Latest / Skip or Scream / Run Rabbit Run

Transcript

Run Rabbit Run · Skip or Scream

• 0:19
  Welcome back to Skip or Scream, a scary movie
• 0:22
  recap podcast. We are your sisters and your hosts,
• 0:25
  Maggie and Cassie, and we're here to answer the
• 0:27
  question, is the scream worth the stream? It's
• 0:30
  been a minute, Cass. Some might say a hot minute
• 0:33
  since we recorded. We recorded our last two episodes
• 0:36
  pretty close back -to -back because we had some
• 0:39
  wonderful, hilarious guests on, some new friends
• 0:42
  that we made, and we had a great time. And this
• 0:46
  segues into business corner, the segues into
• 0:50
  some exciting couple of things we have to talk
• 0:53
  about at the top of the pod. First of all, great
• 0:56
  transition because... the writer and director
• 1:00
  of Hellcat commented on one of our Instagram
• 1:02
  posts. Brock Waddell, shout out. Yeah, he commented.
• 1:08
  Let me see exactly what he said. I think he said,
• 1:10
  like, great work or something. He didn't listen,
• 1:12
  I'm sure. But he said, y 'all, great work. Thanks.
• 1:17
  It was on our no -context spoilers that we post.
• 1:20
  He liked my Derpy Fox, I think. But shout out
• 1:25
  to Brock Waddell. You're a real one. Thanks for
• 1:26
  interacting with us. Good thing we, all of us
• 1:30
  gave your movies, your movie a scream. So if
• 1:34
  you haven't listened to our episode with Grimley
• 1:35
  where we talked about the new Shudder original
• 1:37
  Hellcat, everybody go watch the movie and then
• 1:40
  listen to us talk about it to understand all
• 1:43
  the vibes that we were putting out. But that
• 1:45
  was my first bit of fun news. Like that was just
• 1:47
  like a little fun. That's like our first director
• 1:50
  comment. Yeah, it was a little fun interaction.
• 1:54
  Cassie's geeking out. I was just thinking about
• 1:57
  the fact, too, that, like... Well, you were probably
• 1:59
  going to talk about this, but this is our last
• 2:01
  recording before we go to Fantastic Fest. And
• 2:04
  I was like, they're screening... Shut up. Oh,
• 2:06
  okay. Shut up. No, I'm just kidding. Don't shut
• 2:08
  up. That was just going to be... They're screening
• 2:10
  some episodes of Carrie, and I'm like, what if
• 2:13
  we're in the same... Building is Mike Flanagan.
• 2:15
  Oh, he's gonna be there. You know he's gonna
• 2:17
  be there. I would die. I think they're screening
• 2:20
  some creep tapes too, potentially, and Kate Siegel
• 2:23
  does some directing, so Kate will probably be
• 2:25
  there too. Well, that's what I was gonna say.
• 2:26
  You know Mike Flanagan, the only thing he does
• 2:28
  is make horror content and bang his hot wife,
• 2:32
  Kate Siegel. So he has plenty of time to come
• 2:35
  and talk to his adoring fans, aka us. The second
• 2:38
  thing I wanted to bring up is new Patreon alert,
• 2:41
  new Patreon. Stacia or Stacia, let us know in
• 2:47
  our DMs. I was chatting with them today, this
• 2:51
  morning. Let me know how to pronounce your name,
• 2:53
  but welcome to the Patreon squad. You are Prager4Krager,
• 2:59
  as we all are, and we appreciate your support.
• 3:02
  You're the best. They're from Minnesota. I don't
• 3:05
  think they'd mind me saying that. So, squad,
• 3:09
  squad up. You're not on the Patreon? That's okay,
• 3:12
  but we'd like it if you were. And speaking of
• 3:16
  people that interact with our comments, somebody
• 3:18
  commented on one of our episodes that we need
• 3:22
  to cover the rest of the Screams, so I think
• 3:24
  we need to contact Allison and get her in our
• 3:26
  lineup for Scream 2, at least. You know, Cassie,
• 3:29
  you're really just lobbing them up for me, and
• 3:32
  I'm just here to hit them out of the park, because
• 3:33
  I just went to Allison Dodge's bachelorette party
• 3:36
  last weekend. Gosh dang girls getting married
• 3:40
  and it was pretty insane. I don't know if you
• 3:43
  remember this, Cassie, but she had it at Jellystone
• 3:46
  Park. I know, I was looking at all your guys'
• 3:49
  pictures and I was like, you were living the
• 3:51
  childhood dream that we could never live because
• 3:53
  we weren't fancy enough. Cassie, I literally
• 3:56
  said that. I think I should have taken a shot
• 3:59
  every time I said that on this password weekend
• 4:01
  because I literally was like... Yeah, we always
• 4:04
  wanted to come here growing up, but my family
• 4:06
  was too poor, so we couldn't come here. And I
• 4:09
  think people were like, we get it, you have trauma.
• 4:11
  And I was like, I do have trauma associated with
• 4:14
  this place. We grew up middle class, so we weren't
• 4:17
  like... But, like, Jellystone was, like, bougie,
• 4:20
  you know? Jelly... For those of you who don't
• 4:22
  know, a Jellystone campground, I think they're
• 4:24
  only in the Midwest. There is a few locations,
• 4:27
  I believe. I don't think it's just the one. It's
• 4:29
  in Wisconsin, specifically the one we're talking
• 4:31
  about. It is a Yogi Bear -themed campground.
• 4:35
  So it's, like, got pictures of Yogi Bear everywhere.
• 4:38
  It has people who dress up in, like, Yogi Bear
• 4:40
  costumes and walk around, and it's just the tits,
• 4:43
  but... not able to go there as kids, so I fulfilled
• 4:48
  that lifelong dream as a 30 -year -old. Hey,
• 4:51
  they say that you peak when you're in what, a
• 4:54
  high school college? Not me, baby, I just peaked.
• 4:58
  The last thing I was gonna say is that we are
• 5:01
  less than a week out for some of us, a few days
• 5:04
  from going to Fantastic Fest, a horror movie
• 5:06
  film festival in Austin, Texas. It's going to
• 5:09
  be so lit. Cassie, I like made you a little surprise
• 5:13
  too that I'm excited to give to you. And if anybody's
• 5:17
  listening and is going to Fantastic Fest, come
• 5:20
  hunt us down. Like seriously, like I'm actually
• 5:22
  promoting you stocking slash just like come say
• 5:25
  hi. We're going to be passing out like little
• 5:27
  pins with information about the pod and we're
• 5:31
  going to be wearing Skipper Scream shirts. So
• 5:33
  you'll be able to spot us from a mile away because
• 5:36
  you'll see our cute little creepy hand logo poking
• 5:39
  out from our shirts. Super, super excited. We're
• 5:43
  gonna do a bonusode, a Patreon exclusive episode
• 5:48
  where we like recap everything about Fantastic
• 5:51
  Fest, including the movies and stuff we're seeing
• 5:53
  and hopefully some good stories we'll have to
• 5:56
  say. I am part of, they have this Facebook group
• 5:58
  for people going to Fantastic Fest called Fantastic
• 6:01
  Friends. And I posted on there because the first
• 6:05
  night they're showing Resident Evil. I saw that.
• 6:09
  I'm so sad. I know. And I'm not going to be able
• 6:12
  to go to the opening night party. And I was like,
• 6:14
  just having a little pity party here. And they're
• 6:16
  like, people were like, we'll pour one out for
• 6:18
  you or whatever. Yeah. Everyone on the community
• 6:21
  is so nice. And it's really lovely. So I hope
• 6:24
  I get to make some new friends too when we go
• 6:27
  there. Me too. I hope that if... we like hand
• 6:30
  out our shit about our pod. People aren't like
• 6:32
  annoyed and like they actually do check out our
• 6:35
  pod and aren't just like fucking these people
• 6:38
  shilling their damn corporate slop on to us.
• 6:41
  Also, I have a stick in my hair. Why do you have
• 6:44
  a stick in your hair? Thanks for telling me.
• 6:46
  I have a six inch stick in my hair and my bun.
• 6:50
  That is amazing. Me and James went for a walk
• 6:52
  right before this recording because we are officially
• 6:55
  in our new house. I know the listeners are really
• 6:57
  fucking annoying of us talking about moving and
• 6:59
  having houses and whatever, but we were trying
• 7:01
  to figure out our property line. Isn't that such
• 7:04
  an adult annoying thing that we have to do? So
• 7:06
  anyways, we were walking through the woods. Didn't
• 7:07
  you just get that from the county or something?
• 7:09
  We were walking through the woods and we were
• 7:11
  looking at our property line. We looked it up
• 7:13
  on the county to see what it looked like. And
• 7:16
  then we were walking to be like, oh, I guess
• 7:18
  we own this. So here's my proof. It's the stick.
• 7:22
  You own that stick, Maggie. Nothing better than
• 7:24
  an audio medium talking about a stick. Well.
• 7:30
  Cassie, we're talking about a movie this week.
• 7:33
  Did you know that that's what we do here? Uh,
• 7:36
  I didn't know that. And this was a patron pick.
• 7:43
  The patrons voted on this one. I fucked it up
• 7:47
  hardcore last month, but you guys, I did it for
• 7:49
  this month. Also, I'm like, getting back on my
• 7:51
  Patreon shit. And I did a special little post
• 7:55
  this week. I'm gonna keep posting more. Everyone,
• 7:58
  join our patron. And so we're talking about a
• 8:03
  movie this week where a mother is forced to make
• 8:05
  sense of the increasingly strange behavior of
• 8:08
  her young daughter. She must challenge her own
• 8:10
  beliefs and confront a ghost from her past. in
• 8:14
  order to do this. So my question for you is,
• 8:16
  what is the creepiest thing you ever did as a
• 8:18
  kid, or what is the creepiest thing you think
• 8:20
  a child could do now, maybe like your nephew,
• 8:23
  my son, to just push you over the edge and like,
• 8:27
  nope, right out of the situation and be like,
• 8:29
  yep, I am done. Yeah, so I... I don't think I
• 8:36
  did a lot of creepy stuff when I was younger.
• 8:38
  And as evidence, I texted mom and was like, hey,
• 8:42
  did I ever do anything like weird or creepy when
• 8:44
  I was younger? And she's like... Don't recall.
• 8:47
  I don't think so. She's the worst person to ask.
• 8:49
  She can't remember what she had for dinner yesterday.
• 8:51
  But sometimes she remembers long -term things.
• 8:54
  I don't know. I think that one of the things
• 8:57
  that I used to do, and maybe this is me hallucinating,
• 9:00
  but I was like a big chicken and I got like nightmares
• 9:03
  a lot. I got scared at night a lot. I was definitely
• 9:07
  like not super into darkness. And we lived out
• 9:11
  in the middle of nowhere. And there were times
• 9:14
  when I, like, would get scared and wanted to,
• 9:17
  like, go tell Mom and Dad that I was scared,
• 9:19
  but I also didn't want to, like, wake them up
• 9:21
  and, like, make them feel bad or get in trouble
• 9:23
  for waking them up. So sometimes I would just,
• 9:26
  like, go upstairs and, like, stand outside their
• 9:28
  door to hear if they were, like, awake so that
• 9:30
  I could, like, catch them at an opportune time
• 9:33
  when they were awake to be like, I'm scared.
• 9:35
  I did that sometimes too, Cassie. I would open
• 9:37
  their door really slowly and just stand there
• 9:41
  until Mom would go... Hello? Yeah. I mean, maybe
• 9:46
  that is like a kid thing. I don't know. That
• 9:48
  was just something that I remember doing. It
• 9:50
  was probably like, that was really weird because
• 9:52
  I feel like if Harvey were to do that to me,
• 9:55
  like just like come into my room in the middle
• 9:57
  of the night and just stand there without saying
• 9:58
  anything, I'd be like, are you possessed by a
• 10:01
  demon? Because I'm scared. Yeah. Yeah, they're
• 10:06
  just like... I don't know. I have some girlfriends
• 10:09
  who have told me, like, their kids were, when
• 10:11
  their kids were getting to the age of probably,
• 10:13
  like, in between two and three, which, spoiler,
• 10:16
  that's how old my child is, they started getting
• 10:18
  more like, he told me, like, they'll be like,
• 10:23
  where did you learn that? And they'll be like,
• 10:24
  he told me about it. And they're like, who told
• 10:26
  you about it? And they'll, like, say a name of
• 10:28
  someone who's, like, not in their life. Yeah.
• 10:30
  And it's, like, creepy, because it's like, ba
• 10:32
  -ba -duke. Ba -ba -ba -ba -duke -duke. But there
• 10:40
  are quite a few things in this film we're about
• 10:43
  to talk about where it's like, I know you have
• 10:45
  to love your children unconditionally no matter
• 10:47
  what, blah, blah, blah, blah, blah. But there
• 10:49
  were several times where I'm like, can she return
• 10:51
  her kid to the store? Because I could not do,
• 10:54
  I could not have the patience or. like, complete
• 10:58
  delusion of the woman in this movie. What if
• 11:01
  Harvey does the things that this person does
• 11:03
  in this movie? That's what I'm saying. Like,
• 11:05
  if he did this shit, I'd be like... That's what,
• 11:08
  like, therapy is for, though, right? Well, you'd
• 11:11
  think, but there's definitely a lack thereof.
• 11:15
  Yeah, some, like, demons, I don't know if they
• 11:17
  can be, you know, theropized out of the system.
• 11:21
  This week, we are talking about 2023's Run, Rabbit,
• 11:26
  Run. It, again, was a Patreon pick, September
• 11:31
  Patreon pick. And it was written by Hannah Kent,
• 11:36
  which apparently I looked into her a little bit.
• 11:37
  She's like a author. Like, she writes books.
• 11:41
  Written, wait, did I say written by? Yeah, okay.
• 11:44
  Directed by Dana Reid, starring Sarah Snook.
• 11:48
  She's pretty damn famous. I think she's won,
• 11:51
  like, Golden Globes and shit for her role as
• 11:54
  Shaban in Succession. gorgeous redhead, Lily
• 11:59
  Latour, and Damian Harriman. And Damian Harriman,
• 12:03
  Cassie, you may or may not remember, probably
• 12:06
  not gonna remember because you didn't watch this
• 12:08
  movie, but he played the creepy neighbor in Together,
• 12:15
  the very first movie we watched. What's his name?
• 12:18
  He was Damian Harriman. I feel like he's the
• 12:22
  bad guy in a lot of stuff, or like the villain
• 12:24
  in a lot of stuff. He played, like, the creepy
• 12:27
  cultist neighbor in Together. Oh, I've seen him
• 12:28
  in other stuff, I think. Yeah, yeah. He's, like,
• 12:32
  always a treat, I feel, when I see him on my
• 12:34
  screen. Oh, the screenshot or, like, the poster
• 12:40
  shot for Run Rabbit Run is on here, and it's
• 12:42
  a kid with, like, a red cardboard creepy mask.
• 12:46
  I don't like it. Yeah. Yeah. All right. Runtime
• 12:50
  is an hour and 41 minutes. Rotten Tomatoes critic
• 12:54
  review. Cass, 38%. Rotten Tomatoes audience review,
• 13:01
  26%. Oh, no! So people hated this film. Oh, no.
• 13:07
  Some facts about the movie. I hope the director's
• 13:09
  not listening to this episode. No, only Brock.
• 13:13
  Only our homeboy Brock. Some facts about this
• 13:17
  movie. It came out in 2023 and premiered at Sundance.
• 13:21
  And Sarah Snook actually replaced Elizabeth Moss.
• 13:26
  as the lead role. Elizabeth Moss was originally
• 13:30
  cast, but she had to pull out due to scheduling
• 13:32
  conflicts, so then Sarah Snook was cast instead.
• 13:37
  Now, I need to look it up because this film,
• 13:42
  like many that we love so very much, Cassie,
• 13:46
  is very Australian. I think we've really... We've
• 13:52
  been really getting into Australian films lately.
• 13:56
  Some of our top ones, I feel like, have been
• 13:57
  on. I don't think we've been getting into them,
• 13:59
  Cassie. I think, like, they've been in our top,
• 14:01
  like, since we started this pod. Like, I don't...
• 14:04
  I think that there is a very unique style to
• 14:08
  Australian horror that... Maybe it's just because
• 14:12
  Australia, sorry, to all of our one Australian
• 14:15
  listener that we probably have, Australia is
• 14:17
  just such a scary place. They just got big scary
• 14:21
  animals and little scary animals. I thought you
• 14:23
  were going to say big scary energy. And I was
• 14:25
  like, they do have big scary energy. No, not
• 14:28
  the people. Just the creepy crawlies. Everything
• 14:31
  can kill you in Australia. That's the scary part.
• 14:34
  Including the people. I don't know if this is
• 14:36
  true. People can kill people anywhere. I don't
• 14:39
  know if this is actually true or if this is like
• 14:41
  a wives tale that was made up to scare people.
• 14:44
  But they used to say that like, back in the way,
• 14:47
  way, way, way early days, who knows, probably
• 14:49
  like 100 BC or something. They used to like send
• 14:52
  prisoners to Australia because it was an island.
• 14:54
  So they'd be like, okay, like you just go live
• 14:56
  in this island where everything's gonna kill
• 14:59
  you and it's a desert. So figure it out, have
• 15:04
  fun. And so apparently it used to have a lot
• 15:07
  of convicts. Australian. Yeah, they are. We watched
• 15:11
  Bring Her Back at the Bachelorette party, too.
• 15:13
  I'm really good. Really? Yeah, because everybody
• 15:15
  wanted to watch a scary movie, and I was like,
• 15:18
  this is a really fun one. Like, I just thought
• 15:22
  it would keep people's attention. So I just recently
• 15:26
  rewatched Bring Her Back. This is a fun one.
• 15:28
  It's full of drama. And boy, oh boy, was it a
• 15:32
  bummer. So anyway, this movie is incredibly Australian.
• 15:37
  And I was just really shocked to find out that
• 15:39
  Elizabeth Moss was going to be like the leading
• 15:41
  lady because she's not Australian. So wait, so
• 15:45
  does Sarah Snook do like a Australian accent?
• 15:50
  She is Australian. Oh, is she? Mm hmm. I didn't
• 15:53
  know that. Yeah. So what do you say we watch
• 15:58
  this trailer? Because that's all the fun facts
• 15:59
  I had. There weren't that many facts of fun about
• 16:02
  this movie. Well, I feel like we have to watch
• 16:06
  it, so... I think we should. Okay. Oh, I... I
• 16:18
  don't like that it's like she brings up a deceased
• 16:24
  loved one, and then the kid's like, that's who
• 16:26
  I am. Ooh. That's right. I'm telling you, the
• 16:30
  behavior of this little girl is like... Obviously,
• 16:32
  I know that's the point, is because she's supposed
• 16:34
  to be, like, creepy, because this is a horror
• 16:36
  movie slash thriller, but... My oh my, is it
• 16:40
  like insanely unhinged the way that this little
• 16:43
  girl acts. It kind of reminds me of in Orphan,
• 16:47
  because isn't there like a child that had died
• 16:49
  in Orphan and then the mom like tells the girl,
• 16:53
  these roses are to symbolize this child or whatever.
• 16:56
  And then she goes and like cuts up all the roses,
• 16:58
  the orphan does. She like cuts off the rose bush
• 17:01
  or whatever. All right, well, I forgot to do
• 17:07
  a content warning, so just listener discretion
• 17:10
  advised. I don't think there's anything too triggering
• 17:13
  or graphic in this movie, so we all should be
• 17:15
  good for the most part. Should we get into it,
• 17:18
  Cass? Let's get into it. Let's do it. So the
• 17:23
  opening credits roll as we scan over shots of
• 17:28
  a lake. slash river, I can't really tell because
• 17:31
  it's scattered with like dead dry trees throughout
• 17:34
  and a woman washed up on the beach. She opens
• 17:40
  her eyes on the beach as we see her open her
• 17:42
  eyes in the darkness of her own bed. So she was
• 17:45
  like essentially having a dream that she had
• 17:47
  washed up on this shore. So this is Sarah Snook's
• 17:51
  character. Her name is Sarah. So that's easy.
• 17:57
  She's singing happy birthday to her daughter
• 17:59
  Mia, who's sleeping in her bedroom. She says,
• 18:03
  happy birthday, bunny. Happy birthday? No, I
• 18:07
  can't do it. I was like, what are you trying
• 18:09
  to do? I am not good at Australian versus English.
• 18:12
  It just always sounds like it's not in English.
• 18:15
  She says, happy birthday, bunny. And they give
• 18:17
  each other hugs. Cut it in the kitchen, and we
• 18:20
  see Sarah making pancakes. She's asking Mia,
• 18:24
  are you looking forward to your party? And Mia
• 18:26
  asks if dad is coming and Sarah says, yep, everyone
• 18:29
  you know is coming. And she says, not everyone,
• 18:32
  not grandpa. I miss him. And Sarah says, I do
• 18:35
  too, bunny. So we're getting the sense that perhaps
• 18:39
  recent death in the family? Sarah drops Mia off
• 18:44
  at school and we see her at her office now. Herbie
• 18:50
  and Sarah, where she's a very fancy upscale gynecologist.
• 18:56
  What makes a gynecologist fancy? Because it's
• 18:59
  like not like a Health Partners, Alina, all true.
• 19:04
  It's like a, they have like a wood slatted wall
• 19:10
  and like plants. Okay, so. It has, like, wood
• 19:15
  slatted walls and stuff. That's what makes it
• 19:17
  fancy. Yeah, it has, like, wood slatted walls.
• 19:20
  She, like, is very, like, cream and beige. She's
• 19:23
  not wearing, like, normal, like, blue, loose
• 19:26
  -fitting scrubs. She's wearing, like, a fancy
• 19:28
  white scrub that's, like, very flattering and...
• 19:33
  It just looks fancy. She don't want new blue
• 19:35
  scrubs. Blue scrubs. Okay, stop. Please stop.
• 19:40
  Um... She picks up Mia later from school and
• 19:43
  in the car, Mia asks if Joan is coming to the
• 19:46
  party. And Mia says, I miss her. And Sarah's
• 19:50
  like, isn't it hard to miss someone you've never
• 19:52
  met? And Mia replies, I miss people I've never
• 19:55
  met all the time. And then it just cuts to black
• 19:58
  and big text on the screen, run, rabbit, run.
• 20:01
  So we get the title car. Ooh. As Sarah pulls
• 20:06
  into the driveway of their house, we see that
• 20:09
  the garage door is open and there's all sorts
• 20:11
  of boxes and shit in her garage. We saw it in
• 20:14
  the trailer. There's also a white rabbit on the
• 20:17
  front step of the house. Mia is like, she's waiting
• 20:20
  for me. She came here for me, implying that the
• 20:22
  rabbit came to the house for her. And Sarah's
• 20:25
  like, no, it probably just escaped from someone's
• 20:28
  yard. But Mia brings it in outside nonetheless
• 20:30
  and is like, it's my pet now. Are wild rabbits
• 20:33
  white? No. No, they're not. Pete, the dad, who
• 20:38
  is played by the guy that I was talking about
• 20:41
  before, or I forgot his name, so sorry. Harriman,
• 20:45
  I think, is his last name. Shows up as Sarah
• 20:48
  is decorating for the party, and he has a crying
• 20:51
  toddler. And Sarah's like, oh, where's Denise?
• 20:55
  So Denise is his current girlfriend, and this
• 20:57
  is her son. And he's like, oh, she's coming straight
• 21:01
  from work. She'll be here soon. The toddler,
• 21:03
  his name's Toby, and Mia are playing out in the
• 21:06
  yard with the white rabbit, and inside, Sarah
• 21:08
  and Pete are chatting, and Sarah is saying that
• 21:12
  she's gonna have to put up missing posters for
• 21:14
  the rabbit, and Pete is like, or you could just
• 21:15
  let her keep it. Like, you can tell that she's
• 21:18
  very, like, pragmatic. Like, gloomy, dark skies,
• 21:22
  like, kind of just, like, ugh, and he's very
• 21:24
  just, like... Glass is half full. Yeah, he's
• 21:26
  very go with the flow, like, happy -go -lucky.
• 21:29
  Makes sense that they didn't work out. Yeah.
• 21:32
  He asks Sarah how she's been coping since her
• 21:35
  dad's death. And he's like, I saw all the boxes
• 21:37
  in the garage. I hope you'll tell me if you're
• 21:39
  ever not good. That's how he says it, which is
• 21:43
  an interesting way to say it. She looks at him
• 21:45
  wearily and yells, dinner's ready to the kids.
• 21:48
  So completely brushing off the comment that he
• 21:50
  made to her. Back inside, Sarah says, let's just
• 21:53
  cut the cake. And he's like, no, really, Denise
• 21:55
  is really, really close. She says she's two minutes
• 21:57
  away. I'm so sorry, but let's just wait for her.
• 22:00
  We don't want to wait for Denise. Fuck Denise.
• 22:03
  No, Denise is fine. She asked how they are, him
• 22:07
  and Denise, and he's like, uh, we're actually
• 22:09
  really good. We're going to try for a baby. And
• 22:13
  she's like, well, I thought Mia was going to
• 22:15
  be an only child, which is also very weird to
• 22:19
  say. She's like, we agreed on that, that Mia
• 22:21
  would be an only child. It's like, bitch, you're
• 22:23
  not together anymore. You're literally divorced.
• 22:26
  Yeah. And he just says, no, you agreed. I never
• 22:30
  agreed. So when Denise finally gets there, Sarah
• 22:33
  says, congrats on trying to have a baby. I'm
• 22:38
  starting your family. Denise is like, what? Because
• 22:40
  it's like such a weird thing to walk in on not
• 22:42
  knowing that your boyfriend said that. Welcome
• 22:45
  to the party. Also, congrats. Yes. There's a
• 22:48
  break in the awkwardness right then and there
• 22:50
  where we hear Mia scream from another room. And
• 22:53
  all the parents come rushing in as Mia is crying.
• 22:55
  And she's saying Toby hit her. And Sarah screams
• 23:00
  at Toby, the mom screams at Toby, and Denise
• 23:03
  apologizes, being like, he's only three, he doesn't
• 23:05
  really understand, he doesn't get that yet, he's
• 23:07
  still learning how to play with others. And Sarah
• 23:09
  calls him a little shit and says, don't hit,
• 23:13
  you don't hit you little shit. And Denise and
• 23:16
  Pete are like, whoa, Sarah, like, you need to
• 23:18
  chill. First of all, don't talk like that to
• 23:20
  a child. Second of all, don't talk like that
• 23:22
  to a child that's not even yours when we're right
• 23:24
  here. Which... As a parent, I know a lot of people
• 23:29
  are like, don't parent my kid, like I'm the parent.
• 23:33
  I don't think you necessarily have to have that
• 23:35
  philosophy when you're not there. Like if Denise
• 23:38
  wasn't there and her kid was misbehaving, I would
• 23:41
  think that she'd probably want someone to intervene.
• 23:43
  But both of the parents are right there. So it
• 23:47
  was very... weird that Sarah just made the decision
• 23:49
  to start screaming at this little kid. Yeah,
• 23:52
  but you wouldn't say that to Harvey when he hits.
• 23:55
  He'll do that sometimes, and you're just like,
• 23:57
  no, we don't do that. No, I know. I wouldn't
• 23:59
  call him a little shit, but I definitely do raise
• 24:01
  my voice when I get really frustrated at him.
• 24:03
  I'm trying to be better at it, but Denise takes
• 24:06
  both the kids back into the kitchen, so it's
• 24:08
  just Sarah and Pete, and she just says, I'm sorry,
• 24:11
  I don't... I'm sorry, like essentially I don't
• 24:13
  know what came over me. And he just smiles softly
• 24:15
  and just says, don't worry, he is a little shit.
• 24:18
  And they both like share like a soft smile. So
• 24:20
  it's nice. He's a little stinker. Later that
• 24:23
  evening, Sarah's smoking a cigarette out on the
• 24:26
  deck and we see she's reading a birthday card
• 24:28
  from her mom to Mia. And she takes the lighter
• 24:32
  from her cigarette and lights the card on fire.
• 24:35
  Oh, she has a very tumultuous relationship with
• 24:39
  the people around her. Yeah, she might have some
• 24:41
  mommy and daddy issues, ayo. She walks off the
• 24:45
  deck into the backyard where the white rabbit
• 24:47
  is, and she opens the gate to its little pen
• 24:50
  and just tells it to fuck off. Like, get on out
• 24:52
  of here. Go on, get. This lady's so mean to everything
• 24:56
  and everyone. I think she's just like, yeah,
• 24:59
  she's kind of just like an old curmudgeon, even
• 25:00
  though she's not old. The rabbit doesn't move
• 25:03
  though, so she picks it up and as she does, it
• 25:06
  squeals and bites her hand. So she drops the
• 25:10
  bunny and when she looks back up at the house
• 25:12
  where she came from, Mia is watching her from
• 25:15
  the shadows before scurrying off back into her
• 25:19
  room, like very creepy scurrying. It's not fun
• 25:22
  scurrying at all. Sarah Jolt's awake suddenly
• 25:25
  in her room the next morning and Mia is standing
• 25:28
  slightly at the foot of the bed in a very crudely
• 25:30
  made bunny mask. It's again, all over the marketing,
• 25:33
  all over the posters, all over the trailer. And
• 25:38
  I'll put it on the carousel. And Sarah just goes,
• 25:40
  what is that? And Mia just says, I made it flatly,
• 25:44
  like very monotoned. dropping her off at school
• 25:48
  still wearing the mask. Sarah is like bending
• 25:51
  down to like fix her jumper and like you know
• 25:54
  do all that shit and she's like okay you can
• 25:56
  take that off now and Mia just says don't and
• 25:59
  goes inside. So at Sarah's work, she's listening
• 26:04
  to a voicemail that she has from an assisted
• 26:06
  living home and a doctor is asking to discuss
• 26:08
  her mother's care with Sarah. And Sarah looks
• 26:11
  at the nasty rabbit bite out of her hand. It's
• 26:14
  like oozing blood and it looks nasty and gnarly.
• 26:18
  And then she just ignores her voicemail. Sarah
• 26:21
  runs into Mia's school apologizing for being
• 26:24
  late and she asks the teacher where Mia is and
• 26:27
  she's like, oh, she's outside playing. And we
• 26:31
  see outside that like one of the staff members
• 26:33
  is watching her. And it's like a really big jump
• 26:36
  scare because the staff member watching her is
• 26:38
  Dr. Givardi from the pit, any of my pit fans.
• 26:41
  So it was like, whoa, jump scare to see a pretty
• 26:43
  famous person now playing a role where she has
• 26:46
  two words, she says. But Sarah goes outside.
• 26:52
  Mia is in like a play tube and she's like hyperventilating
• 26:55
  with her mask on. She's like... Oh, that was
• 26:58
  in the trailer. Yeah, yeah. And we cut to Mia
• 27:02
  at home in the bath as Sarah asks if she's being
• 27:05
  bullied at school, because apparently you find
• 27:08
  your daughter hyperventilating in a tube, you're
• 27:10
  like, are you being bullied? And Mia just shakes
• 27:12
  her head. Yeah, that's my first thought, too.
• 27:14
  Mia just shakes her head, no. Sarah prompts her
• 27:18
  again and just says, why won't you tell me why
• 27:20
  you're so upset, buddy? And Mia says, I miss
• 27:22
  her, my mummy. And Sarah says... What? Sarah
• 27:26
  says... I'm your mommy, sweetheart, you know
• 27:28
  that. Do you mean Denise? And Mia just shakes
• 27:32
  her head no. As Sarah's phone begins ringing,
• 27:35
  she runs out of the bathroom telling Mia to get
• 27:37
  ready for bed as she goes to answer it. But we
• 27:40
  see that on her phone, it's the nursing home
• 27:42
  again, so she declines the call. We then see
• 27:46
  a little hand fly over her face as she just hears,
• 27:51
  guess who? like, a soft whisper in her ear. It's
• 27:53
  in the trailer. It gave the conjuring vibes,
• 27:56
  like, when they're playing the clapping game
• 27:58
  in the hands. When they do the double clap. Yeah,
• 27:59
  yeah. And Sarah, like, jumpscares, jumps backwards,
• 28:03
  sees Mia standing behind her in the terrifying
• 28:06
  bunny mask. Of course. What else? And we see
• 28:09
  Mia and Sarah now working on a family tree, which
• 28:11
  I thought was really weird because she told Mia
• 28:13
  she needs to get ready for bed. But family trees...
• 28:16
  There's always time for a family tree. I guess.
• 28:19
  Family trees never rest. And Mia is saying, you
• 28:23
  know how grandpa died and we went to his funeral?
• 28:25
  Was Joan at the funeral? And Sarah says, no,
• 28:29
  she wasn't. And Mia says, oh, okay, well, we
• 28:33
  need to get photos for the family tree. We can't
• 28:35
  just do names. And so Sarah's like, oh, fuck.
• 28:39
  So later on, they're looking through an old album
• 28:41
  and Mia asks, where's Joan? And Sarah says she
• 28:44
  doesn't have any photos with her because they
• 28:46
  don't stay in touch. So Joan is... Sarah's mom,
• 28:51
  if you couldn't piece that part together. And
• 28:54
  Mia says, maybe grandpa has some photos of her
• 28:57
  in his old boxes. So all of those boxes filled
• 29:00
  in her garage are her grandpa's possessions and
• 29:02
  belongings that she got after he passed. After
• 29:07
  Mia has gone to bed, we cut to the lights flickering,
• 29:10
  horrible fluorescent white blue light in the
• 29:13
  garage as Sarah is examining the boxes in the
• 29:16
  shadows and she begins opening them. Over her
• 29:19
  shoulder, we see Mia standing in the poorly lit
• 29:22
  hallway as Sarah's like looking through his things,
• 29:26
  finding a picture of two young girls and examining
• 29:28
  it closely as it just snatched out of her hands
• 29:30
  again from behind jumpscare style. And it's Mia
• 29:34
  and she just says, I've been looking for that.
• 29:36
  And Sarah yells at her and tells her to go back
• 29:38
  to sleep. And Mia says, that was mine. I've been
• 29:40
  looking for it. And Sarah just exits the garage
• 29:43
  and flicks off the light. Sarah jolts awake again.
• 29:47
  seemingly from like falling asleep really hard
• 29:49
  and not remembering or something. And we see...
• 29:53
  Cassie, what do you think we see? The kid with
• 29:54
  the rabbit. We see Mia holding the bunny in her
• 29:58
  bunny mask. So it's bunny -ception time, baby.
• 30:00
  It's double bunny, bunny squared. Bunny, it's
• 30:03
  run, run, or rabbit, run, rabbit. I don't know,
• 30:07
  that didn't make any sense. Cut to her explaining
• 30:10
  she was having a bad dream and Sarah's tucking
• 30:14
  her back into bed. Sarah finds the photo from
• 30:18
  before on Mia's nightstand of the two young girls
• 30:20
  and she says, why did you take this? And Mia
• 30:23
  just says, because it's a picture of me. And
• 30:26
  Sarah says, no, it's not. And Mia says, how do
• 30:29
  you know it's not me? And she says, because it
• 30:32
  was taken before you were born. So she talks
• 30:35
  her in and she notices a little cut on Mia's
• 30:38
  head and asks Mia, is someone hurting you at
• 30:41
  school? And Mia just shakes her head no and says,
• 30:44
  I want to see Joan. And Sarah says, OK, Joan
• 30:49
  is not well. And Mia says, well, maybe if she
• 30:51
  sees me, she'll feel better. And then she then
• 30:56
  screams into her pillow. She like flips onto
• 30:58
  her stomach and like saw her faces in her pillow.
• 31:01
  And she just goes over and over again screaming
• 31:03
  into her pillow, I want to see Joan. I want to
• 31:05
  see Joan. I want to see Joan. Like screaming
• 31:07
  into her pillow. It's kind of weird that she
• 31:09
  calls her Joan and not grandma. Yeah. I know
• 31:11
  that some people do that, but that's kind of
• 31:14
  interesting. Yeah. So we cut to a car driving
• 31:17
  down a winding road in, I don't know, an Australian
• 31:22
  grassland. It's like not quite the outback. It's
• 31:24
  like a little more tree covered than the barren
• 31:27
  Australian outback. But we see Sarah's driving
• 31:30
  in the front seat and in the back, creepy rabbit
• 31:32
  mask, Mia sitting in the back seat. I'd be like,
• 31:36
  I'm going to burn that fricking mask. I know.
• 31:38
  An animal slams against the window, causing Sarah,
• 31:42
  pulling over to the side. And when Mia and Sarah
• 31:44
  get out, Mia says, I didn't see anything hit
• 31:46
  the car. Why are we even looking for this animal
• 31:50
  if you hit it and it's gone now? Why are we even
• 31:52
  looking for it? And Sarah just says, well, it
• 31:54
  might be suffering. And Mia just says, oh, you're
• 31:56
  going to kill it? What the frick? This child.
• 32:01
  They get back in the car, and Sarah pulls up
• 32:03
  to the nursing home as she... Mia lifts up her
• 32:06
  mask and we see now that underneath her mask,
• 32:08
  her nose was just like fucking flowing blood,
• 32:11
  like really bad bloody nose. When they go inside,
• 32:15
  Sarah is chatting with the doctor as Mia colors
• 32:18
  and the doctor is like talking to her about her
• 32:22
  mom and she's like, look, if this is about the
• 32:25
  price increases, you could have just emailed,
• 32:27
  like, I didn't want to come all the way out here
• 32:29
  just for this conversation and... I didn't even
• 32:32
  know that Joan was in this facility until my
• 32:35
  dad died and he like left it in his paperwork
• 32:38
  that she was here. And he says, okay, it's not
• 32:43
  about the price. It's about the fact that your
• 32:44
  mom has severe dementia and she's forgetting
• 32:48
  to wash herself. She's forgetting how to eat.
• 32:51
  Like she has really, really bad dementia and
• 32:54
  she keeps asking for you. And I really think
• 32:55
  that you like need to be more involved because
• 32:57
  her condition is getting significantly worse.
• 33:01
  As they head deeper into the nursing home, we
• 33:03
  see Joan sitting on an armchair, fiddling with
• 33:06
  her hands and fingers. Mia just marches right
• 33:09
  up to Joan and says, hello, to which Joan stretches
• 33:13
  out her arms and says, Alice, and just starts
• 33:17
  crying, like bawling. She says, I've missed you
• 33:19
  so much. And Mia just says, I'm here now. Don't
• 33:23
  be sad. And Joan says, I've missed you so much.
• 33:27
  You belong to me. You belong to me. and Joan
• 33:31
  becomes more agitated as the doctor is trying
• 33:33
  to calm her down and Sarah is like pulling Mia
• 33:36
  away from Joan being like, hell no. And Mia's
• 33:39
  screaming, I don't wanna go. I don't wanna go.
• 33:42
  I wanna stay with Joan. And Joan is just screaming,
• 33:45
  Alice, Alice. And Sarah is fighting Mia, like
• 33:49
  hardcore fighting Mia and pulling her back into
• 33:52
  the car being like, this was a mistake. She's
• 33:54
  trying to put her seatbelt on and she's like
• 33:56
  punching and kicking at Sarah. And she's screaming.
• 34:00
  Kids are, like, surprisingly strong. Oh, they're
• 34:02
  really strong. Like, Harvey's only two, and he
• 34:05
  can, like... Like, when he, like, holds stuff
• 34:08
  or, like, chucks stuff, like, he's strong. Sarah
• 34:12
  yells at her to stop. She's like, stop! And she
• 34:16
  doesn't, and she's, like, trying to get out of
• 34:19
  the car, so her arms are, like, up in the air.
• 34:22
  And Sarah slams the car door shut right on Mia's
• 34:25
  hand. Like... hard on Mia's hand. Oh, no. So
• 34:29
  Mia screams out in pain and agony, and then Sarah
• 34:33
  starts apologizing profusely. I feel like that'd
• 34:36
  be so awful as a parent. There's nothing worse
• 34:38
  than accidentally, like, hurting your child.
• 34:40
  And just, like, the shrill, intense scream of
• 34:44
  a little kid, too, in pain is, like, even if
• 34:47
  you're, like, not into kids, it's just, like,
• 34:48
  a horrifying noise. Yeah. When they pull into
• 34:52
  the house Mia gets out of the car angrily of
• 34:54
  course cuz your mom just fucked her hand in the
• 34:56
  car door and She runs inside and Sarah gets out
• 34:59
  slowly. And what do you think she does Cass?
• 35:02
  She what what does the kid do or what is the
• 35:04
  mama? What does mom do? I think she screams She
• 35:09
  puts her fingers in the car door and slams the
• 35:13
  car door on her fingers to like I don't know
• 35:20
  This family. Yeah. So now she's got a gnarly
• 35:24
  rabbit bite and a fucked up finger's hand. Great.
• 35:31
  The corridor slamming shut transitions to a parent
• 35:35
  and teacher conference at school. The teacher
• 35:37
  is asking how things are at home and how Mia
• 35:40
  is handling the loss of her grandfather. And
• 35:42
  Sarah's like, well, I think... It's going okay,
• 35:46
  but I do worry that she's getting bullied here
• 35:48
  at school. And the teacher's like, I think it's
• 35:50
  something a lot different than that. She then
• 35:53
  hands her a drawing that Sarah did of a creepy
• 35:56
  woman. It is giving Babadook vibes. It's like
• 36:00
  all raggedy, scratched black crayon of like a
• 36:06
  very creepy woman with bright red crayon eyes.
• 36:11
  It kind of looks like the drawings of like Bagul
• 36:13
  from Sinister. Like long stringy black hair and
• 36:16
  like creepy black eye. That's like a classic
• 36:18
  creepy kid activity. Yes, very much so. The scary
• 36:21
  drawings. The teacher says, Mia has been drawing
• 36:23
  them all over all of her papers. I think Mia
• 36:26
  is struggling with anxiety and maybe she needs
• 36:28
  some extra help. And Sarah just says professionally,
• 36:32
  like professional help. Oh, geez. Sarah's a piece
• 36:37
  of work. Yeah, yeah. cut to a gorgeous Australian
• 36:41
  beach. Like not like the beach that we saw Sarah
• 36:43
  wake up on that looked like it was like a nasty
• 36:45
  like swamp marsh. It's like this beach is like
• 36:48
  a gold coast cliffs like gorgeous golden sand
• 36:51
  beach. And Sarah is asking Mia like as she's
• 36:56
  playing in the sand, do you want to talk about
• 36:59
  what's been happening lately? I don't think you've
• 37:00
  been yourself. And Mia just says, I don't think
• 37:03
  I am myself. And the way that she's saying this,
• 37:05
  Mia's way too young to be talking like this.
• 37:07
  Like, Mia is talking like a child when her age
• 37:10
  would not talk, because she's seven. She's not
• 37:14
  talking like seven. And Sarah just goes, well,
• 37:16
  what does that mean, Mia? And she says, don't
• 37:17
  call me that. My name is Alice. Call me Alice.
• 37:21
  And Sarah just looks pissed. She goes, your name
• 37:24
  is Mia. And Mia just says, no, Alice. Does Mia
• 37:28
  know about Alice yet, though? No. Cut it in Mia's
• 37:34
  bed at night. Sarah is reading her bedtime story
• 37:37
  and Sarah flips one of the pages and it's just
• 37:39
  like covered in fucking black crayon. Like it's
• 37:41
  been just defiled with black crayon. And Sarah
• 37:45
  says, Bunny, you can't draw in the library books
• 37:47
  because we have to give them back. They don't
• 37:48
  belong to us. And Mia just burst, I didn't. I
• 37:51
  didn't do it. I didn't draw in the books. And
• 37:53
  Sarah says, you won't get in trouble if you just
• 37:55
  tell me the truth. Just tell me the truth. And
• 37:57
  Mia says, well, I didn't. I didn't do it. I need
• 38:00
  to see Joan. And Sarah says, you haven't even
• 38:04
  met her until yesterday. That was the first time
• 38:06
  you've ever laid eyes on her. She's sick. She
• 38:09
  doesn't know who you are. She doesn't know who
• 38:11
  I am. She probably doesn't even know who she
• 38:13
  is herself. And Mia says, I'm going to see her.
• 38:16
  And Sarah says, no, you're not. As Sarah crawls
• 38:19
  out of the bed, turns off the light, and as she's
• 38:21
  doing this and she shuts the light off, we just
• 38:23
  hear the whisper of, you're not my... I want
• 38:26
  to go home. Oh, no. Later that evening, with
• 38:32
  a glass of wine, mom juice, hey! Sarah calls
• 38:38
  Pete to talk about Mia, but Denise answers. And
• 38:43
  Sarah's like, I just need to run a few things
• 38:45
  past him about Mia, and Denise is like, well,
• 38:47
  I'm always here if you need to talk, which like,
• 38:49
  Denise... Get a life. Yeah, like, I know you
• 38:52
  mean well, but like, I'm sorry. Yeah, no ex wants
• 38:55
  to talk to their current, like, their ex's current
• 38:57
  partner, like, that's just fucking insane. Yeah,
• 38:59
  sorry. And Sarah says, oh, great, thanks, I guess.
• 39:03
  And Denise says, I'm also so sorry about what
• 39:05
  happened with Toby, and I completely understand
• 39:08
  why you lost your temper, everything with the
• 39:10
  loss of your father, and Pete mentioned it might
• 39:13
  have brought up stuff from before. And Sarah
• 39:16
  says, what do you mean? And Denise just says,
• 39:18
  I can't imagine what it must've been like for
• 39:21
  you. And Sarah says, no, Denise, you can't understand.
• 39:25
  And hangs up. Oh, okay. So there's some other
• 39:28
  stuff going on. So we know if you couldn't tell,
• 39:30
  there was some trauma from before. Yeah. When
• 39:34
  she gets off the phone, she walks over to the
• 39:36
  fridge and they're like, magnated all over the
• 39:39
  fridge are her drawings. And so Sarah is like,
• 39:42
  hmm. Kitty. She grabs all the drawings, flips
• 39:47
  them over to see terrifying crayon images drawn
• 39:51
  on all the back of like nice trees with apples
• 39:53
  in them. Now she's getting subtle with the creepy
• 39:58
  drawings. then sees the program for her father's
• 40:06
  funeral that's like magneted the front of the
• 40:08
  fridge which like I know everyone grieves in
• 40:10
  their own way but I do know some people who have
• 40:12
  done that when I've like gone to their house
• 40:13
  they have like they're a bit like the little
• 40:15
  like in loving memory program of their loved
• 40:17
  one on their fridge and I'm like I just like
• 40:20
  don't think I could handle looking at that. I
• 40:21
  feel like that would make me sad. Yeah, yeah,
• 40:24
  yeah. and she goes out into the garage and she
• 40:27
  begins rifling through some of his boxes again,
• 40:29
  but in the dark this time, she doesn't even fucking
• 40:31
  bother to flick on the light. She pulls out one
• 40:34
  of his sweaters and she's like clutching it tight
• 40:37
  and smelling it, and she just whispers over and
• 40:39
  over again, you're a good girl, you're a good
• 40:42
  girl, you're a good girl, as we hear footsteps
• 40:45
  thudding from back in the house, like someone's
• 40:47
  running around barefoot in the house, which is
• 40:49
  the scariest way to run. Barefoot? No, thank
• 40:52
  you. Sarah goes to investigate and she sees the
• 40:55
  bunny hopping around. So she's like, must've
• 40:58
  been the bunny running around with bare feet.
• 41:00
  I don't think that's how it works, Sarah. Yeah.
• 41:03
  She brushes it off, goes back to the boxes in
• 41:05
  the garages and looks through more photo albums,
• 41:07
  seeing the picture of the two young girls again
• 41:09
  from before. The next morning when Sarah is finally
• 41:13
  able to get a hold of Peach, she yells at him
• 41:15
  for sharing her medical history, essentially,
• 41:18
  with Denise. HIPAA violation. HIPAA. HIPAA. Hardly
• 41:23
  know her. That wasn't a thing. And he says, he's
• 41:27
  like, I just thought it was important she know.
• 41:29
  She is a social worker, you know. She understands
• 41:31
  trauma. She might be able to help. And Sarah
• 41:33
  just goes, she doesn't understand anything. And
• 41:35
  this has nothing to do with her. So don't fucking
• 41:37
  tell her my business, which is true. Yeah. Also,
• 41:42
  it's so funny to me that we're like, when people
• 41:45
  are like, oh, they're a therapist, I like...
• 41:48
  have people in my life that I know that are therapists,
• 41:51
  and I'm like, I would never in a million years
• 41:54
  ask them for advice. Well, it seems like kind
• 41:56
  of a violation of, like, their, like, not their,
• 42:00
  like, oath, but, like, I have friends who are,
• 42:02
  like, psychologists or, like, licensed social
• 42:05
  workers and stuff, too, and they, like, never
• 42:07
  solicit advice, and I would never want to ask
• 42:09
  them for advice. Well, no, what I mean is, like,
• 42:13
  therapists are just as fucked up as we are. Just
• 42:15
  because their job is to be a therapist, like...
• 42:17
  I don't want advice from people in my life who
• 42:19
  I'm like, I know you, I would never take advice
• 42:22
  from you. And it's shocking to me that people
• 42:23
  pay you to do this. Yeah, that's true. I do think,
• 42:28
  though, like in the ex -husband's defense, like,
• 42:31
  if you have an ex -wife and you're, like, talking
• 42:34
  to your partner and there's, like, situations
• 42:35
  that happen, I feel like I would definitely tell
• 42:37
  them, like, there's some stuff that went on in
• 42:39
  her past. You know what I mean? Like, it's not
• 42:41
  out of line. Yep. I get it. Because if you don't
• 42:45
  explicitly tell me, do not tell anyone this,
• 42:48
  I'm telling... I'm telling. You heard it here.
• 42:51
  Don't tell Maggie something that you don't want
• 42:54
  everyone else to know unless you say, don't tell
• 42:56
  anyone else. Well, that's the thing is like,
• 42:58
  James is always like, you're not good at keeping
• 43:00
  secrets. And I'm like, no, I'm great at keeping
• 43:01
  secrets if you tell me that I can't tell anyone.
• 43:03
  You kept a secret for me for like years and years
• 43:06
  and years. And I only talked about it after it
• 43:08
  had been found out. So like... I'm good at keeping
• 43:11
  secrets. If you tell me, you can't tell anyone.
• 43:13
  Otherwise, it's like, if it's just like, guess
• 43:15
  what I did? And you tell me like a little juicy
• 43:17
  tea, like, girl, I'm telling everyone, because
• 43:20
  you didn't tell me not to tell anybody. Well,
• 43:22
  anyway, I just want to say that the thing that
• 43:24
  you kept a secret on was not something horrible
• 43:26
  and awful. It was just that I ran into a mailbox,
• 43:28
  our mailbox with my car. And so the mirror came
• 43:32
  off and I glued it back on. This was when I was
• 43:34
  like 16. So don't judge me, people. He says,
• 43:38
  okay, I'm sorry. I told her, how is Mia doing?
• 43:41
  And Sarah's like, she's fine. And he says, well,
• 43:42
  what's going on? And Sarah's like, she wants
• 43:45
  to see Joan again. And she's like crying to him.
• 43:48
  And she's like being like, no, Pete, I don't
• 43:51
  want to do it. I don't want to do it. And he's
• 43:53
  like, girl, let her have a relationship with
• 43:55
  her motherfucking grandma. Like, her grandpa
• 43:58
  just died. Like, let her be in her grandma's
• 44:01
  life. We're back in the car again, driving through
• 44:04
  the countryside and... Sarah, Mia, and the white
• 44:09
  rabbit in the cage, you know, the Holy Trinity,
• 44:12
  are driving. And Mia asks, can people come back
• 44:15
  from where they die? And Sarah just says, no,
• 44:18
  Bunny. And Mia says, Grandpa wanted to come back
• 44:21
  as a pelican. And Sarah said, really? I didn't
• 44:23
  know that. And Mia says, it was our little secret,
• 44:26
  me and Grandpa. He told me he wanted to keep
• 44:28
  an eye on you. What? Yeah, so creep alert, creepy
• 44:33
  vibes alert. I don't like it. They drive up to
• 44:36
  an old house on a marsh river lake. Kind of similar
• 44:41
  to the one before. And Mia just says, does Joan
• 44:45
  live here? And Sarah says, no, this is where
• 44:47
  I lived when I was little. So like, yes, bitch,
• 44:50
  Joan used to live there because she's your mom.
• 44:53
  And they get out of the car and Mia runs straight
• 44:55
  inside of the house. And Sarah walks over to
• 44:57
  a raised bank over the water. It's kind of hard
• 45:00
  to describe. It's a cliff. It's a cliff. She
• 45:05
  looks out over the land tensely, just like pondering
• 45:08
  this obvious childhood trauma that she has that
• 45:11
  we haven't learned quite enough about yet. And
• 45:14
  on the banks way down below, she sees a girl
• 45:17
  wandering around, like a little girl. And she
• 45:20
  looks down in confusion like, why would that
• 45:22
  little girl be walking around down here? But
• 45:24
  Mia startles her out of her gaze and just yells,
• 45:28
  it's open, there was a key under the plant. And
• 45:32
  so Sarah goes inside the house and inside the
• 45:35
  house. It looks normal. We see a picture of Sarah's
• 45:37
  family. It's two girls, the ones from the picture,
• 45:40
  and their parents. So we know this is Sarah and
• 45:44
  Alice and their parents. So Mia yells, I'm going
• 45:48
  to sleep in here. And when Sarah goes over to
• 45:50
  the room where Mia's saying she's going to sleep,
• 45:54
  she says, Mia says, look, it's me and points
• 45:57
  to a picture of a young girl, Alice. on the nightstand.
• 46:01
  So it's just like the behavior of Mia being like,
• 46:05
  I am this dead person. Like, I don't know. It's
• 46:09
  a lot. Well, and if you thought, well, I guess
• 46:12
  we haven't found out. But like in the trailer,
• 46:15
  we find out that she died, like Alice died when
• 46:17
  she was little, right? She went missing. Oh,
• 46:21
  she went missing. So like, I guess I was going
• 46:23
  to say, because like in my mind, I keep thinking
• 46:25
  like Alice was an adult. when that happened.
• 46:28
  So I'm like, why is she talking like a baby?
• 46:30
  Why would she talk like a seven -year -old? But
• 46:32
  that makes more sense now. Sarah's like, that's
• 46:35
  not you. Get out of here. I don't want you in
• 46:37
  this room. And when Mia pouts, why not? Sarah
• 46:42
  just says, because I don't. So out now. She then
• 46:45
  grabs Mia by the arm and drags her out, literally
• 46:48
  kicking and screaming. Oh, jeez. And Mia just
• 46:52
  looks at her and says, you're a terrible person.
• 46:55
  and walks away, like stomps off. Oh, my gosh.
• 46:58
  So night falls on the house. I am dreading the
• 47:02
  first time that Harvey ever tells me he hates
• 47:04
  me, because I know it's gonna happen. It's gonna
• 47:07
  be devastating. Every kid does it, yeah. I was
• 47:09
  trying to think back. I don't know if I ever
• 47:11
  had a moment where I said I hate you to Mom and
• 47:14
  Dad's face. Did you, Cassie? I probably did,
• 47:17
  but I don't remember it. I'm sure they remember
• 47:19
  it, but I was kind of a... I don't want to say
• 47:23
  troubled youth, because I wasn't, but I was a
• 47:25
  little bit of a brat sometimes. I was thinking
• 47:29
  about that, Cassie. Actually, I didn't call you...
• 47:32
  I wasn't thinking that you were a brat growing
• 47:34
  up. I just, when I was watching this movie, was
• 47:36
  thinking about how you were a very emotional
• 47:38
  child. I was going to say, I just had a lot of
• 47:40
  feelings. I just had a lot of feelings, guys.
• 47:46
  So, night falls on the house and Mia is coloring
• 47:48
  at the dining room table in, you guessed it,
• 47:53
  the rabbit mask. Oh, in the rabbit mask. No,
• 47:56
  she's actually using colored pencil, like a sophisticated
• 47:58
  lady. And Sarah asks, what is she drawing? And
• 48:05
  she says, it's for Joan. And then Sarah's like,
• 48:08
  oh, God. this again. And Mia asks, so you lived
• 48:12
  here? And Sarah says, yes, before grandpa and
• 48:14
  I moved into the city together. And Mia asked
• 48:16
  why they moved away. And Sarah just stutters
• 48:19
  that she doesn't like to talk about it because
• 48:20
  it makes me sad. And Mia asked why? And she says,
• 48:24
  I just don't want to talk about it, Mia. And
• 48:27
  Mia just says, I'm Alice. My name is Alice. And
• 48:32
  Sarah's like, has someone talked to you? Has
• 48:34
  someone told you something, Denise or your dad?
• 48:36
  Has someone said something to you about Alice?
• 48:38
  And Mia just says, well, I am Alice. And Sarah's
• 48:42
  on the verge of tears. You can tell she's at
• 48:44
  her wit's end. And she says, this isn't a game.
• 48:47
  You need to tell me if someone has told you something
• 48:48
  they shouldn't have. And Mia gets very annoyed
• 48:51
  at this and just says, No one told me to say
• 48:53
  anything. No one ever tells me anything, which
• 48:56
  like I really related to me on this moment. I
• 48:58
  remember feeling that a lot as a child where
• 49:00
  you just feel like nobody tells you anything
• 49:01
  because you're a kid and you can't like handle
• 49:04
  it. Yeah. And it's really fucking annoying. But
• 49:07
  also like you can't handle it because you're
• 49:09
  a kid. Yeah, that's true. Like you think you're
• 49:11
  a grown up and you're like, no one understands
• 49:14
  me. Yeah, yeah, yeah. Seven may be a little young
• 49:18
  to be feeling this way, but I do get what she's
• 49:20
  saying. Like, I always remember having a lot
• 49:22
  of disdain for the kids' table at, like, family
• 49:26
  Christmases and stuff when we would do our extended
• 49:27
  family Christmases. I, like, thought I was, like,
• 49:30
  it was disrespectful that they made all of us,
• 49:33
  like, sit at a table. But then when I got a little
• 49:35
  bit older, I was like, I don't want to sit with
• 49:37
  those fucking old curmudgeons. Like, this is
• 49:39
  way more fun. I was gonna say, when I moved to
• 49:40
  the adult table, it kind of sucks. Like, I...
• 49:43
  The vibes at the adult table suck. The vibes
• 49:47
  are not good over there. The kids' table is where
• 49:49
  it's at. The kids' table was hip happening. It
• 49:51
  was where all the fun was being had. It was where
• 49:53
  the shenanigans were getting up to. We were,
• 49:55
  like, doing the spy cam and, like, being, like,
• 49:58
  shoveling M &Ms into our pants and stuff. Oh,
• 50:00
  yeah. Yeah. Sarah then says, I had a sister and
• 50:04
  her name was Alice. And this makes me pause and
• 50:07
  take off her mask, because this is the first
• 50:09
  time that Sarah has even said that Alice was
• 50:10
  a real person. Mm -hmm. And Mia asks, where is
• 50:14
  she? And Sarah says she went missing a long time
• 50:16
  ago when she was seven. And Mia just says, well,
• 50:19
  I'm back. I'm your sister. I'm Alice, because
• 50:22
  I'm seven. And Sarah just says, stop it. And
• 50:25
  she yells back, I'm Alice. I'm Alice. I'm Alice.
• 50:28
  And it gets increasingly louder. She then runs
• 50:30
  into her bedroom, hides under their covers. And
• 50:32
  we see, when Sarah chases her into the room,
• 50:35
  all the covers are soaked in blood. Oh. But the
• 50:39
  only reason they are is because Mia has again
• 50:41
  another torrential nosebleed. Oh. So after Mia
• 50:46
  has fallen asleep, Sarah goes into the dining
• 50:48
  room to clean up Mia's drying supplies and she
• 50:50
  looks down and she sees her hands are covered
• 50:52
  in blood, but just for a second, because it disappears
• 50:55
  after like a second when she looks away. And
• 50:58
  now she only sees her janky rabbit bite. Cassie,
• 51:02
  vibe check. What are we feeling here? Like, what
• 51:04
  do you think is going on? I just... So I think
• 51:08
  that Mia's possessed. I don't know how she got
• 51:13
  possessed, like what triggered it, but I think
• 51:15
  she's possessed. And she's pissed at Alice, or
• 51:20
  she's pissed at the mom for something, Sarah.
• 51:24
  But I do think, like, everyone needs to go to
• 51:28
  therapy in this group. I thought you were gonna
• 51:30
  say everyone needs to chill, which is also true.
• 51:32
  Well, they do, but, like, there's... there's
• 51:35
  clearly a lot going on and like you need to talk
• 51:37
  to someone in your life about this or at the
• 51:39
  at the least like talk to a friend and be like
• 51:41
  what should I do like especially because she's
• 51:44
  a doctor she's a doctor so she should be like
• 51:47
  a little more open I know it's not the same type
• 51:49
  of medicine but she should be like a little more
• 51:51
  open to I don't know yeah the medicine of the
• 51:55
  mind yeah they head back to the nursing home
• 51:58
  and Joan goes Mia Sarah she's like more with
• 52:01
  it this time And Joan asks how her father's doing.
• 52:07
  And Sarah's like, oh, he died. And Joan goes,
• 52:11
  oh, yes, I remember that. And Mia says, do you
• 52:13
  remember me? And Joan just says, of course I
• 52:16
  do. I've wanted to meet you for your entire life,
• 52:18
  Mia. So she like knows now this is not Alice,
• 52:21
  this is Mia. And Mia, though, how do you think
• 52:24
  she's going to respond to this? She's like, oh,
• 52:27
  well. Cassie, it's like you wrote this movie.
• 52:32
  She says, my name is Alice. You called me Alice
• 52:35
  yesterday. You know I'm Alice. And Joan starts
• 52:37
  getting confused because girl, mama, she got
• 52:40
  dementia. And Mia gets more angry. Sarah is saying,
• 52:44
  OK, this was just a bad idea again. And come
• 52:47
  on, Mia. As Mia turns around and slaps Sarah
• 52:50
  smack across the face so satisfying and just
• 52:53
  screamed, I hate you. Really, really good. They
• 52:59
  head back to the tall riverbank cliff, and Sarah
• 53:05
  says, I want to show you something. And they
• 53:06
  head to this weird, large stone tower. I'm assuming
• 53:09
  it's a fire tower. I don't know what the fuck
• 53:10
  it is. Australia, y 'all are weird. We're like
• 53:13
  a lighthouse? But we love you. No, because it's
• 53:16
  like on a desert, kind of. Oh. It's very dry,
• 53:22
  except for this nasty brown river that's probably
• 53:24
  full of snakes and other scary things. They look
• 53:29
  at the large stone tower and it's about three
• 53:33
  stories. I put that in my notes. Don't know why
• 53:35
  that's relevant. It has a black front that says
• 53:38
  Alice went missing 1996 and like a few other
• 53:42
  things like in loving memory, whatever the fuck.
• 53:44
  So later that evening Mia says, can you tell
• 53:47
  me about her? And Sarah just says she was very
• 53:49
  pretty. She had dark hair and freckles. We fought
• 53:52
  a lot just like sisters always do. She liked
• 53:55
  animals and she'd find them out in the wild and
• 53:57
  bring them home. And Mia's like, like rabbits?
• 54:01
  And Sarah says, no, no rabbits. Dogs and birds
• 54:04
  though. Rabbits were actually considered pests
• 54:05
  on the farm. So we had to trap them and get rid
• 54:08
  of them, me and grandpa. And Mia says, did you
• 54:12
  play games like chase? which I'm assuming is
• 54:15
  tag, and hide and seek. And Sarah just goes,
• 54:19
  mm -hmm. Just then the lights begin to flicker
• 54:22
  and Mia says, no, I don't like hide and seek.
• 54:25
  You don't look for me. You don't like me. You
• 54:27
  don't look for me and you don't like me. You
• 54:29
  make me hide all day. You lock me in. I hate
• 54:33
  you. I hate you. And then she runs off. So Sarah
• 54:37
  chases after her and Mia locks herself again
• 54:39
  in Alice's room. And then... Mia slides the picture
• 54:43
  of the two girls under the door, but she's completely
• 54:46
  scratched out Sarah's face. So it's, like, just
• 54:48
  a picture of Alice now. Do you think that Sarah,
• 54:51
  like, killed Alice in some way? Well, I shouldn't
• 54:55
  ask you that, but now I'm getting the vibe. Like,
• 54:56
  why is Alice so pissed at her? You know what
• 54:58
  I mean? Like, it just, it's very strange. Mia's
• 55:02
  the one who crossed out Sarah's face. I know,
• 55:04
  but Mia is Alice! Yeah, yeah, yeah. Um... So
• 55:09
  later she calls Pete and she gets his voicemail
• 55:12
  and she says, Mia knows about Alice and for some
• 55:15
  reason is like pretending to be here. So can
• 55:16
  you like please call me back and help me figure
• 55:18
  this out? Because like you're her dad. And that's
• 55:20
  like pretty much how she says it. And it it was
• 55:23
  really funny because it sounds like something
• 55:25
  I would have done to James when if Harvey was
• 55:27
  acting up, I'd be like, can you come get your
• 55:28
  kid? Like, I can't do this. She said, I don't
• 55:32
  feel good about this, Pete. And you could tell
• 55:34
  she's getting like very scared because remember
• 55:36
  he told her. Let me know if you're ever not good,
• 55:40
  quote unquote. Yeah. We then get a jump scare
• 55:43
  of a hand on her shoulder and a whisper of guess
• 55:46
  who again. But when she turns around, no one
• 55:48
  is there. Then she faces forward again and Mia's
• 55:51
  standing in front of her now. So it was like
• 55:53
  a double jump scare. So like she turned around,
• 55:55
  nothing there. She turned forward. Mia's there.
• 55:57
  Yep. They got me good. Sarah says, what are you
• 56:00
  wearing? And Mia says, it's mine. And it's like
• 56:03
  a nasty old nightgown. It's like the nastiest.
• 56:08
  Imagine a nightgown, but now imagine it from
• 56:11
  the 60s or 70s. Imagine it covered in dirt and
• 56:16
  grime from an Australian farmhouse. Are we all
• 56:19
  there? Are we all there in the picture? Because
• 56:21
  that's what this bitch was wearing. Well, and
• 56:23
  if she's like quote unquote Alice, who went missing
• 56:25
  in 1996. We didn't wear nightgowns like that
• 56:29
  in 1996. They did on the Australian farms, let
• 56:32
  me tell you, apparently. So Sarah rushes to Alice's
• 56:35
  room and we see that all of her toys and like
• 56:38
  things are out of the dressers and stuff and
• 56:40
  like around the room, like Mia had been playing
• 56:41
  with them and using them and stuff. And Sarah
• 56:44
  tucks her into bed and says, go to sleep. Literally
• 56:47
  like that, very frustratedly. She just says,
• 56:49
  go to sleep. And she shuts the door. She then
• 56:52
  goes out into the house. She takes all of the
• 56:55
  pictures off the wall. Any picture that Alice
• 56:57
  is in, she takes off the wall. She puts them
• 56:59
  in a box. And then what does she do? She brings
• 57:01
  them out to the old creepy shed full of hooks
• 57:04
  and chains and rusty metal and weird creepy tools
• 57:07
  and fluorescent lights as all Australian homes,
• 57:10
  again, apparently have because it's in every
• 57:12
  fucking Australian horror movie. Just rusty metal
• 57:16
  as far as the eye can see. I hope they all are
• 57:19
  up to date on their vaccinations. Yeah, they
• 57:21
  got to get a tetanus every five years instead
• 57:22
  of every ten because it's just like so much rusty
• 57:25
  metal there, you know? Yeah. And she sets the
• 57:27
  box inside and then we hear a door creak in the
• 57:30
  shadows. We can't see the door in the shadows.
• 57:33
  It's just blackness, but we can hear like the
• 57:35
  rusty hinges. And we hear whimpering coming from
• 57:40
  the darkness. It's like... And as Sarah approaches
• 57:44
  it cautiously, we hear off -screen... Guess who?
• 57:48
  As Sarah just goes, and gasps and the screen
• 57:51
  cuts to black. No. But Sarah's fine. Guess what?
• 57:57
  It was a dream. No. Well, maybe. I don't know.
• 58:01
  It just cuts to the next morning. She's just
• 58:03
  like getting dressed for the day. So maybe it
• 58:05
  was a dream. But it was just really weird because...
• 58:08
  they, I don't know why they chose to like show
• 58:11
  her walking off screen and like going into this
• 58:13
  darkness and then like you don't see anything,
• 58:16
  you just fit. Yeah, like there's no payoff from
• 58:17
  it. Yeah, it was like, oh, interesting choice.
• 58:20
  Sarah at the nursing home, that's where she's
• 58:22
  going, tells her mom she wants to sell the house
• 58:24
  to help pay for her care. And Joan just says,
• 58:26
  don't sell the house, I'm going back there once
• 58:28
  I'm better. And Sarah's like, girl, you ain't
• 58:31
  going back. Like you got dementia real bad, mama.
• 58:34
  Yeah. And Joan is just like, well, It's her home.
• 58:38
  I need to be there in case she comes back, implying,
• 58:41
  like, Alice is going to come back and she's going
• 58:43
  to want her home to come back to. And Sarah just
• 58:46
  goes, you've wasted your whole life looking for
• 58:48
  her. She's not coming back. Joan then grabs her
• 58:52
  arm aggressively and says, you're a nasty little
• 58:54
  thing. I should have never left her with you.
• 58:57
  Which, like, nasty little thing is, like, kind
• 59:00
  of the worst insult I feel like you could get
• 59:01
  from your mom. Like, I'd rather my mom called
• 59:04
  me a little bitch or like a little brat than
• 59:06
  like a nasty little thing. I don't know. That
• 59:09
  really comes before Sarah. Because it turns you
• 59:10
  into just like this object that's like a nuisance
• 59:12
  kind of thing. Yeah. I don't know. There's something
• 59:15
  about it that's a little more sharp. Yeah. Sarah
• 59:19
  runs out crying and heads back to the house only
• 59:22
  to see the front door is open because she left
• 59:26
  her seven -year -old daughter unattended in a
• 59:29
  home that looked... Like, no one should be there
• 59:31
  really at all. It's, like, old and gross. And
• 59:33
  on a cliff bank, like, I don't know what she
• 59:37
  was thinking. Uh, and... We actually, me and
• 59:42
  James just had this conversation this week because
• 59:45
  we were talking about how old kids are when you
• 59:47
  can, like, leave them home alone, slash how old
• 59:50
  kids have to be to babysit. Because we have so
• 59:52
  many kids in our new neighborhood. And he's like,
• 59:54
  I hope we can start, like, having to babysit
• 59:56
  soon. And I was like, I think, like, 12? I think,
• 1:00:00
  like, kids can babysit at, like, 12. I think
• 1:00:02
  it depends partially on the age of the child
• 1:00:05
  they're babysitting. No, I know, but I'm like...
• 1:00:08
  But I would say, like, 13. Just keep them alive.
• 1:00:12
  Um, she calls out to Mia, and she goes inside,
• 1:00:15
  and all of the pictures are back in the house.
• 1:00:19
  No. So, from the box that she put away, they're
• 1:00:20
  all hanging back in their place again. When she
• 1:00:23
  can't find her inside, she walks around the property
• 1:00:25
  and the riverbank cliff calling out for her.
• 1:00:28
  She's looking over the cliff, doesn't see anything.
• 1:00:30
  She goes down towards the river, down some rocky
• 1:00:33
  paths. She's still yelling her name and she trips
• 1:00:36
  toward a wooded brush tunnel. And when Mia appears,
• 1:00:41
  seemingly out of nowhere, she looms over Sarah
• 1:00:45
  who's on the ground freaking out because she
• 1:00:47
  thought her child was dead. And she just goes,
• 1:00:48
  found you. But for a split second, when Sarah
• 1:00:51
  looks up, she sees the face of Alice, not Mia.
• 1:00:54
  But then it goes back to Mia. So back inside,
• 1:00:57
  Sarah scolds Mia, and she accuses her of putting
• 1:01:00
  the pictures back up and hiding in the shed last
• 1:01:02
  night when she was getting, you know, creepy
• 1:01:04
  tetanus. And Mia says, I didn't do any of that.
• 1:01:07
  Like, quit accusing me of things I didn't do.
• 1:01:09
  But I am pretending to be your dead sister. That
• 1:01:11
  I am pretending to do. But that other weird stuff,
• 1:01:14
  I'm not doing that, girl. Like, come on. And
• 1:01:17
  Sarah says, well, pack all your stuff. We're
• 1:01:18
  going home tomorrow. And Mia just says, this
• 1:01:20
  is our home. And Sarah says, I need to have a
• 1:01:25
  shower. Stay inside. It's like, you know she's
• 1:01:28
  not going to stay inside. So when she comes out
• 1:01:30
  of the shower, Mia's asleep on the bed. So I
• 1:01:33
  guess she did stay inside. But Sarah lays down
• 1:01:36
  next to her and puts her arm around her and just
• 1:01:38
  softly says, I'm so sorry, bunny. I didn't mean
• 1:01:40
  to yell. The next morning, we see Sarah running
• 1:01:45
  barefoot. through the dirt as her father is calling
• 1:01:48
  out to her. And he's approaching her being like,
• 1:01:50
  where's Alice? Where's Alice? And we hear Mia
• 1:01:54
  scream, which jolts Sarah away from her dream,
• 1:01:58
  because that was clearly a dream, imagining her
• 1:02:00
  dead father. Mia screaming in real life is having
• 1:02:04
  a night terror. And when Sarah runs in to comfort
• 1:02:06
  her, Mia's head is bleeding like crazy. It looks
• 1:02:09
  like someone bashed her over the head. Oh, Jesus.
• 1:02:13
  and Sarah's like trying to look at the wound
• 1:02:15
  and Mia's like, stop, stop, and is like pushing
• 1:02:17
  her away. And Sarah runs off screen to grab something.
• 1:02:21
  Cassie, what do you think she's gonna grab? I
• 1:02:23
  would hope like a towel or something. Um, how
• 1:02:27
  about a pair of rusty... nasty scissors like
• 1:02:30
  the ones from Hercules when they cut the strand
• 1:02:32
  of hair and they're like seven inches long. Oh,
• 1:02:35
  it's like on the jagged edges. Yep, that's what
• 1:02:37
  she grabs. Yep, does that sound like a good tool
• 1:02:40
  to implement on a head wound? What would you
• 1:02:43
  do with that? How would a scissor help? Well,
• 1:02:45
  this is her strategy, Mother of the Year Award.
• 1:02:48
  Look, I know I'm not out here winning any Mother
• 1:02:50
  of the Year Awards, but I know I at least got
• 1:02:52
  this bitch beat. She wants to cut off Mia's hair
• 1:02:55
  to examine where the wound is. I'm like, that
• 1:03:00
  is the last thing I would do. This woman needs
• 1:03:04
  so much help. She needs some serious help. Yeah,
• 1:03:07
  she's not okay. And she needs Denise's help,
• 1:03:11
  apparently. And she's, like, cutting at Mia's
• 1:03:14
  hair, and Mia's, like, fighting her off. And
• 1:03:15
  she's, like, saying, like, I need to see what's
• 1:03:17
  under there. I need to see where you're hurt.
• 1:03:19
  And Mia is finally able to fight her off. And
• 1:03:21
  when we pull back, we see... Mia's arms are covered
• 1:03:25
  in defensive wounds from the janky scissors and
• 1:03:28
  she has no scratches on her head at all. Her
• 1:03:30
  head was never bleeding. So her mom just attacked
• 1:03:33
  her with scissors for no reason. Oh my gosh.
• 1:03:37
  CPS needs to get involved now. CPS? Pete? Call
• 1:03:40
  Denise. Next morning, Sarah is watching Mia sleep.
• 1:03:44
  There are so many cut to blacks, like fade to
• 1:03:47
  blacks and fade back ends. It's insane. Like,
• 1:03:50
  they could have put this shit in PowerPoint and
• 1:03:52
  done a transition. Maybe it was like a made -for
• 1:03:55
  -TV movie. It wasn't. Maybe, but I don't think
• 1:04:01
  so. Because it premiered at Sundance. I don't
• 1:04:04
  think made -for -TV movies get... You don't think
• 1:04:07
  so? I don't know. Sarah gets up when she hears
• 1:04:13
  loud banging coming from outside. And she sees
• 1:04:17
  it's the shed of the door banging open and closed.
• 1:04:20
  Remember the creepy tetanus shed? And she goes
• 1:04:22
  out into the shed. Each time it bangs, she like
• 1:04:24
  startles a little bit, she like jumps. She goes
• 1:04:27
  to the back of the shed as she did before, but
• 1:04:29
  this time we can see it. And it's illuminated
• 1:04:31
  by the daylight. And we can see it's a giant
• 1:04:33
  rusty, of course, metal door with a lock. And
• 1:04:37
  Sarah grabs the key from the top of the door
• 1:04:40
  frame, which... classic hiding spot, and she
• 1:04:44
  unlocks the door, and like a spider monkey, a
• 1:04:48
  young Alice jumps out and attacks Sarah, yelling,
• 1:04:53
  you locked me in, you locked me in, and chokes
• 1:04:55
  Sarah out. Before, Sarah does the classic bit
• 1:04:59
  where she's struggling and her fingertips are
• 1:05:01
  brushing up against shit that she's trying to
• 1:05:03
  reach that are just out of her grasp, but she's
• 1:05:06
  able to grab a rabbit trap. and hit Alice over
• 1:05:10
  the head with it. Guess what, Cassie? She didn't
• 1:05:13
  hit Alice. Oh, she hit Mia? She hit Mia. Oh,
• 1:05:16
  Jesus. Ooh -wee. I hate when stuff is like...
• 1:05:21
  Pretend. When you can't trust the narrator anymore.
• 1:05:24
  Yes. It's just so frustrating. It's definitely
• 1:05:27
  hard to pull those movies off, at least to pull
• 1:05:30
  them off well. That's for sure. Well, because
• 1:05:32
  it's like, it kind of I feel like alienates the
• 1:05:34
  viewer, right? It's like, fool me once, shame
• 1:05:36
  on you, fool me twice, shame on me. Yeah, that's
• 1:05:40
  the thing. It's like, if you're watching a movie
• 1:05:41
  where nothing can be real, there's really no
• 1:05:44
  stakes because you're like, well, none of this
• 1:05:46
  is real. So like, why would I get invested or
• 1:05:49
  care or whatever? Yeah, it's like when movies
• 1:05:52
  have like eight times where somebody has a scary
• 1:05:54
  dream. It's like, you can only use that like
• 1:05:56
  once. So you mean this movie? Yeah. Yeah. We
• 1:06:01
  see after she hits Mia, Mia runs into her room
• 1:06:04
  inside and locks the door, obviously, because
• 1:06:06
  her mom just fucking attacked her. Hit her with
• 1:06:10
  a rabbit trap. Yeah, and we see that all of the
• 1:06:12
  pictures that were on the wall, taken off the
• 1:06:15
  wall, then put back on the wall, are like destroyed.
• 1:06:18
  They're like all over the floor of the house.
• 1:06:19
  There's broken glass and broken frames everywhere.
• 1:06:22
  And we get a flashback now to young Sarah chasing
• 1:06:26
  after Alice with the rabbit trap in hand. before
• 1:06:30
  Alice stops on the cliff's edge that we've seen
• 1:06:33
  so many times. Her head is gushing blood. Her
• 1:06:35
  eye is full of blood as well, like completely
• 1:06:38
  red on one side, before she starts screaming
• 1:06:41
  for her mom and dad. And adult Sarah now just
• 1:06:44
  pushes her off the cliff's edge to get her to
• 1:06:47
  stop screaming. So we see now that Sarah is drawing
• 1:06:53
  in black crayon. She's like she woke up from
• 1:06:56
  a stupor. because she just keeps having these,
• 1:07:00
  like, in -and -outs of consciousness, kind of,
• 1:07:03
  it seems like. And she had draw... drew? She
• 1:07:07
  had drew, drawn black crayons all over the floor.
• 1:07:12
  Looking a lot like the ones Mio was accused of
• 1:07:15
  drawing. Jeez, Alice. Well, she was the one drawing
• 1:07:21
  the creepy pictures. Yeah, she's blaming Mio
• 1:07:25
  on being creepy, but she's the one just being
• 1:07:27
  creepy in her head. You know what I mean? Well,
• 1:07:29
  I don't know. I think Mia is being weird. You
• 1:07:31
  do think Mia is being creepy? I think that Mia's
• 1:07:33
  not 100%. I think Mia's like 1 % at fault of
• 1:07:36
  this entire equation. But maybe Sarah's just
• 1:07:38
  delusionalizing it. She could be just imagining
• 1:07:40
  it. We'll never know. Spoiler alert, you won't
• 1:07:43
  find out. So she's awoken from her crayon drawing
• 1:07:47
  from her arts and crafts time by Pete banging
• 1:07:51
  on the door. She runs to it, she lets him in,
• 1:07:53
  and he just yells, why haven't you been answering
• 1:07:55
  the phone? Where's Mia? And Sarah just shutters
• 1:07:57
  as she says, she's in there. And Pete eventually
• 1:08:00
  gets the room open, but the window is also ajar,
• 1:08:03
  and Mia's gone. She got out. So they begin running
• 1:08:06
  outside looking for her. They're calling out
• 1:08:08
  her name. Pete is yelling, it's Dad Bunny. It's
• 1:08:11
  Dad Bunny. Stop calling her Bunny. I don't like
• 1:08:13
  that name. I know. It's because we have to fucking
• 1:08:15
  really nail you over the head with the rabbit
• 1:08:17
  shit. And they go down to the water and... Sarah
• 1:08:21
  sees Rippling in the water, so she jumps in,
• 1:08:24
  assuming, like, Mia is drowning, and we get an
• 1:08:26
  underwater sequence of a young Alice, like, sinking
• 1:08:30
  down into the water, just as Pete has to pull
• 1:08:34
  Sarah out because Sarah was, like, on the verge
• 1:08:36
  of drowning. Mm -hmm. And we see that Mia is
• 1:08:39
  hiding in the entrance of a little brush tunnel,
• 1:08:41
  like a little rabbit hole, as Pete and Sarah
• 1:08:44
  just embrace her and cry and she just like looks
• 1:08:47
  emotionless, like she looks completely dead inside.
• 1:08:51
  We get another fade out. Jesus Christ, take a
• 1:08:53
  shot every time there's a fade out. As Sarah
• 1:08:55
  goes back to the nursing home where Joan is asleep,
• 1:08:58
  Sarah sits next to the bed and Joan whispers,
• 1:09:01
  did you find her? And Sarah just says, yes, Alice
• 1:09:04
  is dead. Joan goes, no, I don't think so. Just
• 1:09:10
  then, a worker comes by and says, you're not
• 1:09:12
  allowed to be in here, and we cut to black again.
• 1:09:15
  Fade back in. We see that Pete and Mia are...
• 1:09:17
  That was such a short scene. Literally the most
• 1:09:20
  unnecessary, stupid thing. I shouldn't have even
• 1:09:22
  put it in here, but you just need to know the
• 1:09:24
  vibes. We see Pete and Mia are both asleep. Sarah
• 1:09:27
  climbs into bed yet again with Mia, and she's
• 1:09:30
  crying, and she says, I'm sorry for the things
• 1:09:32
  I did to you. And this time, we hear Alice's
• 1:09:36
  voice. And what did you do? And Sarah says, I
• 1:09:39
  hurt you. And Alice says, what else? And Sarah
• 1:09:43
  says, I told mom you ran away. And Alice asks,
• 1:09:47
  why? And Sarah says, because I didn't want her
• 1:09:50
  tell her the truth. And Alice just says, you're
• 1:09:53
  a monster. To which Sarah responds, I'm a monster.
• 1:09:58
  And the next morning when Sarah wakes up, Mia
• 1:10:01
  is gone again. These people need to fucking deadbolt.
• 1:10:05
  padlock the inside of the house. Or put some
• 1:10:07
  cameras up or something. It's present day, right?
• 1:10:11
  Mia is gone again. They don't believe in that
• 1:10:14
  in Australia. Mia is gone again while Pete is
• 1:10:16
  asleep in the bed and we see outside Mia and
• 1:10:20
  Alice walking hand in hand towards the cliff's
• 1:10:23
  edge as Sarah bangs on the glass but it's all
• 1:10:27
  muted and muffled so you can't hear anything.
• 1:10:31
  Alice and Mia turn around to see her banging
• 1:10:34
  and then turn back and keep walking. And that's
• 1:10:38
  the end. Wait, what? No. Yeah, that's the end.
• 1:10:45
  OK, let's get this over with. We didn't get any
• 1:10:49
  answers. Patrons, we've had a really long run,
• 1:10:52
  OK? We've had a really long run. We were really
• 1:10:54
  in our honeymoon phase there for the first year.
• 1:10:57
  I'm officially mad at you. We are officially
• 1:10:59
  in a fight. Because I'm really mad you made me
• 1:11:03
  watch this movie. It was awful. 26 % was probably
• 1:11:08
  too high. I didn't enjoy it at all. I guess we
• 1:11:13
  can just assume that the whole Alice shit was
• 1:11:16
  like the trigger of her father dying made her
• 1:11:19
  deal and confront this trauma that like was causing
• 1:11:22
  her to have essentially like psychotic, for lack
• 1:11:25
  of a better word, episodes. And there were just
• 1:11:28
  too many tropes in this movie and they weren't
• 1:11:30
  done in a fun or interesting or even unique or
• 1:11:34
  enjoyable way. Like if you're gonna have all
• 1:11:36
  of the tropes, I just don't need it. It just,
• 1:11:40
  everything about this movie was not fun. Not
• 1:11:44
  fun at all. It was big, big, big skip for me.
• 1:11:48
  Big skip. I was thinking, I'm like, is this my
• 1:11:52
  least favorite movie I've watched for the pod?
• 1:11:53
  And it's not. I think Scary Stories to Tell in
• 1:11:55
  the Dark, I enjoyed less. Because at least with
• 1:11:58
  this one, there was a little bit of an element
• 1:12:01
  of mystery of like exactly what happened, but
• 1:12:04
  I also called it from the beginning. I though
• 1:12:07
  was thinking that a sicker ending would have
• 1:12:11
  been like a cooler. Sicker in both ways. Sicker
• 1:12:14
  as in like more demented, but sicker as in also
• 1:12:16
  cooler. Ending would have been that she locked
• 1:12:19
  her sister in the thing for too long and she
• 1:12:22
  died. because she locked her in there for, like,
• 1:12:25
  days, and she got dehydrated and then died. And
• 1:12:28
  her, like, body was, like, in there still or
• 1:12:31
  something. It would have been a little cooler.
• 1:12:33
  But the fact that she, like, pushed her off and
• 1:12:34
  she drowned and they just, like, never found
• 1:12:36
  her, I'm like, that's, like, so boring and stupid
• 1:12:39
  to me. I don't know why. So skip from me. Cassie,
• 1:12:43
  what do you think? I just feel like I would have
• 1:12:44
  expected some sort of, like, answer to, like...
• 1:12:49
  Was Mia actually being possessed, or are we just
• 1:12:52
  to assume then it was like Sarah's trauma? No,
• 1:12:55
  she wasn't possessed. And Mia wasn't actually
• 1:12:56
  doing any of those weird things? This was not
• 1:12:58
  a possession movie. This was a manifestation
• 1:13:01
  of grief and trauma movie. So, but do you think
• 1:13:04
  Mia was actually saying, I'm Alice, or do you
• 1:13:06
  think Sarah was thinking that Mia was saying,
• 1:13:08
  I'm Alice? That I don't know. That I don't know.
• 1:13:12
  I'm kind of thinking that she wasn't. doing any
• 1:13:17
  of it. I think that she was just like, because
• 1:13:20
  the loss of the grandfather, the age of Mia now
• 1:13:23
  being the age that, because Mia turned, remember
• 1:13:25
  the beginning of the movie was her turning the
• 1:13:27
  age that Alice was when Alice died. So she like
• 1:13:30
  turned seven, like Alice is now, or Mia's now
• 1:13:33
  the age that Alice was. I just think like all
• 1:13:35
  of those things like came into one thing to have
• 1:13:39
  this guilt, this insane guilt. Can I say a controversial
• 1:13:45
  statement here? Maybe. I am so over movies about
• 1:13:51
  grief. I know that they're, like, super trendy
• 1:13:54
  right now, but I feel like everybody's doing
• 1:13:56
  it. It's not really about grief. It's about guilt.
• 1:13:59
  Does that make it any better? I'm over it. I'm
• 1:14:03
  over it, too. I'm over it. Like, try something
• 1:14:06
  new. I don't know. I'm just really... I feel
• 1:14:09
  like it was cool the first couple times that
• 1:14:12
  people did that, and now I'm just, like, kind
• 1:14:14
  of... I'm done with it. That's not controversial.
• 1:14:16
  That's not controversial. I think most, like,
• 1:14:18
  regular people agree with you. Maybe not the
• 1:14:21
  critics, but fuck the critics. We peaked at Babadook,
• 1:14:24
  people. We peaked at Babadook. Babadook was the
• 1:14:27
  last good movie about manifesting grief in terms
• 1:14:33
  of a horror concept. We need to stop. It does
• 1:14:38
  feel like a lot of this was basically just, like,
• 1:14:40
  Babadook light. You know what I mean? Like, it
• 1:14:43
  was, like, a less good version of Babadook. Yeah.
• 1:14:46
  And it kind of, like, had orphanage mixed in
• 1:14:48
  there a little bit, too, if you ever saw it.
• 1:14:50
  Have you seen that movie? Mm -mm. Maybe I need
• 1:14:53
  to... Are you talking about Orphan or Orphanage?
• 1:14:54
  No, it's called Orphanage. It's like a... I think
• 1:14:56
  it's a Spanish movie. Mm. But it kind of reminds
• 1:15:01
  me of that a little bit, too. It just feels like
• 1:15:02
  it was, like, not as well done. Yeah. I just
• 1:15:07
  think... Listen, I'm not a writer, so I don't
• 1:15:09
  know if it could have been done in a different
• 1:15:11
  way. It just felt like... it was so obvious what
• 1:15:14
  was going to happen that I was like, surely the
• 1:15:16
  reveal is not going to be what we think it is.
• 1:15:18
  No, it is. That's exactly what I was thinking.
• 1:15:20
  I was like, once you said the thing about her
• 1:15:23
  admitting she killed her, I was like, well, it's
• 1:15:24
  obvious because all the things have already led
• 1:15:26
  up to that at that point. But I was like, I was
• 1:15:29
  hoping for like a twist at the end, like besides
• 1:15:31
  just her walking away, I thought it was going
• 1:15:33
  to be something where like Sarah wakes up and
• 1:15:35
  she's on the edge of the cliff and she just realized
• 1:15:37
  she pushed Mia over the edge of the cliff. Even
• 1:15:40
  that would have been a trope, though, too. I
• 1:15:42
  guess. I don't know. I was just expecting more
• 1:15:46
  than just like, you figure it out. That's the
• 1:15:50
  other thing. I know that people, I know that
• 1:15:51
  you don't like that I say this, but like, don't
• 1:15:54
  make me figure it out. Yeah, that's a bad, that's
• 1:15:56
  a, that's a bad opinion. If you're talking about
• 1:15:59
  bad opinions, that's a bad opinion. I just want
• 1:16:02
  to have a story that starts, it has, you know,
• 1:16:07
  a peak, a dip. So when do you draw the line?
• 1:16:10
  It has deeper meanings than Cassie. You can have
• 1:16:12
  deeper meanings without leaving the ending ambiguous.
• 1:16:16
  You are too... People got all sorts of deeper
• 1:16:20
  meanings from obsession and the ending was not
• 1:16:22
  ambiguous. Yeah, because how is Nikki gonna get
• 1:16:25
  out of this one? Well, that's different than
• 1:16:27
  like, is she holding hands with her dead sister
• 1:16:31
  and walking towards a cliff? Is she gonna die?
• 1:16:33
  Who knows? She's not holding hands. Mia is. Mia,
• 1:16:37
  I know, that's what I meant. Yeah, I know, I
• 1:16:40
  know, I know, I know. So I'm gonna assume it's
• 1:16:41
  a skip from you also. I, yes, I was expecting
• 1:16:44
  more from this. I was really hoping that it was
• 1:16:48
  gonna be some sort of like surprise hit. And
• 1:16:51
  I was gonna be like, I have to go watch this
• 1:16:53
  right now. Patrons, we're beefing. We're beefing.
• 1:16:57
  We're in a fight right now. You better pick a
• 1:16:59
  better one next month. Not as big of a fight
• 1:17:01
  as Sarah's in with Mia, but we're not happy with
• 1:17:06
  you right now. But we are because we love you,
• 1:17:09
  but we're not mad, we're just disappointed. Yeah,
• 1:17:13
  that's... You nailed it, Cass, you nailed it
• 1:17:15
  there. Do you want to, like, quit talking about
• 1:17:18
  this movie? Because I do. What else do you want
• 1:17:20
  to talk about? I don't know anything. Two big
• 1:17:24
  skips here. Don't even waste your time. I think
• 1:17:28
  that the 36 % and 28 % on Rotten Tomatoes is
• 1:17:31
  pretty accurate. Accurate, yeah. It's just, like,
• 1:17:36
  not... I'm just gonna leave it at that. It wasn't
• 1:17:39
  a fun watch. I would never watch it again. And
• 1:17:41
  I wouldn't recommend anyone watch it for the
• 1:17:43
  first time. So, hence the school. What year did
• 1:17:45
  you say it came out? 2023. Huh. But, you guys,
• 1:17:51
  you're in for a treat because not only is Fantastic
• 1:17:55
  Fest right around the corner, so you're gonna
• 1:17:57
  get to hear us talk about horror movies even
• 1:18:00
  more than we already do, but it's also spooky
• 1:18:02
  season. Spooky season! So, we're going into October.
• 1:18:06
  I'm kind of thinking that we should do some,
• 1:18:10
  like, classics for the month of October cast.
• 1:18:13
  Like, maybe some Halloweens, maybe some, like,
• 1:18:16
  Friday the 13th. Have we covered any Halloweens
• 1:18:19
  yet? No, we haven't. We haven't done any. We
• 1:18:23
  haven't done any yet. I would love, maybe we
• 1:18:27
  can get a guest on to tell us Friday the 13th
• 1:18:30
  or something, because I would love to have that
• 1:18:31
  one told to me. I've seen Halloween like a million
• 1:18:35
  times. I don't know how many times you've seen
• 1:18:37
  it, so I could probably just tell that one. I
• 1:18:40
  could give you a pretty detailed description
• 1:18:42
  right now without having watched it. Your memory
• 1:18:45
  is insane. Do you play a lot of like brain games?
• 1:18:48
  I do. I play the New York Times games. Humble
• 1:18:54
  break. Okay, well, you guys, we're heading into
• 1:18:57
  our favorite time of year. It's spooky season,
• 1:19:00
  the time of our people. Let us know if there's
• 1:19:03
  any, like, fun content you want going into October,
• 1:19:07
  like I said a million times before, I'm sorry.
• 1:19:11
  I am, like, settled in my new place, so I'm,
• 1:19:13
  like, gonna get back on the skipper screen grind,
• 1:19:15
  okay? As you all should be, and hopefully you
• 1:19:18
  never took a break, even though we were kind
• 1:19:20
  of sucking for a little bit there. Let us know
• 1:19:22
  if there's any, like, fun, spooky content you
• 1:19:24
  want to see. It's that thing where, like, we're,
• 1:19:27
  like, playing coy, where it's, like, you know...
• 1:19:31
  You have to, like, miss me. Oh. You know what
• 1:19:35
  I mean? We're playing, like, hard to get. Yeah.
• 1:19:37
  Yeah. It's like, oh, yeah. That's what we're
• 1:19:39
  doing. Well, on that note, thanks for hanging
• 1:19:43
  out with us. Patrons, you guys have a lot of
• 1:19:47
  work to do, but I believe in you. You can do
• 1:19:49
  it. Go vote for the next movie. It'll probably
• 1:19:51
  be the vote for the October Patreon pick will
• 1:19:54
  probably be live by the time this episode comes
• 1:19:57
  out. So, everyone... Put on your crudely -made
• 1:20:01
  rabbit mask. Stand at the foot of whoever's bed
• 1:20:04
  that you want. I think parents, loved ones, siblings,
• 1:20:08
  who knows? And be creepy. I think it's now spooky
• 1:20:13
  season. I think now is the time it's socially
• 1:20:15
  acceptable to be creepy. And run, rabbit, run.
• 1:20:20
  Or more like don't, rabbit, don't. Got them.
• 1:20:24
  Wow, that was incredible. Let's end there. Okay,
• 1:20:26
  bye -bye. Bye. Thank you for listening to another
• 1:20:32
  episode of Skip or Screen. If you enjoyed today's
• 1:20:35
  episode, make sure to follow the show so you
• 1:20:37
  don't miss what's coming next. And if you've
• 1:20:39
  got a second, drop us a rating or review on Spotify
• 1:20:42
  and Apple podcasts. You can also find us haunting
• 1:20:45
  the socials. So come say hi on TikTok at skip
• 1:20:49
  or screen pod and on Instagram at skip or screen
• 1:20:52
  podcast. You guys, we also have a Patreon. Subscribe
• 1:20:57
  and you can vote for movies we cover, explore
• 1:20:59
  bonus content and much, much more. We love and
• 1:21:03
  appreciate all of your support. Bye bye.