:09:19):
Doesn't make sense.
But also, but also at the same time is, is interestingly, oddly enough, it's interestingly
realistic because there are folks that can rationalize their way through quite a lot
of shit until you get to one weird line that you didn't even realize they could have.

(01:09:40):
Yeah, I guess everybody does.
I've seen it happen.
Yeah.
And it is interesting that that was like and that that was it for her.
But I suppose that it had to be somewhere.
I mean, and that was like you just had to you had to create some sort of friction between
her and Cyrus for that.
OK.
But at the same time, you didn't need it.

(01:10:02):
No, you could because you could have kept her just really being a good bad guy.
Yeah, because especially like we like, yes, he does offer, you know, supposedly because
of this.
But we didn't need that.
We've already well established this guy offs people without a thought.
He didn't need a motivation to kill her other than I'm done with you now.
You've served your purpose.

(01:10:23):
Yeah.
So that's where I was saying, like, I felt like you kind of lost a little bit of the
but I suppose maybe the filmmakers wanted us to feel bad about her dying because she
wasn't that much of a bad guy.
I didn't.
Yeah.
You.
I mean, it was a like everything else in the movie.
It was a pretty horrible way to die.

(01:10:44):
You know, had to go like, you know, but other than that, yeah.
But I thought she had I thought she had it coming.
I didn't think that there was any redemption.
I didn't think like there was no if she had.
No, it's not. It was not enough of a redemption to make me care about that character.
No, that's true.
They could have.
They should have done or they should not have done it.
That middle ground.

(01:11:05):
It just it never lands for me.
Yeah.
She protests gently and then shuts down quickly and goes along with it.
So yeah, it's not it doesn't count as it doesn't count as a redemption for sure.
Cyrus kicks on the spell recording and all of the ghosts assemble.
And Shalhoub's wife stays behind a second so he can see her and then break down crying

(01:11:28):
again.
Oh, I felt that I felt that like I like what he had been through in this movie.
He I felt for nobody else.
Yeah.
Should have felt for the kids, but I didn't see them enough.
No, it's true.
Yeah.
That's why I said like maybe if this movie could have used another hour.
Like.
Well, and that's like, you know, maybe not even if it wasn't the franchise.

(01:11:51):
Like I said, they ended it.
It felt like a franchise.
There were a lot of moments when I felt like this movie would have been better served as
a TV series, you know, as a limited series.
But back then when it came out, it was like what 2000 2004 2005?
No earlier than that.
I think it was 2000 2001.

(01:12:12):
OK.
Yes, you would have looked at me.
You definitely should have streaming services hadn't even started yet.
So like these kind of I mean, they've made this once already.
There's no reason why they can't remake it again as a series.
And I think that may be the good call, because I would enjoy an entire series of meeting
all of these ghosts and then getting to here.

(01:12:35):
Right.
Yeah, that probably would be pretty interesting.
I would enjoy that more, more character development and make us care more.
You know.
Yep.
Yeah.
Yes.
And care about the ghost too.
Yeah.
You only cared about one ghost.
Kind of.
If you cared, you only cared about one.
Right.
But yeah, for sure, we are clued in that every single one of these ghosts are the way they

(01:12:58):
are because their life was tortured in some way.
Yes.
And then we get the kids in the center of the rings and Shalhoub sees Cyrus staring
him down and he counts out all the 12 and realizes that Cyrus should not be there.
Right.
Because of where he was off on the side, I thought I was really waiting for this.

(01:13:19):
And every time I see the movie, I know I'm waiting for it all over again.
Because he has that line of his glasses where you can kind of see his eye a little bit right
here, I thought he would be turning and the like the frame of the lens would end and he
would still see his body outside the frame.
And then that would key him in.
That is what I'm always waiting for when it comes to characters wearing glasses.

(01:13:42):
And that is the reveal, because whenever I'm wearing glasses, I see crap on the, all the
time.
So, the fact that no movie ever has done that drives me insane.
Yeah, I feel you there.
Yep.
But no, like I said, they had already kind of established, like I said, with all the
times Lillard says, that's not right, that's weird, why would that be?

(01:14:03):
That's what got Shalhoub clued in to like, wait, look for something that's not right
kind of thing.
Yeah, he stops, counts 12 ghosts, that ghost of my dead uncle shouldn't be there, take
the glasses off, he's still there.
And his transition, I gotta say, was fantastic.
He wasn't like shocked, like, you're still alive.

(01:14:25):
No, he immediately goes to, you son of a bitch!
And barely too white at it.
But also, Cyrus's fear when Shalhoub lowers those glasses.
Right.
Very subtle.
He didn't do that too much.
He didn't overact that.
He kept his composure, like, oh, maybe he won't, maybe, uh, no, I love that.
But then Cyrus starts winning the fight and then mocks his pathetic family.

(01:14:50):
And then digga, perdiga to the rescue.
Typical rich guy shit.
Typical rich guy shit.
You know, like, you peasant, how dare you!
Oh yeah, with the cane and everything.
Yeah.
Raining an ascot and full Scooby Doo.
That's a straight up Ebenezer Scrooge moment right there.
Oh yeah.
But then digga mixes and the ghosts go for the PG kill.

(01:15:13):
Which in a movie like this, why did Cyrus's body not have a single drop of blood in it?
I, that's what I was, cause they all, 12 of them, pick him up, crowd surf him towards
the thing.
Like, that should have been a, like, with all of the other gruesome deaths we should
have seen, that should have been the most gruesome.

(01:15:36):
And it was nothing.
It was PG.
That was not a single drop of blood at all.
Yeah.
But then Lillard makes a return and Shalhoub makes that like video game timing leap.
I had fun with that.
He's playing Prince of Persia.
There you go.
Exactly.
House goes boom, ghosts escape.

(01:15:56):
We get that last look at the mom and the nanny.
I look, I don't know where the movie ends.
I quit.
Like, no.
Her lines.
I can see her character being added by James Gunn and just-
Absolutely.
You know what?
The one thing that pissed me off after that, like, I loved that we go back to the basement

(01:16:17):
and we see after all of that chaos, the nanny's okay and she's like, I quit.
Fuck this family.
Well, would have really made it the perfect payoff for me is if she found the briefcase
full of money at that moment.
Oh, that would have been a good one.
That's right.
Cause that money.
That money is still sitting there at the end of the movie.
And yeah, we don't know if anybody sifted through it.

(01:16:40):
Did the fire marshal come through and went, oh, my retirement fund.
We don't know what happened to the money.
It was still laying right with the lawyer's body.
The family should have found that at the end.
That would have made it a nice little happy ending.
All right.
Yeah.
And then we also see after the whole thing's over, house blows up and the machine's dead.
We see that, well, you know, well, the, the, the 11 psycho ghosts wander off into the world

(01:17:06):
fading away off to kill again.
And this is a good ending.
This is a happy ending.
No, we just unleashed evil like this hardcore rough under the, oh man, this movie, which
is why, which is, yeah, which is why I say, you know, maybe they thought they had a franchise
here.
They were going to, they were going to do 11 sequels where they hunt down each one of
these ghosts in turn, you know, or something like that.

(01:17:26):
Okay.
Yeah.
I, you know, if I, if I was a production company, I'd be down for that for sure.
You know?
Oh, heavily.
No, the fact that Bezos hasn't picked up the 13 ghosts and put it on Amazon prime yet,
or something horror like this.
I mean, yeah, I mean, you really take a look at what Peter Jackson basically spent 10 years

(01:17:48):
of his life making a living on the Lord of the Rings.
I could see myself making a living on 13 ghosts for, for 10, 20 years.
You think you could work on a horror movie?
I could work on, I've worked on horror movies before.
I don't like watching them, making them as fun though.
Okay.
Okay.
That is fine.
That is fair.

(01:18:08):
You've been in a horror movie with me.
I know, I know, I know, I know.
I just realized that as I was saying that.
I know.
All right.
So final thoughts on the 13 ghosts.
Final thoughts on 13.
I mean, if you're a horror fan, you're going to like it.
I'm going to try to forget it as quickly as possible.
But even though you're not a horror fan, you got to give it, you got to give it its props.

(01:18:29):
Oh, absolutely.
I mean, visually stunning, very clever in its world building.
Yeah.
Yeah.
Like I said, like I, like there was so much great visuals in this.
I feel like this was a debt paid to a visual artist, like, like a Tarantino style.
Because like they just they they let these they gave these people an they gave their art department an unlimited budget and free reign and it fucking paid off.

(01:18:57):
Yeah.
So in that regard, sure.
This was this was really great.
Would I say that it is a must see film?
No, I don't think I'm not even I wouldn't even put this as a must see for horror film.
And there's no yeah, there's there's nothing game changing.
There's nothing groundbreaking or anything like that.

(01:19:18):
It's just really well done.
Yes, for sure.
It's a really, really good example of it's a good example of its genre.
But yeah, I wouldn't I wouldn't say it's it's a going down in history type movie.
No, but I do still want to check the original to see if that one is a must see.
Yeah.
I've just realized the massive mistake that I have made.

(01:19:44):
With this costume.
And I did not grab a martini glass for my drink.
I just grabbed a regular tumbler.
Who are you supposed to be?
Correct.
Oh, I'm I'm a middle aged divorced dad tourist, obviously.
Why don't you just have a can of shaving cream?

(01:20:12):
Shove a pillow up there.
And grab a sham can of shaving cream.
I'm going to need you to explain that reference to me.
I don't get it.
Jurassic Park.
Are you saying that I look like Nedry?
Is that what you're saying?
I'm saying everybody in a Hawaiian shirt looks like Nedry.

(01:20:35):
That's why I say grab a couple of pillows, shove it up there.
Be Nedry.
Okay, all right.
By wasting away in Margaritaville over here, man.
That's what I'm doing.
See, I'm got myself a tall glass of lemonade that really should be in a Margarita glass
to sell it.
You know, I'm actually going to agree with you there.

(01:20:57):
I do think that made a mistake.
I made a huge mistake, but the kitchen is all the way over there and I'm already back
on camera.
So, you know, fair enough.
Yeah.
All right, going in for part two of the special Halloween episode.
The Serpent and the Rainbow.
Serpent and the Rainbow is probably something of an origin story for me because like I said

(01:21:23):
earlier the only reason I do as much of these horror movies is because I'm constantly surrounded
by people who love them.
When it comes to the early 80s, or not early 80s, late 80s, early 90s, that is my stepsister
and her friend that I had a crush on.
And so when they were watching horror movies, I would take that bullet, watch it with them

(01:21:49):
just so that I could be near her.
We'll call her Jodie because it's been 25 years and I don't remember what her actual
name is.
Fair.
Fair.
But yeah, Serpent and the Rainbow was one where...
You know how when you're watching scary movies with chicks they get kind of grabby?

(01:22:10):
Serpent and the Rainbow was a night that built some new neurons for me, so it stuck.
Okay, fair enough.
So the Serpent and the Rainbow, based on the book by Wade Davis, screenplay by Richard
Maxwell and Adam Rodman, directed by Wes Craven, rest in peace you absolute legend, starring

(01:22:31):
Bill Pullman, Kathy Tyson, Zakes Moke, Paul Winfield, Brent Jennings, and Conrad Roberts.
This movie isn't really with anybody, I'm pretty sure it's starring everybody that's
in it.
No, yeah.
Yeah, everybody in this movie steals the show.

(01:22:53):
Even like, we've got a couple characters that you think are throwaway characters, then they're
really not.
No, oh my god, and so, to kick it off, this is based on true events.
And-
Loosely.
I did like, that was one of the things that gave me a giggle at the beginning, it was

(01:23:13):
during the credits when it said it was inspired by the book Serpent and the Rainbow.
Because the book was about true events.
This movie took it quickly into supernatural land, so it was inspired by, not based on.
Well, it was kind of, I mean, it's based on the experiences of the guy who wrote the book.

(01:23:38):
So kind of interesting when you get into that, because when you talk to people who have like
really tripped on these intense kind of drugs that come up in this movie, you can kind of
see this movie as also being part of that trip.
So you could see it as a total true story.

(01:24:02):
In a way, sure.
In a way, there are moments.
Told from a certain perspective, for sure, yeah.
The way I kind of saw it was it kind of reminded me of like the old kung fu movies.
Because like when you take a look at real life martial-
A little bit.
Yeah, when you take a look at real life martial artists, they can do some pretty amazing shit.
They can run straight up a wall, because they've been practicing the perfect way to do that

(01:24:23):
for years.
And in kung fu movies, they take that into a tiny little fantastical step where not only
can they run straight up walls, they can also run across the tops of treetops.
They're such kung fu masters, they have that kind of balance.
I feel like this is the same thing.
So embellishing.
This was something that kind of, exactly, yes.
It's taking this sort of like general sense of mysticism and turning it into actual magic

(01:24:45):
in this movie.
Okay, I'll give you that.
And yeah.
That I'll give you.
The movie opens on this little poem saying...
It opens on this.
In the legends of Voodoo, the serpent is a symbol of earth.
The rainbow is a symbol of heaven.
Between the two, all creatures must live and die.

(01:25:07):
But because he has a soul, man can be trapped in a terrible place where death is only the
beginning.
Do you know where that's from?
I assumed it was from the book this was based on.
That's a good guess, actually.

(01:25:28):
Alright, so the movie opens on Haiti in 1978.
And oh my god, so many Cravenisms in this.
And like I said, because of my marathon of the Scream movies that I did this week, they
were all right screaming me in the face.
The use of the music, the cinematography as they pick up the coffin and it's being, I

(01:25:49):
think, polished.
Like they just constructed it and they were just kind of cleaning it and polishing it
for the procession that's about to happen.
Putting the finish on it kind of thing.
Yeah, I thought so.
And we get that funeral procession with the pistol and they set the coffin on a flame.
Seriously.
What an opening.
Absolutely incredible.

(01:26:13):
Going through some series of things, testing, I don't know what this was, but oh my god,
why did they have to stab that guy under the eye?
Well, I mean, if you're not dead, then you should, you know, that should get something.
A twitch like that.
I feel like if that's kind of thing, like are you faking it or are you just asleep?

(01:26:37):
You know, like I feel like putting a needle through the eyelid into the eye.
That would wake you up for sure.
That's a good test to find out if you're faking.
Okay, I'll give you that.
I'll give you that.
I still hated it.
No, yeah.
And well, I think, yeah, add that to it was definitely more disturbing than if they just
like perked his toe or something like that.

(01:26:59):
So we got a few viewers.
I want to bring this up right now.
So the concept of this movie is about zombification and the real world applications on what happens
with this.
So this movie is all about the mysticism about it, about voodoo, about all of that.

(01:27:20):
In the real world, what would happen is they would drug people, have them be buried and
have their funerals.
Then they would go back after the funeral, dig them back up and force them into slavery
because the drugs would remove parts of their memories.
Well, I mean, the theory was is that it wasn't that the drug was removing their memories.

(01:27:40):
It was that it was the oxygen deprivation is what would happen.
They would get brain damage from when they would be buried for so long, it would take
like, you know, a day or so for them to come get dug up.
But there's also what we were talking about earlier with the tetra to doxin that comes
off of pufferfish and the datura powder that they got from the datura plant, which is known

(01:28:03):
as the devil's cucumber.
Those two mixtures, the hallucinogenics, the hallucinogenic aspects of those things, the
brain damage that would have the effects that it has on your body, those drugs, even outside
of being buried and the oxygen deprivation that would happen with that, those have that
effect on their own.
Right.
Like, and so they would, they would convince people that they were dead and then they would

(01:28:27):
steal dead people for slavery.
Yeah, that way they could get away and nobody would be reported.
Like, this is unbelievable terrifying in a real world.
And apparently, yeah, and apparently they even would tell these people when they dug
them up, they would say, you're dead.
You're just, you're, you know, you're just now in hell, basically.
And basically, like, hymnets is like very, very influential in those moments.

(01:28:51):
Oh my god.
And yeah, and it's, and it's not, you know, an uncommon-
The real world connection to this makes it so unbelievably terrifying.
Whoa, I know.
And I, you know, I did a school report on it.
Not too long.
Oh, really?
Yeah.
On this?
I can get, I, not on this specifically, but I touched on it.

(01:29:14):
It was for my Shakespeare class and we were doing Romeo and Juliet.
And so I decided to, for my like final report, I decided to delve in onto the stuff that
Juliet takes to make herself appear dead and basically research the same thing.
Oh, I could see that.
I, yeah, I could.
Okay.
And that's the thing is like, this has been going on for so long.
Like that was the theory that I postulated in my class was that because we know that

(01:29:38):
Shakespeare's like favorite actors were all sailors, they probably had been to other parts,
you know, to places like, you know, South America and Haiti where, you know, or something
like that where this was done, or at least heard the rumors of it and then brought it
back for Shakespeare because, you know, to write about.
Was my theory.

(01:29:59):
The Amazon basin in 1985.
Yeah, no, wait, sorry.
I just remembered.
I just remembered Shakespeare was in the 1600s.
We discovered America.
Okay.
So yeah.
All right.
So I guess we did have America for at least a hundred years before then.
So we had, we had, we had colonies and trade going on for sure.
Yeah.
So we probably did have a trade route to South America and Haiti.
And yeah, the sailors would be coming back with stories and stuff like that.

(01:30:23):
Yeah.
And, and yeah, and because this is, yeah, this was going on even back then this was
going on for so long that yeah, it's generally accepted, you know, that our entire concept
of zombies originated there because of that practice.
I E.
Oh, oh, vampires.
Vampires.
Vampires.
Vampires.
And vampires and the like the similarities between vampire, the, the raising dead.

(01:30:49):
That has to predate.
I mean, those legends, so many of those, I'm going to look into that because that kind
of stuff goes into Esmeralda's story.
Another book I'm working on.
Oh, not saying what he said, but the pilot is nervous and the shaman senses it too.
He gets handed some tripping juice.

(01:31:09):
All right.
And then sees himself being chased by a friendly Jaguar.
And you got it.
I was getting a lot of enjoyment out of this.
The white dude tripping and the locals sitting there laughing until the wind kicks in.
Right.
Yeah.
He's, yeah, he's, he's sitting there playing around, you know, in it, you know, his vision
is he's getting chased by a Jaguar and it catches him and it turns out to be friendly.

(01:31:32):
And so he's playing with the Jaguar.
First of all, props to Bill Pullman right out of the gate of his career gets to play
with a Jaguar.
Like, oh my God, how cool is that?
Pretty cool.
But then cuts to, yeah, the locals who gave him the hallucinogen are sitting there watching
him roll around and giggling in the grass thinking he's wrestling with a tiger and laughing

(01:31:54):
at him while he's doing it.
Yeah, I had fun with that.
I mean, you kind of have to.
Then where are we at?
Oh, the covered shaman turns into a different man, which was that Petroud or was that Kristoff
that he turned into?
I never went back to check.

(01:32:15):
Oh, the the shaman.
Yeah, he turned into what's his I can't remember his name, but the guy who was the the police
chief.
Okay, so that was Petroud.
Okay, yeah, that's what that's why when he that's why when he showed up at the at the
club when he first walked into the club.
Okay, so I couldn't remember that's why Kristoff or if it was okay.

(01:32:36):
Okay, that's yeah, no, that's why that's why I morning.
That's why when Pullman sees him in the club, he immediately reacts to him because he recognizes
him from his hallucination, which yeah.
Then he gets pulled into the ground and some of the roots are arms and hands and then he
pulls out of there and then Julio dead.

(01:32:57):
The pilot is dead.
He comes out of his trip and there's like a voodoo symbol like kind of put on the windshield
of the helicopter and the pilot is a village.
The village is empty.
Yeah, like the village of all these villagers he's been hanging out with the villages vacant.
He goes to the helicopter, the helicopter pilots dead and he ends up having to walk

(01:33:19):
to to who for who knows how long back to the nearest civilization.
Two weeks, right?
Something like that.
Yeah, you know, it was two weeks and then right, which by the way, we we never get an
explanation about that.
That is literally just like a precursor to this guy having weird psychic powers because
of this trip he took and now that's that's just where the vision happened.

(01:33:44):
That's the only reason that we saw that part of the part of the stories because that's
where that vision took place.
But the villagers disappeared.
His pilot died.
He had to walk for two weeks to get back to civilization and then cut to he's back in
New York and everything's fine.
100%.
My excitement when I saw Michael Goh, when I saw Alfred pop in this movie, man, I was

(01:34:09):
happy.
I have not seen that man in enough stuff and my God, he was just the dude of my childhood.
Like we all like if there was a bad bad movie that did not have that Alfred in it, it was
not a Batman movie.
He was perfect.
He was good.
Yes, absolutely was.

(01:34:31):
So Michael Goh Schoenbacher and Paul Guilfoyle meeting asking about zombification discussing
Christophe Durand was buried seven years ago and when he like when he resurfaced and all
that they found him he looks exactly the same all this and they discuss using it for medicinal
purposes and for bringing some like bringing somebody in and out of death and using that

(01:34:57):
for surgeries and things like that.
As a replacement for surgical anesthetic, you know that if you could just kill him,
do this up, do the operation and then bring him back to life and that would be, you know,
a great way to go.
And realistically, yep.
Sure.
Yeah, I mean, yeah.
I really could see that if you actually got the body to shut down actually, then you would

(01:35:21):
not have to worry about the heart.
You wouldn't have to worry about the lungs.
You wouldn't have to worry about the anesthetics like none of this.
I do.
I can see why there was research into this, but when you find out the results, like what
actually happens when you're under that death spell, it's like, let's not.
Let's not do that shit.
No, let's maybe not go this route.

(01:35:42):
When meeting the unexpected Dr. Marielle Duchamp, played by Kathy Tyson, as Pullman meets a
classic zombie buried 15 years ago and the little conversation that he tries to have
with her, he walks away just feeling like there was warning in her eyes.
Right.
Yeah.
And that's the thing.
They lost the, like a lot of them lost the ability to speak because of the brain damage

(01:36:04):
that happened through there.
So even these people who were buried alive, dug up and forced into slavery, they wouldn't
be able to talk about it.
Right.
So that warning in the eyes, if you are a person who's straight up thinking about supernatural
stuff and all that, you're seeing that kind of warning from a person who can't talk.
You're going to see those kinds of warnings.

(01:36:26):
But again, I have to bring this back to the real world.
The unbelievable terror and warning behind, don't go down this, you're going to wind up
a slave too, you're going to be buried alive and taken by the Bacchors.
The unbelievable terror behind the real, like in the real world story of this story?

(01:36:48):
Oh, I cannot, I cannot express the unbelievable terror that I had, not because of this movie,
but because of what this movie implied.
And that's what's interesting is because like, yeah, this is a horror movie and it's a supernatural
horror movie, but most of the most terrifying things about this movie are based on what

(01:37:11):
life actually was like in Haiti at that time.
They were under an amazing dictatorial rule that was kept in power.
I guess a little bit of a fun fact on this one.
They only were able to film about 60% of this movie in Haiti and then there actually was
a regime change while they were filming the movie and they had to switch over to the Dominican

(01:37:34):
Republic to finish filming.
Okay.
You are very, very close.
You're right there, man.
It is that, my God, it is dangerous.
It always has been dangerous.
There are safe areas, there are safe times, there are safe moments, but a lot of these

(01:37:56):
countries are very, you don't step out of line.
Well, and I remember, I mentioned this at the top of the show, when I was in school,
my government class told us about this Haitian regime, the Duvalier family and their rule,
and the Tonton Maquettes, their secret police.

(01:38:23):
They were straight up monsters.
The things that these guys did to, because it wasn't even just about keeping the peace
and ruling with an iron fist, they deliberately did psychological warfare on their own people.
It wasn't just about keeping the rule, it was about terrorizing their own citizens to

(01:38:45):
keep them in line.
They employed, I mean, imagine an army of Hannibal Lectors at your command, and that's
what it was.
I got it.
I got it.
I know what you should be right now.
Big gay Al.

(01:39:07):
It's been sitting here, it's been on the tip of my tongue since you got on camera in that
shirt and them glasses, and it was right there.
I knew it the whole time, but Big Gay Al from South Park.
I could also-
Do you know who I'm talking about?
Yeah, of course I know who Big Gay Al is.
What am I?
What am I new?

(01:39:31):
But I would also accept Sam Axe from Burn Notice.
Still never watched that.
I still need to see that one.
I know, considering who's in it, I know.
Yeah, and it's one of the few TV shows out there that has a satisfying ending when it
ends.
Ooh, yeah, that is not a common thing.
Meeting the Voodoo Priest, Lucienne Saleen, played by Paul Winfield, demands that the

(01:39:55):
Doctor dance.
She straight up knew.
And then he- oh, there you go.
Sees the man from his vision, Captain Dargent Petraud, played by Zeke's Mo'Kay.
And what a-
What a villain.
What a villain.
But what a line.
In Haiti, there are secrets we keep even from ourselves.

(01:40:19):
What a line.
What a sentiment.
What a way to get that point across.
I fell in love immediately on that one.
But then we kind of get this question because what happened to make that Doctor dance?
She doesn't even remember dan- he says she doesn't even remember dancing the next day.
Never brings it up.

(01:40:41):
Yeah, and it was, you know, we saw as she was trying to leave, one of the performers
or medicine guys, I don't know, someone comes up to her and blows dust into her face.
The very next scene we see her in, she's not just dancing, she's changed wardrobe and changed

(01:41:05):
her hair.
It took me a second to recognize her, it wasn't until Bill Pullman goes-
Yeah.
Yeah, when Bill Pullman goes Mariana, I'm like, whoa, that's the same chick.
Yeah, that did too.
But then when Petraud taps his glass and all of the dancers go mad.
Yeah.
That I- eerie.

(01:41:27):
I mean, how else do you describe that other than eerie?
Right, yeah.
Well, and there's even kind of a- because the guy who's hosting him, the guy who runs
that club that is hosting him, he mentioned something about possession.
I don't remember quite catching it because a lot's happening and the guy's got a pretty
thick accent, but he basically says something about how the people dancing have been possessed

(01:41:52):
and that he's even shocked.
When he sees Marianne dancing, the guy who's his host, he goes like, oh yeah, no, possession
is second nature for her.
This is something-
Yeah, that's right.
Yeah.
So this is like a regular, semi-regular thing of some kind.
Okay, fair enough.
This is, yeah.
I got to give you that.

(01:42:12):
Which, you know, maybe if we read the book and learned a little bit more about this religion,
we might get what they were talking about.
I'm pretty sure I'm going to be reading the book after this.
I'm pretty sure.
Chasing Christoph through the cemetery, but nope, they wound up, they wound up they were
chasing grave robbers and then they stumble upon Christoph anyway.
Right.
Like, okay.

(01:42:33):
But they did say that that was the third cemetery that they had checked.
Yes, that's true.
Yes.
So, okay, you got to give them that.
Which very near the end, we get a very, like, that's the thing.
It's just kind of weird that this guy that they know who, you know, supposedly died seven
years ago and now people are reporting seeing again and they're looking for him and they

(01:42:55):
know, no one really knows what's going on other than he's been seen around cemeteries
and they finally stumble in on him near the end.
We get an explanation as to all of that.
Oh, yes, we do.
And it's wow.
It's one of those like, dude, kind of moments, you know, so it's like, it's it's kind of
important that that's where they literally stumble into the guy is just wandering a cemetery

(01:43:19):
thinking he's dead.
Even like even when they try to say, come home with us, he's like, no, this is where
I belong, you know, and.
There's the thing that does raise some questions for me is if they think they're dead, how
are they eating enough to stay alive?
Random random like there's no answer to that question or like that.

(01:43:40):
I get that.
Like if you think you're dead, why would you eat?
Like they're like things like that.
And also if you ate, wouldn't that like indicate you ain't dead?
Things like that.
Like it raises some questions in my mind.
But at the same point, if your brain has been trashed like that.
That's maybe you just come up with rationalizations of however they can be there.

(01:44:01):
Or or you just don't ask the question also.
I mean, I you know, you when you don't think to even.
OK, yeah, OK, I can give you that.
Yeah, OK, I can.
I can jump on board with that.
A fantastic line from Duchamp in this film.
It's not like the way they describe you is sounded like you walked on water.
Now I know why shit floats.

(01:44:23):
Loved that line.
That was so good.
Man, I'm going to put that one in my back pocket and just save it for the right person.
No, no, no.
You need to do the whole thing like you do with King.
Like you said, you're going to do a King Ralph.
That needs to go on a throw pillow or something like you need to.
That's got to be a thing.
That is if you put that on something, I would buy that and I would gift it to a very particular

(01:44:44):
family member.
Then I'd ask you to do that four more times so I can do it to the other four.
They find Christoph and describes hearing the dirt fall over him at his funeral and
being forced to serve the Bacchor by entering people's dreams.
Like you were saying, he won't leave the cemetery, but he tells about the powder.

(01:45:07):
Now he is a slave to the Bacchor because he has to dose people with the powder the same
way that he was dosed with them.
He thinks that that is his mission after death because of what happened.
Dude, the way that these guys like would psychologically damage their own people.
That is again, again, the horror, the real life horror that is implied in this.

(01:45:34):
Back to the hotel and escaping out the window at the site of a voodoo altar and then a blank.
Yeah, if you ain't jumping out the window, you dead.
Right.
Yeah.
There was ever a jump out the window moment.
And I do appreciate that he didn't hesitate.
There was no like tension building where he's like, huh, what do I do?

(01:45:57):
Maybe find a weapon.
No, it was like he sees the he sees the blood on the wall and the pig and all that stuff.
And then he turns around and he sees the shadow coming down the hallway at him.
Like then they do a cut scene like the next scene is from outside him leaping out the
window.
We didn't get a single second of hesitation.
No, honestly, pretty fantastic with the anxiety ridden action that like came with that escape.

(01:46:21):
They did very, very well with that.
Yep.
Then back to and some pretty decent stunt work from Bill Pullman on that.
I'll agree.
He kind of parkoured.
He kind of parkoured a bit down that wall there.
Like and it was really him.
You could see his face early, early film.
He was giving it 100 percent.
I you know it for sure.
Back to lose back to meet Lucy in and confronts him about the powder.

(01:46:43):
I like this and American wants an enemy dead one hundred dollars to capture his soul.
Louis Mozart played by Brent Jennings.
That might be the performance that actually stole the movie.
Oh yeah.
You think so?
He was he was pretty on throughout all of it.
Yeah, there was like I I think he was my favorite character.

(01:47:04):
OK, yeah.
Just putting that out there.
And he asked who's in the bag that he has in there is like, oh, that's the previous
owner of the bar and just laughs his ass off.
I mean, just a great side character.
Here's the thing.
I am not a religious person and I am not a superstition superstitious person anymore.

(01:47:29):
But if I owned a bar and I knew the previous owner had passed away, I'd probably do something
like that.
That's probably like I don't know.
I don't know if I'd really do it, but maybe I'd have like some sort of like urn or bobble
sitting up there and I'd be like, oh yeah, the guy who opened this place, he's he's up
there.
Yeah, it's just kind of a completely bar.

(01:47:49):
Or goes a long way.
Completely agree with you.
That's why when before I die, I am going to build a staircase and a doorway that goes
right down right into the earth.
You open it up and you're looking at dirt and I'm just going to have it be a door to
nowhere and we're going to write in our wills to have her pass it down.

(01:48:12):
No matter what happens, if you hear knocking, don't open that door.
We'll just pass on a legacy of like your father guarded the door.
Your grandfather guarded the door.
You will guard this door.
I will.
I will.
Why?

(01:48:33):
If there is an afterlife, that is what I would be waiting for.
To see what happens when people read that and just to watch people stare at that door
going.
Should we open it?
I really want that sells him some powder for $500 and he's going to when he comes back
for delivery, test it on a goat to prove that it works.

(01:48:56):
Pullman cuts the goat's foot to make sure that it is the same goat.
Right.
And while the guy's distracted, so nobody sees him mark the goat's foot.
Of course, of course.
And then hiding in a village and not in that hotel, obviously, and finding out about the
crossover between Voodoo and Catholicism.
Yeah, that was interesting, wasn't it?
Yeah.

(01:49:16):
Well, we kind of covered that on the Skeleton Key a little bit.
That's true.
Yes, we did.
And that is the interesting thing too, to see kind of like this juxtaposition to see
where like this Haitian form of Voodoo and the Bahiu form of Voodoo.
We know they come from similar routes, but they've clearly diverged.

(01:49:37):
They are kind of two different things now.
But you can still see the similarities between them.
Well, isn't that where a lot of the culture in that part of like Mississippi and all that
it didn't that come from Haiti?
I think so.
Yeah, yeah.
I mean, I'm maybe making a huge generalization there.
French occupied Haiti and some of the slave trade in that direction and stuff like that.

(01:49:58):
Yeah.
And then in general immigration, you know, because it's not that far away, you know,
in world travel terms.
Oh, sure.
Yeah, yeah, yeah.
OK.
Especially with the trade routes and what they were trading at that time.
Yeah, there's.
Yeah.
There is a lot of just real morbid stuff involving a lot of this movie and well, with just a

(01:50:20):
hoodoo and Voodoo in general.
And then we get another funeral procession.
Everyone sleeping in front of a candlelit tree.
What a show.
What a shot.
That was gorgeous.
Like never before in any horror movie have I ever looked at a scene and gone, oh, I could
hang out there.
That seems nice.

(01:50:40):
No, I that was beautiful.
I get that's things like I get it because it's like we see that and then we see, you
know, are to, you know, Bill Pullman and I'm forgetting the other the other lady's name,
Dr. Marianne.
I see Dr. Mariam played by something Cathy.
Right.
Yes.
Cathy.
Cathy Tyson.

(01:51:01):
I.
Weirdly Western name for that lady.
Well, maybe that wasn't her actual natural accent.
Maybe that was a performance.
I spoke.
She did even kind of look Haitian, I guess.
But either way, I couldn't say one way or the other.
I haven't been to Haiti.
No, that's true.

(01:51:22):
Yeah.
But the best thing is that we see them sleeping under that tree.
And I'm like, yeah, I get it.
I could see that.
Like I'd probably chill out and fall asleep under that tree with just all of those.
It's not even just like a tree, a candle covered tree.
The entire forest around them has just all these candles and it's.

(01:51:42):
And that's something that has freaked me out whenever I go to one of the coast, coastal
states and I see people just burning stuff in the middle of trees with no rocks, no protection,
no nothing like that.
And I'm like, what is happening here?
Are you guys all stupid?
And they're like, this isn't North Dakota.
Right.

(01:52:03):
Yeah.
There's so much humidity here.
Nothing is going to happen.
And I'm like, right.
I don't trust we couldn't we could.
We couldn't set this tree on fire if we tried.
And that's what this was like.
You have candles on wood next, like literally flames right dancing right next to bark.
And this is real.
This was shot on location that actually happened.

(01:52:25):
That was a real tree with all that flame around it.
But because of that level of humidity, basically guaranteed safety, which is crazy to me.
That is not something my brain even like I could never do that.
Even if I was in Haiti, I could never do that.
I could never I could be there.
I could enjoy it.
I could join it.

(01:52:45):
I could never be one of the ones lighting a candle or placing it somewhere.
Because I know I'd be like, I'm the one I'm right.
I'm the one somehow, somehow this candle would be the one that dries out the forest.
Somehow.
Yes.
Yeah.
Just by me being here, the humidity has dropped enough to start a fire.

(01:53:07):
Exactly.
That I would not run that risk.
The when Kristoff enters his dream with the corpse bride, dude, that that that that snake
coming out of the mouth that got me.
Fuck that bride.
Fuck that whole bride.
That whole sequence, how well that was put together, what she looked like.
Wes Craven and his creepy ass puppets.

(01:53:29):
Wes Craven is a legend.
Yeah.
And things like this are why.
Yeah.
Like, oh my God, the man was an absolute master of his craft.
The cathedral in that cave was I love that.
I love that scene.
Like you have a church that takes place inside of a cave with this pool underneath it and

(01:53:53):
the waters have healing waters.
And that's where people go to congregate to hell with going to a big wooden building.
Go right there.
That that you want to you want to praise God.
You want to praise that God created.
Go be somewhere where God created some dope stuff.
Don't sit in a wood building like that is how you honor like in my eyes.

(01:54:15):
That's the same like the comedians are like, you know, you believe that God created the
earth, but like, don't you think you should take care of it if God created this and kind
of your job is kind of things like you.
We tried that argument.
I didn't listen.
A lot of people massively praise that God created, but almost every time in almost every

(01:54:38):
religion, when you go to praise the one who created all of these things that we enjoy,
you aren't in it.
You're somewhere else.
It's that has always been one of the weirdest things in my mind.
But move it on.
Some hefty tension between I was just writing.
I was just writing the note.

(01:54:58):
Go ahead.
Yeah, I'm only not engaging this because I know that once I start down the road of religion,
I'm not going to stop.
Okay, fine.
So we'll save it for the after hour then.
Right.
Okay.
Okay, deal.
I was just writing the note.
There is some hefty tension between these two and I don't know if it's the actors or
the characters and then buy them right to write.

(01:55:20):
Yeah.
Yeah.
Well, we get it.
We get it right at the beginning because even when he was a pretty powerful love scene to
Yeah, no, it was.
Yeah, no, it was quality.
This what this wasn't just thrown in there because the studio was like we need some titties
in here like this wasn't a love scene between these two characters.
I'll agree.
It was very beautiful.
Yes, it was sexy, but it was also very beautiful at the same time.

(01:55:42):
So I do appreciate when the film can pull that off.
And interestingly enough, like it did have that kind of like, and it's interesting because
it's like they're still in the church, you know, they're still in the cave, they've done
the healing water thing there, it has a sort of ceremonial spirituality to it.
Like this isn't just them boning.

(01:56:02):
This is literally like a religious moment for the both of them.
Well, can you really think of a better way?
I mean, I, and this is another personal thing.
There really is no better celebration of life.
I mean, honestly, I've spent my whole life trying to figure out why the church is against
it.
That might be the reason why I'm an atheist.

(01:56:23):
It's okay.
Yeah, no, I'm not touching that one with 10 foot pole until we get to the after hour.
Right.
But no, to go back to what you're saying before about their tension.
It started right when we first show up.
Agreed.
Like he even says it.
He says in her narration, he's like, I was showing up to meet Dr.
Duchamp.
I did not expect Dr.
Duchamp to look like this.

(01:56:43):
Like, and he said he says it just as she's showing up on camera, like, wow, he's out.
We all got like right away.
The dudes like the dudes like, holy shit.
It's a hot doctor.
Here we go.
And I will have to agree with him on that.
Yeah, we get that beautifully peaceful moment over to the militant police.

(01:57:04):
And they come specifically for him.
They knew his name.
They knew what he was doing.
They wanted.
They were there for him.
And he's sitting there joking about being a tourist with Petraud while hearing a man
sobbing in the hallway.
That was that that grounded that scene pretty hard.
Yeah.
Well, and it's interesting, too, because it's one of those things where it's like, if he

(01:57:26):
told them, yeah, I'm here because a pharmaceutical company has asked me to look into this drug.
That's an international incident.
Like that's not only is he a dead man, but that's like, you know, they might they might
start coming for, you know, the CEO's family in America.
Like that's the guy even the guy even says like part of the reason why the Duvalier's

(01:57:53):
are in charge in the first place had to do with the fact that it had to do with the fact
that of how much Haiti was exploited by the French beforehand.
And they were the ones who just managed to they were the ones rough enough to wrestle
power away from the French.
And so it's like, if we're talking if we're talking white people from America coming in

(01:58:13):
to try and exploit Haiti's resources again.
Fuck, no.
Like yeah, so he's got a lie.
I am a tourist.
I'm just here hanging out and to meet chicks like a really good point there.
Yeah.
And that would be an astoundingly bad idea to confess that you're there from a partial

(01:58:35):
pharmaceutical company.
I took that a different way, but you bring up a really good point.
See, I took that if he's there working for a pharmaceutical company, then that is a man
who has connections that have a lot of money and he is ransom bait.
That's how I took that at the very least.
Yeah, you bring up a pretty solid point there.
But a very easy way to date this movie, because here's the thing, man.

(01:58:56):
A lot of people you go maybe 10 years younger than me, five years younger than me, they're
never going to know what the hell Grenada was.
Oh, yeah.
That has been like eliminated from history damn near.
Like when's the last time you heard anybody say anything about Grenada?
I think might have been this movie now that I think about it.
Like I've been more recent than that.

(01:59:18):
Got to be.
But still, maybe that's thing is like Grenada was one of those things that I only even like
heard about bits and pieces from like, you know, vet family members and stuff like that.
They didn't teach it in school.
I learned about the Duvalier families because we got like one day on it.
Yeah.
Well, we got by the time that class, maybe like four years.

(01:59:40):
OK, I thought that like that regime change was happening while you were in class.
No, no, no.
It was after I remember.
I remember because when when Duvalier left the country, he took like millions upon millions
of Hades dollars with him, like he bankrupted the country on his way out the door.

(02:00:00):
And I remember my my government teacher, that was the thing that like really made him mad
about the story.
Like he got like viscerally upset was that Duvalier when the time that he was teaching
his class was not only still alive and free, but living high on the hog on the money he
stole from his own country in France.
Oh, yeah.
OK, I could see more.

(02:00:22):
Yeah, he's dead now.
Well, you know, but yeah, but that still though that that exchange between the two of them,
that was I mean, that again, I keep referencing it, but that's real world terror.
Yeah.
And that is something that this movie really played a lot with.
So he returns to see the goat, but then calls him an idiot and drinks the powder in doubt.

(02:00:46):
Right.
I did not know what was happening until we got out of there.
And then, yeah, the sleight of hand.
He reveals that he switched it out.
So and it was interesting, too, because even the guy who sold him the powder, even he's
going, you're a fuck.
Are you insane?
Like maybe it's not the stuff that, you know, yeah, it's like, like he said, it's like it's

(02:01:06):
probably rat poison is probably something that kills you but doesn't bring it back like he
promises.
And so, you know, and so that's basically what they think.
They think he just drank a whole glass full of rat poison and they're like, you're, you're
dead man.
None of them ever bring it up again.
Like no, that's the weird thing.
Like, how come how were you immune to whatever?
Like, yeah, no, like, I thought that was kind of a, but it seemed to be kind of a catalyst

(02:01:30):
because the guy comes out that comes out the the the front of the bar after they're, you
know, leaving.
Yeah, says that and then he go in changes.
He goes like says that he will make the powder with him, but he has to be there and he has
to make the powder with him.
And this time it's going to cost a grand.
So this is where our hero becomes a grave robber and steals the bones of the corpse

(02:01:57):
bride he saw in his dream, who was a sorceress before she died, which is that's what they
say in the in the movie is that you need somebody powerful.
So you need somebody who was in tune with these things when they were alive.
So yeah, we see that corpse bride and oh my God, I mean, oh wow, they did a good job.

(02:02:20):
They did a good job.
Then he gets taken by oh my God, when he gets taken by the police for that oxy acetylene
treatment, did you like, do you understand what was happening there?
I mean, not not until he lit the torch like that.
OK, so so in the scene, it looks like they're just kind of like spraying air on him.

(02:02:42):
But what's happening is he's got acetylene from an oxy acetylene torch that is going
towards him.
So all that he's breathing in all of that and there's no oxygen is out there.
So he is suffocating right out into the open world with what they're doing.
Yeah.
So they know this movie, they really they really knew how to.

(02:03:02):
I mean, and the thing is, the movie probably went with a lot of the stuff that was in the
book, which was real world stuff that did happen in Haiti.
So I mean, it's pretty easy to know the real world in that way.
Like I said, as you know, the Macau, the Tonton, McKett's, McCout's, I can't remember exactly
how they're pronounced, but they were renowned for being remarkably creative psychopaths.

(02:03:25):
We have granted, OK, I know we don't have many, many viewers right now, but I would
be very surprised if that doesn't dwindle all the way down to one or two after this
point.
He tells Pullman, I don't want money.
I want to hear you scream.
And then he drops a hammer.
Right through our hero's scrotum.

(02:03:51):
And that scene, as that's happening, I was like, I wrote down, like, what just got nailed?
Because that was the moment I realized he was naked.
Where that hammer and nail were going to.
And then he gets dropped off back with Dr. Duchamp.
And then he talks about he's like, look, he was just trying to scare me.
Right.

(02:04:12):
And then he's like, it was a nail through the scrotum.
I'm scared, but I'm good.
And I'm like, yeah, I wouldn't be right.
Yeah.
A nail through the scrotum.
Oh my god, no, you have my full compliance.
Whoa.
I'm never gonna forget that.

(02:04:33):
And credit to the film, in most films like this, we might show, you know, like, the injury
and a day or so to recover.
We are reminded of this injury for practically the rest of the movie.
Like, even like when he's when he finally like manages to recover enough to go do the
powder making with his buddy, we see him very carefully how he sits down.

(02:04:56):
Like, like, he's like, he's like, like, he like, we don't forget what's happened to him
anytime soon.
Oh, no, I can't.
I can't.
I'm not going to be able to move on from that.
I know I'm not going to this crazy.
But mixing the toxin takes three days and nights, crushing and then he has to crush

(02:05:16):
the skull of the corpse bride and the power powder must be buried with her for one more
day.
These are the rules of the voodoo practitioners and what they have to like.
And I mean, realistically, I don't know how much the movie went to the accuracy with what
they did and what they do all that.
I mean, the movie had to movie a little bit.

(02:05:38):
I do understand that.
Right.
But it didn't change a damn thing.
The world building and everything that they did with this was fantastic.
Yeah, just clears day.
The Mozart Mozart laughs at his name being known all over the world for his life saving
poison.
What are you going to do with my poison?

(02:06:00):
Save people like.
Yeah, really.
He was a fantastic side character.
No, yeah, no, he really was kind of the life of the party.
I'll agree.
One more day feels like an eternity.
And in the dream, we get the corpse brought.
Wait, was that a dream?
Yes.
The corpse bride arrives on a boat and then the Jaguar and then we get tidy, whitey and

(02:06:24):
a coffin filling with blood.
Wow, that scene.
Yeah, the we talk about this is out.
We talk about this on the channel somewhat often, but this is the benefit of practical
effects.
When you are looking at something that you guarantee that you know is practical, that

(02:06:46):
the actor actually went through that, you're not just looking at the concept and the idea
of what something would be.
You're watching somebody actually suffer through those types of things in real life and it
was caught on film.
Yeah, that is why practical effects should not be lost.
Then you can replace months of work and all of this and millions of dollars that you have

(02:07:11):
to pay out just by doing it the day of.
It is weird.
I understand some CGI was brought in because at the end of the day it was more practical
than practical effects, but now we're doing CGI for things even if it would be cheaper
and easier and better looking to do it with practical effects.

(02:07:33):
That doesn't make a lot of sense, right?
It doesn't look better.
It doesn't offer anything.
I mean, I don't know why we do it.
There's a disconnect from it.
It's kind of weird.
About as bad as he woke up.
He wakes up next to a decapitated lady in bed and for a moment there, I was really worried

(02:07:57):
that the film was trying to pass that off as Duchamp.
I was like, there's no way you chose a black mannequin 20 shades darker than the actress
to pass off as her.
That's where I thought was happening and I'm glad that's not what happened.
But the police bust down the doors and they take pictures of him in bed with this decapitated

(02:08:17):
woman and he gets arrested and the captain tells him, those photos are convincing, no?
This was a total setup and then he alludes to the fact that he knew exactly what was
in his dream that he had the night before and that he was the one controlling it.

(02:08:39):
Wow.
The threats and how he claims he's going to steal his soul and all of these things.
Yeah, we get the introduction to the basically like a phylactery basically from the bar.
He's like, yeah, it's the bar's previous owner.
And then later we see that chief of police, that guy, he brings him down to the basement

(02:09:00):
of his jail and shows him his room full of jars and he's like, these are all the souls
that I've stolen and you're next.
Even if you don't believe in the supernatural aspects of what he's doing, every single one
of those is a victim.
Yeah.
Again, even if you can disconnect yourself from the supernatural horror aspects of the

(02:09:24):
world, something like this, the fact that every one of those was a victim, that's the
real world horror that I connect.
It's a serial killer's trophy room is what it is.
That's exactly what it is.
Then Petrarch tells him to back off or he'll send him to court and steal his soul.
And even Duchamp tells him to leave and says, it is the only way.

(02:09:47):
That is their world.
You get the white man coming from America going, no, there must be a way, the justice
system, something.
Even three or four times in this movie, he's like, I'm a US citizen.
It's like, dude, they don't give a shit.
This is not that kind of situation.
And all right.

(02:10:07):
Thrown on the plane at gunpoint, which as they're busting through like all of the other
passengers and all of this and they have a gun on them, they're pushed through that.
Oh my God.
All the ways they could have done that scene and that's how they did it and it was incredible.
And I loved it.
But then we get on the plane and Mozart is waiting right there and he's like, I want

(02:10:28):
a thousand bucks.
And the, well, and even to top it off, to top it off, like taking them at gunpoint up
the gangplank onto the plane, shoving, literally shoving other passengers boarding out of the
way to do it.
Sitting him down in his seat, the gunpoint, and then to top it off just for, to add to
it before he backs out of the plane, he cocks the gun and makes like he might shoot him

(02:10:53):
right there anyway.
Right.
And then decides against it and leaves the plane.
It's like, like, yeah, like total, like fear is the point.
It's like, it's like, we could just kill you, but instead we will just torture you
like we're about to kill you forever.
Which is what happens when he gets back to America too, because he does make it back.

(02:11:17):
Well, great.
First Mozart, he's on the plane.
He wants it for a thousand dollars, but he's like, they took my money.
He was like, I'll do it for the fame.
And then he steals his watch.
I love that.
I'll do it for free.
But you can give me this as a thanks.
Yeah.
On account is what he says.
He was like, you still owe me a thousand.
We'll take this out of it.
I like that.

(02:11:38):
Medical testing and analyzing the powder and they find out the truth behind the powder.
You own, like it doesn't remove your sensation.
It doesn't do anything like that.
You are fully aware, but you look dead and it only lasts about 12 hours.
Right.
Yeah.
So like, but that's kind of the after that scene, they're still talking about, I can't

(02:11:59):
believe I have people that want to market this and call it Zambinol.
It's like, you just found out that it doesn't work.
What are you still talking about marketing it for?
I never got an answer for that.
And you know what?
Like I don't imagine that that would stop them.
Like that's probably, I mean, you probably figure out something else.
Like look, we have figured out how to meditate or something.

(02:12:24):
I don't know.
Alfred warns him not to go back.
Okay.
I'm referring to him as Alfred.
He wants him not to go back and not to go through the door to the mystical.
You've gone up to the door and you've seen, don't go through it.
Like give them that full warning.
And then another soul ceremony and Pullman's haunted soup.

(02:12:44):
And I'm like, this hand comes out of the soup and it just creeps him out.
And he's sitting there sweating, just looking around at everybody.
Nobody else is freaking out.
So he's like, okay, so this is what this is.
Right.
But then one of his guests gets possessed.
Deborah, Deborah gets, she eats her wine glass and then attacks him straight up.

(02:13:08):
Yeah.
And then you know, like that was nuts.
Yeah.
That was crazy.
And then what the fuck?
He goes back.
He went back.
Like our character, after everything that we just talked about on the plane and the
guns and everything and the soul ceremonies and all of this, he goes back.

(02:13:29):
Well my takeaway is because of the dinner party, and I think it was kind of a lead up
thing where like the guy's saying like how the stock prices of their company, even though
they hadn't developed or finished this drug, there is already the stock going up just on
the rumors that they've got something.
So the way I took it was that word reached Haiti somehow, and they put the pieces together.

(02:13:53):
And so now that's why they're fucking with him now.
That's why they're sending him the ghost soup and possessing his guests to come at him is
because they were gonna live and let live as long as it's out of the country.
But now that they found out that he took the powder with him and that they're using it,
that's where they're coming after him.
That's where we find out that the guy who gave him the powder has now been captured

(02:14:15):
and is about to be executed.
Like they're fucking pissed.
And so now he's like, okay, maybe I could have let it go, but now the danger is immediate.
See, I just thought it was Huey Lewis sending them back again.
Because he's like, I haven't talked to Duchamp in three days.
Like I can't get a call during all this.
So I literally thought it was the power of love that just got him all the way back.

(02:14:41):
And that one that maybe was what was.
Yeah.
And maybe that was like part of it.
But but yeah, I think the thing that tipped him over the edge was the immediate revelation
that okay, they're haunting my guests to try and kill me and and they probably have done
something with her.
I need to I need to go there and settle this.
Maybe he didn't have he probably didn't have a plan.

(02:15:02):
He was like, I just got to do something.
And so he goes back.
I can see that.
He's fine.
Yeah.
But then he gets back and immediately like on the tarmac, he gets kidnapped.
And he does this like what we were talking about.
I'm a U.S. citizen.
Right.
Nobody cares.
How did they like and that's the thing.
Like how did they even see him come in?
These guys have like better surveillance than the NSA.

(02:15:23):
They got him coming off the plane.
I don't know.
I mean, you get like tickets, passports coming in like I don't know.
I don't know.
He hadn't even gone through customs yet.
He hadn't even gone through because he was getting off the plane on the tarmac and they
grabbed him.
And the guy was tracking his soul.
He knew he was coming.

(02:15:43):
Lucien.
OK.
Duchamp is safe, but not Mozart and Pullman.
Lucien gives him protection from battles in his mind, but not on the street.
And Mozart dies.
Seriously, in a very, very sad way.

(02:16:05):
And he's begging on his way out like all this.
It is a rough.
It's not even it's not even a fight.
Yeah, he's he's he it's a ceremonial execution in front of a bunch of people begging for
his life.
And yeah, it's it was a painful, painful thing to watch.
Not really what makes it, which makes it great filmmaking.
Yes.
God damn.
Yeah, very much.

(02:16:26):
And then Petroud drinks Mozart's blood, dude.
I.
And then Lucien gets cursed and a scorpion comes out of his mouth when he drops down to
the floor and dies and.
But then the same thing that happened to Duchamp earlier in the film with that powder, somebody

(02:16:48):
comes up to Pullman out on the street, hits him with that powder, and he goes into his
12 hour trip where they take him to the hospital.
They almost immediately knows what's happening.
Yeah, yes.
And that is where we get the the line that's on the title.
The poster for the film, don't bury me.

(02:17:09):
I'm not dead.
He's running around saying that before the parent label, before he gets paralyzed.
He's telling everybody, don't let them bury me.
Yes.
Yeah.
But nobody there speaks English.
That and that and he's going around, he's trying to.
Nobody wants to touch him because he's covered in the powder.
And you have to imagine there are some legends, some superstition to go around that if you

(02:17:30):
touch one of them, then you'll be affected, too.
And because it's a powder, it's true.
My God.
Yeah.
The real again, again, again, again, the real world horror that comes in with because all
of this makes sense because it's what they do did.
Yeah.
I don't know if they still do it.
I have not looked at that.

(02:17:51):
I don't.
I got I hope I don't even I don't know if I want to know.
I do.
Okay.
Being aware, but beneath the doctor and pay trout that city like the dude who's been haunting
you, who's been threatening you, you cannot move.
You cannot breathe.
You can't nothing, but you are aware.

(02:18:11):
Yeah.
And he's the guy looming above you.
That is horror at its best.
Yeah, that absolutely is.
Threatening Duchamp and then leaving a spider in the coffin with Pullman.
When we watched Arachnophobia last week, I mean, we've had like the fact that we had

(02:18:35):
Rick do common in two movies back to back.
That was kind of wild.
The fact that we have a tarantula in a coffin back to back.
What the hell?
Also, both movies by you.
Not cool, man.

(02:18:55):
I'm not a spider guy.
This ain't cool.
You know, in my defense, I'm making you watch horror movies.
Yeah.
For starters, you know, this was your idea.
Secondly, I did not.
Of course, I did not remember the spider in the coffin.
You know, it's been 25 years since I saw this movie.
Okay, that is fair.
But I want to draw a little bit of attention for our viewers.

(02:19:18):
If you look at the movie poster that's right here, you will see that cross that is cut
out from the coffin at the top.
That's not a hole.
That's a glass.
They built the coffins.
Didn't realize that.
Yeah.
So the people that were being buried would be able to witness them being buried.
Yeah.

(02:19:38):
Oh my God.
And they never even mentioned that.
That again, when you trust your audience, that makes it better.
Sorry.
I just realized it was actually 35 years ago.
Oh, 88.
I've been.
Yeah, I've been I've been saying 25 years ago, a long time ago.
And for some reason, I just now did the math in my head.
I was like, no, wait, I was.

(02:19:59):
Yeah, no, it was 35 years ago.
It was 36 years ago.
Yeah, I was I was 10 when I saw the movie.
Oh, wait, no, no, no, no, no, no.
No, 11.
I was 11.
Okay, yeah, no, that tracks.
Yeah.
All right.
Where are we at here?
I think we're at the end of the movie.
Pullman gassed himself out of his coma and then Kristoff returns in the way that he buries

(02:20:22):
like he digs him out of there.
And now Kristoff is a little more coherent.
He can talk a little bit better.
This is where we find I assume you wanted to talk about that part.
Yeah, like what we find what we find out at this moment is that the reason why Kristoff
is strolling around graveyards all the time is because he's looking for people who have

(02:20:46):
been victimized by him so he can dig him out.
And that's what he just did.
Like the guy has been his life is gone and now he's literally and he thinks he's a ghost.
And so now he basically just strolls around graveyards for who knows how many years straight
now seven where he just yeah, listening for people screaming in the ground so he can run

(02:21:07):
and dig him up before they go through what he went through.
Yeah, there's your superhero of this movie.
Yeah, Jesus.
But then the big celebration occurs as the regime falls.
Pullman zombies through the street all the way to Petroud's and Duchamp is taunting Petroud.
Yeah, you do understand what she's coming from.

(02:21:31):
Still done.
Duchamp is barely saved by the revolution.
Like Pullman doesn't show up in time to save her.
They're about to swing the saber to behead her.
And the only reason they stop is because the Duvaliers have just left the country.
The people are rioting and they're coming for the Tonton Maquettes.
They're out for blood and revenge.

(02:21:52):
The entire town is there.
We are.
Yeah, mushy ladies and machetes pitchforks, Molotov cocktails.
You just copied me by that word.
I'm on a roll here, all right, but they get it.
Yeah.

(02:22:12):
And it's basically the only thing that stops them from swinging the saber on her is one
of the guards from upstairs running downstairs and saying the riot is coming.
We need people upstairs right now because the common folk have come for revenge and
they're storming the castle.
And unfortunately, that's us because the actual king's already skipped town.

(02:22:37):
That that.
OK, so I want to talk a little bit about occult items like electric chairs massively, massively
revered in the the occult world as like severely supernatural type things.
The torture chair taunting Pullman in this scene is basically that same level of hauntedness.

(02:23:02):
Right.
You got the electric chair.
You got this this torture chair that has seen God knows how many deaths and the way that
it taunted Pullman as he was going through there.
I thought that was beautiful.
I thought that was great.
Being lured by Duchamp's voice and then Lucy's head launch and the prison of corpses.

(02:23:27):
Wow.
Yeah, that was OK.
I understand that, you know, when you talk about like if we look at this to a certain
perspective, this is true in that he's just come out of the grave.
He's probably still tripping off the hallucinogenic side of this drug.
This is all.
That's what I was talking about.
Why this still could be very much a true accounting, even though from somebody else's perspective,

(02:23:53):
it ain't what happened.
Right.
Exactly.
Yeah.
So but at the same time, it's like, boy, did Craven make a meal out of this because it
is just one horrific scene after another.
You got you got his buddy, you know, who's supposed to be watched die now is there attacking

(02:24:13):
him and then tearing off his own head?
It's a rough one.
It's a rough one.
It's very, very, very, very good.
Yeah.
And then you go in where he's going through the jail that he's already been through this
row of jails before.
And we saw it before with the prisoners reaching out.
Help me, help me.
Now he's doing it a second time.

(02:24:34):
And all of those hands coming through the wind coming through the bars are corpse rotted
arms that are like four times longer than they should be all reaching all the way across
the hallway at him.
Just nightmare after night on top of nightmare.
All practical.
Yeah.
Yeah.
Practical.

(02:24:55):
And then kicking him into this was my favorite part.
This is why I'm leading up to this.
My favorite part.
Okay.
When he finally slams against the door that goes into the basement and when he fall and
when the door falls open, he flips upside down.
That is probably the cheapest trick in this movie.

(02:25:18):
I'd agree.
But was my because all the yeah, because all they did was invert the room and put the camera
there.
So you basically just have what looks like a gravity defying Bill Pullman, you know,
but it is so no, no, no, that's not how they did that.
That was actual.
That was a room that was constructed with a hatch as the door and when you look, you

(02:25:38):
can see Pullman is holding that.
So that no, no, no.
Yeah.
Okay.
That's what I meant.
They inverted the room.
They inverted the room and had the camera set like where it should be where the stairs
leading to it.
So it looks like from the audience perspective, it looks like a normal room, but it's actually
been inverted.
So when the door opens, Bill is about to fall right on the audience's faces, but barely

(02:26:00):
holds on to the thing.
And it looks like, you know, and that's the thing is like, it's all kind of done so quick
that it's wildly disorienting, especially after the, you know, all the corpse hands
coming at him and he's panicking and running away from them.
Like seeing that sort of just weird inversion of gravity.
I really do got to say though, when I saw that scene and I saw him like that way on

(02:26:24):
the stairwell, I got flashbacks to being like, man, I've been that drunk trying to get to
bed trying to climb the stairs.
So I thought.
Relatable relatable.
We've all been there.
We've all been there.
That's pretty relatable.
This whole voodoo, voodoo ass movie.

(02:26:46):
This is the only thing I've found relatable so far.
Yeah.
But that's the thing is like, that's what I loved about it is that it was, it was such
a basic, very, very cheap, very run of the mill.
Anyone, you know, can, can, can do it kind of thing.
But it had that such a wildly effective disorienting effect for such a simple thing from going
from scene to scene like that.

(02:27:07):
Yeah.
Yeah.
And yeah, so I really, really respected it in that moment that they, you know, they didn't,
they didn't go like, ah, this is too minor.
Like no, no, no, no, no, no.
This is perfect right here in this moment.
And yeah, I really appreciated that, that kind of effect there.
So this was my cheesiest moment of the whole movie was when you get the soul of the Jaguar

(02:27:31):
and then the white man becomes the Jaguar and you get Bill Pullman.
That was like right.
Fucking Marshall Bravestar over here.
Strength of the bear.
Exactly.
Oh my God.
Like that was the moment I was like, okay, we have crossed into the 80s dumb stuff.
We're there.
But it was a tiny moment.
This was a magic.

(02:27:52):
It was a magical wizard fights and he, he called upon the strength of the bear.
The way that pay trout launched himself towards that.
I went back and I watched it again.
I was like, okay, was that a doll?
And then I realized that wasn't a doll.
That was a stunt man who really committed to that launch.
I think that was a gymnastic tackle.

(02:28:12):
Yeah.
I think he came off a trampoline that was just off scene.
I'm pretty sure what happened.
Well, look at the perfect form.
Like that's why I thought it was a doll because I didn't even think that the arms could move
on it.
Like it was perfect.
Like that looked like a gymnast, uh, like 10 out of 10.
It was, I was laughing too hard.
I had to go back on that one.

(02:28:34):
So then they trout goes down and the torture chair comes up and the course bride points
to the scrotum nail.
And for those who joined in late, the scrotum nail refers to something earlier in the movie
and it is terrifying.
Whoa.
If you're just joining us, there was a scrotum nail.

(02:28:56):
There was a Patriot soul comes back for that final attack and then he's into the chair
and the scrotum nail is how he dies.
It seems like this is how, you know, bill, you know, bill Pullman suddenly has superpowers
because now he's telekinesis all of these things happening.

(02:29:17):
You know, he's just telekinesis, you know, him into the chair telekinesis the, uh, the
nail to come up and land.
And then after that telekinesis him across the room and down into hell.
And, and like, that was, that was it.
That was the end.
It was like a superpower psychic battle, which immediately after it's done, after the chair
with him goes down into hell and another very good practical effect of seeing the pieces

(02:29:41):
of the floor kind of come up around him.
And then do champ just comes off from off frame, just taps him on the shoulder.
He goes, you okay?
Because you realize this is all happened in his head.
This entire fight was just him tripping again.
And she's just like, yeah, like that was, that was the moment in the movie when I actually

(02:30:03):
gave a full on belly laugh when she just comes up and she's just like, you okay?
Can we leave?
You good, bro?
Yeah, exactly.
No, that was like, yeah, that got it.
That got a good ass chuckle from me.
Alright, so we are here.
Final thoughts on the serpent in the rainbow.
Oh, Jesus.
You know, I don't know.

(02:30:24):
I mean, aside from I mean, like, like I said, it came to memory from, you know, personal
experience that it wasn't a movie that I had felt the need to revisit a lot before it just,
you know, because it was Halloween and they were doing scary movies.
I thought, okay, what are the scary movies that I've seen?

(02:30:44):
And and I'd say my favorite part about that was when I told you about it last week, I
said, Turpin in the Rainbow, you were like the fucking what in the what?
Like that was that was a great reaction.
That was my favorite part about it so far.
I don't think I'd ever even heard of this one.
But I I'm going to put it at a must see.

(02:31:05):
Yeah.
Well, I can see.
I mean, definitely to the real world and the actual history history that happened, the
historical significance.
Yeah.
When you when you take in the backdrop of the you know, the Duvalier is in the Tonton
Maquettes and you know what you know what the realistic relations that it had to the
local culture and voodoo and stuff like that, I could see how that hasn't been serviced

(02:31:31):
as much.
You know, we said we saw it recently in Skeleton Key sort of.
But but the thing is, when you're comparing it to the 13, it's a 13 Ghost, you had a family
in the 13 in 13 Ghost that we were supposed to care about, but we didn't.
We just didn't write.
I cared about everything that was happening, even to characters that I never met just because

(02:31:54):
they lived in this type of world.
I cared about them.
I was worried about them.
So who do you care about more?
Serpent in the Rainbow, which one did a better job technically?
That's a rough one.
And that's a that's a very unfair comparison considering the 20 year gulf between these

(02:32:14):
two movies.
Just you know.
But this thing is, I would credit 13 Ghosts in the fact that I presume from when it was
made there was probably a lot of use of CGI in that.
It wasn't apparent.
I would be hard pressed to tell you which scenes were CGI and which ones were practical.
That is a good point.

(02:32:35):
That is a good point.
The only reason I can confidently say that everything was practical in Serpent in the
Rainbow was because that was all there was back then.
Well, I mean, except for the Jaguar and, you know, things like the Jaguar's soul and things
like that.
Oh, yeah.
Well, cell shading was a different thing.

(02:32:55):
It's not OK, so not a total wipeout of 13 Ghosts, but I will say two out of three because
I'm going to recommend Serpent in the Rainbow over 13 Ghosts.
OK, yeah, I would definitely as well.
Yes, I was.
Yeah.
And this goes back to what you watch 13 Ghosts more times than I'll watch Serpent in the

(02:33:16):
Rainbow.
But I think Serpent in the Rainbow is is kind of an important one time watch.
Right.
Well, and it kind of reminds me of what we were talking about before with Candyman is
how the.
One of the impressive things about horror movies is that they're not afraid to go there.

(02:33:36):
You know, yeah, exactly.
They show the real world horror in line with their fantasy horror and the social commentary
that came from something like Candyman or from Serpent in the Rainbow makes these movies
important.
That was not present in 13 Ghosts at all.
Agreed.
Yeah, I'm sure like the story, the individual stories of the 12 Ghosts, probably.

(02:34:00):
Yeah, we did.
Yeah, exactly.
All right.
So that's going to pretty much bring a close to this episode.
What I have for you for next week is inspired by the Scream movies.
But because we're going into November, we can be done with horror for a little bit for
you, Doc.
OK.

(02:34:21):
So I'm bringing a movie that I'm pretty sure you haven't seen.
Ready to Rumble.
Ready to Rumble.
Yes, with Scott Cann and David Arquette.
No, I don't think I have seen this one.
Fair enough.
It is about two dumbass plumbers who are obsessed with wrestling and they go on a road trip

(02:34:46):
and it is a goofy, fun ass comedy.
OK, all right.
What do you got for me?
That'll be it.
That'll be a nice balance to what I'm about to give you.
Because in celebration of the fact that hopefully, fingers crossed, knock on wood, we will be
done with election season by the time we record next week.

(02:35:08):
Right.
Yeah, we should have a new president elect by next episode.
Here's hoping.
Here's hoping it'll be done by then.
We'll see.
But in celebration of that, I have an election movie.
All right, what do you got?
Probably one of the most niche movies that I have brought on this channel.

(02:35:29):
I went and checked.
The worldwide box office on this movie was $144,000.
Well, that's much, much more than the Sword of Trust.
Oh, that's true.
I forgot about that.
The Sword of Trust was that's just fucking criminals.
More people should see that movie.

(02:35:50):
And more people should probably see this movie.
The movie is called Secret Ballot.
Secret Ballot, what year?
Secret.
It came out in 2001.
In fact, it's very, it's very important to understand that this came out in early 2001,
June of 2001.
I know a lot of movies we can sit here and go like, oh, this is a 90s ish movie.

(02:36:10):
This one, it is very important to remember the exact time frame that it came in, which
was June of 2001.
And the reason why is because this movie takes place on Election Day in Iran.
Whoa.
Okay, that kind of came out of left field.
What's the name of it again?
Secret Ballot?
Secret Ballot.
Okay, so that's going to bring it close to this week's episode.

(02:36:33):
Remember, if you guys want to tune in, you want to watch us, you want to be part of the
show, you can catch us Thursday night, 7pm Mountain Time on YouTube.
Other than that, if you're just here to listen, we have it out on Spotify, Apple Music, and
basically anywhere that you can find podcasts from here until next week.

(02:36:53):
Have a good one.
Happy Halloween, everybody.
Happy Halloween.