The Best Movies You’ve Never Seen podcast – The Long Kiss Goodnight

Podcast: Best Movies You’ve Never Seen

Episode: The Long Kiss Goodnight

Date: 21 August 2026

Hosts: Stephen Fenech & Trevor Long

[00:01:44] Stephen: The Best Movies You’ve Never Seen. Hello, welcome to our podcast, a podcast where I pick a movie— my name is Stephen Fenech— a movie I know very well, and I show it to Trevor Long, who’s watching it for the very first time. Hence the title, The Best Movies Trevor’s Never Seen.

[00:02:00] Trevor: And welcome to our 250th, uh, there we go.

[00:02:03] Stephen: What a, what a land, what a milestone. 250. What’s that, 4 been doing this for 5 years.

[00:02:08] Trevor: I didn’t realize there was 250 movies.

[00:02:10] Stephen: Yeah, I think this is just 5 or 6 years.

[00:02:12] Trevor: It was a COVID creation, so 6 years old.

[00:02:15] Stephen: This is something incredible. Unbelievable. Uh, today we are— our movie we’re covering is The Long Kiss Goodnight. Now just a little warning, there is some explicit language in this one. Now this was directed by Renny Harlin, who I’ll tell you right up front is married to Geena Davis. Oh, Geena Davis, the star of the movie, and Renny Harlin, husband and wife.

[00:02:40] Trevor: Wow.

[00:02:40] Stephen: Okay, still, uh, yes, I believe so. I’m not sure. Okay, uh, but at the time they were. Samuel L. Jackson also starring. Released in 1996. Written by Shane Black. Now, as you correctly, uh, uh, in my millionaire question, Shane Black wrote Lethal Weapon. You chose that, being the movie aficionado that you are. You got that right.

[00:03:03] Trevor: Renny Harlin, did you say?

[00:03:04] Stephen: Renny Harlin.

[00:03:05] Trevor: Yeah.

[00:03:05] Stephen: Oh, okay.

[00:03:06] Trevor: That’s—

[00:03:06] Stephen: well, at the time they were, right? So this is the ’90s, we’re talking mid-’90s. The screenwriter Shane Black sold the script, uh, with the intention of having Renny Harlin direct it. Renny Harlin’s directed some big movies, right? Geena Davis starring in it. So he thought, hang on, you’re married to her, I want you to direct, I want her to star. So he pitched it, sold the script to them. Then Harlin told him, they— they— look, he said, mate, just letting you know We, uh, we’re under contract here. We need to make another movie before this one. Oh, the movie they made was called Cutthroat Island, pirate adventure film that has gone down as one of the biggest stinkers of all time. It was awful.

[00:03:51] Trevor: So it’s not on our list?

[00:03:52] Stephen: No.

[00:03:53] Trevor: Okay.

[00:03:53] Stephen: And because this was slated for after Cutthroat Island, which was a bomb, it was a like absolute disaster. Shane Black in later interviews said, you go, this could have been a much bigger film hadn’t it been— if it hadn’t been for Cutthroat Island, kind of, you know, from the people who brought you Cutthroat Island, this turkey, we’re going to make this movie now. So that was Shane Black thought, yeah, you know what, it probably affected the box office.

[00:04:20] Trevor: I think he’s full of it. Yeah, because people really go to movies based on, I guess, well, leaving aside Christopher Nolan and yeah, yeah, Tarantino, I think there’s some big names that— yeah, I don’t know that Renny Harlin has that much pull, mate.

[00:04:32] Stephen: At the time he was a big director. Okay, massive director.

[00:04:35] Trevor: I’ll take your word for it.

[00:04:36] Stephen: Yeah, Shane Black sold the script for $4 million. Jesus, can we write scripts please? Yeah, and he, uh, a lot of envy among other writers, uh, he was said, oh, you’re going commercial, you’re a sellout. And he voluntarily retired. He said, I’m going to take the next 10 years off. Wow, I’ve got $4 million to spend.

[00:04:57] Trevor: So yeah, why wouldn’t you?

[00:04:58] Stephen: Yeah, he just invested.

[00:05:00] Trevor: Just so you know, yeah.

[00:05:00] Stephen: Yeah, if I get 4 million, you want to see me? Is that enough for you?

[00:05:05] Trevor: 4 million?

[00:05:05] Trevor: What do I need any more than that for?

[00:05:06] Stephen: 4 million. But hang on a minute, you pay your house off and then you got 3 mil to play with. Yeah. Or how— sorry, 3.5 million.

[00:05:12] Trevor: No, it’s just 3.

[00:05:14] Stephen: Sorry, I’m not making assumptions.

[00:05:15] Trevor: I’ve said that before. Like, yeah, that’s enough to live off.

[00:05:20] Stephen: Yeah.

[00:05:20] Trevor: Okay, what are we talking about?

[00:05:22] Stephen: What, you just chuck that in your super and just live off the interest?

[00:05:24] Trevor: Yes.

[00:05:24] Stephen: Just get a— what is it called?

[00:05:28] Trevor: A term deposit.

[00:05:28] Trevor: Yeah. I mean, not financial advice, but I think— I don’t think you’ll see— listen, I don’t want to break it to you, if we get $4 million, this podcast is pretty much over.

[00:05:37] Stephen: Really?

[00:05:38] Trevor: Okay. Well, actually, no, we got to $250,000 at least. To be honest, this is— I’d probably keep doing this stuff.

[00:05:43] Stephen: Oh, that’s nice.

[00:05:44] Trevor: Yeah, as long as you keep making the audiographs.

[00:05:47] Stephen: Of course, mate.

[00:05:47] Trevor: Of course.

[00:05:48] Stephen: That’s my job.

[00:05:48] Trevor: I’ll watch the odd movie.

[00:05:50] Stephen: Good for you. All right. Now, get this. Samuel L. Jackson in a GQ interview. Yeah. Said that he read the script and really wanted the part, but the studio said it was written as a white character.

[00:06:03] Trevor: Oh my God. So get this, imagine saying that. Sorry.

[00:06:06] Stephen: Well, you know, look, I, I, at the time, we’re talking ’90s, I don’t know how it worked back then, but Jackson just happened to meet Geena Davis and Renny at a Christmas party, right, and said, you know, that script, I really want that part.

[00:06:21] Trevor: Wow.

[00:06:21] Stephen: And Renny Harlin says, you want to be in my film? Then you’ve got it. That’s it. Changed it. What an audition. Look, locked and loaded.

[00:06:30] Trevor: Brilliant.

[00:06:30] Trevor: Boom. So at what point of this— of the career is this for Samuel L. Jackson?

[00:06:34] Stephen: Samuel L. Jackson, this is, this is around— it’s not Pulp Fiction? Yeah, yeah, before, I think just before. I think Pulp Fiction— no, no, it’s actually this after. Oh, Pulp Fiction came out, I think, just before this.

[00:06:44] Trevor: You can see why he said you’re in.

[00:06:46] Stephen: So he said, yep, okay, let’s go.

[00:06:48] Trevor: Gotcha.

[00:06:49] Stephen: Uh, now you— we’ve done The Bourne Identity.

[00:06:52] Trevor: Yep.

[00:06:52] Stephen: So this is loosely based— well, at the time, The Bourne Identity hadn’t been made as a film yet. Yeah, so the plot was inspired because The Bourne Identity is based on the Robert Ludlum novel, which I’m sure you’ve read and heard about. So they’ve said, okay, would that make a good— the plot was loosely based on that.

[00:07:09] Trevor: Yeah.

[00:07:09] Stephen: And then of course later on they went on to make it, the actual Bourne Identity, into a movie. Yeah, Matt Damon, right? Which we’ve done. So it’s about—

[00:07:17] Trevor: this has the same basis, same basis.

[00:07:20] Stephen: A spy who hunts terrorists, gets shot, almost drowns, wakes up with amnesia, uses clues to patch their past together, links to a shadowy government agency. And you know Bryan Cox, right, who’s in this? Yeah, he’s in The Bourne Identity as well. Yeah.

[00:07:37] Trevor: Oh wow, remember him?

[00:07:38] Trevor: No.

[00:07:38] Stephen: Yeah, plays the sort of same role.

[00:07:40] Trevor: Oh my God.

[00:07:41] Stephen: Yeah, so he’s across it, mate.

[00:07:43] Trevor: That’s hilarious, right?

[00:07:44] Stephen: Oh, uh, any impressions of this? Did you know, know or hear about this beforehand, before I mentioned it last week? Or—

[00:07:51] Trevor: so I need to say, obviously I have now watched it there’s something weird here. I, I’ve heard of this movie. I don’t remember. I don’t remember watching it, right? I don’t know the plot, right? But when I watched the last scene on the bridge, there’s something familiar. Is there? I’m like, I’ve seen this.

[00:08:08] Stephen: Oh, so maybe you’ve got amnesia too.

[00:08:11] Trevor: Yeah, maybe, maybe one day I’ll wake up and remember all these movies I’ve watched.

[00:08:15] Stephen: But it might be Roger Ebert.

[00:08:17] Trevor: It’s like, but I don’t really scroll through TV and suddenly watch the end of movies, but that’s how it feels.

[00:08:21] Stephen: Oh, you might have caught it on TV.

[00:08:23] Trevor: So yeah, other than that, mate, I know nothing about it other than what you’ve told me.

[00:08:25] Stephen: Right, yeah, okay, fair All right, uh, Roger Ebert.

[00:08:30] Trevor: Oh yeah, let’s go. What’s Roger got?

[00:08:32] Stephen: 2.5 stars out of 4. 4, which I think is a little bit unfair. 2.5 out of—

[00:08:39] Trevor: I don’t know why Rog chose 4.

[00:08:40] Stephen: Yeah, I don’t know either.

[00:08:41] Trevor: It’s a horrible smell.

[00:08:42] Stephen: No, yeah, I don’t know.

[00:08:43] Trevor: You can’t double it to understand it’s out of 10 rating. It’s very hard.

[00:08:46] Stephen: Here’s what Roger Ebert had to say. This is the last bit of his review here. The movie is put together like a top 40 radio station. In which you get 10 minutes of hits and then have to listen to someone talking for 90 seconds. The dialogue serves only to separate and set up the action scenes.

[00:09:03] Trevor: That’s fair.

[00:09:03] Stephen: Sooner or later, they’re actually going to advertise one of these movies with the line, “Less talk and more action.” It’s the kind of film when the mother undergoes a personality change and decides she does love her little daughter after all. She shouts that information, “I love her!” over the noise of battle. Leave out those three words and the movie’s central human dilemma would be misplaced. Geena Davis and Samuel L. Jackson prove their game in this movie as they trade quips in the breaks between special effects sequences. And the action is what we expect— sensational, violent, and loud. Okay, kept my neighbors up. Yeah, the target audience is apparently 14-year-old boys and those who have not forgotten how to think like 14-year-old boys, a group that apparently includes millions of filmgoers who like to see stuff blowed up real good.

[00:09:53] Trevor: Blowed up real good.

[00:09:54] Stephen: I admired it as an example of craftsmanship, but what a lot of time and money to spend on something of no real substance.

[00:10:02] Trevor: Wow.

[00:10:03] Stephen: He still gave it 2.5.

[00:10:04] Trevor: I was gonna say, to get 2.5 after those words is a crowning glory.

[00:10:09] Stephen: Sort of a backhanded compliment.

[00:10:10] Trevor: Yes, yes. Yeah, it’s like he reconsidered his words and gave it a different rating.

[00:10:15] Stephen: I think so. This is your last exit before the freeway. We’re going to tape it We’re going to take a deep memory dive into The Long Kiss Goodnight. Uh, if you haven’t seen it, you can watch it through Fetch.

[00:10:26] Trevor: You know, Fetch Movie Store has over 11,000 movies to choose from. There’s something for everyone in the family to enjoy. Rent or buy your favorite movies on demand. You can browse them all on the Fetch website if you want as well. Uh, current titles include Disclosure Day, Supergirl, In the Grey. And then there’s the Movie Box with 30 free on-demand movies selected every month for subscribers. So you’re paying $3.99 a month for all the great Fetch features, and as a part of that, you get 30 50 on-demand pre-selected movies. So there’s basically a different movie every single day for you to watch, uh, including a lot of that we’ve done. Yeah, The Wedding Singer is currently there, Playing with Fire, John Cena, The War with Grandpa is there.

[00:11:04] Stephen: Haven’t done that.

[00:11:05] Trevor: Yeah, no, there’s a few to get there. Um, and there’s so many, so many great ways to enjoy your entertainment, including streaming platforms as well. Fetch is available right now at JB Hi-Fi, Harbin, on the Good Guys, many more retailers. You can get as a Telstra customer, or you can go to fetchtv.com.au.

[00:11:21] Stephen: Okay, you have now seen The Long Kiss Goodnight. Just give us your impressions after your first watch.

[00:11:28] Trevor: Um, it’s— I’m all in with Rog here. I think I would have gone with Rog. Rog and I would have got on really well. It’s just brutal battle, you know, like it’s just—

[00:11:38] Stephen: yeah.

[00:11:39] Trevor: And my biggest gripe is some of the effects, like Samuel L. Jackson flying out of a window on a chair and stuff. It’s I mean, it’s, you know, it’s midnight, a grenade exploding like a fuel canister. It’s, oh, okay, hold that thought. So, but I get it. I mean, I get it. This is the thing, you kind of need to go into this knowing it’s a sit back, relax, and be entertained by violence.

[00:12:04] Stephen: Let it wash over you. Yeah, yeah. You know what, I really— this was kind of a— I won’t call it guilty pleasure. I quite liked the movie. In fact, I’ll class this as a hidden gem. Really? I really rate this movie.

[00:12:16] Trevor: Yeah, I can see that.

[00:12:17] Stephen: And, and, but you know what, it was— it’s just like what Roger sort of implied, that, you know, if you like stuff blowed up real good—

[00:12:24] Trevor: blowed up, that’s a great line—

[00:12:26] Stephen: this is for you. Because my subwoofers, like, my, you know, my mother-in-law’s my neighbor, right? She was saying I couldn’t sleep because you had— you were playing a movie.

[00:12:33] Trevor: Oh, that’s hilarious.

[00:12:34] Stephen: That was what I was watching.

[00:12:35] Trevor: That’s gold.

[00:12:36] Stephen: All right, what is your social media post here?

[00:12:38] Trevor: Uh, there’s enough— there’s enough action in The Long Kiss Goodnight to keep you wide awake all the way through. Samuel L. Jackson and Geena Davis lead this fanciful story through some effects that are just as unbelievable but worth the watch. Cool.

[00:12:52] Stephen: I saw this at the movies, and as I said, a hidden gem. This is my hidden gem category. Yeah, I’ve re-watched it many times. The last time I saw this was on 4K, just got it on 4K.

[00:13:03] Trevor: Okay, so for those that don’t look and sound—

[00:13:06] Stephen: Dolby Atmos on this would nearly blew up my brain, and, uh, and the quality, awesome.

[00:13:11] Trevor: If you’re wondering about Steven’s credentials as the lead of this movie podcast, Steven has access to Fetch, he has access to every movie possible, he has access to streaming services, he has a library of movies on disc, but he still, when we go to London, we’ve been twice this year, he still goes to a store and buys as many movies as he can in 4K.

[00:13:33] Stephen: Yeah.

[00:13:35] Trevor: You’ve got a problem.

[00:13:36] Stephen: Well, I think it’s the best fuel for my system. Streaming it is compromising my system.

[00:13:41] Trevor: We respect it, we respect it.

[00:13:43] Stephen: Let’s talk about about the cast. Okay, Geena Davis plays Samantha/Charlie.

[00:13:48] Trevor: Yep.

[00:13:48] Stephen: She was in Thelma and Louise. You’ve heard of that?

[00:13:50] Trevor: I’ve heard of it. I have no idea what happened.

[00:13:52] Stephen: We’ll do it, we’ll do it.

[00:13:53] Trevor: Okay, so I really don’t know what happens.

[00:13:55] Stephen: Yeah, I, I’ll tell you, we’ll do it. A League of Their Own, it’s like a baseball movie. You love that? Yeah, we’re gonna do that. We will do that. Uh, she was also in The Accidental Tourist, in which she won the Best Supporting Actress Oscar. Wow, Oscar winner, big deal. Samuel L. Jackson plays Mitch Hennessy.

[00:14:12] Trevor: Big fan.

[00:14:12] Stephen: Pulp Fiction, big fan.

[00:14:13] Stephen: Snakes on Plane?

[00:14:16] Trevor: We’re not so sure.

[00:14:17] Stephen: We’ll get to that.

[00:14:17] Trevor: That sounds like— so that sounds like we’ll get to it in 2033.

[00:14:22] Stephen: Well, you know, I reckon we’ll, we’ll like— I’m gonna try in the future theme months. Like, we’ll theme the so bad it’s good sort of movies.

[00:14:31] Trevor: Oh, I could get into that. I mean, you know, so that’s your challenge for—

[00:14:34] Stephen: yeah, like, don’t you reckon we did recently— remember Anaconda?

[00:14:36] Trevor: Yes, that was—

[00:14:37] Stephen: that’s in that class, so bad it’s good.

[00:14:39] Trevor: I don’t know about that.

[00:14:40] Stephen: Yeah, I, I enjoy watching that.

[00:14:42] Trevor: So bad it’s bad. What did I give that, I wonder?

[00:14:45] Stephen: I don’t remember.

[00:14:45] Trevor: It was pretty low score.

[00:14:45] Trevor: Yeah, he was Samuel L.

[00:14:48] Stephen: Jackson was also in The Hateful Eight, but also in the film, did you recognize, or you might not know, Craig— how much?

[00:14:55] Trevor: 5.5?

[00:14:56] Stephen: Jeez, you’re hard. Craig Berko is in it.

[00:15:00] Trevor: Berko?

[00:15:00] Stephen: Brian Cox, who you know from— yes, from what show?

[00:15:05] Trevor: Succession, which I only just watched.

[00:15:08] Stephen: Yeah, I know you’re a fan. After many years of me telling you to watch it, you finally listened to me.

[00:15:13] Trevor: Yeah.

[00:15:14] Stephen: David Morse. Do you remember what movie he was out on recently? Who are we talking about? Remember the bloke who was, um, with the— when he put us under the water?

[00:15:22] Trevor: Oh yeah, so I—

[00:15:24] Stephen: do you remember we did the movie recently?

[00:15:26] Trevor: I think he was in a, like, a picture when I was looking this up. Yeah, I’m like, oh, he’s in it. I don’t know what movie he was in.

[00:15:31] Stephen: Contact. Remember Jodie Foster’s dad?

[00:15:33] Trevor: Oh yes, he was true.

[00:15:36] Stephen: And the little girl, Yvonne Zima, she’s, she’s, uh, before— no, but we have seen her since. We haven’t done any movies with her in it, but she’s still acting to this day.

[00:15:46] Trevor: Oh yeah, that’s awesome.

[00:15:47] Stephen: Yeah, before we get to the top scenes in the run-through, let’s have a chat about Hisense. And you know what, Hisense are not only known for their great TVs and RGB Mini LED, but also they’ve got a great range of projectors. If you want to get the big picture, then check out the XR10. This is their brand new 4K, 6,000 lumens, triple laser projector. Now this, if you’ve got the room, you can have this. You can have a picture. If you’re at Trevor’s house, he’s got a massive joint, 300 inches.

[00:16:21] Trevor: I’ve told you before, you can only have a 300-inch picture if you’ve got a mezzanine.

[00:16:25] Stephen: Okay, well, I reckon, yeah, your house is pretty palatial. The— yeah, the XR10.

[00:16:31] Trevor: That is— but here’s the thing, right, with a home theater.

[00:16:34] Stephen: Yeah, okay, so let me tell you the great feature about this, right? It’s got optical— I’m reviewing this right now, as a matter of time of recording, I’ve got this set up in my theater.

[00:16:41] Trevor: Yeah.

[00:16:41] Stephen: Now the great thing about this, and anyone who owns a projector, to get a big image, you need to pull the projector away from the wall.

[00:16:47] Trevor: You move the projector further away from the wall.

[00:16:49] Stephen: Now this has an optical zoom, so you could, in a relatively small space, get up to 200 inches from up to 4 meters away, which is in the projector world blows your mind thinking, wow, that’s amazing. So, and that’s without compromising the picture quality too. So it’s 4K, has speakers built into, you know, so this is, this is not your typical home theater projector because it can be set up as an all-in-one system. And of course, then once, once it’s all connected, you’ve got all the, all the ports on the back, your inputs, and also has the Vida operating system. So you’ve got your Netflix and Disney Plus and all of those services as well. So if you want to get the really big screen experience, then check out the XR10. Now this is an investment, right? It’s a, it’s not as the TVs are cheaper. This is a, this can have a massive 200 up to 300-inch picture.

[00:17:38] Trevor: You can also move it from room to room if you need to.

[00:17:41] Stephen: Absolutely right. So it’s pretty versatile. You can’t do that with a 100-inch TV. Unless you’ve got a couple of mates around. Yeah, but anyway, check it out for yourself, hisense.com.au. All right, let’s start off here. It begins with small town life, and we see Samantha Kane— that’s Gina Davis’s character— she’s leading a quiet, picturesque life. Uh, she’s with her boyfriend Hal, and they got an 8-year-old daughter named Caitlin. Now here’s the backstory. 8 years earlier, Samantha was washed ashore on a New Jersey beach without any memory of her identity.

[00:18:17] Movie Audio: My name is Samantha Kane. At least I think it is. You might not believe it to look at me, but I was born only 8 years ago on a beach in New Jersey. I entered the world fully grown, wearing clothes I don’t remember buying. In the back pocket, a single key, filed blank and faceless. Fitting metaphor, but otherwise no help Whatsoever. None. Sometimes I stand naked in the mirror, try to guess my age. 35, maybe? I have lots of scars. They call my condition focal retrograde amnesia. It’s no picnic, but I’ve learned to live with it. Got a job I love. Been seeing someone. Nice guy. Good sense of humor. Her name is Caitlin, and when I woke up on that A long ago day I was 2 months pregnant with her. I don’t know who her father is— I mean never! I just know she’s mine.

[00:19:11] Stephen: So that kind of sets it up pretty good?

[00:19:14] Trevor: Yep.

[00:19:14] Stephen: She’s one of the main characters and then we meet the other main character Mitch Hennessy this low-rent private investigator and I love how you sort of meet him here he busts in on a married man in bed with a woman it’s a sting he knows the woman and ends up blackmailing the man.

[00:19:29] Movie Audio: Police no move! What the hell is this?!

[00:19:32] Stephen: Uh uh uh uh uh!

[00:19:34] Movie Audio: Don’t give me attitude! Copitude, sir. See, you’re assuming I won’t shoot your sorry ass, and everyone knows when you make an assumption, you make an ass out of you and umption. Now, I’m Sergeant Madigan Vice, and if you do copitude, jerk-off, I will see to it you spend the next 10 years in prison getting ass-fucked. And if the case is thrown out because my arrest was too violent, I will personally hire men to ass-fuck you for the next 10 years. So if you’re an ass-fucking fan, you go ahead and mouth off Meanwhile, you’re under arrest for the crime of prostitution. Officer Dunleavy, read him his rights.

[00:20:09] Trevor: What?

[00:20:10] Movie Audio: Yeah.

[00:20:10] Stephen: Rights?

[00:20:11] Trevor: That’s the moment I realized he wasn’t a cop.

[00:20:14] Movie Audio: You have the right to remain silent, and anything you say and do will be held against you in a court of law.

[00:20:20] Stephen: Hey, please, you gotta listen to me, man.

[00:20:22] Movie Audio: I got a wife.

[00:20:23] Movie Audio: This is— I never—

[00:20:23] Stephen: This is the first time I’ve ever done this.

[00:20:25] Movie Audio: Sir, sir, sir.

[00:20:25] Movie Audio: I swear to God.

[00:20:27] Movie Audio: Listen to me. I can see from your choice here you’re not a wealthy man. Now, in light of the damage—

[00:20:33] Trevor: that’s the greatest insult ever—

[00:20:34] Movie Audio: I, uh, think we might be able to make some kind of arrangement.

[00:20:38] Stephen: And the woman in bed with him is his partner.

[00:20:40] Trevor: Yeah, you realize, like, because— so it’s funny because you, you very quickly realize that guy’s not a cop, but the, the, the sidekick, which obviously makes it clear they’re all not cops.

[00:20:49] Movie Audio: Yeah.

[00:20:49] Trevor: Then when he says, I can see by your choice here, uh, no, that’s—

[00:20:52] Stephen: you’re not a wealthy man.

[00:20:53] Trevor: And the look on her face wasn’t enough to make you think she was insulted. Yeah, I was like, why was she not insulted? Well, it’s because she’s in on the gig.

[00:21:01] Stephen: Yeah, we also see he’s— we learned that he’s estranged from his wife and his son. Remember, he goes over with a present for his son and, you know, the wife goes, okay, time to come inside. And, and the son says, look, I can’t keep this, my mum won’t let me keep it.

[00:21:15] Trevor: I know, it’s really nice toy that he got in there.

[00:21:18] Stephen: That was a bit sad. Yeah, anyway, uh, there’s a parade on and while dressed as Mrs. Claus in the local town Christmas parade She’s shown on broadcast TV now driving home, uh, in a snowstorm. Did you see this bit with the old bloke? So a bit tipsy and they—

[00:21:34] Trevor: she, she goes—

[00:21:35] Stephen: yeah, they get off. Yeah, he— they get an accident. Deer’s in the middle of the road, she gets thrown clear, she suffers a bit of a concussion, but she sees the deer and breaks its neck.

[00:21:45] Trevor: Struggling.

[00:21:45] Stephen: Yeah, breaks. I don’t know, did that old guy die in the car? Did he die?

[00:21:50] Trevor: Clearly.

[00:21:50] Movie Audio: Yeah.

[00:21:51] Trevor: Well, no, there’s no concern for him.

[00:21:53] Stephen: Exactly right.

[00:21:54] Trevor: Okay, sorry.

[00:21:55] Stephen: So, uh, yeah, so that’s obviously something’s doing there. Um, now while recovering, because, you know, she had the accident, she’s recovering, and she suddenly demonstrates this amazing dexterity in the kitchen. Yeah, she’s chopping vegetables at lightning speed.

[00:22:10] Trevor: She’s like super excited about it.

[00:22:13] Stephen: And then, yeah, she throws a kitchen at the end as well.

[00:22:22] Movie Audio: I used to do this. I’m a chef. Yoo-hoo! Give me something else, quick.

[00:22:31] Movie Audio: Anything, anything.

[00:22:33] Movie Audio: Go, man, go!

[00:22:34] Movie Audio: Tomato, tomato, tomato! Look at this.

[00:22:40] Movie Audio: Go!

[00:22:41] Stephen: Okay, okay, fine.

[00:22:44] Trevor: So, every bit really got the freaked, but then in the The end’s a bit, uh, stretched.

[00:22:50] Stephen: Scallions, scallions!

[00:22:52] Movie Audio: Here, give her scallions.

[00:22:53] Movie Audio: Scallions!

[00:22:54] Stephen: One more tomato. Can you cut all this up?

[00:22:58] Movie Audio: Look at this, look at this woman, she’s amazing!

[00:23:04] Movie Audio: Yeah, chefs do that.

[00:23:06] Movie Audio: Chefs do that.

[00:23:07] Stephen: She says that a couple of times, which is funny. Yes, chefs do that. Remember, she throws a tomato and throws a knife and nails it to the kitchen cupboard. Yes. Yeah, chefs do that. Yeah, I like this bit here. There’s a little scene here where her daughter’s trying to learn how to skate. And remember, don’t forget she had the accident just before this, right? So I think it sort of stirred up—

[00:23:30] Trevor: yeah, because you know, you’ve seen that. I think it’s probably a Hollywood thing, but you see those things where someone’s like, look, blind or something, and they— and but then they have a crash and they get their sight back. So you’re thinking, okay, so she’s she’s gained some of her previous knowledge back.

[00:23:43] Stephen: Like she was, I remember she was like you previously, we saw her really loving and gentle with the daughter, but she’s trying to get her to skate and she’s a bit scared. She goes, toughen up, will ya? Remember she really was hard on her.

[00:23:53] Trevor: She gives her a solid lob.

[00:23:54] Stephen: And then she goes off and she actually breaks her arm and she’s complaining, goes, oh, come on. And she really had a go at her.

[00:23:59] Trevor: Yeah.

[00:24:00] Stephen: So we sort of got a glimpse of like a different Samantha. Meanwhile, do you remember how that the Christmas parade was broadcast on TV? Yes, there’s an escape. There’s a convict, One-Eyed Jack, sees her, recognizes her, he loses his mind, goes ballistic, right? But he ends up breaking into her home seeking revenge.

[00:24:19] Trevor: Yes, he’s got one of the strangest weapons, by the way.

[00:24:21] Stephen: Yeah, like a shotgun.

[00:24:23] Trevor: It’s a half shotgun, half grenade launcher or something, because he’s overkill. He has a couple of just shots and then he shoots this thing which knocks out the whole staircase and the wall.

[00:24:32] Movie Audio: Yeah.

[00:24:32] Stephen: And do you like— do you love what Samantha does?

[00:24:33] Trevor: She throws the door clear into the treehouse.

[00:24:35] Stephen: Yeah, that’s smart.

[00:24:36] Trevor: That’s where the fanciful nature of their stunts him.

[00:24:38] Stephen: That is pretty good. Now, um, we— you see here her lethal reflexes just take over. They override everything, and she fights back and ends up killing Jack barehanded on the kitchen floor.

[00:24:51] Trevor: Yeah.

[00:24:52] Stephen: And then what does she say again at the end of that?

[00:24:54] Trevor: Chefs do that. Chefs do that as well.

[00:24:56] Stephen: Yeah. Now, realizing she poses a bit of a danger to her family, she says, look, I’ve got to find out who I really am.

[00:25:03] Trevor: Yeah.

[00:25:03] Stephen: And so So that’s when we see her with Mitch Hennessy.

[00:25:07] Trevor: She re-engages because the Hennessy link had clearly existed before. They had her case on the boil kind of thing.

[00:25:14] Movie Audio: Yes.

[00:25:14] Trevor: So she’s obviously paid them previously to be essentially on retainer.

[00:25:17] Stephen: My interjections here are going to be called flashback.

[00:25:22] Trevor: Okay, that’s the simplest and best you’ve ever come up with.

[00:25:24] Movie Audio: Flashback.

[00:25:25] Stephen: Okay, the flashback here. Do you remember when she’s leaving, she writes the first 6 digits of her mobile number?

[00:25:30] Trevor: Yes.

[00:25:31] Stephen: And the 6 digits are 717.

[00:25:33] Trevor: Right, which area code is that? 854. You gotta tell us where it is.

[00:25:36] Stephen: It was Lancaster, Pennsylvania.

[00:25:38] Trevor: Is that where they meant?

[00:25:39] Stephen: That was in ’94 for the York area. So when this was filmed, the 717 area code was Honesdale, Pennsylvania, which is where Samantha, Caitlin, and Hal lived.

[00:25:50] Trevor: Okay. Yeah, I was just amazed it wasn’t a 555 number.

[00:25:53] Stephen: No, that’s right. Yeah, what have you rang that number?

[00:25:57] Trevor: Well, no, but they didn’t show the whole number.

[00:25:58] Stephen: No, they just said the first digits.

[00:26:00] Trevor: Yeah, you only need your 555 when you’ve shown the whole number.

[00:26:03] Stephen: Mitch Hennessy’s back in the picture. He’s hired by Sam to dig into her past after he turned up a suitcase stored at a train station locker. Now when they’re on the road, they stop at a hotel. They’ve got the suitcase. She discovers a false bottom containing a disassembled sniper rifle.

[00:26:22] Trevor: She didn’t notice that suitcase. Wait, yeah, she takes all the clothes out and goes to put the suitcase in the cupboard. It’s like, this is very heavy.

[00:26:28] Stephen: ‘What have you got in these bricks?’ ‘Cause there’s a disassembled weapon inside. Yeah, that’s right.

[00:26:32] Trevor: Yeah, that’s right. These are the moments that I realize this is not meant to be, uh, you know, based in any form of reality.

[00:26:39] Stephen: Yeah, that’s true. But you recognize what she did? She then suddenly starts putting it together in seconds. She knew. Muscle memory, mate.

[00:26:46] Trevor: And goes to shoot it.

[00:26:47] Stephen: And there was a, uh, contact note for a Dr. Nathan Waldman, who we discover is Brian Cox’s character.

[00:26:54] Trevor: Yeah.

[00:26:55] Stephen: So we hear Sam— Samantha now, so Scene at the— in the White House, Samantha is being discussed by the president, and he learns, uh, which— we learn which agency she used to be a part of.

[00:27:11] Movie Audio: Mr. Perkins, you lost one of your agents whose training included, among other things, counter-assassination, and now she turns up Bill of the Christmas parade.

[00:27:26] Movie Audio: Well, that information is, uh, 2 weeks old, Mr. President. To my knowledge, Charlene Baltimore died in my employ. Relic of the Cold War, the kind of violent operative that has since been eliminated from our ranks.

[00:27:40] Movie Audio: You recruited this woman for Chapter, sir, the late ’70s.

[00:27:47] Movie Audio: Her father was a friend of mine. I—

[00:27:48] Movie Audio: let’s Stop that. I don’t want to hear that stuff. Intelligence community, you people are unbelievable. You dump a mess like this in my lap and then you come whining to me and say, where is our funding? Well, I’ll tell you where it is. Can you say healthcare?

[00:28:06] Stephen: So inside the suitcase they find a number for Walt— Dr. Waldman.

[00:28:11] Trevor: Yep.

[00:28:12] Stephen: And they call him and they agree to meet. He goes, where are you?

[00:28:16] Trevor: He recognizes the voice very quickly.

[00:28:17] Stephen: Charlie, you there? And he says— so they agree to meet halfway, but unknown to them, the government have been tapping, and they, they, they know where she’s going. They lead a squad of heavily armed covert agents to the same location. Massive shootout.

[00:28:31] Trevor: Massive shootout. Another one of those great Hollywood moments where so many bullets are fired and absolutely no one—

[00:28:37] Stephen: none of them land. That’s right. Yeah, they’re as accurate as the Stormtroopers. Samantha operates on pure lethal instinct, takes down multiple operatives before she and Mitch escape With Waldman’s help— remember, Waldman goes, ‘Get in!’ And I love this, right? Remember when you’re in the car, what Samuel L. Jackson says?

[00:28:55] Trevor: Tell me.

[00:28:56] Movie Audio: We jumped out of a building!

[00:28:58] Movie Audio: Yes, it was very exciting. Tomorrow we go to the zoo.

[00:29:02] Movie Audio: You’re Waldman?

[00:29:03] Movie Audio: No, I’m the Hills Brothers bean buyer. Who else would I be? Hang on, look, if you want me to talk in front of him, you may be asked to kill him later.

[00:29:12] Movie Audio: What?

[00:29:12] Movie Audio: Works for me. Your call.

[00:29:13] Movie Audio: What?

[00:29:14] Trevor: Fire out the back if you have to.

[00:29:17] Movie Audio: Jesus, old man, how many of those things you got?

[00:29:19] Movie Audio: 3.

[00:29:20] Movie Audio: One shoulder, one hip, and one right here next to Mr. Wally. Well, most pat-downs never reveal it, as an agent’s often reluctant to feel up another man’s groin. Any other questions?

[00:29:28] Movie Audio: Yeah.

[00:29:28] Movie Audio: What’s the weather like on your planet?

[00:29:31] Movie Audio: Charlene, my darling.

[00:29:33] Movie Audio: My name is Samantha. Samantha Kane.

[00:29:35] Movie Audio: No, no, no, forget all that. Schoolteacher business. This was your cover. Do you hear me, Charlie? You hear what I’m saying? Your memory was gone. You got confused. You bought your own cover. It was a fantasy, for Christ’s sake! Samantha Kane never existed. You wrote the bloody thing.

[00:29:49] Movie Audio: No, it’s not a fantasy. I’m in the goddamn PTA. Then quit!

[00:29:55] Movie Audio: You’re an assassin working for the United States government. I ought to know. I trained you.

[00:30:01] Movie Audio: Babe.

[00:30:02] Stephen: Get the fuck out of here!

[00:30:04] Trevor: Sam Smith.

[00:30:06] Stephen: That made me want to—

[00:30:08] Trevor: Samuel L. Jackson’s greatest scenes.

[00:30:10] Stephen: It’s funny, it’s funny. Anyway, he reveals Samantha is actually Charlene Elizabeth, Charlie Baltimore, top-tier assassin for the black ops CIA division known as The Chapter. She vanished 8 years ago during a failed cover-up mission called Project Honeymoon, which we learn later what that is. Uh, now dis— that they, they stopped by the side of the road. They’re thinking, man, is Waldman— remember what they said now? Has— how do you— how do those people show up? We’re supposed to meet you. They, they suspect that Waldman is sort of maybe helping the—

[00:30:42] Trevor: they’re thinking now, hang on a minute, this bloke could be in on that whole thing.

[00:30:45] Stephen: So they jump him and take his car. They bolt. Samantha follows a lead to Luke, you know, David Morse’s character, whom she believes was her former—

[00:30:53] Trevor: because she’d seen a little postcard which she wrote to Uncle Max and said that I’ve found the love of my life and his name’s Luke and we’re going to get engaged.

[00:31:01] Stephen: Now Luke is actually Daedalus, a rogue agent and target of her original mission, because Uncle Max is the agency engagement, means he’s the target. So she was actually sending a covert note, and Waldman attempts to warn them, but he gets shot and killed before taking Samantha and Mitch captive. Now what Luke does, he ties Samantha to that— what do they call that— the water wheel. Wheel, water wheel.

[00:31:28] Trevor: Yep.

[00:31:29] Stephen: And then submerges her Um, so Waldman’s dead. When she goes underwater, she sees Waldman under— underwater.

[00:31:37] Movie Audio: Yeah.

[00:31:37] Stephen: So he— while he’s subjecting her to brutal torture, uh, to extract information, saying, what is your mission? Why are you here? But I think the trauma— this trauma, it triggers another memory recovery for her, and she takes back control. Now what she does— remember, she will— where does Waldman have her gun?

[00:31:58] Trevor: Right next to his willy.

[00:31:59] Stephen: Next to Mr. Wally. And she grabs it out of his crotch, and then as she comes out of the water, boom, boom, boom, lays him down and see you later.

[00:32:07] Trevor: Yeah, I don’t know how they think because they talk about putting her under there for 10 minutes or 5 minutes. I’m like, I’d be dead after 2.

[00:32:13] Stephen: Righto, here’s your flashback. Okay, Gina Davis and her then-husband Renny Harlin, they were— they tested how long she could hold her breath for that scene. They did this, they tested how long she could hold her breath in their bathtub at home. Just, I was just going to say, they said, we’re going to get real kinky. Yeah, they said, they said, we’ve got this scene in the movie.

[00:32:34] Trevor: I think Michael Hutchins tried some of that once too.

[00:32:36] Stephen: But anyway, you’ll need to hold your breath right now. The 3 times that she’s underwater in the film during the filming, one was 51 seconds, 81 seconds, and 55 seconds. Wow, she was holding her breath the whole time. Can you hold your breath that long underwater?

[00:32:53] Trevor: I reckon I could do a minute.

[00:32:54] Stephen: You reckon?

[00:32:54] Trevor: Yep.

[00:32:55] Stephen: Look, you want to test it out?

[00:32:56] Trevor: Not with you in a bath.

[00:32:57] Movie Audio: No.

[00:33:00] Stephen: The next scene, they go to Atlantic City and Charlie’s fully Charlie. She’s bleached her hair blonde.

[00:33:06] Trevor: She’s gone. This is it.

[00:33:07] Stephen: She’s gone back to her own identity and she’s preparing for war.

[00:33:12] Movie Audio: So Samantha, she, um, never really existed like Nathan said.

[00:33:18] Movie Audio: She was a total fabrication. I made her up.

[00:33:20] Movie Audio: So now she’s just, uh, gone forever and ever?

[00:33:25] Movie Audio: Thank God. Look at my inordinately large ass. Look what she did to me.

[00:33:30] Movie Audio: Pretty convincing act.

[00:33:33] Movie Audio: I guess.

[00:33:35] Movie Audio: You know, her, uh, personality had to come from somewhere. What do we do now?

[00:33:40] Movie Audio: I contact Chapter. I come in for debriefing, bury the last 8 years, get back to work.

[00:33:48] Movie Audio: Would you believe it, Harry? We got an appropriations review in 3 weeks, and now the president wants to know how I managed to lose an agent.

[00:33:56] Stephen: Yes, sir, you have a call on line 3, sir.

[00:33:58] Movie Audio: You gonna tell me who it is?

[00:33:59] Stephen: Charlie Baltimore, sir. We’re on trace.

[00:34:02] Movie Audio: This is Mr. Perkins.

[00:34:04] Movie Audio: Turn on the TV. Farmer, New Jersey, 7 dead.

[00:34:07] Movie Audio: Charlie! Good Lord, girl, we’ve been looking all over for you. I got a photo of you in a Christmas parade. What the hell is happening?

[00:34:16] Movie Audio: Don’t be stupid. I completed my assignment.

[00:34:20] Movie Audio: You mean Daedalus?

[00:34:21] Movie Audio: I shot him. He’s pretty much dead. Actually, I would have done it earlier, like say back in ’92, but I was baking. Don’t ask. I want to come in.

[00:34:31] Movie Audio: Let me direct you to a safe house.

[00:34:34] Movie Audio: Forget it. We play it my way. You want me back, then you stay away. I’ll call you. Those are the rules, understand?

[00:34:41] Stephen: So she’s not stupid. Yeah. Now Charlie, it appears, has taken over Sam in her.

[00:34:48] Trevor: Yeah, it’s like, it’s like she’s, she’s really zoned in on who she was.

[00:34:53] Stephen: But, and this is an interesting little scene here that we’re about to play where she makes a move on Mitch.

[00:34:57] Trevor: Yes.

[00:34:58] Stephen: But he calls her out. He’s, uh, he’s very hard to fool.

[00:35:03] Movie Audio: I haven’t had a date in 8 years, Mitch. Is this a fun date?

[00:35:14] Movie Audio: What’s going on?

[00:35:17] Movie Audio: True love. Shut the fuck up.

[00:35:24] Movie Audio: White ladies seducing and call it help.

[00:35:29] Stephen: Get real, sweetheart.

[00:35:30] Movie Audio: I ain’t handsome, I ain’t rich, and the last time I got blown, candy bars cost a nickel.

[00:35:37] Stephen: What’s going on?

[00:35:38] Movie Audio: Chemistry, my ass.

[00:35:44] Movie Audio: You know what I think? I think this is why you fucked me.

[00:35:49] Stephen: There’s a picture of her husband.

[00:35:50] Trevor: Yes.

[00:35:51] Stephen: Or her boyfriend.

[00:35:51] Trevor: She ripped herself He just helped out of the photo.

[00:35:53] Stephen: Yeah.

[00:35:54] Movie Audio: To bury her once and for all. I kind of like that schoolteacher. When she comes back, you give me a call, all right? Oh, and call your fucking kid. It’s 2 days to Christmas. She might be under the mistaken impression mommy gives a fuck.

[00:36:10] Movie Audio: I didn’t ask for the kid. Samantha had the kid, not me. Nobody asked me.

[00:36:19] Stephen: So real conflict there, huh?

[00:36:21] Movie Audio: Yeah.

[00:36:21] Stephen: And, uh, she leaves the room. And do you remember when she walks down the alleyway, she gets ambushed? Remember the people following her? She kills all of them. And Mitch was there. Mitch followed her out because he’s just trying to look out for her. Yeah. So what do they do? Charlie and Mitch return to her home. Remember she mentioned the key she had?

[00:36:37] Trevor: Yeah, because she gave the key to a kid.

[00:36:38] Stephen: The key that she—

[00:36:39] Trevor: yeah, the only thing she had when she was found 8 years ago.

[00:36:41] Movie Audio: Yes.

[00:36:42] Trevor: She gave it to a kid, put it around Perkins, who’s obviously—

[00:36:44] Stephen: because he was saying, look, I want to— I need to get passport, I need cash. And she goes, that key must have She’s sort of thinking that that key can open—

[00:36:51] Trevor: she remembers the number of the box and everything.

[00:36:53] Stephen: So she’s thinking, well, let’s go back and get it. But more people come after her and she dons the skates. Remember, she goes across the frozen lake, shoots them all. And Mitch sees all this in action thinking, well, she’s the real deal.

[00:37:05] Trevor: The best part of that is when he goes— because she just kills him— she goes, you could have hit them all on the shoulder, like you could have shot him in the shoulder. Yeah, but no, she just killed them.

[00:37:13] Stephen: All gone. Now Charlie receives a call from her former partner and lover Timothy. That’s Craig Berko. And Timothy reveals he’s kidnapped her daughter Caitlin. They hold up a phone company so they can run a trace when they contact Timothy again.

[00:37:32] Movie Audio: Holiday Inn, Jet speaking.

[00:37:34] Stephen: I’d like to page Charlene Baltimore, please.

[00:37:37] Movie Audio: Please hold.

[00:37:44] Movie Audio: Yeah.

[00:37:44] Stephen: Hi, it’s me.

[00:37:47] Movie Audio: No shit. Verify you have the kid.

[00:37:49] Stephen: How else would I get your cellular number? I got it off the cast on her right wrist.

[00:37:54] Trevor: That’s the identifier.

[00:37:55] Stephen: Right below “Mommy loves you.” I offer up a simple trade.

[00:38:00] Trevor: You for the girl.

[00:38:01] Stephen: I’ll tell you where and when. And Charlie, you fuck with me, I’ll blind the kid and shoot at her knees.

[00:38:18] Movie Audio: Give me an A&I trace. Do it.

[00:38:28] Movie Audio: How you know so much about this Timothy character?

[00:38:30] Movie Audio: But what do you think?

[00:38:32] Movie Audio: I bumped pelvises with him. He was a target, remember? Ma’am, that call was placed from Niagara Falls. Niagara Falls? Operation Honeymoon.

[00:38:49] Stephen: So we learned Niagara Falls, Timothy’s there, that’s where they’re going to take Caitlin. Project Honeymoon. So this was a false opera— a false flag operation organized by rogue CIA Director Perkins. Remember the guy who was on the phone with her?

[00:39:03] Trevor: Yep.

[00:39:03] Stephen: And Timothy.

[00:39:04] Movie Audio: Right.

[00:39:06] Stephen: Charlie and Mitch infiltrate the facility but are captured and learn about the CIA’s plans.

[00:39:14] Movie Audio: Budget cuts, is that what this is about?

[00:39:18] Movie Audio: Operation Honeymoon?

[00:39:21] Movie Audio: Fuck me, you’re running a fundraiser.

[00:39:24] Movie Audio: Fundraiser?

[00:39:27] Movie Audio: 1993, World Trade World Trade Center bombing, remember? During the trial, one of the bombers claimed the CIA had advanced knowledge. The diplomat who issued the terrorist visa was CIA. It’s not unthinkable they paved the way for the bombing, purely to justify a budget increase.

[00:39:49] Movie Audio: You’re telling me that you’re gonna fake some terrorist thing just to scare some money out of Congress?

[00:39:54] Movie Audio: Well, unfortunately, Mr. Tennessee. I have no idea how to fake killing 4,000 people, so we’re just gonna have to do it for real. Oh, blame it on the Muslims, naturally. Then I get my funding.

[00:40:07] Stephen: Now, wow, this is particularly haunting because this is years before 9/11.

[00:40:13] Trevor: Yeah.

[00:40:14] Stephen: And we’ve heard about conspiracy theorists say about that.

[00:40:18] Trevor: Don’t, don’t feed them.

[00:40:19] Stephen: We’re not going to go there.

[00:40:20] Trevor: Don’t feed them.

[00:40:21] Stephen: Now, Charlie Lay some information. So that what they plan to do is detonate a bomb in Niagara Falls.

[00:40:28] Trevor: Yes.

[00:40:28] Stephen: Frame a Middle Eastern terrorist to secure massive defense funding.

[00:40:32] Movie Audio: Yeah, right.

[00:40:34] Stephen: Charlie— so they’ve— she’s held captive. Charlie lays some information on Timothy, hoping for a shred of mercy. You’re just gonna be written off as some crazy mommy kidnapped her own kid. Died with her in a blizzard.

[00:40:51] Movie Audio: Goddamn you.

[00:40:53] Movie Audio: Look at her eyes.

[00:40:56] Stephen: Why exactly would I want to do that?

[00:40:57] Movie Audio: Because they’re yours. That night with you, I got pregnant. The little girl is your daughter.

[00:41:14] Movie Audio: That’s priceless.

[00:41:18] Stephen: Would you bring my little bitch in here?

[00:41:25] Movie Audio: Okay, princess.

[00:41:32] Stephen: This is where he looks at her. Get your fucking eyes Little sort of veil of recognition there, maybe.

[00:41:50] Movie Audio: We’re gonna take a nap together.

[00:41:53] Movie Audio: It would be like the bears in the winter.

[00:41:55] Movie Audio: Yeah, bears.

[00:41:56] Stephen: Okay, thank you.

[00:41:57] Movie Audio: Thank you.

[00:41:58] Stephen: So he’s pretty cold and heartless.

[00:42:00] Trevor: Yeah, I mean, he’s, he’s not engaged at all in that, in that child.

[00:42:04] Stephen: He remains indifferent.

[00:42:05] Trevor: He is.

[00:42:05] Stephen: Yes, he, uh, locks Charlie and Caitlin inside a cold storage freezer, walk-in freezer. While his— Mitch is taken out to be tortured. Charlie did— she uses these kerosene barrels to cause a little explosion inside the freezer door.

[00:42:19] Trevor: There’s a moment earlier where she’s, she’s down and she looks at the doll. You don’t see what happens, but what we’ve realized is she filled the doll with kerosene.

[00:42:26] Movie Audio: Yeah.

[00:42:27] Trevor: And then she used her daughter’s retainer to pour the kerosene under a door and let it roll out and set off an explosion, which in turn sent Mitch hurtling through the air, flying through windows.

[00:42:37] Stephen: Very strong.

[00:42:38] Movie Audio: Yeah.

[00:42:38] Stephen: And into the snow. So yeah, so Charlie, uh, Caitlin, she says go hide and she locks herself in the truck’s toolbox, the truck with the bomb on it. So it happens to be—

[00:42:48] Trevor: well, she doesn’t know that.

[00:42:49] Stephen: Yeah, well, okay, but the— this now there’s a pursuit and they initiate the bomb timer, so it’s all action. She pursues the truck amidst heavy gunfire and Charlie, she actually gets into the truck, um, she collides with Timothy on the bridge. Kaitlyn’s still in the toolbox, right?

[00:43:07] Movie Audio: Yes.

[00:43:08] Stephen: Timothy and Charlie engage in a bit of hand-to-hand combat. She knocks him into the river via a drain. Remember, he drops into the river.

[00:43:13] Movie Audio: Yeah.

[00:43:14] Stephen: An attack chopper pins Charlie down, but she picks them off and releases Kaitlyn and tells her to run before collapsing on the ground.

[00:43:39] Movie Audio: That’s the timer. Okay, right, get out. Don’t go away again, please.

[00:43:51] Movie Audio: The truck is a bomb.

[00:43:54] Movie Audio: It’s going to blow up.

[00:43:56] Movie Audio: Go.

[00:43:59] Movie Audio: I’m right behind you, baby.

[00:44:02] Movie Audio: Go, don’t look back.

[00:44:08] Movie Audio: Good girl.

[00:44:11] Stephen: So he— she runs off. Timothy gets out of the river, picked up by a chopper. Caitlin has a change of heart, sees her mother on the ground, comes back, is begging for her to get up, and she’s pinned down by Timothy.

[00:44:22] Trevor: Those same words her mother used when she snapped back at the ice.

[00:44:26] Movie Audio: That is right.

[00:44:28] Movie Audio: Somebody help me! I got a kid here! I got my 8-year-old daughter! Do you hear me? Somebody get this motherfucker off me! Help me!

[00:44:47] Movie Audio: Negative, ma’am.

[00:44:48] Stephen: We understand your request, but— Meech is in the car! He’s alive. That’s right, you can’t kill me, motherfuckers. He’s back, baby.

[00:45:00] Trevor: He’s the star of this movie.

[00:45:02] Stephen: Oh man, he kills it. He drives out of the container truck. Remember, they had him in the same car as the dead, uh, framed. And, uh, after being left for dead— now here’s another flashback for you. In the early draft of the screenplay, Mitch dies of his bullet wounds. Was an early version of the—

[00:45:20] Movie Audio: of the—

[00:45:21] Trevor: they needed him to come back here.

[00:45:22] Stephen: Test audiences loved his character so much and his performance that the ending was reshot so that he lives.

[00:45:29] Trevor: So I can imagine reshooting all this.

[00:45:31] Stephen: They had to reshoot that. Well, that’s just that bit, right? Because the— you could get it because the— they had to refilm that bit and him picking them up in the car. Maybe he goes, ‘Sam!’ and they get in and off they go.

[00:45:41] Trevor: Put a truck down there. I think it’s pretty—

[00:45:43] Stephen: so they wanted to let him live to save the day and redeem himself. Picks up Charlie and Caitlin. She draws Timothy’s fire away from them. Now, do you remember there was a bloke who got caught up in the string of lights on the bridge? She cuts it loose, uses him as a counterweight, and she rises up above the truck and goes bang bang, shoots Timothy in the, in the chopper. So he’s, he’s gone. And, uh, Mitch, Caitlin, and Samantha speed into Canada just as the bomb goes off. That’s the bit you recognize, eh? Bomb going off on the bridge, destroying the bridge. And Tim, I think Timothy falls on the truck, and then boom, it goes off. So yeah, yeah, they’re all pretty full on. They’re all dead to rights. The explosions in this movie, oh, they’re massive. They’re massive.

[00:46:24] Trevor: They’re not at all realistic.

[00:46:26] Stephen: Yeah, they’re very— they’re over the top.

[00:46:28] Trevor: I think people who love action movies would be very disappointed by explosions in real life.

[00:46:33] Stephen: Yeah, OTT. Yeah. Well, okay, there’s an epilogue here. Charlie finds a way to reconcile her dark past and her genuine capacity. We learn that she can actually be have maternal love.

[00:46:45] Trevor: Yes.

[00:46:46] Stephen: Now, reverting to a quieter lifestyle on a remote farm with Hal and Caitlin, she receives a call from the White House.

[00:46:54] Movie Audio: Hello, Miss Kane.

[00:46:55] Movie Audio: Yes, Mr. President.

[00:46:57] Movie Audio: I owe you— the country owes you a debt of tremendous gratitude. I wonder, would I be out of line if I ask you to come back into government, work for State Department?

[00:47:09] Movie Audio: Out of the question. I’ve got a stack of papers to grade.

[00:47:12] Movie Audio: The monies involved would be substantial.

[00:47:16] Movie Audio: Oh, you’d be surprised how much a good teacher can earn.

[00:47:19] Movie Audio: Oh, gosh, I know. And I am working on it. But it’s for next term.

[00:47:25] Movie Audio: Before I go, sir, there is a small favor I’d like to ask.

[00:47:29] Movie Audio: Good evening. Welcome to Larry King Live. Tonight we seek closure in the matter of Leland Perkins, indicted on 6 counts of high treason. Joining us tonight is CIA section chief Walter Hodge. He’s in Langley, Virginia. And in our studios here tonight is Pittsburgh native Mitchell Hennessy, who at a surprise press conference was singled out by the President of the United States for his role in this affair. As the expression goes, that ate hay. Hello, Mitch, and thanks for coming.

[00:47:58] Movie Audio: Thank you, Mr. K, for having me.

[00:47:59] Movie Audio: Mitch, you have had one hell of a Christmas And we have heard from our reporter Carla Grebs on the scene in Niagara Falls that when she first heard this story, she didn’t believe it, right?

[00:48:09] Movie Audio: Well, what Carla failed to realize, Mr. King, is that I’m always frank and earnest with women. In New York, I’m frank. In Chicago, I’m earnest.

[00:48:20] Trevor: You are so easily pleased. That’s a great line.

[00:48:24] Stephen: I’m frank and earnest.

[00:48:25] Trevor: In Chicago, I’m frank and earnest. I love watching you. I love it.

[00:48:28] Stephen: It’s great. That’s a great way to end the movie. That’s it, mate. That was funny. That was laugh-out-loud funny for me.

[00:48:36] Trevor: I can tell.

[00:48:36] Movie Audio: Yeah.

[00:48:37] Stephen: All right, let’s get some light. And I might— I could have picked 50 lines. I’ve tried to narrow it down to this.

[00:48:42] Trevor: You are on a quota.

[00:48:43] Stephen: The first time we, uh, we meet, um, our man Brian Cox, Waldman, uh, he’s trying to eat his dinner.

[00:48:55] Movie Audio: Yeah. Alice, please. Your dog, Alice.

[00:48:56] Movie Audio: It and my appetite are mutually mutually exclusive.

[00:48:57] Movie Audio: Well, what’s wrong with the dog?

[00:48:59] Movie Audio: It’s simple. He’s been licking his asshole for the last 3 straight hours. I submit to you that there is nothing there worth more than an hour’s attention, and I should think that whatever he is attempting to dislodge is either gone for good or there to stay.

[00:49:14] Stephen: That’s gold.

[00:49:16] Trevor: It’s a strange, unusual line that has no context to the movie other than to set up him as a— yeah, as a dry wit human.

[00:49:25] Stephen: Yeah, and Here’s another two. The next two are, um, that’s right, kicked in the clackers.

[00:49:34] Movie Audio: We gotta talk to someone else. You think what I’m thinking?

[00:49:37] Movie Audio: I hope not, because I’m thinking how much my balls hurt.

[00:49:40] Stephen: That’s genius. But this other one, this one takes the cake.

[00:49:44] Trevor: This one here.

[00:49:45] Stephen: Oh, hang on, where— there it is. Here it’s, uh, do you remember when, uh, she’s in her bathrobe?

[00:49:50] Trevor: Yes, I’m well aware of this scene.

[00:49:52] Stephen: Yes, yes, I’m seeping.

[00:49:54] Movie Audio: Here, look at this.

[00:49:59] Movie Audio: Ah, that hurt like shit.

[00:50:03] Movie Audio: I know, that’s why I distracted you first.

[00:50:07] Trevor: What a distraction.

[00:50:07] Movie Audio: Same principle as deflowering virgins.

[00:50:10] Movie Audio: What?

[00:50:10] Movie Audio: What?

[00:50:11] Movie Audio: What?

[00:50:12] Movie Audio: I read it in this Harold Robbins book. Guy bites her on the ear, distracts from the pain.

[00:50:17] Movie Audio: Ever try that?

[00:50:18] Movie Audio: No, no, I sock them in the jaw and yo pop goes the weasel.

[00:50:22] Stephen: Who the fuck are you, mate? No one else but Sam Jackson could have done that.

[00:50:27] Trevor: That’s true.

[00:50:28] Stephen: That was his role. A genius move.

[00:50:31] Trevor: He put him in it.

[00:50:32] Stephen: Genius.

[00:50:32] Trevor: He’s the star of this movie.

[00:50:34] Stephen: Righto.

[00:50:34] Stephen: How did that happen? Some plot holes here, okay? Some plot holes. Well, we already— we already uncovered one. The weapons in the hidden compartment would have made that suitcase way heavier. Yeah, it would have felt like bricks in there.

[00:50:46] Trevor: Yes.

[00:50:47] Stephen: And how did you not notice that in years? Like, come on. On. Uh, also, uh, I think you even refer to this, the grenade in the station corridor.

[00:50:55] Trevor: Yeah, the grenade goes off. A grenade is shrapnel.

[00:50:58] Stephen: It’s a fragmentation grenade.

[00:50:59] Trevor: It fennecum explodes like a petrol tanker.

[00:51:02] Stephen: Fragmentation grenades do not—

[00:51:04] Trevor: pushing them out a window, for Christ’s sake—

[00:51:06] Stephen: do not produce rolling fireballs that would spread, uh, ahead of them. Yeah, yeah.

[00:51:10] Trevor: Although I did love that part of that scene. That’s cool though, is they’re coming out of a 3-story window and there was an earlier scene that said, you know, don’t It’s thin ice. It was just a single sign.

[00:51:21] Stephen: Yep.

[00:51:21] Trevor: But it was very, very subtle and very— but that’s why they— that’s an establishment.

[00:51:25] Stephen: Yeah.

[00:51:25] Trevor: That gives credibility to it so they can land through the incredible moment. Yeah.

[00:51:28] Stephen: Well, she still shoots down at the ice.

[00:51:30] Trevor: That’s right, to break it.

[00:51:31] Stephen: Yeah, just to break the 4K special edition of this.

[00:51:33] Trevor: Oh, this will be—

[00:51:34] Stephen: there’s a sticker in it that says a sign that says thin ice that you can— that was displayed at that station.

[00:51:39] Trevor: Why is there a sticker?

[00:51:40] Stephen: I don’t know, there’s just one of the part of the movie. Okay, right. Uh, the speaker workout. And I already told you, the subwoofer on overload. My mother-in-law Anne was kept up.

[00:51:50] Trevor: I can’t help with this because I have to admit I watched this on an iPad.

[00:51:53] Stephen: So yeah, yeah, this is, um, let me give you the great directional sound. Yeah, but I don’t think my subwoofers have worked harder than this one. Explosions, it was massive explosions.

[00:52:03] Trevor: Yeah, that makes sense.

[00:52:04] Stephen: Thank God I got a big screen. Lots of, uh, great action shots and explosions here. Very shots of the small town, um, the frozen lake was good. Yeah, the station shootout and explosion also pretty good, right? Um, the— if the movie was made today, um, what I think— more use of modern tech to track Charlie down, do you think?

[00:52:26] Trevor: Oh, for sure.

[00:52:27] Stephen: Would it have been— would it have been easier to locate her? Because you got to remember, the Bourne films were made early 2000s as well, so it wasn’t really— not a lot of tech around.

[00:52:35] Trevor: That’s true.

[00:52:35] Stephen: It’s hard to sort of disappear within this world of tech.

[00:52:38] Trevor: Very much so.

[00:52:39] Stephen: Yeah, as we know. Uh, every day is a school day. What is the theme or lesson here? I, I’ve got a couple, mate. My first—

[00:52:48] Trevor: how are we taking themes and lessons from a slapstick?

[00:52:51] Stephen: Well, yeah, kind of. Here’s what I’m taking out of it. Find out your true self. She found out her true self. She was truly a mother, not an assassin. Yes, in the end.

[00:53:00] Trevor: Yeah, that’s true.

[00:53:01] Stephen: Also, and again, the love—

[00:53:03] Trevor: believe the CIA—

[00:53:04] Stephen: the love of a mother, that’s the greatest force in the world. Oh, that’s another one, right? Oh, best use of the pause button. Did you notice here— remember the dead terrorist car that Mitch eventually drove out of the container? The license plate— if you pause it, you’ll see the license plate is RFK 575. Would you, would you, uh, believe me if I told you that’s also the license plate used in The Wolf of Wall Street? Jordan Belfort’s car, the Ferrari, has RFK 575.

[00:53:43] Trevor: Why?

[00:53:44] Stephen: I just think it’s like an in-joke. Also, Zoolander— Derek Zoolander’s roommate, uh, has it on his car, and it’s also on a car in the film Final Destination. So I think it might have been made by the same studios. Yeah, and it was like a prop. You know how you see the same prop appear in some, some movies? They share it it. I think this is one of those.

[00:54:07] Trevor: Gotcha.

[00:54:07] Stephen: Yeah.

[00:54:07] Stephen: Okay, now, according to another best use of the pause button, if you pause your button on the CIA personnel file shown during the opening credits—

[00:54:16] Trevor: oh, okay—

[00:54:17] Stephen: Charlene Elizabeth Baltimore was born on October 12, 1962, has blonde hair, brown eyes, 6 feet tall, and weighs 125 pounds, which in kilos would be what, 70?

[00:54:31] Trevor: How many, how many pounds?

[00:54:32] Stephen: 125 pounds.

[00:54:33] Trevor: 125 bucks.

[00:54:34] Stephen: That’s what it says on there written.

[00:54:35] Trevor: Yeah, right.

[00:54:36] Stephen: Okay, things you might not know on The Tonight Show, uh, Jimmy Fallon’s Tonight Show in 2014, uh, sorry, now in 2019, Samuel L. Jackson appeared and said his favorite role in a movie was Mitch in The Long Kiss Goodnight.

[00:54:54] Trevor: Wow, that’s huge.

[00:54:56] Stephen: Massive. So we’re not Pulp Fiction?

[00:54:58] Trevor: I was gonna say, how’s that not Pulp Fiction?

[00:55:00] Stephen: The Long Kiss Goodnight.

[00:55:02] Trevor: No.

[00:55:03] Stephen: Uh, another trademark things you might not know, uh, is Shane Black, who wrote the film, loves setting it at Christmas. Lethal Weapon, Christmas time.

[00:55:13] Trevor: So is Lonky’s Goodnight a Christmas movie?

[00:55:15] Stephen: Well, it’s at Christmas time.

[00:55:16] Trevor: Is it a Christmas movie?

[00:55:17] Stephen: I’d say not, because that is unbelievable.

[00:55:19] Trevor: The Christmas element is kind of central. Die Hard is that it’s set at Christmas time.

[00:55:24] Stephen: But the early in the movie, she’s in the Christmas parade and Christmas is over. It’s over. No, no, we’ve left Christmas behind at the start of the movie.

[00:55:32] Trevor: Whatever.

[00:55:33] Stephen: It’s Christmas the whole way through Die Hard.

[00:55:35] Trevor: Whatever.

[00:55:35] Stephen: Anyway, so Shane Black, Christmas. Lethal Weapon, Christmas. Iron Man 3, Christmas. Kiss Kiss Bang Bang, Christmas.

[00:55:43] Trevor: This place got problems.

[00:55:43] Stephen: The Nice Guys with Russell Crowe and Ryan Gosling, this place got Santa issues. Christmas.

[00:55:49] Trevor: Yeah.

[00:55:49] Stephen: Also, and we’ve done this, The Last Boy Scout.

[00:55:53] Trevor: Have we done that?

[00:55:53] Stephen: Christmas.

[00:55:54] Trevor: Remind me what the movie’s about.

[00:55:55] Stephen: Bruce Willis.

[00:55:56] Trevor: Okay.

[00:55:57] Stephen: He plays like a disgraced detective. Okay.

[00:56:01] Trevor: Yeah.

[00:56:01] Stephen: Did you notice in the scene where they’re in the Dutch Cabins Motor Court, in their room there’s a movie playing in the background? It’s a classic noir, black and white film.

[00:56:16] Trevor: And you think I’m going to notice a classic?

[00:56:17] Stephen: Well, no, I’m just telling you, if you— you may not have noticed, but the film playing in the background, there’s Elliot Gould in it and he’s a private detective. The movie is called The Long Goodbye is the name of the movie in the background of The Long Kiss Goodnight.

[00:56:32] Trevor: I think these people spend too long making Easter eggs in movies.

[00:56:35] Stephen: That’s me, that’s what I noticed.

[00:56:37] Trevor: Yeah.

[00:56:38] Stephen: Now, did you also notice that Charlie’s memory trigger was often cold? There’s always cold stuff happens, so cold water. Remember she— when she flies out of the car, that was in the snow. Um, after that, she gets the memory flashes, the train says she jumps into the icy water. Water comes out, and then she’s tortured in the freezing water, which ultimately brings her memory back completely. So cold could be the trigger. So have you ever—

[00:57:04] Trevor: should I go take a cold plunge? Right, okay, cold plunge.

[00:57:07] Stephen: Jesus.

[00:57:08] Stephen: Right, what’s the meme? I mean, chefs do that. I reckon chefs do that.

[00:57:13] Trevor: Yeah.

[00:57:14] Stephen: And anything Mitch says— like, Mitch, we, we didn’t mention the, the— he loves singing. I’m gonna put out the garbage. That’d be a good meme. I like to— when he says to Baldy, he goes, we jumped out of a building. He goes, yeah, and tomorrow we go to the zoo.

[00:57:33] Trevor: That’s probably the best one because it’s great because it follows anything like something that you think is cool but no one else does. You say, yeah, tomorrow we’re going to the zoo.

[00:57:40] Stephen: Tomorrow we go to the zoo. By any other name?

[00:57:44] Trevor: It could be— it could go by a million other names, to be honest.

[00:57:46] Stephen: My one thought I had was just memory. Memory.

[00:57:50] Trevor: Yeah, but it’s too serious. Yeah, this is the long—

[00:57:53] Stephen: Kiss Goodnight. That’s kind of long name.

[00:57:56] Trevor: It’s a stupid name.

[00:57:56] Stephen: Yeah, but that’s what they came up with. I can’t think of anything more.

[00:57:59] Trevor: Kicked in the Balls. I don’t know, I’m trying to think.

[00:58:01] Stephen: My Balls Hurt. Yeah, the other one. Uh, The One Thing You Want. Going to the Zoo. Going to the Zoo. Now I jumped out of a building and tomorrow we go to the zoo. That’s a pretty long name.

[00:58:10] Trevor: Actually, you just call it Tomorrow We Go to the Zoo.

[00:58:12] Stephen: Yeah, that’s— yeah, that wouldn’t work, mate. Uh, The One Thing You Want I was quite taken with Mitch’s green jacket. Remember he’s wearing that? It looked like a master’s jacket.

[00:58:23] Trevor: It did, actually.

[00:58:24] Stephen: I’m thinking that jacket’s got to go on the wall. It’s not going to go in the wardrobe, if you know what I’m saying. Uh, Samantha’s guns, I’ll take them. The ice skates she’s wearing.

[00:58:32] Trevor: You know what, I just have the brooch with the key on it.

[00:58:35] Stephen: That one called Kirkland’s the Bear. The kitchen knife that she uses, uh, the chefs do that. And her old school mobile phone. Oh yeah, yeah, the old solid brick.

[00:58:45] Trevor: Had a couple of those in this movie.

[00:58:48] Stephen: Righto, 3 questions for Trev.

[00:58:49] Trevor: Hit me.

[00:58:51] Stephen: What happens to Samantha? Does she remain a family woman after this?

[00:58:56] Trevor: No, mate, she’s an assassin.

[00:58:58] Stephen: Well, no, well, she knocked back the president.

[00:58:59] Trevor: I’m just telling you, it’s in her blood.

[00:59:01] Stephen: Okay, so you reckon she eventually goes back? Yep. What about Mitch? Does Mitch reconcile with his family? Or is he going to be Frank and Ernest?

[00:59:09] Trevor: You idiot. He doesn’t reconcile, but the missus lets him bring the kids toys.

[00:59:13] Stephen: I think the missus was impressed. Yeah, yeah, good. He got a shout out for the president.

[00:59:18] Trevor: Yes, he’s a hero.

[00:59:20] Stephen: Yes.

[00:59:21] Stephen: Uh, question 3: sequel, prequel, or leave it alone?

[00:59:26] Trevor: I mean, I’m going to say leave it alone, but if you’re going to do something, do a sequel where you do explore those silly—

[00:59:30] Stephen: mate, I want to see— sequel all day, and starring Mitch. Yeah, Mitch and her go into business together.

[00:59:36] Trevor: Why not?

[00:59:37] Stephen: That’d be funny. That’d be a funny action movie.

[00:59:40] Trevor: It could still be done.

[00:59:41] Stephen: Yeah, I would watch that. I’d watch the hell out of that.

[00:59:44] Trevor: Yeah, yeah.

[00:59:45] Stephen: But you have to get Shane Black to write it. So the same writing has to be there.

[00:59:48] Trevor: It’s going to be a Christmas movie.

[00:59:49] Stephen: Great news. Righto, that is The Long Kiss Goodnight. Give us your wrap-up and rating.

[00:59:57] Trevor: I mean, it’s insane. Like, it’s a stupid movie, you know what I mean? Like, it’s a stupid movie. But funny.

[01:00:04] Stephen: Stupid.

[01:00:04] Stephen: Yeah, yeah, I’ll give you that.

[01:00:06] Stephen: That. But it’s still— I reckon it got some lines, it’s funny, got a bit of heart.

[01:00:10] Trevor: You know, without Samuel L— whatever rating you give this movie, Samuel L. Jackson is 90% of the points. He’s just so good.

[01:00:18] Stephen: Because you’ve got to remember, it’s an action comedy. There’s comedy in it.

[01:00:22] Trevor: That would have been good information to tell me last week.

[01:00:25] Stephen: Well, didn’t you recognize it was a— during the movie that, oh, there’s a bit of comedy?

[01:00:28] Trevor: See, I think you’ve got to know that before you sit down.

[01:00:30] Stephen: Okay.

[01:00:31] Stephen: And again, I’m sure the Told people maybe 20 years ago that was the case, but I think the only thing I told you ahead of this was a sort of like, you know, Jason Bourne style.

[01:00:40] Trevor: So I expect you thought it was serious.

[01:00:42] Stephen: You thought it was going to be serious.

[01:00:43] Trevor: Jason Bourne is not an action comedy.

[01:00:44] Stephen: No, no, it’s not.

[01:00:45] Trevor: So what are you doing?

[01:00:46] Stephen: Okay, Stephen, sorry, my bad.

[01:00:48] Trevor: Um, so leaving aside the disgraceful stunts that don’t make much sense, yeah, that’s a 7 for me.

[01:00:53] Stephen: 7. I gave it 8.5. I love this movie.

[01:00:55] Trevor: Well above me.

[01:00:56] Stephen: Love this movie. Now I’m hoping that next week movie lands as well.

[01:01:01] Trevor: Really?

[01:01:02] Stephen: It’s, uh Uh, it was released in 1999, directed by Doug Liman, who directed Swingers and went on to direct all kinds of movies— Bourne Identity. And actually, I’m giving away my, my, my million-dollar question, my millionaire question. But starring Sarah Polley, Jay Moore, Scott Wolf, uh, it’s called Go.

[01:01:23] Trevor: Go.

[01:01:24] Stephen: G-O. G-O.

[01:01:26] Trevor: G-G-O.

[01:01:27] Stephen: Now just to put you in the frame here, it’s it’s got a similar structure to Pulp Fiction in the fact that it’s got 3 stories. Oh great, that kind of overlap.

[01:01:38] Trevor: Okay.

[01:01:39] Stephen: And, and they’re all told separately and there’s bits of them that are common and then you see how they all intersect.

[01:01:45] Trevor: Okay.

[01:01:45] Stephen: So it’s such a ’90s movie, was it released in ’99? Some faces in there that you’ll recognize too. I’ll— that’ll be in the show next week. But, um, it was directed by Doug Liman, as I said, who’s directed some big movies. So which of these movies did Doug Liman not direct? I think I gave you one of them that he did not direct. Okay, A, Swingers, B, Mr. and Mrs. Smith, C, The Bourne Identity, or D, Office Space? Which did he not direct? We’ve done—

[01:02:22] Trevor: I’ll tell you, we’ve done the second one.

[01:02:23] Stephen: We’ve done all of these movies.

[01:02:25] Trevor: What was the second one?

[01:02:26] Stephen: Second one was Mr. and Mrs. Mr. and Mrs. Smith. He directed that. He didn’t direct Office Space. Office Space was like a comedy.

[01:02:32] Trevor: Yeah, I suck at this.

[01:02:36] Stephen: But now he’s, uh, he made Swingers, which we’ve done. Mr. and Mrs. Smith, remember, with Brad Pitt and Angelina Jolie.

[01:02:40] Trevor: I remember them.

[01:02:41] Stephen: And The Bourne Identity, which we spoke about.

[01:02:44] Trevor: Okay, fair enough.

[01:02:45] Stephen: As well. But not Office Space. Anyway, that’s next week. I hope you enjoy that one. Uh, but, uh, in the meantime, glad you’ve, uh, so you’ve watched Long Kiss Goodnight.

[01:02:54] Trevor: Yeah.

[01:02:54] Stephen: You could have, you could have given it a high score, but that’s okay. I’m not offended.

[01:02:57] Trevor: You are.

[01:02:57] Stephen: Anyway, good on you. We’ll talk to you next week for Go, but I’m glad you at least watched last.

[01:03:03] Trevor: All right, see you then.

[01:03:04] Stephen: See you, mate.