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<v Speaker 1>Weird getting way media. Hi, misters.

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<v Speaker 2>Is see that guy with it now?

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<v Speaker 1>He's an actor phone, I'm a cam driver. I'm the

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<v Speaker 1>only camp driver in his place.

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<v Speaker 2>Good evening and welcome tonight, mister Walters a Taxi podcast.

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<v Speaker 2>I'm HP your co host, and with me as always

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<v Speaker 2>is my co host, Father Malone. Father Malone, how are

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<v Speaker 2>you this evening?

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<v Speaker 1>Go blow dry your face?

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<v Speaker 2>My favorite insult In this episode we'll get to that.

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<v Speaker 2>We're talking Taxi season two, episodes nineteen and twenty. That's right,

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<v Speaker 2>this is a two parter. You're getting a two for

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<v Speaker 2>one with this episode. It's Shut it Down parts one

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<v Speaker 2>and two. This is interesting, Father Malone. This one is

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<v Speaker 2>credit to It's a story by Mark Jacobson and Michael

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<v Speaker 2>Tolkien and teleplay by Howard Gewertz and Ian Praser, directed

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<v Speaker 2>by James Burrows.

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<v Speaker 1>Why so many writers?

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<v Speaker 2>Well, before we get to that, let's remind the people

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<v Speaker 2>that we're doing these shows in broadcast order and not

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<v Speaker 2>in order of filming. Now, eagle eared listeners to this

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<v Speaker 2>podcast might recall that Mark Jacobson wrote the original article

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<v Speaker 2>that this show is based on night shifting for the

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<v Speaker 2>hip Fleet. Right. He had this idea for this particular story,

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<v Speaker 2>but not being a scriptwriter, he enlisted his friend Michael

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<v Speaker 2>Tolkien to lend him a hand. Their draft went through

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<v Speaker 2>several rewrites, ultimately earning teleplay credits for Gewertz and Praiser,

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<v Speaker 2>who did some additional rewrites. Do you know who Michael

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<v Speaker 2>Tolkien is? Fathermore?

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<v Speaker 1>Are we talking about the screenwriter director of The Rapture

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<v Speaker 1>that Michael Tolkien?

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<v Speaker 2>We are in fact talking about the same Michael Tolkien. Also,

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<v Speaker 2>he would later adapt his own novel The Player for

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<v Speaker 2>the You and I both know he's best known for

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<v Speaker 2>writing Gleaming the Cube for Christian Slater.

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<v Speaker 1>Of course, I didn't want to go that deep on anybody.

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<v Speaker 1>I wanted to start with something really obvious.

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<v Speaker 2>Yeah, something you know, it's just a little thing like

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<v Speaker 2>The Rapture. That's the Mimi Rogers movie, right, Yeah, Yeah,

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<v Speaker 2>that's a good one.

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<v Speaker 1>It's one of those movies where they don't skimp on

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<v Speaker 1>the ending, they actually give you. The apocalypse.

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<v Speaker 2>Take Shelter with Michael Shannon was a similar thing. Have

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<v Speaker 2>you ever seen that? It's about this man who he

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<v Speaker 2>has these apocalyptic visions that there's well, he has these

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<v Speaker 2>visions that is going to be an apocalypse, but no

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<v Speaker 2>one else can see them, so it becomes.

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<v Speaker 1>No, you know what, stop telling me because I want

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<v Speaker 1>to watch that.

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<v Speaker 2>Okay, it's a good one. It's really good, similar to

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<v Speaker 2>what you were just describing. Anyway, we're here to talk

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<v Speaker 2>about Taxi, dammit. We open this episode in the garage

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<v Speaker 2>as a somewhat disheveled Tony stumbles in. He's declaring that

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<v Speaker 2>he's gonna kill the mechanic on duty. I felt like

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<v Speaker 2>we were finally seeing the animal man coming out and

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<v Speaker 2>Tony losing whatever civility he possessed, and he's going to

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<v Speaker 2>kill somebody.

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<v Speaker 1>You know, he's finally your nature you thought was on

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<v Speaker 1>display here when he comes out Blood Thursday and you

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<v Speaker 1>know what, He comes in screaming that I'm gonna punch

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<v Speaker 1>out the day shift mechanic. But all I could think

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<v Speaker 1>is is Banta about to kill Laka?

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<v Speaker 2>I guess Laka technically is the late shift mechanic, right.

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<v Speaker 1>I guess, And I'm sure they're making that distinction, so

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<v Speaker 1>we don't think, oh, he's about to destroy Loaka, But like,

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<v Speaker 1>how can we not think he's gonna kill Loca, the

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<v Speaker 1>only person we've ever seen in the garage really a

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<v Speaker 1>side of a couple of day players has been Loakka

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<v Speaker 1>because he could.

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<v Speaker 2>Kill Loca with his bare hands. Let's be honest. I

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<v Speaker 2>mean Tony would not be denied. Bobby and Alex they

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<v Speaker 2>intercede and asked Tony to sit with them and tell

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<v Speaker 2>him what happened, because there's something going on here. Tony

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<v Speaker 2>explains that he was driving his cab. He came to

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<v Speaker 2>a red light and we went to put the brakes on.

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<v Speaker 2>His feet went right to the floorboard. His brakes wouldn't work,

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<v Speaker 2>so he was, to his description, he's going down at

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<v Speaker 2>Fifth Avenue, fifty miles an hour, out of control, no brakes,

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<v Speaker 2>and in desperation he ran his cab into a lamppost

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<v Speaker 2>to stop it, which I think it's the funny part

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<v Speaker 2>is Alex openly wonders why Tony didn't use the emergency

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<v Speaker 2>brake to stop his car, and I think Tony's response

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<v Speaker 2>is a very weak Well, it's for emergencies, and Alex

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<v Speaker 2>is like, yeah, like careening through Fifth Avenue going fifty

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<v Speaker 2>miles an hour, But he's a simpleton. What can you do?

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<v Speaker 1>Yeah, you know. Everyone now calls that the parking break,

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<v Speaker 1>but originally called the emergency break for good reason.

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<v Speaker 2>I still think of it as the E break. I mean,

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<v Speaker 2>that's what I always knew it as. But you're right

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<v Speaker 2>it is. No one uses it unless they're parked on

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<v Speaker 2>a hill. That's the only time I ever use it.

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<v Speaker 2>But you know it's there for a reason. Elaine goes

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<v Speaker 2>on to say that this isn't just an isolated incident.

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<v Speaker 2>Apparently there's been a recent rash of Cabby's getting into

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<v Speaker 2>accidents in their cabs. Tony is still wanting to pound

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<v Speaker 2>the mechanic, but Alex correctly points out that they're not

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<v Speaker 2>the problem. He's pointing his finger at the powers that be,

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<v Speaker 2>like mister McKenzie, the guy who owns the garage. They're

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<v Speaker 2>reluctant to provide in them with new cabs or the

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<v Speaker 2>resources to keep these old cabs running. And right on cue,

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<v Speaker 2>Louis emerges from the bathroom. He's got his newspaper in

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<v Speaker 2>hand and everything. All the Cabby's, including the extras, they

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<v Speaker 2>just stop and stare at him as he crosses past

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<v Speaker 2>the poker table. Little side note, we have a Richard

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<v Speaker 2>Sakai sighting. Did you see him? Father alone? He's among

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<v Speaker 2>the riff raft.

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<v Speaker 1>I did see him all riff raft up this time.

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<v Speaker 2>Yeah, he's always got a newspaper in his hand. I

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<v Speaker 2>think that's his trademark.

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<v Speaker 1>Now, lots of scarves in this episode, a lot of scarves,

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<v Speaker 1>A lot of scarf work going on with the background

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<v Speaker 1>players today.

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<v Speaker 2>Well, this is one of those episodes where they go

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<v Speaker 2>to great lengths to make it seem really really cold.

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<v Speaker 2>As we'll talk about, you'll see a lot of like

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<v Speaker 2>there's a few moments where like Bobby has to come

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<v Speaker 2>in from the cold and for reasons we'll get to,

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<v Speaker 2>and he's really over selling it, like rubbing his hands together,

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<v Speaker 2>going cold. So that's why you're seeing all these scarves

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<v Speaker 2>and gloves and things.

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<v Speaker 1>Are you saying that he overdoes it as an actor?

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<v Speaker 1>Are you accusing Jeff Conaway of going over the top?

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<v Speaker 1>How dare you?

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<v Speaker 2>It's not. This is the one of the rare instances

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<v Speaker 2>where I'm not calling Bobby a ham. I'm calling Jeff

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<v Speaker 2>Conway a bit of a ham. Here, Bobby takes the initiative,

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<v Speaker 2>steps forward and tells Louis that the cabs have been

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<v Speaker 2>falling apart lately and Tony's breaks just went out on him.

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<v Speaker 2>Their lives are in danger every time they go out

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<v Speaker 2>father alone, and it's high time the company did something

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<v Speaker 2>about it. And then Alex goes even further and says

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<v Speaker 2>to Louie, you better be careful because this mob could

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<v Speaker 2>turn ugly. Right, Louie to placate the mob, says he's

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<v Speaker 2>going to do something about it, and something he doesn't

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<v Speaker 2>normally do. He's going to write a report which everybody

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<v Speaker 2>it elicits this groan from everybody in the garage because

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<v Speaker 2>they know this is just he's paying them lip service. Basically,

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<v Speaker 2>as he starts filling up the report, Tony even says

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<v Speaker 2>that Louie's always writing these reports. They do no good.

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<v Speaker 2>And Louis says he's going to go even further, Father Malone,

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<v Speaker 2>and he's going to issue drive defensively stickers, which which

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<v Speaker 2>is funny to me because I remember that being a

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<v Speaker 2>big big deal when we were kids. You remember that.

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<v Speaker 2>Oh yeah, I'm not even sure if that's still taught

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<v Speaker 2>as a way.

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<v Speaker 1>Of driving years so probably not.

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<v Speaker 2>That only elicits more groans because they know that this

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<v Speaker 2>is going to do nothing to solve the problem. Bobby

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<v Speaker 2>in fact blocks Louie's retreat into his cage and he's

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<v Speaker 2>insisting now that Loui's got to do something about it.

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<v Speaker 2>And this is where Louis gives Bobby the great insult

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<v Speaker 2>that you let off the top with which is go

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<v Speaker 2>blow dry your face. And what ensues is a cartoonish

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<v Speaker 2>chase around the garage where everybody.

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<v Speaker 1>Up. Where'd he go? I think he's over here. He's

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<v Speaker 1>gotta be behind this box. I think fellas when.

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<v Speaker 2>It should have been under cranked, just to make it

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<v Speaker 2>seem a little bit hard day's night and right. But

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<v Speaker 2>Louis scurries around, he goes up the steps to escape

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<v Speaker 2>the mob, and he actually goes like Alex follows him,

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<v Speaker 2>and Alex even exclaims, hey, there's a secret passage.

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<v Speaker 1>Here by the way the ad R line, there's a

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<v Speaker 1>secret passage here to explain to the audience what was

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<v Speaker 1>going on. Give me a fucking break.

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<v Speaker 2>That was a bit much.

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<v Speaker 1>Oh we were, you know, thank god that they threw

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<v Speaker 1>that in. We wouldn't have been able to follow the accident.

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<v Speaker 2>When I watched this as a kid, I remember because

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<v Speaker 2>what happens is Louis disappears from the second floor to

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<v Speaker 2>emerge from the first floor. He comes out basically through

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<v Speaker 2>the bathroom door. So the idea is that Louis is

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<v Speaker 2>privy to all these little nooks and crannies and escape

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<v Speaker 2>roots throughout the garage. Of course, now I know that

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<v Speaker 2>this is just one big stage, so he probably just

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<v Speaker 2>walked down a set of stairs that are obscured by

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<v Speaker 2>the set and just emerged from the bathroom door. But

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<v Speaker 2>as a kid, I thought, wow, this is kind of cool.

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<v Speaker 2>There's all these secrets in the garage that only Louis

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<v Speaker 2>knows about, and he even says that. I think he

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<v Speaker 2>even says to the mob, like, you maybe give up

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<v Speaker 2>one of my secrets, but there's plenty more where that

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<v Speaker 2>comes from.

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<v Speaker 1>So you can got them right right.

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<v Speaker 2>He goes through this escape patch and he escapes to

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<v Speaker 2>the relative safety of his cage.

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<v Speaker 1>Which we know would actually afford nothing, because we've seen

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<v Speaker 1>Riga rip that cage open. If they really wanted Louie

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<v Speaker 1>to Palmer right now, they could get him.

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<v Speaker 2>That was it, at least in the heat of the moment.

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<v Speaker 2>An enraged beyond all reason.

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<v Speaker 1>Riger I'm just saying, they're all acting like, oh, now

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<v Speaker 1>he's in the cage, Now he's safe. Like that cage

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<v Speaker 1>is in no way secure. This isn't Danny Noonan behind

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<v Speaker 1>that very secure door at the caddy shack?

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<v Speaker 2>You don't want no coke?

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<v Speaker 1>You don't get no coke? What do you think of that?

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<v Speaker 2>It y? What's that sign say no bare of feet?

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<v Speaker 2>What's that sign say no fighting? Well, what's it mean?

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<v Speaker 2>No fighting?

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<v Speaker 1>So you don't near me for anything else?

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<v Speaker 2>Lou Bobby in frustration just says, you know, we should

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<v Speaker 2>just walk. But Elaine being the voice of reason, which

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<v Speaker 2>I think makes a lot of sense. The first thing

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<v Speaker 2>Elaine says they should do is file aggrievance with the

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<v Speaker 2>shop Steward. But no one can remember who it was.

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<v Speaker 2>How could they forget?

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<v Speaker 1>How dare they ben Gerretzky. They don't even mention ben Gerretzky.

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<v Speaker 1>That's what's the fucked up part here. They met, they

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<v Speaker 1>go through a couple of names, and I don't ben

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<v Speaker 1>Gerretzky e than once. And ben Gerretzky, as far as

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<v Speaker 1>I know, is still the shop Steward.

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<v Speaker 2>He's dead, but he's still the shop Steward. But more

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<v Speaker 2>to the point was he was referenced in at least

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<v Speaker 2>two separate episodes if I recall, so it's not like

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<v Speaker 2>I mean, this was a gimmick that had legs that

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<v Speaker 2>they continued through a couple of episodes. I don't know

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<v Speaker 2>why they had mentioned ben Gerretzky. It was a really

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<v Speaker 2>clearly it was a lost a missed opportunity, in my opinion.

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<v Speaker 2>They go through a couple of names, neither of which

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<v Speaker 2>are ben Gerretzky. So they need to elect a new

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<v Speaker 2>shop Steward. Tony nominates himself to Bobby's skeptical response.

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<v Speaker 1>Because ordinarily I don't agree with you with your assessment

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<v Speaker 1>of Banta, but something about this episode really rubbed me

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<v Speaker 1>the wrong way about that prick And as soon as

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<v Speaker 1>he like no, First of all, he came in angry

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<v Speaker 1>and he was going to punch out one of the mechanics,

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<v Speaker 1>as if that was going to help anybody, and it

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<v Speaker 1>was potentially going to be lacked. And then now on

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<v Speaker 1>top of that, with this dopey grin on his face,

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<v Speaker 1>he's like, well, you should make me the boss around.

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<v Speaker 1>Get out of here, Bant to sit down. You're punching.

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<v Speaker 2>The whole point of him being the shop Steward is

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<v Speaker 2>that he's because he insists that he's the one who's

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<v Speaker 2>been wronged. He had the accident with his cab. He's

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<v Speaker 2>mad as hell and he wants it. He wants to

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<v Speaker 2>be the one to take it to the boss. Alex

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<v Speaker 2>admires his gumption and seconds his nomination, which naturally passes

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<v Speaker 2>unanimously among the rest of the cabs. Tony marches over

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<v Speaker 2>to louis cage. He's full of piss and vinegar, but

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<v Speaker 2>then Louis just proceeds to butter him up. He invites

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<v Speaker 2>him into the cage, he applies him with compliments, and

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<v Speaker 2>he gives him an invitation to this place called a

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<v Speaker 2>Tidepool restaurant, which we're going to see more of later on.

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<v Speaker 2>And before Tony knows it, he's walking out of the cage,

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<v Speaker 2>having done nothing to actually resolve the issue with the

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<v Speaker 2>broken cabs, with the busted cabs, so he's been rendered ineffectual. Immediately,

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<v Speaker 2>he sold out for a dinner, Louie dances all over him.

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<v Speaker 1>Tony Banta sold out his union brothers and sisters for

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<v Speaker 1>a potential meal.

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<v Speaker 2>Now it's either a credit to Louie's powers of persuasion or.

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<v Speaker 1>To Tony is not smart.

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<v Speaker 2>No, and this is proof positive. Right here, Elaine realizes

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<v Speaker 2>that Tony's been Bamboozled by Louie, she calls for a

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<v Speaker 2>recall election, which is unanimously agreed upon by the rest

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<v Speaker 2>of the garage. Out of frustration, Bobby still insists that

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<v Speaker 2>they walk until the cabs are fixed. Elaine calls everybody back,

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<v Speaker 2>pointing out that walking is only going to give the

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<v Speaker 2>company the excuse they need to fire everybody.

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<v Speaker 1>I love Elaine in this episode.

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<v Speaker 2>She's fiery. She really seems to have a clear idea

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<v Speaker 2>of how to get this thing moving and to.

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<v Speaker 1>Drop her channels, like, yeah, you all want to walk,

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<v Speaker 1>and we're gonna, but we're gonna do it right.

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<v Speaker 2>Even Riager, I would expect to be more logical. You

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<v Speaker 2>would figure that he, being the one that everybody goes

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<v Speaker 2>to for their problems, would be the natural person to

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<v Speaker 2>spearhead this whole effort. But he's more than happier.

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<v Speaker 1>Yeah, he clearly doesn't want it that. He's just so like, yeah,

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<v Speaker 1>give it to Tony. Why would anyone ever say yes,

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<v Speaker 1>give it to Tony. As we're gonna see, Alex Rigor

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<v Speaker 1>is in a real fallow point in his life. He's

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<v Speaker 1>feeling kind of low and unchallenged as a human. So

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<v Speaker 1>I don't think he wants to take up the mantle

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<v Speaker 1>of the hero of the Sunshine Cab Company pretty much.

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<v Speaker 2>But I do like you're kind of implying a little

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<v Speaker 2>bit that Alex's doesn't figure particularly well in this episode.

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<v Speaker 2>But I'm going to actually challenge that. We'll talk about

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<v Speaker 2>it momentarily. But I like Alex in this episode despite

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<v Speaker 2>the fact that.

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<v Speaker 1>He's no, you misunderstand me. I'm projecting into the future

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<v Speaker 1>where he reinvigorates himself. I'm saying right now, at this

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<v Speaker 1>point in his life, he's like, I'm not feeling great

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<v Speaker 1>about myself, and the last thing I need is to

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<v Speaker 1>have to fucking deal with either Louis de Palma or

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<v Speaker 1>the bigger boss for these idiots who are all going

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<v Speaker 1>to be screaming and crying.

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<v Speaker 2>Fuck this sure not that makes perfect sense to me.

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<v Speaker 2>Elaine's fiery declaration motivates Bobby to nominate her for Shop Stewart,

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<v Speaker 2>which at first she refuses like anyone logically would, because

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<v Speaker 2>she doesn't, you know, she wants to help affect some change,

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<v Speaker 2>but she doesn't want it anymore then Alex wants it.

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<v Speaker 2>She's just like, I don't really want But eventually Elaine

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<v Speaker 2>relents and She accepts their nomination, and her first action

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<v Speaker 2>as acting shop Stewart is she doesn't want to talk

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<v Speaker 2>to Louie. She wants to go straight upstairs to the boss,

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<v Speaker 2>mister McKenzie. She comes down a few minutes later in

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<v Speaker 2>a bit of a huff. She says that McKenzie didn't

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<v Speaker 2>take her demands seriously, so Elaine's sees no choice but

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<v Speaker 2>to go on STRR, to which they all march out, shouting,

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<v Speaker 2>shut it down, shut it down. Louis watching this happen

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<v Speaker 2>is incredulous. He's he wonders sarcastically, where are they gonna

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00:16:12.639 --> 00:16:16.639
<v Speaker 2>find people to drive these cabs? And at that exact

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<v Speaker 2>moment this co incidental.

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<v Speaker 1>Now here's my question to you, asked me before we

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<v Speaker 1>get to this hilarious bit. Was that the first duo

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<v Speaker 1>of writers who came up with this? Or was it

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<v Speaker 1>the actual taxi writers who came up with this? I'm

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<v Speaker 1>going to hope that it's original taxi writer Mark Jacobson

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<v Speaker 1>and Michael Tolkien who contributed this bit of vaudeville fucking

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<v Speaker 1>dio six mock in a bullshit.

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<v Speaker 2>This does seem a little hacky. I do like how

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00:16:41.919 --> 00:16:44.600
<v Speaker 2>they follow it up, though, but this initial bit is

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<v Speaker 2>sort of corny. At the moment that Louie is proclaiming,

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<v Speaker 2>where are they gonna find cabbies? This kid walks in

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<v Speaker 2>delivering newspapers. He can't be more than like thirteen or

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<v Speaker 2>fourteen years old, and of course Louis hires him on

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<v Speaker 2>the spot to drive a cab as we fade the

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<v Speaker 2>black and it's silly because it would never that would

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<v Speaker 2>never happen in real life. I mean, he's not going

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<v Speaker 2>to give this kid who probably doesn't even have his

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<v Speaker 2>own license yet.

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<v Speaker 1>A kid wouldn't have walked into the building to sell newspapers.

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<v Speaker 1>What the fuck was that? Get your paper, mister.

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<v Speaker 2>We fade back in on an awesome aerial shot of

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<v Speaker 2>New York, including the World Trade Center. It's really really cool.

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<v Speaker 2>We don't see aerial shots like this very often in

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<v Speaker 2>taxi Usually it's ground level stuff. This was pretty cool.

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<v Speaker 2>We cut into the garage where Louis is handing out

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<v Speaker 2>assignments to the five or so random guys milling about.

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<v Speaker 2>Now in addition to the paper boy that we just

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<v Speaker 2>talked about from earlier. My favorite part in this is

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<v Speaker 2>that every other cabby is this elderly guy like there's

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<v Speaker 2>there's five, there's four or five like old men just

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00:17:53.720 --> 00:17:57.519
<v Speaker 2>sitting around waiting for their assignments. One of them he calls,

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00:17:57.880 --> 00:18:01.039
<v Speaker 2>and the guy it's almost if he's not even acting.

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00:18:01.079 --> 00:18:03.400
<v Speaker 2>He just has this far away look in his eyes,

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<v Speaker 2>like he doesn't even know where he is or what

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00:18:06.000 --> 00:18:06.599
<v Speaker 2>he's doing.

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00:18:07.079 --> 00:18:10.599
<v Speaker 1>And Louie, all I kept thinking about that particular actor

340
00:18:10.799 --> 00:18:16.359
<v Speaker 1>was I'll bet that guy got together in nineteen forty

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<v Speaker 1>five with the veterans returning home and they all talked

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<v Speaker 1>about what it was like to fight in the World War,

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<v Speaker 1>because he no doubt fought in the first.

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<v Speaker 2>WAW one for sure. It's just something about the display

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<v Speaker 2>of all these old men who are showing no emotion.

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<v Speaker 2>They all look maybe even a little bit embittered, tired.

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<v Speaker 1>They're a cast of a Tom Waits song.

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<v Speaker 2>Perfect. This is the crew that Louie has hired as

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<v Speaker 2>scabs while the cabbys are picketing. That I thought it

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00:18:48.680 --> 00:18:52.440
<v Speaker 2>was great. It's a great rebound from the corny joke

351
00:18:52.480 --> 00:18:54.559
<v Speaker 2>about the kids selling newspapers. I thought that was I

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<v Speaker 2>thought it was awesome. After sending these old guys out

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<v Speaker 2>to drive the cabs, Bobby hustles in to get coffee

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<v Speaker 2>for the rest of the picketers. This is where he

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00:19:04.920 --> 00:19:12.319
<v Speaker 2>comes in, rubbing his hands furiously cold. So he comes in,

356
00:19:12.359 --> 00:19:15.119
<v Speaker 2>he gets coffee for the rest of the picketers. Of course,

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00:19:15.319 --> 00:19:18.440
<v Speaker 2>like I said, his body language is indicating how cold

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<v Speaker 2>it is outside. Louis proceeds to taunt Bobby with an

359
00:19:22.640 --> 00:19:25.839
<v Speaker 2>acting related message that Louis failed for this one.

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<v Speaker 1>This is rough. Actually, I gotta say. This is mean.

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<v Speaker 1>I mean, even if it's not real, it's really mean.

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<v Speaker 2>What happens is that he's oh. He says, oh, Bobby,

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<v Speaker 2>I got a message for you from your agent, you know,

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00:19:38.880 --> 00:19:40.839
<v Speaker 2>such and such wants you to come in to read

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<v Speaker 2>for this movie. And Bobby's like what, really? What when?

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<v Speaker 2>And Louis says it was yesterday. I didn't give you

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<v Speaker 2>the message because you were pickinning. So of course Bobby

368
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<v Speaker 2>is completely crestfallen about this. It's really cruel on Louis

369
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<v Speaker 2>park to your point, even if it's not genuine, which

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<v Speaker 2>I think it is genuine. At this point, the rest

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<v Speaker 2>of the Cabby's come. They've got their picketing signs with them,

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<v Speaker 2>with the news that the union has scheduled a hearing

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<v Speaker 2>to discuss their grievances. Which is a step in the

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<v Speaker 2>right direction. This is a good development. But Louie is

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<v Speaker 2>unmoved by this threat of hearing. He says, while they

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00:20:15.839 --> 00:20:19.960
<v Speaker 2>were picketing, Louis has been falsifying the garage's cab repair

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00:20:20.039 --> 00:20:23.160
<v Speaker 2>records to make it seem like they were spending a

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00:20:23.160 --> 00:20:26.839
<v Speaker 2>lot more on maintenance. He figures this will buy the

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00:20:26.920 --> 00:20:30.759
<v Speaker 2>company time to bring the cabs back up to proper

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<v Speaker 2>working condition. He's cooking the books, basically, yeah, yeah.

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<v Speaker 1>And I would say at that point, realistically, HP, I

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00:20:38.240 --> 00:20:41.240
<v Speaker 1>would say, okay, well, me and the twelve other people

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<v Speaker 1>standing here all heard that. We'll see you at the meeting.

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00:20:44.400 --> 00:20:47.079
<v Speaker 1>We all witnessed, and each of these people will attest

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<v Speaker 1>to that. He said, we're cooking the books so that

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<v Speaker 1>we can buy ourselves enough time to get the cabs.

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<v Speaker 1>So I'm suggesting, today, your honor, we go look at

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<v Speaker 1>the cabs. In fact, I have photographs of the cabs

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00:20:57.400 --> 00:20:57.920
<v Speaker 1>here they are.

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<v Speaker 2>You would figure it does seem rather odd that they

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<v Speaker 2>all just should have shrug off the threat. They're completely

392
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<v Speaker 2>unmoved by it, except for Alex. They all go back

393
00:21:08.880 --> 00:21:13.000
<v Speaker 2>to picketing, and Alex is in there with Louis and

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00:21:13.200 --> 00:21:16.480
<v Speaker 2>Alex starts to play on Louie's religious case.

395
00:21:16.599 --> 00:21:18.559
<v Speaker 1>Yeah, now, this is this is good because this is

396
00:21:18.599 --> 00:21:21.079
<v Speaker 1>actually a callback to an earlier episode when you think

397
00:21:21.119 --> 00:21:22.359
<v Speaker 1>about it, when right.

398
00:21:22.640 --> 00:21:24.519
<v Speaker 2>He had the operation, Yeah yeah, when Louis had that

399
00:21:24.559 --> 00:21:27.720
<v Speaker 2>operation and he was afraid for his soul, he made

400
00:21:27.720 --> 00:21:29.200
<v Speaker 2>a vow that he was going to be a better

401
00:21:29.240 --> 00:21:31.279
<v Speaker 2>person until Bobby pushes him too far.

402
00:21:32.319 --> 00:21:35.279
<v Speaker 1>Alex remembers this right, and Alex told him it was

403
00:21:35.359 --> 00:21:38.240
<v Speaker 1>okay to be himself, that God wanted him to be

404
00:21:38.359 --> 00:21:40.839
<v Speaker 1>that way, so he knows there's a god angle. I

405
00:21:40.880 --> 00:21:43.319
<v Speaker 1>love this. This is actually a good writing. I'm going

406
00:21:43.359 --> 00:21:46.400
<v Speaker 1>to guess that it's the fucking taxi writers came up

407
00:21:46.440 --> 00:21:47.400
<v Speaker 1>with this, bitch.

408
00:21:47.680 --> 00:21:51.279
<v Speaker 2>Totally consistent with that earlier episode. Alex points out to

409
00:21:51.359 --> 00:21:54.920
<v Speaker 2>Louis that he's going to be under oath when he's

410
00:21:55.119 --> 00:21:58.519
<v Speaker 2>called upon to testify in this hearing, So, in other words,

411
00:21:58.559 --> 00:22:00.599
<v Speaker 2>Louis is going to be swearing to God that he'll

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00:22:00.599 --> 00:22:04.880
<v Speaker 2>be telling the truth, and then Louis will proceed to lie.

413
00:22:05.599 --> 00:22:09.079
<v Speaker 2>This catches Louise's attention in a way that the Cabby's

414
00:22:09.119 --> 00:22:12.039
<v Speaker 2>hen't up till now, but he plays it off like, ah,

415
00:22:12.039 --> 00:22:15.400
<v Speaker 2>this is just business. That's you know, that's fine. But

416
00:22:15.480 --> 00:22:19.720
<v Speaker 2>Alex again cautions Louis against eternal damnation. He uses those

417
00:22:19.759 --> 00:22:23.319
<v Speaker 2>exact words, and that's what finally gets through to Louis.

418
00:22:24.079 --> 00:22:28.279
<v Speaker 2>Alex further goes on to say that someday a cabby

419
00:22:28.319 --> 00:22:30.400
<v Speaker 2>is going to get in an accident, a bad one,

420
00:22:30.440 --> 00:22:33.599
<v Speaker 2>and get hurt, maybe even die, and that's going to

421
00:22:33.640 --> 00:22:39.960
<v Speaker 2>be Louie's fault. Alex recommends that Louis start negotiating with

422
00:22:40.240 --> 00:22:44.759
<v Speaker 2>the shop Steward, and a chastened Louis finally agrees to

423
00:22:44.839 --> 00:22:48.240
<v Speaker 2>talk to Elaine. Elaine comes in to talk to Louis

424
00:22:48.279 --> 00:22:51.119
<v Speaker 2>and he asks her what her demands are, and it's

425
00:22:51.160 --> 00:22:54.240
<v Speaker 2>to her credit, she's got a whole litany of things

426
00:22:54.240 --> 00:22:56.119
<v Speaker 2>all worked out. She wants all the cabs that were

427
00:22:56.119 --> 00:22:59.240
<v Speaker 2>in service for more than five years to be retired.

428
00:23:00.000 --> 00:23:02.240
<v Speaker 2>He's actually kind of extreme, father alone, I.

429
00:23:02.160 --> 00:23:04.599
<v Speaker 1>Think, But yeah, I think so too. I think, you know,

430
00:23:05.039 --> 00:23:07.680
<v Speaker 1>I think it should be a case by case basis. Yeah,

431
00:23:07.759 --> 00:23:11.319
<v Speaker 1>I mean, for years, Stewart should be completely welcome to

432
00:23:11.359 --> 00:23:14.279
<v Speaker 1>make the decision whether or not the car is actually

433
00:23:14.440 --> 00:23:15.400
<v Speaker 1>irreparable or not.

434
00:23:16.440 --> 00:23:18.480
<v Speaker 2>It should have been, like you know, they will be

435
00:23:18.519 --> 00:23:21.160
<v Speaker 2>evaluated on a case by case basis, like you said,

436
00:23:21.240 --> 00:23:25.519
<v Speaker 2>and if they're deemed too old or too far gone,

437
00:23:25.599 --> 00:23:28.880
<v Speaker 2>they should be retired. But she says older than five

438
00:23:29.000 --> 00:23:32.759
<v Speaker 2>years dumb them. She wants new breaks on all the cabs.

439
00:23:33.079 --> 00:23:37.359
<v Speaker 2>She wants the maintenance budget increased by ten percent, and

440
00:23:37.480 --> 00:23:41.480
<v Speaker 2>at least one new mechanic per shift. Louis agrees to

441
00:23:41.599 --> 00:23:45.759
<v Speaker 2>all of this, provided that she honor a few demands

442
00:23:45.799 --> 00:23:50.359
<v Speaker 2>of his own. And this is where Elaine's delight starts

443
00:23:50.359 --> 00:23:54.720
<v Speaker 2>to curdle once she realizes what's about to happen. And

444
00:23:54.960 --> 00:23:57.640
<v Speaker 2>do you remember what his initial demand is? Father Malone?

445
00:23:59.079 --> 00:24:02.519
<v Speaker 2>His first demand? His first demand is he wants to

446
00:24:02.559 --> 00:24:07.519
<v Speaker 2>spend four days with a Lane in a secluded mountain cabin.

447
00:24:07.799 --> 00:24:08.920
<v Speaker 1>Who doesn't come on.

448
00:24:09.359 --> 00:24:12.000
<v Speaker 2>This is Louise's way of compromising. He's his way out

449
00:24:12.000 --> 00:24:15.119
<v Speaker 2>of this situation. So of course she starts to walk out.

450
00:24:15.119 --> 00:24:17.640
<v Speaker 2>She says, this is ridiculous. She walks out. Louise starts

451
00:24:17.640 --> 00:24:20.160
<v Speaker 2>paring down his demand. He says, all right, one weekend,

452
00:24:20.559 --> 00:24:25.119
<v Speaker 2>one date, one date to save Cabby's lives, and that

453
00:24:25.519 --> 00:24:30.160
<v Speaker 2>causes Elane to stop and turn around, and she says

454
00:24:30.200 --> 00:24:33.119
<v Speaker 2>to him, you'll give in to all the demands for

455
00:24:33.200 --> 00:24:36.920
<v Speaker 2>one date. That's right, he says, one date, and then

456
00:24:36.960 --> 00:24:39.680
<v Speaker 2>they proceed to haggle over the terms of the date.

457
00:24:40.160 --> 00:24:41.640
<v Speaker 2>It's going to be a lunch, No, it's going to

458
00:24:41.680 --> 00:24:43.640
<v Speaker 2>be a dinner. No, it's going to be during the day. No,

459
00:24:43.759 --> 00:24:45.519
<v Speaker 2>it's going to be at night, et cetera, et cetera.

460
00:24:46.039 --> 00:24:49.559
<v Speaker 2>And he even insists that she call him Stallion while

461
00:24:49.599 --> 00:24:52.480
<v Speaker 2>an earshot of other people. That's one of his stipulations.

462
00:24:53.519 --> 00:24:57.319
<v Speaker 2>At least twice. A frustrated Elane asks is there any

463
00:24:57.319 --> 00:25:00.000
<v Speaker 2>other way that we can settle this? But Louis says,

464
00:25:00.000 --> 00:25:02.480
<v Speaker 2>you can either agree to the date or he and

465
00:25:02.559 --> 00:25:05.200
<v Speaker 2>his cooked books will make mince meat out of their

466
00:25:05.240 --> 00:25:06.039
<v Speaker 2>case at the hearing.

467
00:25:06.519 --> 00:25:08.319
<v Speaker 1>At that point, I would say, fuck you, we'll see

468
00:25:08.359 --> 00:25:11.039
<v Speaker 1>you in court. I think I would probably have said

469
00:25:11.119 --> 00:25:13.599
<v Speaker 1>yes until he brought up the cookbooks thing. Then I

470
00:25:13.640 --> 00:25:15.480
<v Speaker 1>would say, well, you know what, we're going to pool

471
00:25:15.519 --> 00:25:17.960
<v Speaker 1>our money and we're going to get a forensic accountant

472
00:25:18.000 --> 00:25:19.880
<v Speaker 1>in here, and we'll see how those books look.

473
00:25:21.240 --> 00:25:23.279
<v Speaker 2>He does seem very sure of himself, and it is

474
00:25:23.400 --> 00:25:26.799
<v Speaker 2>curious that she doesn't just call his bluff. But she doesn't.

475
00:25:27.160 --> 00:25:29.920
<v Speaker 1>I'm sure we have receipts for all of these parts

476
00:25:29.960 --> 00:25:33.480
<v Speaker 1>that you've been buying, the most parts of any cramp

477
00:25:33.519 --> 00:25:35.960
<v Speaker 1>company in all of New York, that you're spending on

478
00:25:36.200 --> 00:25:38.079
<v Speaker 1>repairing these caps, right, Louis.

479
00:25:38.440 --> 00:25:41.640
<v Speaker 2>She wants this to be over with quickly, and I

480
00:25:41.680 --> 00:25:44.920
<v Speaker 2>think she's struggling with the notion that, look, she doesn't

481
00:25:44.960 --> 00:25:46.359
<v Speaker 2>want to go out on a date with Louis under

482
00:25:46.400 --> 00:25:49.480
<v Speaker 2>any circumstance. But if this is what it's going to

483
00:25:49.559 --> 00:25:54.480
<v Speaker 2>take to save Cabby's lives, to get them back to work,

484
00:25:54.599 --> 00:25:59.599
<v Speaker 2>to rectify this whole situation, sadly she doesn't see another

485
00:25:59.599 --> 00:26:00.880
<v Speaker 2>way around this. She kind of.

486
00:26:02.319 --> 00:26:10.079
<v Speaker 1>Listen to me, fella, I'm not questioning the quandary that

487
00:26:10.079 --> 00:26:12.839
<v Speaker 1>they're putting a Lane in or her reaction to it.

488
00:26:13.200 --> 00:26:16.119
<v Speaker 1>I'm saying the mcguffin of the cookbooks is stupid, and

489
00:26:16.119 --> 00:26:18.079
<v Speaker 1>I wish they'd quit referring to it.

490
00:26:18.799 --> 00:26:23.039
<v Speaker 2>After a lot of internal deliberation, Elane reluctantly agrees, and

491
00:26:23.079 --> 00:26:27.440
<v Speaker 2>this sends Louis into ecstatic hopping and whooping. He is

492
00:26:28.400 --> 00:26:30.680
<v Speaker 2>jumping for joy about the idea of going out on

493
00:26:30.720 --> 00:26:33.400
<v Speaker 2>a date with a Lane and she but she yells

494
00:26:33.400 --> 00:26:36.279
<v Speaker 2>at him, and I actually, I there was something in

495
00:26:36.759 --> 00:26:38.880
<v Speaker 2>what she says that really got through to me, and

496
00:26:38.920 --> 00:26:42.240
<v Speaker 2>it made me really feel sorry for Elane and really

497
00:26:42.279 --> 00:26:45.839
<v Speaker 2>feel hatred towards Louis even more than I should, she says.

498
00:26:46.440 --> 00:26:48.960
<v Speaker 2>She points out to Louis that he's taking advantage of

499
00:26:48.960 --> 00:26:53.559
<v Speaker 2>something decent in her by satisfying and indecent need of

500
00:26:53.599 --> 00:26:57.119
<v Speaker 2>his own. That to me, says it all. She's trying

501
00:26:57.160 --> 00:27:00.079
<v Speaker 2>to do this for the betterment of the other cavey,

502
00:27:00.480 --> 00:27:03.440
<v Speaker 2>and he's doing this just because he you know, he

503
00:27:03.519 --> 00:27:05.799
<v Speaker 2>wants to go out on a date with Elaine and

504
00:27:05.839 --> 00:27:08.599
<v Speaker 2>whatever that might entail. That just makes him seem like

505
00:27:08.680 --> 00:27:09.480
<v Speaker 2>such a monster.

506
00:27:09.839 --> 00:27:14.240
<v Speaker 1>Well, yeah, this whole fucking scenario is terrible for playing

507
00:27:14.240 --> 00:27:16.880
<v Speaker 1>it for laughs, but it is a huge fucking problem.

508
00:27:17.039 --> 00:27:18.839
<v Speaker 2>We shouldn't have to say this, but obviously we're not

509
00:27:18.920 --> 00:27:25.000
<v Speaker 2>condoning what Louis has coerced Elaine into doing. It's awful

510
00:27:25.480 --> 00:27:30.000
<v Speaker 2>and it shouldn't happen. But I mean, this is you know,

511
00:27:30.480 --> 00:27:32.799
<v Speaker 2>it was a different time. This is the show. This

512
00:27:32.880 --> 00:27:36.200
<v Speaker 2>is the plot that they've cooked up. She lays all

513
00:27:36.200 --> 00:27:37.640
<v Speaker 2>this on him and says, well, how does this make

514
00:27:37.680 --> 00:27:39.480
<v Speaker 2>you feel to be doing this to me? And I

515
00:27:39.480 --> 00:27:42.960
<v Speaker 2>think his response is something like it makes me horny?

516
00:27:43.079 --> 00:27:45.759
<v Speaker 2>Is all get out, and that's what we fade out.

517
00:27:45.799 --> 00:27:48.480
<v Speaker 2>That's Part one is concluded of this two part episode.

518
00:27:48.640 --> 00:27:51.200
<v Speaker 1>That's the title of my autobiography.

519
00:27:51.160 --> 00:27:55.640
<v Speaker 2>Horny as All get Out. Part two commences with a

520
00:27:55.720 --> 00:28:00.119
<v Speaker 2>tracking shot of the empty garage Cabby's file in as

521
00:28:00.119 --> 00:28:03.440
<v Speaker 2>a jubilant Louis welcomes them back while they're coming back

522
00:28:03.440 --> 00:28:06.599
<v Speaker 2>to work. And Louis is welcoming them in, he's whistling,

523
00:28:06.759 --> 00:28:12.160
<v Speaker 2>he's bopping around the garage. He seems thrilled. Bobby again

524
00:28:12.240 --> 00:28:16.279
<v Speaker 2>cautions Louis against premature celebration, but Louis says there's no

525
00:28:16.400 --> 00:28:18.799
<v Speaker 2>chance that negotiations fall through. He's not going to give

526
00:28:18.839 --> 00:28:22.960
<v Speaker 2>him any details on the concessions, but he feels pretty

527
00:28:22.960 --> 00:28:26.440
<v Speaker 2>confident that things are going to work out. I like

528
00:28:26.720 --> 00:28:30.599
<v Speaker 2>a suspicious riager. I love a suspicious riager.

529
00:28:30.960 --> 00:28:33.400
<v Speaker 1>And you know how you know he's suspicious because he's

530
00:28:33.400 --> 00:28:37.519
<v Speaker 1>got on his suspicious jacket. Here, this weirdo corduroy thing

531
00:28:37.559 --> 00:28:41.359
<v Speaker 1>with this giant fucking batman collar and this belf that

532
00:28:41.480 --> 00:28:43.359
<v Speaker 1>could choke a fucking rhinoceros.

533
00:28:43.720 --> 00:28:45.799
<v Speaker 2>We've seen this in a couple of episodes, We'll see

534
00:28:45.799 --> 00:28:49.519
<v Speaker 2>it in a few more. There's something that's nagging at

535
00:28:49.640 --> 00:28:52.680
<v Speaker 2>Riger's perception of what's going on. There's something nagging at

536
00:28:52.680 --> 00:28:55.200
<v Speaker 2>his mind. He's not sure what it is. So something

537
00:28:55.200 --> 00:28:59.319
<v Speaker 2>about Louise's unrestrained happiness that doesn't sit well with Riager.

538
00:29:00.160 --> 00:29:04.799
<v Speaker 1>I say, Bobby, have you noticed a miss with mister

539
00:29:04.839 --> 00:29:09.039
<v Speaker 1>de Palmer? Today seems unusually jubilant.

540
00:29:08.240 --> 00:29:11.759
<v Speaker 2>As Alex points out, yesterday they were at an impasse,

541
00:29:11.839 --> 00:29:16.400
<v Speaker 2>and today, like magic, everything has been settled. But Bobby

542
00:29:16.440 --> 00:29:19.319
<v Speaker 2>says they should trust Elane. Elaine said it would all

543
00:29:19.359 --> 00:29:24.279
<v Speaker 2>work out. But curiously, Elaine is missing. Tony says she

544
00:29:24.440 --> 00:29:26.000
<v Speaker 2>was taking the night off to rest.

545
00:29:26.480 --> 00:29:30.160
<v Speaker 1>Well. No more to the point, Rieger says, where's Elaine?

546
00:29:30.920 --> 00:29:30.960
<v Speaker 2>No?

547
00:29:31.240 --> 00:29:33.880
<v Speaker 1>I agree with you, Detective Riger. Here is fucking great.

548
00:29:34.400 --> 00:29:36.599
<v Speaker 2>I love it. We see it in a few episodes.

549
00:29:37.119 --> 00:29:40.720
<v Speaker 2>It is Detective Riager. It's like something's not right.

550
00:29:41.160 --> 00:29:43.400
<v Speaker 1>When Riger is in a suspicious mood, he puts on

551
00:29:43.440 --> 00:29:45.160
<v Speaker 1>this jacket.

552
00:29:44.640 --> 00:29:46.279
<v Speaker 2>So he's like Sherlock Holmes.

553
00:29:46.279 --> 00:29:47.960
<v Speaker 1>He has to put the deer stalker cap on to

554
00:29:48.240 --> 00:29:49.319
<v Speaker 1>exactly to.

555
00:29:49.200 --> 00:29:53.720
<v Speaker 2>Solve the crime. Bobby also raises some concerns that Elaine

556
00:29:53.759 --> 00:29:55.880
<v Speaker 2>appeared to be more stressed than.

557
00:29:55.839 --> 00:29:58.559
<v Speaker 1>Usual, something Bobby would never notice. By the way.

558
00:29:58.720 --> 00:30:02.720
<v Speaker 2>Perception is not one of Bobby's best qualities. We've seen

559
00:30:02.759 --> 00:30:04.279
<v Speaker 2>this unless it has to do with a woman.

560
00:30:04.559 --> 00:30:06.000
<v Speaker 1>Here's what he would have said.

561
00:30:06.279 --> 00:30:08.880
<v Speaker 2>She looked terrible, and that would have been it. It

562
00:30:08.920 --> 00:30:09.640
<v Speaker 2>wouldn't have been.

563
00:30:10.400 --> 00:30:12.559
<v Speaker 1>Oh, momsst something must be on her mind.

564
00:30:12.720 --> 00:30:16.839
<v Speaker 2>Hmmm, yeah, like the best kind of detective. Something doesn't

565
00:30:16.880 --> 00:30:18.519
<v Speaker 2>sit well with a riager. And he's picking up on

566
00:30:18.559 --> 00:30:20.039
<v Speaker 2>all these little clues.

567
00:30:20.000 --> 00:30:22.759
<v Speaker 1>Subtle things like Louis saying, I don't know why I'm

568
00:30:22.759 --> 00:30:25.079
<v Speaker 1>putting a shirt on. It's just gonna be ripped off.

569
00:30:25.119 --> 00:30:26.359
<v Speaker 1>I mean in an hour or two.

570
00:30:28.720 --> 00:30:31.279
<v Speaker 2>Louie comes out of the bathroom, He's got several bottles

571
00:30:31.279 --> 00:30:35.000
<v Speaker 2>of aftershave and asks them to give him their opinion

572
00:30:35.000 --> 00:30:37.200
<v Speaker 2>of the best one. It's a silly joke, but he

573
00:30:37.240 --> 00:30:41.000
<v Speaker 2>singles out Alex's honker is being the best suited to

574
00:30:41.039 --> 00:30:46.680
<v Speaker 2>the task. But that, combined with Hersch's wordless expression, he

575
00:30:46.799 --> 00:30:49.559
<v Speaker 2>just looks at Louie when Louie lays this big nose

576
00:30:49.599 --> 00:30:51.960
<v Speaker 2>insult on him. He just looks at Louie like he

577
00:30:51.960 --> 00:30:55.640
<v Speaker 2>doesn't even know what to say to respond. It is

578
00:30:55.880 --> 00:30:58.559
<v Speaker 2>so fucking funny. I thought it was great.

579
00:30:58.839 --> 00:31:00.839
<v Speaker 1>You're correct. The expression. It's so good. It's like you

580
00:31:00.839 --> 00:31:04.480
<v Speaker 1>don't even know to be offended, like when somebody's like

581
00:31:04.599 --> 00:31:08.440
<v Speaker 1>so fucking rude, and it's like just like I can't

582
00:31:08.480 --> 00:31:11.759
<v Speaker 1>even really be hurt right now because I'm just shocked.

583
00:31:12.160 --> 00:31:15.240
<v Speaker 2>It's the best. It's the best reaction of the whole episode.

584
00:31:15.839 --> 00:31:19.519
<v Speaker 2>Speaking of which, Father Malone, do you remember which cologne

585
00:31:19.599 --> 00:31:21.480
<v Speaker 2>Alex chose for Louis to wear?

586
00:31:22.039 --> 00:31:23.920
<v Speaker 1>I know it was the first one, but I couldn't

587
00:31:24.039 --> 00:31:25.359
<v Speaker 1>hear what he called it.

588
00:31:26.160 --> 00:31:29.079
<v Speaker 2>They make reference a couple times in the episode. It's

589
00:31:28.799 --> 00:31:32.920
<v Speaker 2>the aftershave is called cruel cavalier.

590
00:31:33.799 --> 00:31:35.160
<v Speaker 1>Cruel cavalier.

591
00:31:35.920 --> 00:31:38.400
<v Speaker 2>It's sort of like sex panther from Anchorman.

592
00:31:38.519 --> 00:31:41.279
<v Speaker 1>I guess right, Cruel cavalier.

593
00:31:42.079 --> 00:31:45.599
<v Speaker 2>It's two adjectives, cruel and cavalier.

594
00:31:45.799 --> 00:31:50.319
<v Speaker 1>Yes, like what a horrible thing the broadcast. Here I come, ladies,

595
00:31:50.440 --> 00:31:54.119
<v Speaker 1>I'm both cruel and cavalier. I'm a catch all.

596
00:31:54.200 --> 00:31:58.440
<v Speaker 2>The while, riger is still bothered by Elaine's absence. Something

597
00:31:58.559 --> 00:32:00.680
<v Speaker 2>is just not adding up for him, like like like

598
00:32:00.759 --> 00:32:04.200
<v Speaker 2>Lieutenant Colombo, he just can't let this thing go. He's

599
00:32:04.279 --> 00:32:07.319
<v Speaker 2>working these clues like a dog, you know, nibbling at

600
00:32:07.319 --> 00:32:08.039
<v Speaker 2>a bone.

601
00:32:08.240 --> 00:32:10.680
<v Speaker 1>That collar will not let his mind rest.

602
00:32:11.519 --> 00:32:15.079
<v Speaker 2>Louis's big show of getting prepared for a big night,

603
00:32:15.160 --> 00:32:19.359
<v Speaker 2>including he's removing pins from a brand new dress shirt.

604
00:32:19.519 --> 00:32:23.319
<v Speaker 1>Oh my god, okay, hb you remember dress shirts with

605
00:32:23.359 --> 00:32:26.519
<v Speaker 1>all the pins? Why why were so many pins? Are

606
00:32:26.519 --> 00:32:30.160
<v Speaker 1>there pins anymore? There aren't. They're just like little plastic things.

607
00:32:30.400 --> 00:32:33.000
<v Speaker 2>No, there's still pins. Some of them are Some of

608
00:32:33.000 --> 00:32:34.440
<v Speaker 2>them have like the alligators.

609
00:32:34.559 --> 00:32:37.039
<v Speaker 1>I don't. I don't buy fancy shirts.

610
00:32:37.480 --> 00:32:39.440
<v Speaker 2>Occasionally I have to go get a new dress shirt,

611
00:32:39.559 --> 00:32:41.640
<v Speaker 2>and they do. They have a million of those little

612
00:32:41.640 --> 00:32:44.039
<v Speaker 2>pins that you have to like take out. Yeah, it's weird.

613
00:32:44.160 --> 00:32:46.400
<v Speaker 1>What's the purpose at this point? We know it's gonna

614
00:32:46.400 --> 00:32:49.440
<v Speaker 1>be wrinkled. We're good with it. Just give us the fabric, like,

615
00:32:49.759 --> 00:32:52.319
<v Speaker 1>I don't need twenty seven potential punctures.

616
00:32:52.839 --> 00:32:55.960
<v Speaker 2>This is all very puzzling to riger and he tells

617
00:32:55.960 --> 00:32:58.359
<v Speaker 2>the rest of the cabvies that he's gonna go check

618
00:32:58.400 --> 00:33:02.839
<v Speaker 2>on a lane and we cut to just a terrible

619
00:33:03.279 --> 00:33:06.039
<v Speaker 2>nighttime b roll of what's supposed to be the exterior

620
00:33:06.279 --> 00:33:06.680
<v Speaker 2>of her.

621
00:33:06.559 --> 00:33:09.240
<v Speaker 1>Apartment at night or is this the bee roll with

622
00:33:09.279 --> 00:33:13.559
<v Speaker 1>all the flash in the star Stroby things or that in.

623
00:33:13.519 --> 00:33:16.920
<v Speaker 2>The no no, no, no, no no. This is just no, no,

624
00:33:17.400 --> 00:33:18.200
<v Speaker 2>we'll get to that one.

625
00:33:18.319 --> 00:33:18.599
<v Speaker 1>Okay.

626
00:33:18.920 --> 00:33:22.319
<v Speaker 2>This is just a pan up to her apartment at night,

627
00:33:22.359 --> 00:33:25.839
<v Speaker 2>but it's so dark you can't make anything out. It's terrible.

628
00:33:25.880 --> 00:33:28.359
<v Speaker 1>You know what, every time they give us Elaine's apartment

629
00:33:28.480 --> 00:33:32.720
<v Speaker 1>or anyone's domicile, they always keep it particularly vague looking

630
00:33:33.000 --> 00:33:35.960
<v Speaker 1>in murky, and I think that's because they probably learned

631
00:33:36.000 --> 00:33:39.960
<v Speaker 1>their lesson with Marios in the first season that sometimes

632
00:33:39.720 --> 00:33:41.680
<v Speaker 1>the bee really ain't gonna match.

633
00:33:42.480 --> 00:33:46.960
<v Speaker 2>We cut inside to Elaine's apartment and she's despondent, and

634
00:33:47.000 --> 00:33:50.759
<v Speaker 2>she's laying on the couch in a pink robe, and

635
00:33:50.799 --> 00:33:54.079
<v Speaker 2>she's guzzling something straight from a blender pitcher. It's like

636
00:33:54.079 --> 00:33:54.960
<v Speaker 2>this giant pitcher.

637
00:33:55.279 --> 00:33:57.960
<v Speaker 1>This is great. So she's got a bottle. It's whiskey,

638
00:33:57.960 --> 00:34:02.839
<v Speaker 1>it's scotch. I think a bottle half full on the table.

639
00:34:03.119 --> 00:34:04.960
<v Speaker 1>The other half of the bottle is just sitting at

640
00:34:05.000 --> 00:34:08.239
<v Speaker 1>the bottom of this picture without anything else. There's no ice,

641
00:34:08.559 --> 00:34:12.639
<v Speaker 1>there's no mixer, no nothing, which means that she could

642
00:34:12.719 --> 00:34:16.039
<v Speaker 1>not find a glass big enough for her appetite to

643
00:34:16.119 --> 00:34:19.880
<v Speaker 1>be drunk, so she used a blender. Fucking picture.

644
00:34:20.320 --> 00:34:24.719
<v Speaker 2>The doorbell rings and she shouts something very desperate to

645
00:34:25.199 --> 00:34:28.599
<v Speaker 2>the person behind him, and she's really really freaked out

646
00:34:28.599 --> 00:34:30.360
<v Speaker 2>about the state. She doesn't want to go in the state.

647
00:34:30.480 --> 00:34:33.840
<v Speaker 2>So Riager comes in. Like Poirot, he seems to have

648
00:34:33.880 --> 00:34:37.639
<v Speaker 2>put two and two together. He now has figured out

649
00:34:37.719 --> 00:34:41.519
<v Speaker 2>that Elaine and Louis are going on on this date,

650
00:34:41.960 --> 00:34:45.880
<v Speaker 2>probably to settle the grievance with the cabs and all

651
00:34:45.960 --> 00:34:49.960
<v Speaker 2>that business. Elaine tries to make a show of lying

652
00:34:49.960 --> 00:34:51.159
<v Speaker 2>about her plants, but.

653
00:34:52.239 --> 00:34:56.280
<v Speaker 1>Eventually Joe and he's a doctor and he really likes me,

654
00:34:56.400 --> 00:34:57.199
<v Speaker 1>and he won't hurt me.

655
00:34:57.440 --> 00:35:02.159
<v Speaker 2>He won't hurt me. Really good in this Mary Lehnna's

656
00:35:02.239 --> 00:35:02.960
<v Speaker 2>really really good.

657
00:35:03.000 --> 00:35:04.519
<v Speaker 1>Yeah, she's spectacular all around.

658
00:35:05.079 --> 00:35:09.280
<v Speaker 2>Alex figures it out, and meanwhile Elaine now starts chugging

659
00:35:09.320 --> 00:35:11.719
<v Speaker 2>from a wine bottle. She's gotten up from the couch

660
00:35:11.880 --> 00:35:14.599
<v Speaker 2>and she's gotten a wine bottle on the table and

661
00:35:14.599 --> 00:35:15.400
<v Speaker 2>she's drinking from that.

662
00:35:15.840 --> 00:35:17.119
<v Speaker 1>It's gonna have a rough morning.

663
00:35:17.599 --> 00:35:20.800
<v Speaker 2>Riga's trying to make some jokes about the situation, but

664
00:35:21.039 --> 00:35:24.480
<v Speaker 2>Elaine is very very worked up about this whole deal.

665
00:35:25.559 --> 00:35:28.840
<v Speaker 2>A knock on the door causes her to scream at

666
00:35:28.840 --> 00:35:32.239
<v Speaker 2>the top of her voice, hide me, and it's pretty good.

667
00:35:32.599 --> 00:35:35.760
<v Speaker 2>She goes off to get ready while Riger lets Louis

668
00:35:35.800 --> 00:35:37.199
<v Speaker 2>in and the door opens.

669
00:35:37.480 --> 00:35:39.559
<v Speaker 1>Oh my god, no, no, no, no, no. Before the

670
00:35:39.639 --> 00:35:42.920
<v Speaker 1>door opens, he's back there. He's like, open the door

671
00:35:42.960 --> 00:35:45.519
<v Speaker 1>and feast your eyes on one hundred and fifty pounds

672
00:35:45.559 --> 00:35:48.679
<v Speaker 1>of blah blah blah, and Rigo smiles like, oh my god,

673
00:35:48.719 --> 00:35:50.480
<v Speaker 1>he doesn't know him back here. This is gonna be

674
00:35:50.519 --> 00:35:54.039
<v Speaker 1>fucking great. Jud Hurst is spectacular in this scene.

675
00:35:54.199 --> 00:35:57.519
<v Speaker 2>He opens the door and Louis is there, and he's

676
00:35:57.599 --> 00:36:01.719
<v Speaker 2>resplendent in a three piece suit. He has a long jacket,

677
00:36:01.760 --> 00:36:04.519
<v Speaker 2>he has a fedora. He's wearing an outfit that would

678
00:36:04.519 --> 00:36:08.280
<v Speaker 2>make Don corleone jealous. He looks a yeah, he looks

679
00:36:08.280 --> 00:36:11.199
<v Speaker 2>like Capone. He does looks like al Capone. Riger puts

680
00:36:11.239 --> 00:36:15.480
<v Speaker 2>on his patented kindly grandparent routine. Come on in, let

681
00:36:15.519 --> 00:36:18.400
<v Speaker 2>me our Elaine is getting ready. Let's talk to young man.

682
00:36:18.440 --> 00:36:20.280
<v Speaker 1>And he comes in and with a dispatcher.

683
00:36:21.039 --> 00:36:25.400
<v Speaker 2>He's giving Louis the business comedically about what's happening, and

684
00:36:25.480 --> 00:36:28.920
<v Speaker 2>Louis assures Riager that Elaine's going to have a great time.

685
00:36:29.039 --> 00:36:32.639
<v Speaker 2>He's been out all morning. Louis has been greasing.

686
00:36:32.400 --> 00:36:35.840
<v Speaker 1>Palms, yeahs and palms. The faith.

687
00:36:36.239 --> 00:36:39.400
<v Speaker 2>It's great. He's been spreading money around all morning to

688
00:36:39.519 --> 00:36:43.880
<v Speaker 2>assure them of a fun evening. Finally, Elaine comes out

689
00:36:43.920 --> 00:36:47.360
<v Speaker 2>of the bedroom in the back and she is truly

690
00:36:47.519 --> 00:36:50.800
<v Speaker 2>She's resplendent in a different way. Her hair is pulled

691
00:36:50.840 --> 00:36:54.800
<v Speaker 2>back in the most unsexy bun that you could imagine.

692
00:36:54.840 --> 00:36:59.159
<v Speaker 2>She's wearing several layers of bulky clothes under.

693
00:36:58.960 --> 00:37:01.280
<v Speaker 1>The purpose it's all gross house coats.

694
00:37:01.760 --> 00:37:06.119
<v Speaker 2>Yeah, it's there's not there's no skin or anything showing.

695
00:37:06.199 --> 00:37:11.119
<v Speaker 2>She looks like completely unsexy, shapeless and miserable.

696
00:37:11.480 --> 00:37:15.440
<v Speaker 1>And on top of it, she's wearing this puffy, floor length,

697
00:37:15.719 --> 00:37:21.800
<v Speaker 1>fucking winter coat that weirdos wear. You would there was

698
00:37:21.840 --> 00:37:24.119
<v Speaker 1>all you would always see one of these weirdos. It's

699
00:37:24.199 --> 00:37:27.760
<v Speaker 1>like this. It's the most people would know, the George

700
00:37:27.960 --> 00:37:31.199
<v Speaker 1>Costanza Gore Tex kind of thing. It's kind of like that,

701
00:37:31.679 --> 00:37:36.360
<v Speaker 1>a little more form fitting, but very disturbing as a

702
00:37:36.400 --> 00:37:37.440
<v Speaker 1>piece of outerwear.

703
00:37:38.360 --> 00:37:40.880
<v Speaker 2>And it always when you see somebody wearing this, it

704
00:37:40.960 --> 00:37:44.320
<v Speaker 2>never looks clean. It always looks like it's just sort

705
00:37:44.360 --> 00:37:47.960
<v Speaker 2>of dingy and grimy, and if you look closely, like

706
00:37:48.199 --> 00:37:51.280
<v Speaker 2>they've been wiping their nose on their sleeve, it just

707
00:37:51.400 --> 00:37:54.119
<v Speaker 2>it looks disgusting. We've all seen people wearing.

708
00:37:53.840 --> 00:37:57.519
<v Speaker 1>The salt stains along the bottom of it from the snow,

709
00:37:57.599 --> 00:37:58.199
<v Speaker 1>from the side.

710
00:37:58.960 --> 00:38:01.039
<v Speaker 2>Yeah for walking in the snow. Oh yeah, yeah yeah.

711
00:38:01.119 --> 00:38:04.440
<v Speaker 2>Rieger goes to leave, but not before cautioning Louie. He

712
00:38:04.480 --> 00:38:07.199
<v Speaker 2>goes right up to Louis and he says, listen, Louis,

713
00:38:07.280 --> 00:38:10.519
<v Speaker 2>you try anything with a lane and I'll kill you.

714
00:38:11.559 --> 00:38:13.800
<v Speaker 2>He doesn't mince words. He says, I will kill you,

715
00:38:13.880 --> 00:38:17.159
<v Speaker 2>to which Louie replies, it'll take the coroner a week

716
00:38:17.519 --> 00:38:19.239
<v Speaker 2>to pry the smile off my face.

717
00:38:19.320 --> 00:38:23.360
<v Speaker 1>Riager, Okay, HP, let's talk about this episode for a second.

718
00:38:24.599 --> 00:38:26.519
<v Speaker 2>Yeah, let's talk about the implication of this episode.

719
00:38:26.599 --> 00:38:30.159
<v Speaker 1>Let's take a step back for a second, because the

720
00:38:30.199 --> 00:38:33.599
<v Speaker 1>way I see it, or the way they've set it up,

721
00:38:34.360 --> 00:38:39.079
<v Speaker 1>is that this is a date, right. This is not

722
00:38:39.119 --> 00:38:43.199
<v Speaker 1>a sensual favorite thing. Do you think that the writers

723
00:38:43.400 --> 00:38:47.480
<v Speaker 1>are using the date as a metaphor for sex or

724
00:38:47.920 --> 00:38:51.840
<v Speaker 1>is this actually what we're given He's saying, I at

725
00:38:51.920 --> 00:38:55.920
<v Speaker 1>least want was Louis looking for the chance to woo

726
00:38:55.960 --> 00:38:58.519
<v Speaker 1>her in a traditional way, and this was his only

727
00:38:58.559 --> 00:39:01.239
<v Speaker 1>way of doing it, knowing he couldn't have sex with her.

728
00:39:01.599 --> 00:39:04.440
<v Speaker 2>Putting aside the fact that Louis a couple of times

729
00:39:04.599 --> 00:39:08.480
<v Speaker 2>does do a little bit of grab ass and tries

730
00:39:08.519 --> 00:39:11.000
<v Speaker 2>to kiss her at one point. Both put aside that

731
00:39:11.079 --> 00:39:15.559
<v Speaker 2>for a minute, Yeah, I do believe that he is

732
00:39:16.079 --> 00:39:19.440
<v Speaker 2>genuinely trying to show her a good time. He's been

733
00:39:19.480 --> 00:39:24.559
<v Speaker 2>working very hard to arrange the date in such a

734
00:39:24.599 --> 00:39:29.599
<v Speaker 2>way that there'll be no rough spots, that everybody's going

735
00:39:29.679 --> 00:39:32.280
<v Speaker 2>to have a good time, that everyone is going to

736
00:39:32.360 --> 00:39:34.679
<v Speaker 2>be happy, They're going to go to this restaurant and

737
00:39:34.679 --> 00:39:38.480
<v Speaker 2>have a lot of fun. I think, from what I'm

738
00:39:38.800 --> 00:39:42.199
<v Speaker 2>basing my impression on, I think he just wanted to

739
00:39:42.239 --> 00:39:44.880
<v Speaker 2>show her a good time in the sense that she

740
00:39:45.000 --> 00:39:46.320
<v Speaker 2>was going to enjoy herself.

741
00:39:46.599 --> 00:39:50.400
<v Speaker 1>Right, Okay, so you think as well as I do,

742
00:39:50.440 --> 00:39:54.639
<v Speaker 1>because I believe this that this is all the date

743
00:39:54.840 --> 00:39:57.599
<v Speaker 1>is the thing. There was not an implication that she

744
00:39:57.679 --> 00:39:59.599
<v Speaker 1>had to have sex with him at all. Right, there's

745
00:39:59.639 --> 00:40:05.599
<v Speaker 1>no coersion towards sexual congress between the two of them, agree,

746
00:40:06.079 --> 00:40:10.039
<v Speaker 1>I agree now, Having said that Elaine is acting like

747
00:40:10.079 --> 00:40:11.519
<v Speaker 1>a fucking lunatic.

748
00:40:12.800 --> 00:40:14.679
<v Speaker 2>And they do call her to task on that a

749
00:40:14.760 --> 00:40:17.079
<v Speaker 2>little bit, as we'll see during the course.

750
00:40:16.880 --> 00:40:21.920
<v Speaker 1>They do sort of by the end. But if this

751
00:40:22.000 --> 00:40:23.719
<v Speaker 1>were a situation where she was gonna have to have

752
00:40:23.800 --> 00:40:26.239
<v Speaker 1>sex with him. Then seeing her laying on the couch

753
00:40:26.280 --> 00:40:30.199
<v Speaker 1>with the half empty bottle and the pitcher full of booze,

754
00:40:30.559 --> 00:40:32.760
<v Speaker 1>like that makes sense to me. Hpo, Are you a

755
00:40:32.840 --> 00:40:35.360
<v Speaker 1>fan of the television series mad Men by any chance?

756
00:40:36.480 --> 00:40:38.440
<v Speaker 2>I'd never watched it, to be honest.

757
00:40:39.000 --> 00:40:42.280
<v Speaker 1>At one point that the lead characters have broken off

758
00:40:42.280 --> 00:40:44.440
<v Speaker 1>and formed their own ad agency, and they have a

759
00:40:44.519 --> 00:40:48.199
<v Speaker 1>chance to get Jaguar, which would put them nationally on

760
00:40:48.280 --> 00:40:51.760
<v Speaker 1>the map, but they first have to square it with

761
00:40:51.800 --> 00:40:54.639
<v Speaker 1>all the Jaguar dealers. If the Jaguar dealers aren't going

762
00:40:54.679 --> 00:40:56.639
<v Speaker 1>to play ball with their agency, then they're dead in

763
00:40:56.679 --> 00:40:59.679
<v Speaker 1>the water. And the main guy who controls all of

764
00:40:59.719 --> 00:41:03.960
<v Speaker 1>the Jaguar dealerships wants one thing, and that's to have

765
00:41:04.000 --> 00:41:10.079
<v Speaker 1>sex with Joan Holloway played by Christina Hendricks, another statuesque redhead, right,

766
00:41:10.880 --> 00:41:13.199
<v Speaker 1>And so she does it on the show. She has

767
00:41:13.239 --> 00:41:15.679
<v Speaker 1>sex with the guy with the stipulation that she becomes

768
00:41:15.719 --> 00:41:21.079
<v Speaker 1>a partner in the ad agency. So I'm not saying

769
00:41:21.079 --> 00:41:23.599
<v Speaker 1>that anything like that's going on on this show, but

770
00:41:23.719 --> 00:41:27.360
<v Speaker 1>that was fully on my mind while I'm rewatching Taxi

771
00:41:27.440 --> 00:41:30.840
<v Speaker 1>now because of the way that Elene is acting, I

772
00:41:30.880 --> 00:41:33.760
<v Speaker 1>assumed that there was some other ulterior motive going on

773
00:41:34.039 --> 00:41:38.599
<v Speaker 1>instead of what was effectively just Louie trying to show

774
00:41:38.639 --> 00:41:41.519
<v Speaker 1>her the best time possible so that she would want

775
00:41:41.559 --> 00:41:42.639
<v Speaker 1>to have sex with her.

776
00:41:43.480 --> 00:41:46.320
<v Speaker 2>Well, maybe it's a case where she couldn't necessarily give

777
00:41:46.559 --> 00:41:50.079
<v Speaker 2>Louie the benefit of the doubt, because for all she knows,

778
00:41:50.320 --> 00:41:52.760
<v Speaker 2>he just wants to have sex with her, and he's

779
00:41:52.760 --> 00:41:55.159
<v Speaker 2>gonna put her in a position where she's going to

780
00:41:55.239 --> 00:41:57.519
<v Speaker 2>have to do something she doesn't want to do. But

781
00:41:58.440 --> 00:42:01.719
<v Speaker 2>we have the benefit of having seen Louis in a

782
00:42:01.760 --> 00:42:04.920
<v Speaker 2>lot of other different scenarios that Elayne isn't privy to,

783
00:42:05.360 --> 00:42:10.440
<v Speaker 2>so we know that there is a soul underneath the

784
00:42:10.519 --> 00:42:15.239
<v Speaker 2>monster to a degree. But I guess if she's taking

785
00:42:15.320 --> 00:42:17.800
<v Speaker 2>Louie at face value for what she knows about him,

786
00:42:17.960 --> 00:42:20.400
<v Speaker 2>maybe she is worried that he's going to really take

787
00:42:20.440 --> 00:42:23.360
<v Speaker 2>advantage of her. But I just thought that still doesn't

788
00:42:23.400 --> 00:42:26.039
<v Speaker 2>make any sense because she knows she has support from

789
00:42:26.039 --> 00:42:28.400
<v Speaker 2>Alex and all the other Cavies. It's not like he's

790
00:42:28.400 --> 00:42:31.000
<v Speaker 2>going to get away with anything if he tries to

791
00:42:31.039 --> 00:42:34.480
<v Speaker 2>do something with her. She's very over the top. After

792
00:42:34.960 --> 00:42:38.480
<v Speaker 2>Alex leaves. Just as they're about to leave, she asks

793
00:42:38.519 --> 00:42:40.440
<v Speaker 2>to call her kids or at a babysitter.

794
00:42:40.599 --> 00:42:42.719
<v Speaker 1>Okay, this is where this is what I'm talking about,

795
00:42:42.760 --> 00:42:45.400
<v Speaker 1>Exactly like I thought she was being over the top,

796
00:42:45.639 --> 00:42:47.519
<v Speaker 1>just like I don't want to go on a date

797
00:42:47.639 --> 00:42:48.519
<v Speaker 1>with Louie, but.

798
00:42:48.599 --> 00:42:54.119
<v Speaker 2>This I Yeah. She calls her kids and she is

799
00:42:54.400 --> 00:42:58.199
<v Speaker 2>literally in tears, begging her kids on the phone to

800
00:42:58.360 --> 00:43:02.800
<v Speaker 2>remember her their mother as she was, despite what they

801
00:43:02.880 --> 00:43:05.239
<v Speaker 2>might hear about her later, as.

802
00:43:05.079 --> 00:43:07.159
<v Speaker 1>If she want to go have sex with this horrible

803
00:43:07.199 --> 00:43:09.360
<v Speaker 1>person and words gonna get out.

804
00:43:09.599 --> 00:43:13.440
<v Speaker 2>Right or it's like she's being held hostage and she

805
00:43:13.960 --> 00:43:17.599
<v Speaker 2>is so desperate and worried about her what's going to

806
00:43:17.639 --> 00:43:20.320
<v Speaker 2>happen to her that she has to talk to a

807
00:43:20.360 --> 00:43:22.760
<v Speaker 2>loved one or what have you. Having said that, as

808
00:43:22.760 --> 00:43:26.800
<v Speaker 2>they're walking out, Louis does grab her ass. So he's

809
00:43:26.840 --> 00:43:29.679
<v Speaker 2>not totally blameless in this whole thing.

810
00:43:29.760 --> 00:43:33.360
<v Speaker 1>I mean, he's still he grabbed a handful of foamy,

811
00:43:34.880 --> 00:43:40.800
<v Speaker 1>fucking like he got nothing. She couldn't feel a thing, bohm.

812
00:43:40.920 --> 00:43:42.960
<v Speaker 1>Basically he copped a styrofoam feel.

813
00:43:43.320 --> 00:43:46.000
<v Speaker 2>We fade out and we fade back in. It's the

814
00:43:46.039 --> 00:43:49.320
<v Speaker 2>interior of a Polynesian restaurant. They're in the they're in

815
00:43:49.320 --> 00:43:52.159
<v Speaker 2>the tidepool at the place that Louis mentioned in the

816
00:43:52.159 --> 00:43:55.880
<v Speaker 2>first part of this episode. The notion of a Polynesian restaurant.

817
00:43:55.920 --> 00:43:58.639
<v Speaker 2>I think this is like an East Coast thing.

818
00:44:00.199 --> 00:44:02.159
<v Speaker 1>As someone who's been living on the West Coast for

819
00:44:02.199 --> 00:44:04.599
<v Speaker 1>the past twenty five years, let me tell you something.

820
00:44:04.880 --> 00:44:06.320
<v Speaker 1>They don't know Polynesian here.

821
00:44:06.480 --> 00:44:09.400
<v Speaker 2>When you think of a Polynesian restaurant.

822
00:44:09.280 --> 00:44:13.440
<v Speaker 1>Kowloon, knowing Kowlaloon exactly. Kowloon Restaurant for those of you

823
00:44:13.480 --> 00:44:16.599
<v Speaker 1>who don't live in Massachusetts on Route one in Sagas.

824
00:44:16.639 --> 00:44:19.800
<v Speaker 1>It is a massive Polynesian restaurant.

825
00:44:20.360 --> 00:44:24.840
<v Speaker 2>It's a landmark. It may be the largest Asian restaurant

826
00:44:25.360 --> 00:44:26.199
<v Speaker 2>on the East Coast.

827
00:44:26.320 --> 00:44:28.920
<v Speaker 1>I go every single time I go to Boston, I

828
00:44:28.960 --> 00:44:29.599
<v Speaker 1>will go to kal.

829
00:44:29.559 --> 00:44:33.440
<v Speaker 2>Though they've been around since nineteen fifty they've been there,

830
00:44:33.719 --> 00:44:36.480
<v Speaker 2>what is that almost seventy five years they've they've been

831
00:44:37.400 --> 00:44:39.239
<v Speaker 2>serving the good folks of Saugus.

832
00:44:40.039 --> 00:44:42.280
<v Speaker 1>It's a land I know in there, there's a volcano.

833
00:44:42.880 --> 00:44:46.639
<v Speaker 2>There's a volcano. Some of the tables are actually situated

834
00:44:46.760 --> 00:44:49.800
<v Speaker 2>on a mock boat that you can eat on a ship.

835
00:44:50.000 --> 00:44:52.320
<v Speaker 1>The SS Kaloon and there's water like you got to

836
00:44:52.400 --> 00:44:55.880
<v Speaker 1>step off the dock to get onto that fucking boat man.

837
00:44:56.119 --> 00:45:00.599
<v Speaker 1>Fucking fountains everywhere, the Polynesian music everywhere. Oh, it was

838
00:45:00.639 --> 00:45:03.639
<v Speaker 1>so gorgeous. There's a dance club they at it like.

839
00:45:03.719 --> 00:45:05.639
<v Speaker 1>You go in there now it's like hip hop. They

840
00:45:05.719 --> 00:45:08.480
<v Speaker 1>might seat you in their new sort of Thai cafe

841
00:45:08.599 --> 00:45:11.000
<v Speaker 1>with all these shiny new booths. Get the fuck out here.

842
00:45:11.239 --> 00:45:14.199
<v Speaker 1>Put me in the dark under a thatched roof. Motherfucker.

843
00:45:15.079 --> 00:45:17.480
<v Speaker 2>It is like you walk in there and it's like

844
00:45:17.639 --> 00:45:21.599
<v Speaker 2>going back in time. But it's Polynesian. You can't to

845
00:45:21.679 --> 00:45:25.800
<v Speaker 2>call it a Chinese restaurant is not entirely accurate.

846
00:45:25.840 --> 00:45:30.239
<v Speaker 1>Not accurate at all. No, this is at GI's coming

847
00:45:30.239 --> 00:45:33.199
<v Speaker 1>home from the war, having spent some time in Hawaii

848
00:45:33.280 --> 00:45:37.239
<v Speaker 1>and the South Pacific, cobbled together what they thought those

849
00:45:37.280 --> 00:45:39.719
<v Speaker 1>people were eating. So it's not the little spare ribs

850
00:45:39.760 --> 00:45:43.920
<v Speaker 1>and taraiaki strips and lobster sauce which contains no lobster

851
00:45:44.000 --> 00:45:44.360
<v Speaker 1>at all.

852
00:45:44.719 --> 00:45:46.599
<v Speaker 2>I could never figure that out as a kid. It's

853
00:45:46.599 --> 00:45:49.280
<v Speaker 2>called lobster sauce, but it has sausage in it.

854
00:45:49.280 --> 00:45:52.880
<v Speaker 1>It's evidently meant to be put on lobster, which sounds

855
00:45:52.920 --> 00:45:56.000
<v Speaker 1>even less appetizing when you know what lobster sauce tastes like.

856
00:45:56.440 --> 00:45:58.719
<v Speaker 1>By the way, lobstau is one of my favorite things

857
00:45:58.760 --> 00:46:01.800
<v Speaker 1>in the fucking world to eat. But I can't imagine

858
00:46:01.800 --> 00:46:04.480
<v Speaker 1>it going on lobster And I don't know why we

859
00:46:04.599 --> 00:46:05.519
<v Speaker 1>continue to call it that.

860
00:46:06.199 --> 00:46:09.199
<v Speaker 2>Folks who have seen the Brady Bunch episode about in

861
00:46:09.320 --> 00:46:13.760
<v Speaker 2>Hawaii with the taboo, the tiki that Greg has and

862
00:46:13.800 --> 00:46:16.800
<v Speaker 2>it costs all these problems the tiki. There is a

863
00:46:16.960 --> 00:46:20.800
<v Speaker 2>giant version of the tiki on the front facade of

864
00:46:20.880 --> 00:46:23.599
<v Speaker 2>Kowloon as you walk in. That's the decor. It isn't

865
00:46:24.000 --> 00:46:28.000
<v Speaker 2>your typical Chinese restaurant decor. It's more like Blue Hawaii.

866
00:46:28.079 --> 00:46:31.280
<v Speaker 2>It's Polynesian. It's not the same type of thing. But anyway,

867
00:46:31.639 --> 00:46:34.000
<v Speaker 2>that's what I kept thinking of when I'm seeing them

868
00:46:34.079 --> 00:46:37.079
<v Speaker 2>walk in, Elane and Louis walking into the tide Pool,

869
00:46:37.320 --> 00:46:41.360
<v Speaker 2>because I would call the tide Pool a Polynesian restaurant

870
00:46:41.400 --> 00:46:45.039
<v Speaker 2>as opposed to a strictly Chinese type of restaurant.

871
00:46:45.079 --> 00:46:47.840
<v Speaker 1>Do you agree it's a tiki place? Is what it is.

872
00:46:47.920 --> 00:46:49.320
<v Speaker 1>I mean, that's what you would just call it. Now,

873
00:46:49.400 --> 00:46:51.440
<v Speaker 1>that's the sort of blanket term these days. But tiki

874
00:46:51.440 --> 00:46:53.559
<v Speaker 1>bars are effectively Polynesian lounges.

875
00:46:54.440 --> 00:46:56.239
<v Speaker 2>That's a good point. That's a good point. That's what

876
00:46:56.320 --> 00:46:57.199
<v Speaker 2>the tide Pool is.

877
00:46:57.719 --> 00:46:59.800
<v Speaker 1>They cut in central chairs.

878
00:47:00.760 --> 00:47:05.800
<v Speaker 2>Yeah, everything is bamboo and wicker, and there's Polynesian masks

879
00:47:05.800 --> 00:47:10.320
<v Speaker 2>and decorations all around this. Uh, this place, the tide Pool,

880
00:47:10.599 --> 00:47:13.320
<v Speaker 2>and it looks I mean, honestly, again, it's another feather

881
00:47:13.400 --> 00:47:16.159
<v Speaker 2>in the cap for the decorating department because it looked

882
00:47:16.320 --> 00:47:18.559
<v Speaker 2>like a lot of places that Father Malone and I

883
00:47:18.599 --> 00:47:22.599
<v Speaker 2>have both been to when we were going to Politian restaurants.

884
00:47:22.760 --> 00:47:25.679
<v Speaker 1>It's over lit, I'll say that.

885
00:47:25.679 --> 00:47:28.320
<v Speaker 2>That's I think that's the only knock. You're absolutely right,

886
00:47:28.320 --> 00:47:29.239
<v Speaker 2>because most of these are.

887
00:47:29.280 --> 00:47:32.480
<v Speaker 1>Totally understandable because this is a fucking three camera televisions area,

888
00:47:32.559 --> 00:47:34.320
<v Speaker 1>so nobody's expecting them to do whatever.

889
00:47:34.400 --> 00:47:39.800
<v Speaker 2>But yeah, these places are dark. Kowloon is dark.

890
00:47:40.000 --> 00:47:43.239
<v Speaker 1>Yanky's teeth room is a cave. Baby.

891
00:47:43.039 --> 00:47:46.360
<v Speaker 2>They take their seats and Louis tries to make some

892
00:47:46.400 --> 00:47:48.400
<v Speaker 2>small talk with Elane, and this is where we kind

893
00:47:48.400 --> 00:47:52.199
<v Speaker 2>of get at this idea that he's just trying to

894
00:47:52.280 --> 00:47:55.079
<v Speaker 2>show her a literal good time, not trying to get

895
00:47:56.400 --> 00:47:59.000
<v Speaker 2>hanky panky with her. He just wants her to have

896
00:47:59.079 --> 00:48:00.920
<v Speaker 2>a good time, so he's trying to make small talk,

897
00:48:01.360 --> 00:48:03.800
<v Speaker 2>but Elaine has a scowl on her face and she's

898
00:48:03.840 --> 00:48:06.880
<v Speaker 2>not having it, and she's just sitting there anticipating this.

899
00:48:07.039 --> 00:48:10.760
<v Speaker 2>Louis pulls out some notes to get because he says

900
00:48:10.800 --> 00:48:13.840
<v Speaker 2>he foresaw the fact that they wouldn't have an easy

901
00:48:13.880 --> 00:48:15.000
<v Speaker 2>time getting conversations.

902
00:48:15.559 --> 00:48:17.519
<v Speaker 1>This is silly, but it's funny.

903
00:48:17.519 --> 00:48:22.199
<v Speaker 2>Though it is funny, it's fun yeah, it does. So

904
00:48:22.239 --> 00:48:24.440
<v Speaker 2>he pulls out these papers and he says he took

905
00:48:24.480 --> 00:48:27.079
<v Speaker 2>some notes to get the conversation going, and what they

906
00:48:27.119 --> 00:48:29.719
<v Speaker 2>amount to is essentially a script that they're going to

907
00:48:29.800 --> 00:48:33.119
<v Speaker 2>follow to break the ice. I gotta say, it is

908
00:48:33.199 --> 00:48:37.159
<v Speaker 2>silly and it's not very realistic, but they're timing the comedy.

909
00:48:37.199 --> 00:48:41.239
<v Speaker 2>Timing between Mary lou Henner and Daniel Vito is perfect.

910
00:48:41.719 --> 00:48:44.199
<v Speaker 2>And the biggest credit I can give for that is

911
00:48:44.239 --> 00:48:47.119
<v Speaker 2>you can throughout this whole scene, you can hear that

912
00:48:47.239 --> 00:48:52.559
<v Speaker 2>famous James Brooks honking laughter through the whole scene because

913
00:48:52.880 --> 00:48:56.280
<v Speaker 2>it's really really funny. It's great. The climax of this

914
00:48:57.039 --> 00:48:59.599
<v Speaker 2>script that they're running through is that they're supposed to

915
00:48:59.800 --> 00:49:03.880
<v Speaker 2>go dancing. Elaine doesn't want to dance, because she says,

916
00:49:03.960 --> 00:49:06.079
<v Speaker 2>I dance and I don't want to be embarrassed, and

917
00:49:06.760 --> 00:49:10.039
<v Speaker 2>Louis says that he's been taking tango lessons all morning.

918
00:49:10.559 --> 00:49:12.559
<v Speaker 2>Then she says something like, well, these guys don't even

919
00:49:12.639 --> 00:49:15.920
<v Speaker 2>know how to play a tango, and but Louis has

920
00:49:15.960 --> 00:49:18.320
<v Speaker 2>taught them how to, or he's given the music to

921
00:49:18.320 --> 00:49:20.320
<v Speaker 2>play a tango. And I think he even says something

922
00:49:20.360 --> 00:49:24.000
<v Speaker 2>like play savages. And they break into a teaki version

923
00:49:24.400 --> 00:49:27.639
<v Speaker 2>of a tango and the two of them get out

924
00:49:27.679 --> 00:49:34.639
<v Speaker 2>on the floor heathens play heathens, and Elaine is there,

925
00:49:34.719 --> 00:49:38.400
<v Speaker 2>she's in misery, and Louis is still being frisky, and

926
00:49:38.440 --> 00:49:40.119
<v Speaker 2>they get out on that little dance floor in the

927
00:49:40.159 --> 00:49:44.880
<v Speaker 2>middle of the restaurant and they perform just a wonderful

928
00:49:44.920 --> 00:49:49.719
<v Speaker 2>comedic interpretation of a tango, just brilliant physical comedy from

929
00:49:49.719 --> 00:49:50.440
<v Speaker 2>the two of them.

930
00:49:50.400 --> 00:49:53.480
<v Speaker 1>And he grabs her ass and she pulls his hand up.

931
00:49:53.559 --> 00:49:56.039
<v Speaker 1>And then the second time they dance away from us,

932
00:49:56.039 --> 00:49:58.199
<v Speaker 1>and the dance back. This time he puts her hand

933
00:49:58.239 --> 00:50:00.719
<v Speaker 1>on his ass and she pulls it up. That was good.

934
00:50:01.719 --> 00:50:05.480
<v Speaker 2>It's but their timing is so good, and it's just

935
00:50:05.559 --> 00:50:08.280
<v Speaker 2>great physical comedy. In the middle of this you know

936
00:50:08.320 --> 00:50:11.960
<v Speaker 2>this mockup of a Polynesian restaurant HPN.

937
00:50:11.719 --> 00:50:13.360
<v Speaker 1>You're going to catch the name of their waiter.

938
00:50:14.360 --> 00:50:18.199
<v Speaker 2>So he orders the drinks and he calls the guy Fritz,

939
00:50:18.800 --> 00:50:21.199
<v Speaker 2>and then the guy brings the drinks to the table,

940
00:50:21.760 --> 00:50:26.639
<v Speaker 2>the two monsoons, and Louis goes, ah, thank you, Edmundo.

941
00:50:27.960 --> 00:50:28.840
<v Speaker 2>You didn't notice that.

942
00:50:29.159 --> 00:50:32.159
<v Speaker 1>No, so he's just calling him whatever, yeah, Jesus whatever.

943
00:50:32.320 --> 00:50:37.239
<v Speaker 2>But to Louise's earlier point, he's been throwing money around

944
00:50:37.280 --> 00:50:41.760
<v Speaker 2>all morning and he's probably had this guy drilled to know, Okay,

945
00:50:41.760 --> 00:50:44.280
<v Speaker 2>when I come in, you bring me two monsoons and

946
00:50:44.360 --> 00:50:47.440
<v Speaker 2>you call me mister de Palma and all of this

947
00:50:47.599 --> 00:50:51.039
<v Speaker 2>kind of business. We cut to a b roll of

948
00:50:51.159 --> 00:50:54.320
<v Speaker 2>Times Square at night, Father Malone. This is where you

949
00:50:54.400 --> 00:50:57.719
<v Speaker 2>have that classy It's a star filter. They've put on

950
00:50:57.800 --> 00:50:58.679
<v Speaker 2>the camera lens.

951
00:50:59.119 --> 00:51:04.480
<v Speaker 1>So who did this? I wonder if they The crews

952
00:51:04.519 --> 00:51:06.400
<v Speaker 1>come back and they're like watching the b roll with

953
00:51:06.480 --> 00:51:08.599
<v Speaker 1>James Burrows and he's like, what the fuck is this?

954
00:51:08.679 --> 00:51:10.599
<v Speaker 1>Like at the start of the season, like looking at

955
00:51:10.639 --> 00:51:13.440
<v Speaker 1>it all, he's like, was this star fucking business? And

956
00:51:13.480 --> 00:51:15.360
<v Speaker 1>then they get to this episode it's like, I remember

957
00:51:15.400 --> 00:51:18.719
<v Speaker 1>that stupid fucking star thing that they did give me

958
00:51:18.760 --> 00:51:19.199
<v Speaker 1>that piece.

959
00:51:19.679 --> 00:51:22.000
<v Speaker 2>It kind of works in the context of the scene

960
00:51:22.039 --> 00:51:26.039
<v Speaker 2>because the idea is that Louis is trying to give

961
00:51:26.079 --> 00:51:29.199
<v Speaker 2>Elaine this night on the town, this glitzy, fancy night

962
00:51:29.239 --> 00:51:31.360
<v Speaker 2>on the town. The star filter is kind of put

963
00:51:31.360 --> 00:51:32.079
<v Speaker 2>me in the mind of that.

964
00:51:32.519 --> 00:51:34.599
<v Speaker 1>I you know what it did for me though, hp

965
00:51:34.760 --> 00:51:39.400
<v Speaker 1>It made me wish that that everything that Louis was

966
00:51:39.599 --> 00:51:43.840
<v Speaker 1>attempting was working. It made me wish that Elaine was

967
00:51:43.880 --> 00:51:46.239
<v Speaker 1>seeing the other side of him by the end of it,

968
00:51:46.400 --> 00:51:50.679
<v Speaker 1>right right, not him guilting her, which is what we're

969
00:51:50.719 --> 00:51:53.920
<v Speaker 1>about to get, but her actually going Like Jesus, he

970
00:51:54.039 --> 00:51:55.880
<v Speaker 1>really is trying, and he is being charming.

971
00:51:56.559 --> 00:51:58.679
<v Speaker 2>He does put the full court press on her and

972
00:51:58.840 --> 00:52:02.519
<v Speaker 2>tries to work this insitivity angle a little too hard,

973
00:52:02.559 --> 00:52:04.679
<v Speaker 2>but I think that's part of the scene. So we

974
00:52:04.760 --> 00:52:08.119
<v Speaker 2>cut to Louis and Elaine walking down the hall to

975
00:52:08.280 --> 00:52:13.639
<v Speaker 2>her apartment. He's in mid joke, he's laughing, he's trying

976
00:52:13.679 --> 00:52:16.880
<v Speaker 2>to jolly her up a little bit. But now Elaine

977
00:52:17.000 --> 00:52:22.159
<v Speaker 2>is still wearing this ridiculous outfit and she just is disheveled.

978
00:52:22.440 --> 00:52:24.519
<v Speaker 2>She looks miserable. She just wants the night to me.

979
00:52:24.599 --> 00:52:27.519
<v Speaker 1>He apparently has drunk six of those monsoons.

980
00:52:28.000 --> 00:52:31.440
<v Speaker 2>Yeah. Well, he says that that was a record yeah.

981
00:52:31.159 --> 00:52:34.559
<v Speaker 1>Which when initially told about in the previous episode, part one,

982
00:52:34.639 --> 00:52:38.599
<v Speaker 1>when he was describing it to Tony, he's like, you

983
00:52:38.639 --> 00:52:41.119
<v Speaker 1>won't be able to see for three days. On one,

984
00:52:41.800 --> 00:52:42.320
<v Speaker 1>he wants.

985
00:52:42.159 --> 00:52:45.000
<v Speaker 2>A nightcap from Elaine and she says, no, I just

986
00:52:45.039 --> 00:52:46.800
<v Speaker 2>want the night to be over and I just want

987
00:52:46.840 --> 00:52:50.320
<v Speaker 2>to burn my clothes and go to bed. And what

988
00:52:51.320 --> 00:52:53.679
<v Speaker 2>Louis finally says to her is that he was looking

989
00:52:53.679 --> 00:52:57.119
<v Speaker 2>forward to this all day. He wanted to take a

990
00:52:57.159 --> 00:53:01.159
<v Speaker 2>woman out for a night in the town. And he

991
00:53:01.440 --> 00:53:05.559
<v Speaker 2>does this move where he walks away anticipating that she's

992
00:53:05.559 --> 00:53:08.800
<v Speaker 2>gonna say wait, but she never says it, and you

993
00:53:08.800 --> 00:53:10.880
<v Speaker 2>can see it on his face like he's kind of like,

994
00:53:11.000 --> 00:53:12.920
<v Speaker 2>what this was the point at which she was gonna

995
00:53:12.920 --> 00:53:14.119
<v Speaker 2>say wait?

996
00:53:14.320 --> 00:53:15.599
<v Speaker 1>There's no wait, Louis.

997
00:53:15.559 --> 00:53:18.119
<v Speaker 2>Right, he says that, and then he turns back around

998
00:53:18.159 --> 00:53:22.599
<v Speaker 2>a few times and he continues on this sort of

999
00:53:22.679 --> 00:53:25.920
<v Speaker 2>vein of look, I wanted to show you a good time,

1000
00:53:26.039 --> 00:53:28.480
<v Speaker 2>but I guess I've just it's just not I'm not

1001
00:53:28.480 --> 00:53:31.239
<v Speaker 2>good enough for you, or something to that effect. Right,

1002
00:53:32.000 --> 00:53:34.079
<v Speaker 2>So they go back and forth a few more times.

1003
00:53:34.119 --> 00:53:36.800
<v Speaker 2>Finally she does give him the wait wait wait, She

1004
00:53:37.440 --> 00:53:41.199
<v Speaker 2>does admit that she did almost enjoy the dancing, and

1005
00:53:41.280 --> 00:53:45.360
<v Speaker 2>she says ultimately thank you for an okay night, and

1006
00:53:46.280 --> 00:53:49.519
<v Speaker 2>he convinces her to finally give him a little good

1007
00:53:49.639 --> 00:53:54.239
<v Speaker 2>night peck on the cheek, which is a classic Louie movie.

1008
00:53:54.239 --> 00:53:56.239
<v Speaker 2>He's like, I won't move, just I want to sit here.

1009
00:53:56.239 --> 00:53:58.519
<v Speaker 2>I'll close my eyes, just give me a peck. But

1010
00:53:59.159 --> 00:54:00.880
<v Speaker 2>right as she can in to give him a peck

1011
00:54:00.920 --> 00:54:02.880
<v Speaker 2>on the cheek, what does he do? He turns his

1012
00:54:02.920 --> 00:54:05.960
<v Speaker 2>head so that he's kissing rivel on the lips.

1013
00:54:06.239 --> 00:54:08.079
<v Speaker 1>You know how many times do you use that move? HB?

1014
00:54:08.400 --> 00:54:10.639
<v Speaker 2>But I guarantee you didn't do the next move, which

1015
00:54:10.679 --> 00:54:14.960
<v Speaker 2>he does the swivel. He grabs her forcibly, and they

1016
00:54:15.039 --> 00:54:19.639
<v Speaker 2>end up rolling around on the ground where his mouth

1017
00:54:19.719 --> 00:54:23.000
<v Speaker 2>is now pressed up to hers and she's begging to

1018
00:54:23.039 --> 00:54:26.360
<v Speaker 2>be let go, but she can't talk because they're liplocked

1019
00:54:26.360 --> 00:54:30.079
<v Speaker 2>at that point. And this is really where Louis's sensitive

1020
00:54:30.159 --> 00:54:32.599
<v Speaker 2>routine all the air goes out of it right because

1021
00:54:33.119 --> 00:54:36.159
<v Speaker 2>he's been exposed for really being the pig that he is.

1022
00:54:36.480 --> 00:54:41.280
<v Speaker 2>She extricates herself from this rolling around business. She runs

1023
00:54:41.280 --> 00:54:43.280
<v Speaker 2>into her apartment and locks the door, and that's it.

1024
00:54:43.920 --> 00:54:51.599
<v Speaker 1>You're happy what I have gone further. But it hasn't

1025
00:54:51.679 --> 00:54:54.719
<v Speaker 1>been someone scirming away from me. We have rolled around,

1026
00:54:54.760 --> 00:54:56.400
<v Speaker 1>but there was never a moment where it was like,

1027
00:54:56.440 --> 00:54:58.000
<v Speaker 1>get the fuck off of me, help help.

1028
00:54:58.559 --> 00:55:03.000
<v Speaker 2>You were rolling, but it is a consensual rolling around, right,

1029
00:55:04.320 --> 00:55:06.400
<v Speaker 2>whereas in this case there's nothing consensual.

1030
00:55:06.880 --> 00:55:09.599
<v Speaker 1>You know, my sushi house, they just put that on

1031
00:55:09.639 --> 00:55:14.480
<v Speaker 1>the menu. The consensual role a little bland.

1032
00:55:14.719 --> 00:55:18.639
<v Speaker 2>The interesting thing is, so it's awful, right, No one

1033
00:55:18.679 --> 00:55:21.119
<v Speaker 2>should have themselves forced upon by another guy.

1034
00:55:21.000 --> 00:55:23.360
<v Speaker 1>Whatever, especially the penguin, right.

1035
00:55:23.760 --> 00:55:26.639
<v Speaker 2>But I do have to say they do put a

1036
00:55:26.719 --> 00:55:29.280
<v Speaker 2>little bit of a sweet button on the scene, which

1037
00:55:29.280 --> 00:55:30.000
<v Speaker 2>I think kind.

1038
00:55:29.880 --> 00:55:34.360
<v Speaker 1>Of works where bdell, you know, so he.

1039
00:55:34.400 --> 00:55:36.760
<v Speaker 2>Kind of picks himself up and shakes himself off, and

1040
00:55:37.360 --> 00:55:40.599
<v Speaker 2>they he had made a show of this little doggie

1041
00:55:40.599 --> 00:55:43.559
<v Speaker 2>bag that they had from the restaurant that had shrimp puffs,

1042
00:55:44.360 --> 00:55:47.679
<v Speaker 2>and he takes the shrimp puffs and sort of tenderly

1043
00:55:48.360 --> 00:55:51.199
<v Speaker 2>leaves the shrimp puffs in front of her door for

1044
00:55:51.239 --> 00:55:53.360
<v Speaker 2>her to pick up or whatever. And then he leaves,

1045
00:55:53.400 --> 00:55:57.719
<v Speaker 2>which I think is supposed to be him trying to tenderly.

1046
00:55:57.320 --> 00:56:01.119
<v Speaker 1>Give her apologize maybe yeah, yeah, yeah, cocksucker hair at

1047
00:56:01.159 --> 00:56:01.760
<v Speaker 1>the end of the day.

1048
00:56:02.119 --> 00:56:05.440
<v Speaker 2>It's his way of apologizing. I don't know that it works, but.

1049
00:56:05.880 --> 00:56:08.519
<v Speaker 1>No, she shows out of the way in the morning.

1050
00:56:09.239 --> 00:56:11.760
<v Speaker 2>It's well, she's not gonna know that it's there at

1051
00:56:11.760 --> 00:56:14.280
<v Speaker 2>a minimum, and it's gonna be spoiled by the time

1052
00:56:14.360 --> 00:56:17.000
<v Speaker 2>because it's shrimp. You're gonna leave shrimp out all night.

1053
00:56:17.159 --> 00:56:21.159
<v Speaker 1>You know, it's gonna be disgusting, fucking completely hung over

1054
00:56:21.400 --> 00:56:24.159
<v Speaker 1>her head pounding, She's like, I need to get into

1055
00:56:24.199 --> 00:56:27.719
<v Speaker 1>the fucking the pharmacy to get something for this headache,

1056
00:56:27.760 --> 00:56:30.440
<v Speaker 1>and she's gonna step into a fucking thing of shrimp.

1057
00:56:30.599 --> 00:56:32.320
<v Speaker 1>It's gonna be all screen, and you know she's gonna

1058
00:56:32.320 --> 00:56:35.599
<v Speaker 1>have like open toad shoes on. Oh thanks, louis perfect.

1059
00:56:35.639 --> 00:56:36.880
<v Speaker 1>Then to the fucking evening.

1060
00:56:37.559 --> 00:56:40.239
<v Speaker 2>Now the smell, because it's gonna be shrimp that's been

1061
00:56:40.280 --> 00:56:42.039
<v Speaker 2>sitting out for hours.

1062
00:56:42.320 --> 00:56:44.360
<v Speaker 1>Eryl Katz are roaming the hallways.

1063
00:56:45.519 --> 00:56:48.320
<v Speaker 2>So that's the episode. Let's shut it down, Part two.

1064
00:56:48.559 --> 00:56:50.519
<v Speaker 1>Shut it down, Shut it.

1065
00:56:50.480 --> 00:56:55.199
<v Speaker 2>Down, douncate. And this is the point in the show

1066
00:56:55.280 --> 00:56:58.400
<v Speaker 2>where we talk about yellow lights. What doesn't yell light me?

1067
00:56:59.079 --> 00:57:02.039
<v Speaker 2>So to remind you, we're scoring this on a scale

1068
00:57:02.039 --> 00:57:05.480
<v Speaker 2>of one to five yellow lights. One is the worst

1069
00:57:05.719 --> 00:57:10.280
<v Speaker 2>taxi episode and five is the best taxi episode, Father Malone,

1070
00:57:10.480 --> 00:57:12.639
<v Speaker 2>As is our custom, we're going to throw it to

1071
00:57:12.679 --> 00:57:15.320
<v Speaker 2>you first. What do you give Shut It Down? Parts

1072
00:57:15.360 --> 00:57:19.119
<v Speaker 2>one and two?

1073
00:57:19.280 --> 00:57:24.840
<v Speaker 1>I'm gonna say three three yellow lights. I think that

1074
00:57:24.920 --> 00:57:28.000
<v Speaker 1>sounds about fair, because there's a lot of stupidity between

1075
00:57:28.039 --> 00:57:31.480
<v Speaker 1>both episodes. There's newspaper boys walking in to make a joke,

1076
00:57:32.119 --> 00:57:36.480
<v Speaker 1>there's the overall rapiness of the scenario. There's lots of

1077
00:57:36.599 --> 00:57:41.079
<v Speaker 1>little comedic business that the show is better than, particularly

1078
00:57:41.119 --> 00:57:44.440
<v Speaker 1>when they're dealing with an episode like this. But performances

1079
00:57:44.440 --> 00:57:47.239
<v Speaker 1>are all great. Anytime they can feature Marri Lou Henter

1080
00:57:47.519 --> 00:57:50.519
<v Speaker 1>in more than just a oh Alex kind of a role,

1081
00:57:51.000 --> 00:57:54.840
<v Speaker 1>I'm happy, and she fucking is so goddamn funny throughout

1082
00:57:54.840 --> 00:57:58.079
<v Speaker 1>this entire thing. It also reminds me that, and I

1083
00:57:58.079 --> 00:58:01.000
<v Speaker 1>think you can relate to this HP that when redheads

1084
00:58:01.039 --> 00:58:04.400
<v Speaker 1>get angry, they get really scary. So like when she's

1085
00:58:04.440 --> 00:58:07.920
<v Speaker 1>just sitting in that chair in the fucking bar, and

1086
00:58:08.119 --> 00:58:11.519
<v Speaker 1>the fury in those eyes, it's like Jesus Christ run.

1087
00:58:13.000 --> 00:58:15.840
<v Speaker 2>It's fury, but it's also numbed by all of the

1088
00:58:15.880 --> 00:58:19.960
<v Speaker 2>alcohol that she's consumed, so there's an element of you

1089
00:58:20.000 --> 00:58:21.679
<v Speaker 2>don't know what she's going to do, Like she's just

1090
00:58:21.760 --> 00:58:26.760
<v Speaker 2>sedated herself into a catatonia almost, but she's got anger

1091
00:58:26.840 --> 00:58:27.559
<v Speaker 2>in those.

1092
00:58:27.679 --> 00:58:30.960
<v Speaker 1>That's when the Redheads aren't the fucking scariest.

1093
00:58:31.360 --> 00:58:34.280
<v Speaker 2>So this I struggled with this one a lot to

1094
00:58:34.320 --> 00:58:37.679
<v Speaker 2>bottom alone, because what I want to do. I really

1095
00:58:37.719 --> 00:58:40.559
<v Speaker 2>want to give this at least four yellow lights. I

1096
00:58:40.639 --> 00:58:45.519
<v Speaker 2>want to because of everything I love about it. We

1097
00:58:45.599 --> 00:58:49.880
<v Speaker 2>have to recap We have inspector Riager that we've already

1098
00:58:49.920 --> 00:58:52.440
<v Speaker 2>talked about that's got to be worth a yellow light

1099
00:58:52.519 --> 00:58:53.000
<v Speaker 2>right there.

1100
00:58:53.239 --> 00:58:55.119
<v Speaker 1>That coat might be worth an extra yellow light.

1101
00:58:55.159 --> 00:59:00.159
<v Speaker 2>On my part, the comedic business between Louis and the

1102
00:59:00.239 --> 00:59:05.599
<v Speaker 2>Lane is just phenomenal, really really funny stuff, all timer

1103
00:59:05.920 --> 00:59:09.800
<v Speaker 2>stuff between the two of them. But I can't overlook.

1104
00:59:09.880 --> 00:59:11.960
<v Speaker 2>I mean it's hard. I guess we never really did

1105
00:59:12.000 --> 00:59:15.239
<v Speaker 2>talk about the fact that when we grade these episodes,

1106
00:59:15.280 --> 00:59:18.280
<v Speaker 2>are we supposed to be grading them with a modern

1107
00:59:18.440 --> 00:59:21.480
<v Speaker 2>view In other words, if there's something that we don't

1108
00:59:21.559 --> 00:59:24.519
<v Speaker 2>that is unpalatable to a modern viewer, do we dock

1109
00:59:24.639 --> 00:59:25.960
<v Speaker 2>them just for that?

1110
00:59:27.000 --> 00:59:29.639
<v Speaker 1>No, because I don't think the intent of anyone here

1111
00:59:29.920 --> 00:59:33.079
<v Speaker 1>is a rapiness sort of the scenario, even though he's

1112
00:59:33.119 --> 00:59:37.719
<v Speaker 1>a gropy motherfucker. Like this was nineteen eighty, you know,

1113
00:59:38.039 --> 00:59:41.360
<v Speaker 1>it was a primitive time. We were living like Cavean

1114
00:59:41.679 --> 00:59:45.000
<v Speaker 1>back then. I was tethered to the wall when I

1115
00:59:45.039 --> 00:59:48.159
<v Speaker 1>needed to talk on the telephone. These were dark times.

1116
00:59:48.559 --> 00:59:52.400
<v Speaker 2>If we accept the premise that a favorable rating is

1117
00:59:52.440 --> 00:59:54.920
<v Speaker 2>in no way condoning some of the things that happened

1118
00:59:54.960 --> 00:59:58.239
<v Speaker 2>in the episode, if we're dealing just strictly on the

1119
00:59:58.440 --> 01:00:03.280
<v Speaker 2>humor and and the elements that make it a classic episode,

1120
01:00:03.360 --> 01:00:05.559
<v Speaker 2>I guess I'm going to give it four yellow lights.

1121
01:00:05.599 --> 01:00:08.079
<v Speaker 2>I have to stand by that. That's my gut. I

1122
01:00:08.159 --> 01:00:11.000
<v Speaker 2>give it four yellow lights. Father alone gives it three.

1123
01:00:11.440 --> 01:00:14.800
<v Speaker 2>That's gonna do it for this episode of night, mister Walters,

1124
01:00:14.800 --> 01:00:18.119
<v Speaker 2>Father Malone, what are you? Where can the folks find you?

1125
01:00:18.519 --> 01:00:20.320
<v Speaker 2>When you're not clocked into the garage.

1126
01:00:20.920 --> 01:00:23.440
<v Speaker 1>You can find me over at midnight viewing the Horror

1127
01:00:23.480 --> 01:00:27.559
<v Speaker 1>Anthology podcast, which is it's on twice a week Mondays

1128
01:00:27.559 --> 01:00:31.119
<v Speaker 1>and Fridays or Sundays and Thursdays, depending on when I

1129
01:00:31.199 --> 01:00:33.440
<v Speaker 1>finish things. So go check that out.

1130
01:00:33.679 --> 01:00:36.199
<v Speaker 2>I say this every week, but the Weekly Roundup is

1131
01:00:36.239 --> 01:00:39.599
<v Speaker 2>my favorite of the podcasts that Father Alone, and he

1132
01:00:39.719 --> 01:00:43.199
<v Speaker 2>produces an awful lot of content a lot and it's

1133
01:00:43.239 --> 01:00:46.719
<v Speaker 2>all quality, but it's my favorite. Don't forget Also, Father Malone.

1134
01:00:46.920 --> 01:00:48.599
<v Speaker 2>You have a Patreon do you not?

1135
01:00:49.280 --> 01:00:52.519
<v Speaker 1>Oh yeah, Patreon dot com slash Father Alone, where HP

1136
01:00:52.599 --> 01:00:55.960
<v Speaker 1>and I do a Patreon only subscriber show called Cable

1137
01:00:55.960 --> 01:00:58.880
<v Speaker 1>Box Theater where we take a look at Broadway shows

1138
01:00:58.880 --> 01:01:01.519
<v Speaker 1>that were put on video tape for cable networks in

1139
01:01:01.559 --> 01:01:03.800
<v Speaker 1>their early days the seventies and eighties, when they didn't

1140
01:01:03.840 --> 01:01:04.920
<v Speaker 1>know what the fuck they were doing.

1141
01:01:05.199 --> 01:01:08.880
<v Speaker 2>So check that out and give, give, give. He's he

1142
01:01:08.960 --> 01:01:11.639
<v Speaker 2>works hard for the money, so hard for the money,

1143
01:01:11.639 --> 01:01:15.400
<v Speaker 2>and he's worth it. So for myself, you can find

1144
01:01:15.440 --> 01:01:18.719
<v Speaker 2>me also on the Weirdingway Network. I have picked up

1145
01:01:18.760 --> 01:01:21.559
<v Speaker 2>the reins on a podcast called Noise Junkies, which has

1146
01:01:21.639 --> 01:01:24.440
<v Speaker 2>been a lot of fun. Some new episodes on that.

1147
01:01:24.800 --> 01:01:27.840
<v Speaker 2>Check that out. I am an occasional guest on the

1148
01:01:27.880 --> 01:01:31.440
<v Speaker 2>Culture Cast with Christashu as well. I have a band

1149
01:01:31.480 --> 01:01:36.199
<v Speaker 2>campsite Hpmusicplace dot bandcamp dot com, very very close to

1150
01:01:36.280 --> 01:01:40.679
<v Speaker 2>an actual new release. Stay tuned for that. Thank you

1151
01:01:40.719 --> 01:01:43.440
<v Speaker 2>so much for listening. Please feel free to subscribe to

1152
01:01:43.480 --> 01:01:46.360
<v Speaker 2>this podcast, write a review, or rate us. We'd love

1153
01:01:46.400 --> 01:01:48.559
<v Speaker 2>to hear from you in any way you see fit

1154
01:01:49.039 --> 01:01:51.159
<v Speaker 2>so for myself and for Father Malone, thank you again

1155
01:01:51.199 --> 01:01:53.559
<v Speaker 2>for listening, and we'll see you all again next time.

1156
01:02:00.039 --> 01:02:06.880
<v Speaker 2>By mister Walters