Hello and welcome to Retrospection. In this episode we're getting Looney, the sci-fi film Moon Trap from 1988, or 1989 depending on which website you're looking at. My name's Colin, and we're going to be doing a little search and destroy on the goddamn moon, ye-ha! That was better than it was done in the film, Colin.
And my name's Paul and what the hell? I'm a masochist. That's right, you are. You said that you always know it, Colin.
I have. I first thought you were a sadist. I do inflict the show on you every couple of weeks, Colin. I've got a lot of fun, I've got a lot of fun, I've got a lot of fun.
Moon Trap, Stairs, Walter Koenig, as Colonel Jason Grant, Bruce Campbell, as Ray Tanner, Lee Lombardy as Mira, Robert Kirk's as Carmen, John Jay Sanders as Burns, Reavis Graham as Haskell, Tom Case as Beck, Judy Levitt as the Trevor Commander. What's a coning in a, in a lead role, eh? We just thought it. Yeah, not me.
Not me either. Oh, he's good, I don't mind him. I realise I read so many people out, I made the film sound like it was actually big. Oh, it's not.
It's not. It's not. It wants to be big. Yeah, dreams are being big.
In the same way that we dream of having a multi-award winning podcast, listen to by millions of listeners. Oh, I was just going to say listeners. Directed by Robert Dyke, written by Tex Ragsdale. Robert Dyke, this is the directorial debut of Robert Dyke.
Yeah, it previously was known for special effects work on films like Evil Dead 2 and Harry and the Henderson's. Oh, Harry and the Henderson, the actual character. It's pretty good. Yeah, yeah, what went wrong?
Maybe you didn't do that bit. No, his other directorial credits are Time Quest. Oh. Yeah, in Alienable.
In Alienable. That's it. You said it better than me. And apparently in 2017, he did a sequel to this film.
Yeah, called Moon Trap, something? Target Earth. Target Earth, right? Walter Koenig does a stare in that, does he?
No, no, he does not. No, I did look it up. I couldn't recognize a single person in it. Right.
Are you going to dig that one out and watch it? Could you want to see what happens? Well, I could reveal that at the end, won't I? You could, yes.
Because if I say no, then that means I didn't like this one. But if I say yes, that means I did. I'm going to predict that we're going to do a two part series on Moon Trap and next week we're going to do Moon Trap 2, Target Earth. Well, let's just say you're no Mystic Meg.
You probably wrapped it. There's a comic book of this film. I tried to find it, but I couldn't. It probably makes a better comic book than it doesn't move.
I was hoping it explains some things, actually. That's why I was lucky for it. There's one thing in particular I like explaining and I'll ask you when we get to that point. Why did we watch this?
Let's explain that. This is my shot, isn't it? Oh, it's always your choice when it's like this. Well, don't you blow it again.
Don't blow it too soon. No, it could be that I meant that it's good. Could be, could be. The NASA control room scenes were actually shot at an actual nuclear reactor.
You have got to be shitting me. They were. They used the interior of a nuclear reactor. Really?
Yes. I mean, it just looked like a black set. I know with black curtains. I know, but apparently it was a real nuclear reactor that they used.
I mean, in all fairness, it probably exploded a week later from the looks of it. A week before. Maybe that bit's not. Maybe it's just the curry das that were filmed in there.
It could be that. Yeah. Because that mission control room does look like what you described. It looks like something from a, you don't plan on knowing from outer space where they just put curtains up around the back and then put a couple of little control bits in front of them.
Yeah. Looks like that. It does. The moon dust used was actually quit set concrete powder.
That's right. Yeah. They had to put sides, say, no liquids are like on set everywhere. Yeah.
I saw that. That's funny. Did you also read that many of the sets were built actually the day before they were used? I mean, you can't tell, can you?
No. Actually, what sets? I suppose it's the interior, interior of the spaceship, I suppose. Yeah.
Before I keep saying his name all the way through this podcast. How do you pronounce Walter's name? Oh, well, yeah. Sometimes I pronounce it Koenig and sometimes I pronounce it Koenig, but.
Let's go with Koenig. Sounds better. Do you think? Let's go with the one that's probably wrong then.
Yeah. I'm sure you're waiting. I'm sure you're waiting. Waiting this is to the episode.
He'll write it in a teller. He will. Yeah. So Walter Koenig.
It's pronounced check off. Is it terrible that all you can see is check off in this? No, because it's the same face. Yeah, but I mean, you're in this.
What I mean is though, when you watch William Shatner, I don't always see Captain Kirk sometimes I see TJ Hooker. Oh, this is because you've heard on William Shatner. It's got nothing to do with anything. What do you see?
He's a 19 year old man. I know. Well, yeah, he's got your stamina. He's probably better than me actually.
Probably a lot longer as well. So what's Koenig signed on to Star in this before even the financing was secured? Was he that desperate? Yeah, I mean, maybe he was.
Yeah, I mean, he's obviously a man who lives dangerously. I mean, he doesn't check off the details before jumping on board a project, does he? Does he call him? You get it?
Look at that. There's a chicken in here. It's a chicken is called tumbleweed. Oh, yeah.
The chicken is called tumbleweed. Yes. All of them are called tumbleweed. So I confuse it.
We have to put little bells on them and they all make different noises. I can line them up and make a song out of it. I think we're going to make a casserole out of them. Oh, thank you, we'll make a casserole.
What bellwearing chickens? Yeah. You have to make sure you take the bells off first otherwise you can choke on it. But chicken cats are all.
All right. Nice. And that's all I've got. Good.
Funnily enough, there isn't a lot of information out there on Moon Trap. No, there's no. Can't think why. We'll find out what we do in a minute.
Yeah, we will. Yeah. So we get some text on the screen July the 20th, 1969. And we open with footage of the moon landing.
I like the use of real life events in this opening. I think it sets the scene on a little bit. Yeah. I mean, this is the best bit.
Oh, just the best bit is footage they didn't shoot. And it's better special effects than what's in the movie. Yeah. Yeah.
I mean, well, that's true because the footage of the moon land we all know was shot by Stanley Kubrick, right? That's exactly what I was getting at. Yeah. Then we suddenly cut to some sort of robot on the moon watching the lunar lander take enough.
Although it acts like a muppet. The way it moves. Is this stop motion? No, it could be.
Why would you do that in stop motion? You could just ask someone all that off and put it down. Yeah, I suppose. Yeah.
I think the little one when it comes out of the pod today, that's not motion. Yeah, probably. Yeah. Because they're not going to plumb for, they haven't got the money to do actual servos and make something mechanical that moves properly.
So it's got to stop motion. Probably not a string. I suppose you could do that. Wouldn't look as good though, would it?
That's what they get. Oh, yeah. That's stringing. Right.
So we cut to opening credits and the sound of a bugle and then a radio type for, I say, good morning. Good morning. The future is here and the future is now. I think when the future is now, it's called the present, right?
No expert, our chronological buttons, but... This is our first instance of fantastic dialogue in this movie. Yeah. It gets better because it's the style of the 1990s, a brand new decade full of thrills, chills and excitement.
What's this guy bubbling on about? It's the style of 1990s. How does he know it's going to be full of thrills, chills and excitement for everyone? Where were we in the 90s at this point?
When was it made? 88, you said 89, didn't you? Yeah, 89, yeah. So this is the future?
Well, no, because it's made in 1989. It's set in 1990. It's not really the future. It's just like cospob.
I mean, it could have been made in December of 1989, and it's set in January 1990. That's not a futuristic film, is it? You know, I've got to go ahead and watch this new science fiction film. It's set tomorrow.
Ooh. It's set on Thursday. Well, yeah, but you have to watch it now. Otherwise, if you watch it on Friday, it's a period piece.
It's a historical film, yes. I just wondered because some of the technology that NASA seems to have it. It's a little bit... Yeah, we'll see you in about five seconds.
Hold on. Okay. So, I'm going to go to a space shuttle pilot who's our Colonel Jason Grant. And Grant K Well, I don't know what we'd be thinking around on the moon before they actually go on the moon.
Yeah, they should have whacked some golf balls. Yeah, there you go. I've always wanted to do this. Which he does say, but only does something completely stupid.
Yeah. Grant has been in space for so long that he's starting to get barred with an majestic view of Earth. He first himself has a truck driver and that he's got to do something to liven this place up the film's title appears and we see the moon. An orchestral score with Strings of 2001 then blends into some cheap sounding 80s Cassio keyboard music.
Yeah, what was that about? It starts off really good. And then, could they only afford the orchestral for like ten minutes? Yeah, they're all sat down.
And the guy taps on the thing. And they're all, right, that's it. More footage to explain. Get off and leave.
Direct, I'll make it work. Don't you worry. I'll make you work. Press his demo on a Cassio keyboard.
There is a bit of that. Yes, it goes so like that. Yeah. We see the space shuttle performer role as it moves towards us.
Yes. And then Grant says the final frontier. No, it's funny actually because you know, we just said the music is awful. Yeah.
I thought, yeah, like you, I thought, oh, the music's awful. And then what's a corner kicks in with this big captain's log joke, which is there because he's, well, okay, isn't it really? Yeah. And I thought, oh, that's what they're going for.
It's kind of overblown silly music because it's a joke. That won't continue. No. I was wrong.
Yeah. So he continues his speech. The space shuttle come a lot journey into the fight, breathing the deck depths of the universe bound by the during an event. As Sandra Schruz.
Colonel Jason grads and his dynamic partner, Ray Tanner. And as he says this, we see that Ray is fast asleep in the co-pilot seat, doing a podcast. Sorry. Wake up.
Do you think they went down the list of classic story weaving set? Oh, they approached Williams, listen to him. Yeah approach. No.
One of the greatrels. Oh yeah, especially Shai. Oh, it's names though. Yeah.
You think they did that? And he was the only one that said, yeah, all right. I'll do anything else. Someone.
Yeah, that's true. Yeah, maybe they did, yeah. Granted, Jack's the tape that the music is playing on. Tape.
Yes. Six years after CDs came out. And is this music on this tape that this advanced shuttle is equipped with? Is this what he listens to generally?
Or is it just made for him to do these jokey durations? Does he carry it around with him? I don't know. I never thought of that because it's the music that we heard over the top of his captain's log, isn't it?
Yeah. So he carries it around with him that he takes a little bit of a barrel of laughs on those missions, isn't it? Yeah, there's a briefing room. And he's like, so now we're going to talk about tomorrow's mission.
And then you go, do, do, do, do, do, do, do the background. He's at the back going, get off to his log. You just make sure you take the tape deck out of the room before he comes in, don't you? He's only got a tape.
Yeah. He's got a lot of more advanced. That's right. Just to smash it up.
So Grant goes back to talking about Earth. And he wants to get rid of the freeze-dried food that they're eating. The command centre says that Grant should wake up, Tanner, because the wounded bird is coming the way and they can't miss the pickup. Grant hits a switch that sets the sign off, Tanner wakes up for a stir and flips the switches back.
Pretty quick, says Grant. Oh, just training habit from the old days of carrier duty on the med, clean living and youthful energy. It's terrible, isn't it? Grant points out that Tocko's not as young as he used to be.
Grant marks him and bets that Tanner had one of those top-gun nicknames back in the day. Grant's was Einstein. Yeah. Yeah.
Apparently because he always thought he's way out of a problem. We've seen that later in the movie, don't we? Are we thinks he's way out of problems, yes? Yeah.
Tanner reveals that his was the penetrator. You used to have that nickname, didn't you? No, no. No, no.
Cat-a-plader was safe. Damn, you got that in there before I said it. That's right. Well, I'll leave that, because it would you with the penetrator that I got there first.
You didn't take a breath before you stuck it in, didn't you? Don't usually. Oh, that's all. Phil.
Yep, we're done. These space effects are the ships. They're not too bad, are they? Oh, so fair.
They lack detail. Yeah, but totally bits. A low budget. A low budget movie.
Yeah. Okay. Suddenly they pick up a radar contact. It's big and closing fast.
Grant's us commands, they drift, they're picking it up. They are. And they say, oh, mister shuttle, but there's conflicting reports. Grant and Tanner do a scan of the object.
It looks like some kind of ship. They move closer to get some shots of it. Who used to tell them that the objects are bit is decaying. They want to volunteer to go over and take a look inside.
Tanner wants to go, but Grant pulls rank. He heads over to a spacesuit. Grant's Tanner to check for any radiation and Tanner reports there's nothing. He thinks the alien ship has been called for a long time.
Nobody seems amazed that there's a ship, no, I know. A huge giant alien spaceship. Yeah. Taking it very, very well.
How did they not see it when it was some distance away? Because it was huge. How fast is it moving? Everybody just didn't look out of that particular window.
Yeah. Too busy talking about penetrator. That's right. Yeah.
There's a lesson there for your bar. There is. Knock it on there. He's going to go over and see some strange writing on the outside.
Any spots of breach in the home and inside is an object. He moves in closer and reaches out and just takes it. Yeah. You just pick up a strange alien object poking over a hole in a strange alien spaceship.
And take it back. Yeah. I'm sure it'll be fine. Yeah.
It's all good. Tanner asks him what it is. Not sure. It's self-contained.
It doesn't look like part of the ship. I'm going to bring it back. What about quarantine? Just asking.
Yeah. Yeah. I mean, it's clearly either an egg, a seed or an alien American football. But he's a get up and go kind of character grant.
That was an egg. Yeah. He's got up and gone. But the seed, as he turns to make his way back, he sees the corpse of a humanoid float past it.
He does. Shut the lands. In a lab on Earth, they have the seed and the corpse. Grant reveals it's 14,000 years old according to carbon dating.
Which is it possible? Go on. Is this your science bit? Yeah.
This is the science. You're not just talking about tacky ones again, are you? It's less science guy. More science.
Why? Because it works because radio carbon is constantly being created in Earth's atmosphere by the interaction of cosmic rays with atmospheric nitrogen. Can't carbon date something that's not been on Earth? That's true.
Yeah, it is. Then the writers of this though, I mean, they're not going to let a little pesky thing like science get in the way of telling a story for him. That's, yeah. Yeah.
I mean, they don't even do that in things like static discovery anymore. So don't worry about it. Okay. All forgotten.
I'm getting a, I'm getting a, with this scene with the, with the, in the room, with the husk of the body and everything. They're all looking at it. I'll get a little bit of life force vibes from this. Yeah, but unfortunately not the right one.
Not, definitely not though. Well, don't know in you. It's possible still. It didn't work.
I tried. That's a fine looking car. No, I couldn't get there. So apparently the ship and the alien were on the moon all that time ago.
And we find out the seed is a mixture of tough allies and it's hollow, but they can't open it without destroying it. And then we have one government guy called Haskell who for some reason doesn't believe what they're saying, even though there's a body there that they collected from space. And there's a giant shipping arbit and there's a seed. I was guessing that the inferences that he thinks that they're just concocting a story to get more funding.
Yeah, it's just like they had to create some kind of antagonistic character. You always have them in these type of things, but usually the complaint is based on some kind of logic. Again, science logic. Oh, yeah.
Let it go. So they leave the lab and then inside a seed begins to open to reveal the robot we saw at the beginning, which now also has tentacles. Yeah. Yeah.
And it kind of reaches out and does something, doesn't it? We don't see what it's doing. Yeah. Were you surprised by the size of the robot because in the opening I thought it was massive and now it's tiny.
It can get massive though, can't it, as we say later? Yeah, it can. You know, you get a little robot, you rub it a bit. It gets a bit bigger.
You get a big robot. There you go. Yeah. Sorry, it works.
I did maybe think of the opening to terra-hawks of it as well. Oh, I didn't think about that. Yeah. So yeah, the robots start smashing the glass partition in the lab and then we cut to some low grade computer graphics and a voice saying access granted replay analysis.
So the robot appears to be accessing the computer. And the voice says tissue reconstruction. Is it just what it's not actually doing tissue reconstruction? Is it because how would this computer know?
Yeah. And it doesn't do that anyway, does it? No. No.
What it talks about, super reconstruction. I don't know what it's doing, but it's referencing stuff. Because it literally does a diagram of what the ancient alien space suit looked like and gets its spot on from what we see later. Yeah.
Yeah. Yeah. So I don't know which way the information is going. If it's into the computers, why would you be doing that?
This robot, I don't, yeah. Let it go. All right. Go.
The computer narrows down the launch site of the ship to the Prometheus crater on the moon. I don't know why it's doing this because Shelley knows where it came from. But all right. Well, this causes a flicker of light.
Meanwhile, granted the others are in an elevator. Grant questions Haskell. Is it intention to tell Washington they've created elaborate hoax? If so, then they'll make their own report to the President's Advisory Committee.
But Grant doesn't really want to do that. They want to talk to Haskell and he says, so talk. And all this is going on in this one's like little elevator. It's badly lit elevator.
It's really dull away to have them walking through corridors or something, you know. Yeah. The second position in this little room. So Grant reveals that they want to go back to the moon.
All the evidence points to an ancient base, Haskell isn't impressed. It's been 20 years since the last loot of a mission. Do you have a problem with that? All the evidence points to an ancient base on the moon.
What evidence? Why would the mission was in space? Well, they find this. Yeah.
But they found moon dost on it. Oh, I love the bodies and stuff. So they said it came from the moon. But still does that evidence point to an alien base on the moon?
No. No, not to you and me. But these are massive people. They're above us.
No, I pay great. Is it? We're not going to. No.
Okay. I can look at that. So Haskell says it's been 20 years since the last loot of mission. Where are they going to get all the equipment from?
Ah ha, say it's time that there's an old satin Apollo unit in Muffballs down at the Cape. Grant and Tanner are ready to go now. But they still need funding. I'm still listening to Haskell.
Meanwhile, back at the lab. The robot pulls off the mechanical house from some crane thing that's in the lab. And then we see sparks and then somehow the robot has attached these claws to its habits. And now it's got big, clarry arms.
Are you concerned about security in this place? I mean, they've left this alien artifact with an alien body in a room with nobody guarding it. It doesn't seem that there's any sort of surveillance going on or anything. They just leave it and walk off.
All right. But you're not finding this whole NASA base appears to be very badly lit and nobody's in it. Maybe it's nighttime. Maybe a lot of the stuff have gone home for the night.
Oh, yeah, because it's famously when it gets dark and the stars and stuff. Space people can't work. That's right. The other one during the day.
You think all these are stombers going, all these are stombers going, yeah, it's really hard to see these stairs. Have you ever thought of it at night? Oh, no, we only do days. As these other stombers just working nights going, how can we get all this information on these day guys again and nothing?
That's why the space program stalled over the last few years. They're doing it all wrong. Oh, is it too much light? Right.
I mean, the real answer is shit. It's what you know. All right. So we cut back to a corridor now and granted the others are still trying to get to Haskell.
This is the longest walk in conversation on record. Oh, that robot is really fast. Well, clearly it's fast. I mean, look at it in a minute.
Or is it a minute? Time does move strangely in this film. Have you noticed that? Yeah, OK.
It wasn't just me. Granted, it's saying to Haskell think of all the benefits that could be found. New life support systems, alien construction, even weaponry. It is very hard not to say like, even weaponry.
It is hard not to do that. I'm sure it was hard for him. It's hard to point out that the Soviets are planning on lunar landing in the next two years. And all that would be does to find.
But Haskell isn't going to be railroaded that way for it. But oh, he's interested. Back at the lab. A researcher system.
Every time you say that. I can hear my head is meanwhile at the Legion of Doom. That's what's great for that kind of thing. So a research assistant, she just walks into the lab and discovers the missing body, called security.
She sees an arm on the floor. As she heads out, she has a sound and stops. A clard descends from the ceiling. Somehow, grabs her.
And then blood drips down. Just a little bit. A little bit. Just one little drink.
Yeah. And then a shot that can't help me chuckling for quite a while. There's a legs of the robot I've seen, leaving the lab. It's clearly just somebody with two like, pull, lifted up up, doing like a pretend walk.
We never actually see the robot in full shot walking at any point in this film. No. No. Because even in a minute, it's going to be an action sequence.
It doesn't move. Does it? Nope. So, granted Tanner a drinks machine that's refusing to give Tanner a drink, and they think they've got Haskell on board, they move to a cafeteria.
It's just smallest cafeteria. I've got two tables. Yeah, but no one else in it as well. No.
And there's no lighting on. It is nice to see Bruce Campbell doing full on Bruce Campbell in this little bit as well, where he's kicking the drinks machine. Yeah. Yeah.
Grant says, any one more person in this mission to go ahead, raise your charge back. And in the background, like you said, Tanner is kicking shit out the drinks machine. Both Tanner and granted, turn it to go. Finally, security turns up with the lab and finds the research assistant dead.
They get a call to bring every man and gun to another part of the base. There's something huge in the corridor. Terrible title for a horror film, there's something huge in the corridor coming soon. I'd watch it.
Yeah, you'd be disappointed over it when it was something else. Yeah. You weren't expecting something else. You don't even get my meaning.
Yeah. Yeah. Back in the cafeteria, Tanner, Karate kicks a vending machine, a drink appears. Hey, we take no shit from a machine.
No, no, no. We talked about call back earlier. This is the thing that we are going to get call back on quite a few times. All the things.
Yeah. You know, when the right came up with that line, you thought that's a great line. And that's going to be so good when we use it again later. I'll be really clever.
I'll set it up there. I'm going to do it again here. Rub his hands, lean back and went, now I can have that secure. I wonder if this is a Campbell, dude.
Whatever you do, don't really kick the machine. It's the only one we've got when it's rented. It was actual real one that the crew were using. Yeah.
It's the Jesus Christ Campbell. It's a draft dude. I'm not going to eat for a day. A siren stats are security come rushing through.
Those are security, and intruder. They all run down a corridor and are confronted with a giant robot that all this was built during the conversation. That's right. It works fast.
Security about to open fire, but Carmen stops them. He's like one of the professors who works there and says that this is the first time we've had a chance to talk to none of human intelligence. We can't meet with hostility. He moves closer to it.
We mean you know how we want to establish contact. Give us a sign. The robot shoots. No, it's a sign.
It definitely is a sign. No, you were talking about the government guy who was a stereotype. This is the stereotypical scientist who believes he can make friends with the alien and then even die in or something happens to him. It goes all the way back to War in the World, isn't it?
I did enjoy the line. I got to do it a minute. Get the son of a bitch. That's a common yells suddenly.
I did make me chakra life to say. It doesn't take much to change his mind. It's not like they really just wounded him slightly in the arm. Yes.
You'd be a real human. You'd be a niffed. You'd be mad. You're out.
So they open fire. Somehow the robot is undamaged. It starts shooting at the men with streams of electricity. Yes, you say somehow it remains undamaged when in reality you could probably just go kick it over really.
Well, I also don't know why the bullets aren't doing any damage because the material that it's built from is material found in the lab. That's true. That's true because only the head of it is the alien thing. Yes, which will be problematic in a second.
Yes, we will. So Grant sees the urban ceiling system in the ceiling and has an idea. Also, when they show you that shot, you can see that this corridor has a fire sprinkler system. At no point has turned on, even though there are explosions, electricity and fire throughout this corridor.
When this is over, I think NASA needs to look at their safety features in their building. I think they do. Do you think that they shot this in a real, as we said, a nuclear reactor? It was a real corridor in there.
They're probably the real sprinkler system. They probably wouldn't be like, they just happen to be there. There's nothing to do about it. Yeah, probably.
The thing for me was when the camera showed it, I was like, oh, Grant's going to somehow turn on the fire sprinkler system and there's electricity. But then he jumps into an urban. I'm like, the film's so dark. I didn't even see that.
Yeah, I did it on. Yeah. All right. So he climbs a ladder into the ceiling docks and the robot senses Grant moving through the event and Tana notices this and he sits over here, laser breath.
Great. Technically, robots not firing lasers. It's fine, electricity. That's true.
Yeah. All right. And this robot with a complete understanding of human insults and obviously a fin skin, ironic, considering all the bullets it's deflected, turns its attention to Tana. What did he sell to them?
Yeah. I mean, fine. He's going to kill them anyway. That's true.
Oh, it's pointless. Oh, sorry. So there's a bit, we've got to grab to the Earth beds and he's trying to lift one of the beds and he's clearly acted as if it's tricky to open. But you can see he's opening it because he goes, he goes, he goes, he lifts it off a bit and then quickly shuts it down as if he's like, oops, not supposed to be open it that easily.
This is very light. Maybe my, my acting was never a vulte thing, you know, maybe that's a strong point. Is it strange watching water cleaning being an action hero, isn't it? Yeah.
I wouldn't mind seeing my films. Just to see what he was like and all the stuff. Especially something that was better than this. Yeah.
I mean, I've seen him in a couple of, I've seen him in a couple of poomba episodes. Oh, I'll check those out. You're good in those. No.
Right. So Grant manages to lift the vent and then he fires down onto the robot's head which explodes and is destroyed. But this is odd because that is the only part of this robot that's made from the original seed which we already know was a tough ally that they don't understand. No, no, you're, you're doing that thing where you're going to get a little bit of the as a reasonably intelligent human being.
You're remembering stuff that they mentioned earlier in the film. You're not supposed to remember those things, Colin. No, thanks for the reasonably. Oh, did you get that?
Oh, yeah. It's going down in my notes. Oh, no. You're quoting your little black book.
Yes. It's a huge fan. Oh, I'm on my third book. Only three.
It's just your name. Just your name. Every page. I'm surprised it's only three after 30 years, Colin.
I'm doing well then. When they find me dead, they'll find these books and think I was just trying to do my own name. What is name? Must be Paul Wood.
The apocalypse, when it's just like ruins. Look how many times you tried to learn his name. It'd be an artifact. You might think you were an idiot, a savant or something like that.
A guard being a museum. Just that bug. This is the bug of Wood. But that would mean a whole religion would start up over my name, Colin.
Yeah, yeah, that's unfortunate. How wrong they'd be. People would have to get down on their knees and worship my name. Yeah, yeah.
You and Shisan let you enjoin that way too much. Just a bit. Let's just be flipping through the book. Pull it forward.
Pull it forward. What's this? Bend it ticked you. A new religion must be started immediately.
We'll get there. Eventually. So Grant drops from the vent, still undecided, equips to Haskell. Right, now film gets a little bit odd at this point.
We cut to a teenager reading a comic, alien encounters. We can hear piano music and somebody grunting. I started to get a little concerned at this point. Sticking a dark turn on the sun.
Yeah. Yeah. But it's just Colonel Grant. Sorry.
Grant. Here all night. He's doing press-ups and the boys start to copy him. At this point I was like, who's this boy?
Well, he does explain it in a minute, doesn't he? No, usually, well, first of all, it doesn't look like Colonel Grant. And nobody has mentioned his family. At the beginning of the film, when Grant is talking about things he's missing because he's been in space for so long, at no point does he mention his son, talks about golf and the weather, doesn't mention his son.