WEBVTT

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<v Speaker 1>Weird Way Media Nike.

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<v Speaker 2>Mister Walders, you see that guy with.

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<v Speaker 1>It now, he's an actor. I'm a camp driver. I'm

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<v Speaker 1>the 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. You're co hosted with me, as always is

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

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<v Speaker 2>this evening?

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<v Speaker 1>Hey, Yellow paper townels. In this episode, it's very unusual.

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<v Speaker 2>We are talking Taxi season three, episode six, the ten

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<v Speaker 2>Percent Solution. This is written by Pat Ali and directed

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<v Speaker 2>by James Barrows. Of course, a reminder we're doing these

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<v Speaker 2>shows in broadcast order and not in order filming occasionally,

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<v Speaker 2>Father Malone. Let me let me preface. Let me start

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<v Speaker 2>by saying, we occasionally get an email from our listeners,

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<v Speaker 2>and I wanted to give a shout out to one

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<v Speaker 2>such listener this episode. This goes out to Maryanne. Hello Marianne.

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<v Speaker 2>Apparently she spent part of this past winter Father Malone

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<v Speaker 2>going through Taxi season by season, kind of binging it

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<v Speaker 2>as one does, and now she found her way to

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<v Speaker 2>this podcast and she's very happy so far. So thanks Marianne.

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<v Speaker 2>Keep listening.

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<v Speaker 1>Hello, Hello mari Anne, It's time that we began let

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<v Speaker 1>her call in everybody. No, thank you for listening obviously,

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<v Speaker 1>thank you for reaching.

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<v Speaker 2>Out absolutely, and as always, folks, please feel free to

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<v Speaker 2>write us at Hpmusicplace at gmail dot com. If you

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<v Speaker 2>have any questions, comments, concerns, want to tell me the

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<v Speaker 2>show is shite or it's awesome, please feel free anyway.

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<v Speaker 2>We open this episode in the garage alone, Jeff.

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<v Speaker 1>And no, we didn't. We started with b roll baby.

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<v Speaker 1>In fact, we had a skyscraper freeze for no good reason,

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<v Speaker 1>a freeze, so doing a lot of that this season.

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<v Speaker 1>And then then we got to almost like a taxi

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<v Speaker 1>driver like shot of the cab, like slowly, you know,

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<v Speaker 1>filling the whole frame and then wiping past, and it's

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<v Speaker 1>a grimy cab and it's a grimy night beyond. I

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<v Speaker 1>loved it.

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<v Speaker 2>It's harder for me to notice when these b roll

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<v Speaker 2>pieces are new and when they're reused, because many times

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<v Speaker 2>I've said, oh, we opened there's this great b roll

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<v Speaker 2>and you would just kind of say, yeah, we saw

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<v Speaker 2>that about five episodes ago, so it's no big shakes,

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<v Speaker 2>so that's cool. I tend to gloss over them, but

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<v Speaker 2>I'm glad that you you made note of that. That

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<v Speaker 2>sounds cool. After this interesting bike oleesque b roll we

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<v Speaker 2>opened in the garage, Jeff and uh oh, hey, Jeff,

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<v Speaker 2>Jeff's back. Everybody cohort. I love it. They're in their

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<v Speaker 2>customary positions. In the cage, Jeff warns Louis. Cockroach at

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<v Speaker 2>ten o'clock.

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<v Speaker 1>So the cockroach battle here we go.

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<v Speaker 2>The cockroaches back. This will not be the last time

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<v Speaker 2>we hear about the cockroach in the cage. Louis has

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<v Speaker 2>taken aback. He exclaims, that's a man eater. Louis tries

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<v Speaker 2>to whack the cockroach with a newspaper, but almost immediately

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<v Speaker 2>he and Jeff recoil At the cockroaches reaction, Louis says,

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<v Speaker 2>did you see that? I hit him with everything I

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<v Speaker 2>had and he just smiled at me.

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<v Speaker 1>You know, New York roaches. It was a joke. New

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<v Speaker 1>York roaches. New York rats couldn't you couldn't tangle with them.

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<v Speaker 1>They would fuck with you.

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<v Speaker 2>You don't hear so much. Yeah, nowadays it's more about

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<v Speaker 2>bedbugs than roaches. Or occasionally you hear about rats, but

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<v Speaker 2>not so much roaches.

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<v Speaker 1>Maybe maybe we've got the roach situation under control. Or

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<v Speaker 1>maybe they've gone further underground and are just plotting their revenge.

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<v Speaker 2>Perhaps they've evolved and now they're actually they've morphed into

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<v Speaker 2>people outwardly look at like humans. Now they've reached the

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<v Speaker 2>next step in the revolutionary process.

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<v Speaker 1>Father Malone, takeover, right now, I'm with you.

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<v Speaker 2>You're declaring fealty to our cockroach overlords.

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<v Speaker 1>I have ad it. Baby, I'll give you some sugar

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<v Speaker 1>or whatever the fuck you guys eat.

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<v Speaker 2>That is a men in black callback right there, Edgar, Oh, yeah,

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<v Speaker 2>he wanted the sugar water. After some more bumbling around,

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<v Speaker 2>Louis proclaims that the cockroach is gone. But then what

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<v Speaker 2>I like is Jeff ominously in tones. But he'll be back, and.

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<v Speaker 1>Yeah, Jeff gets the laugh, he gets the line.

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<v Speaker 2>Here he does, and again, true to form, he's absolutely correct.

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<v Speaker 2>We're gonna see that cockroach pop up again in a

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<v Speaker 2>future episode. We cut to the garage payphone. Bobby is

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<v Speaker 2>nervously pacing back and forth in front of it. Oh oh,

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<v Speaker 2>Father Malone, I sense a job, an acting gig is

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<v Speaker 2>on the line.

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<v Speaker 1>It has to be right, because he's pacing they the

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<v Speaker 1>fucking payphone, you know, Bobby styling. It's the hair. It's

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<v Speaker 1>a problem. And then he has this shirt. It's not

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<v Speaker 1>a button down shirt. It's a halfway button down shirt.

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<v Speaker 1>You can unbutton it from the collar the neck basically

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<v Speaker 1>down to the nipples, which he has done so at

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<v Speaker 1>least we get a splash of old Wheeler here, but

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<v Speaker 1>everything else is gross.

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<v Speaker 2>The shirt is very blousy. It's like a silky material.

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<v Speaker 1>He looks like he's going to a He's waiting for

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<v Speaker 1>Pirates of Penzance callback.

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<v Speaker 2>It's a pirate shirt, years before Seinfeld would popularize the notion.

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<v Speaker 2>He's pacing in front of this payphone. Jim casually walks over,

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<v Speaker 2>prompting Bobby to tell him, Hey, he's waiting on a call.

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<v Speaker 2>Could he make this call? Short side note, by the way,

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<v Speaker 2>before I get to the punchline of this, there's a

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<v Speaker 2>great shot. I don't know if you noticed this father alone,

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<v Speaker 2>but there's a great shot of the graffiti on the

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<v Speaker 2>cement pole because it's an angle that we don't often get.

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<v Speaker 2>It's sort of zoomed in so that the pole is

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<v Speaker 2>taking up about a third of the real estate on

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<v Speaker 2>the screen, so you get a good look at the graffiti.

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<v Speaker 2>Did you see the graffiti, Father Malone, did you read

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<v Speaker 2>any of it?

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<v Speaker 1>Thank god? I was distracted in the background. What did

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<v Speaker 1>it say?

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<v Speaker 2>Amongst the graffiti? I see a date seven six. I

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<v Speaker 2>don't know.

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<v Speaker 1>It's somebody's birthday, obviously.

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<v Speaker 2>Someone on the crew, maybe like someone's birthday. The name

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<v Speaker 2>Smitty is on the pole.

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<v Speaker 1>Well, that's funny, it is.

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<v Speaker 2>And then right next to that it says Louis is

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<v Speaker 2>a jerk, which is to be distracted. It's true.

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<v Speaker 1>That's nobody drew that graffiti. By the way, the building

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<v Speaker 1>actually just spontaneously brought that forth.

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<v Speaker 2>Like an Amityville horror situation where yeah.

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<v Speaker 1>Like in that like the Haunting with you know, tell

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<v Speaker 1>eleanor to come home.

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<v Speaker 2>Good call. I love that the viewer would almost never

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<v Speaker 2>see any of this detail, really never, because this is

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<v Speaker 2>the first time I've even gotten a good look at it,

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<v Speaker 2>and it's probably just because I'm watching a DVD, So

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<v Speaker 2>I assume that the actual viewers at the time would

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<v Speaker 2>never see it this clearly. But the details there. It's

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<v Speaker 2>there if you look for it, but clearly it's there

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<v Speaker 2>to give the actors on set a little more texture,

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<v Speaker 2>a little more detail, make them feel like they're actually

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<v Speaker 2>in a garage. I think that's I thought that was awesome.

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<v Speaker 2>I love when they do stuff like that.

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<v Speaker 1>It's texture in detail for us as well, like even

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<v Speaker 1>if we're not reading any of that stuff, or we're

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<v Speaker 1>aware that it's there and it would be there, so

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<v Speaker 1>it just sort of reinforces the very similitude.

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<v Speaker 2>It's true. And they even I remember there's all sorts

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<v Speaker 2>of stuff in the cheers bar, pictures and things all

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<v Speaker 2>hung around that you would as a viewer, you can't

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<v Speaker 2>fixate on them, but they're there. It's just kind of

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<v Speaker 2>neat that they create this. The verse similitude of this,

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<v Speaker 2>I thought it's pretty marvelous. Jim agrees to keep it short,

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<v Speaker 2>but he ends up confused because the joke is he

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<v Speaker 2>was actually on his way to the bathroom and not

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<v Speaker 2>making a call at all. But he does tell Bobby

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<v Speaker 2>he's going to keep his bathroom break short too.

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<v Speaker 1>While Jim and Bobby are having their conversation, what was

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<v Speaker 1>distracting me, why I couldn't pay attention to the column

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<v Speaker 1>at all, was the the other mechanic when Laka's not around.

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<v Speaker 1>There are several day mechanics. We only ever featured one

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<v Speaker 1>in a plot line. But they're always there. So there's

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<v Speaker 1>a rather older gentleman back there, and he's in coveralls

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<v Speaker 1>and he has on what can best be described as

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<v Speaker 1>a tom of Finland.

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<v Speaker 2>Leather boy did not Again, I did not notice this.

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<v Speaker 2>It's funny the things that I noticed sometimes the things

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<v Speaker 2>that you notice sometimes they often never overlap, which I

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<v Speaker 2>think makes this pretty dynamic, these reviews. But I'll have

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<v Speaker 2>to look for it now. I'll look for the leather

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<v Speaker 2>boy in the past for.

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<v Speaker 1>You that you never noticed the leather boy in the background.

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<v Speaker 1>And I did what color handkerchief? Would that be? Just

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<v Speaker 1>a leather one? I guess right in like the back pocket,

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<v Speaker 1>I remember that, remember cruising cruising, color coating and the handkerchiefs.

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<v Speaker 2>I could not tell you what any of the colors mean.

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<v Speaker 1>And you know what yellow means. Just think about it?

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<v Speaker 2>Do I have to think about it? Stop Elaine looking

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<v Speaker 2>resplendent and a maroon blouse with gray slacks.

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<v Speaker 1>It was a Gingham. It was tiny, tiny gingham. Oh okay,

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<v Speaker 1>look great.

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<v Speaker 2>She looked great. She asks Tony, what's with Bobby on

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<v Speaker 2>the phone, like she's never seen him do this? She's

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<v Speaker 2>probably seen him do this hundreds of times. This pacing,

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<v Speaker 2>this nervous energy about getting a job. Anyway, Tony replies

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<v Speaker 2>what we already know as viewers, that Bobby's waiting to

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<v Speaker 2>hear back about the movie that he auditioned for. Worried,

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<v Speaker 2>Bobby comes over and tells them that it's between him,

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<v Speaker 2>him and one other guy, and he's really nervous.

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<v Speaker 1>I'm both damn pretty boy.

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<v Speaker 2>Both Alex and Elaine sort of fumble uncharacteristically. I have

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<v Speaker 2>to say, they fumble over themselves trying to buck up

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<v Speaker 2>Bobby a little bit and give him some confidence. But

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<v Speaker 2>I guess maybe the idea is even they realize how

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<v Speaker 2>feudile this whole exercise is, that he's probably not going

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<v Speaker 2>to get the part.

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<v Speaker 1>Yeah, I guess if there are any two people in

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<v Speaker 1>the garage going to do that to those two. So

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<v Speaker 1>it makes sense. But at the same time, this is

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<v Speaker 1>not new. This is not the first time on tanks,

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<v Speaker 1>so he's been waiting by the fucking fund. But by

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<v Speaker 1>the way, why is he giving the payphone number, give

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<v Speaker 1>Louie's number and have a pocket full of ones.

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<v Speaker 2>No, he can't give Louis number because it'll it'll be

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<v Speaker 2>disastrous if he's not in the garage when Louis it's

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<v Speaker 2>it's not even about having to give Louis a buck.

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<v Speaker 2>If Louie is feeling saucy that day, he's going to

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<v Speaker 2>ruin that opportunity for no good reason.

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<v Speaker 1>Hey, I have an idea. Perhaps he should use his

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<v Speaker 1>telephone service, you know, the one that Angela Matusa is

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<v Speaker 1>that see?

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<v Speaker 2>I have an answer for that too.

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<v Speaker 1>My guest answer Vaudeville.

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<v Speaker 2>No, I think he probably can't afford that answering service

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<v Speaker 2>anymore because he's obviously he's no, he's not getting many

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<v Speaker 2>jobs now, he's getting no more jobs than he was.

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<v Speaker 2>How can he afford an answering service. Bobby goes back

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<v Speaker 2>over to his post guarding the phone, and Laca is

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<v Speaker 2>now on the phone talking on it, which freaks out Bobby.

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<v Speaker 2>Bobby implores Loatka that he's waiting on an important call.

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<v Speaker 2>Laca says his call is important too. He's ordering lunch

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<v Speaker 2>from a restaurant, Father Malone, that serves food from his country.

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<v Speaker 2>On the side note, isn't it maddening to you that

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<v Speaker 2>we're three seasons in and they still have not given

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<v Speaker 2>Loatka's home country a name. Father alone? Doesn't this drive

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<v Speaker 2>you crazy, No.

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<v Speaker 1>I disagree with you, and I bet that it was

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<v Speaker 1>sort of contingent in confidence contract that they never get

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<v Speaker 1>to name it. Remember he's foreign guy or foreign man.

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<v Speaker 2>But I can see he wouldn't give the country a

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<v Speaker 2>name there because it's just the silly premise for a

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<v Speaker 2>nightclub act. This is three seasons worth of material that

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<v Speaker 2>we're now dealing with. Anyway, I found it a little

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<v Speaker 2>bit vexing, but maybe I'm maybe I'm the outlier. Anyway,

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<v Speaker 2>Laka proceeds to run through this whole long litany of

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<v Speaker 2>ordering the food on the phone in his in his

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<v Speaker 2>native language, and it's just driving Bobby crazy. Bobby is

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<v Speaker 2>seething in the background because he's just taking so long,

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<v Speaker 2>and Bobby finally says, can you make it faster? Loaka

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<v Speaker 2>Loca says, all right, just give me the number seven.

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<v Speaker 2>But this is after he's ordered like five or six

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<v Speaker 2>things extra.

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<v Speaker 1>Yeah, this is what I'm saying. Loca knows what he's

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<v Speaker 1>doing sometimes, Sarah Man a.

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<v Speaker 2>Little darkness here, because he could have just ordered the

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<v Speaker 2>number seven at the beginning. But I think he's doing

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<v Speaker 2>it just to fuck with Bobby a little bit.

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<v Speaker 1>Remember what he was saying. He does to bisexuals. We're

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<v Speaker 1>getting a whole new side of lock in season three.

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<v Speaker 2>That's right, the one with with Tony, the Elaine's.

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<v Speaker 1>Triangle, that's right, that was a recent one. That was

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<v Speaker 1>he's really emerging from the darkness here.

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<v Speaker 2>Bobby gets the call, and through just his side of

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<v Speaker 2>the conversation, you can just hear that the other guy

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<v Speaker 2>got beat him out for the part, and he goes

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<v Speaker 2>over he's talking to the other caves about it. The

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<v Speaker 2>part that really gets to Bobby, that really burns him up,

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<v Speaker 2>is that this other guy has no experience and not

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<v Speaker 2>much talent, but he got the part because of his looks.

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<v Speaker 2>He wasn't better looking than Bobby. Let me make that clear.

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<v Speaker 2>He just had the right quote unquote right look. According

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<v Speaker 2>to Bobby, casting goes in cycles, and the common look.

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<v Speaker 1>Is in right now, so common look, that's good.

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<v Speaker 2>Common according to Bobby. I mean, you have to understand,

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<v Speaker 2>Bobby is a narcissist, so anything that's not his idealized

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<v Speaker 2>perfect visage is going to be labeled as common. But

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<v Speaker 2>as Bobby describes the current look, we see that he's

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<v Speaker 2>basically describing Tony. As he's describing all these features Tony

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<v Speaker 2>is just behind him, rather humorously pantomiming everything that Bobby

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<v Speaker 2>is describing. You know, he's got kind of a smile

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<v Speaker 2>and dumb look whatever. Bobby looks over at Tony confirms that, yeah,

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<v Speaker 2>this is the look they're looking for. Tony is the

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<v Speaker 2>look that they're hiring for these days.

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<v Speaker 1>First of all, Tony is better looking than Bobby. So

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<v Speaker 1>if the criteria isn't a better looking guy just to

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<v Speaker 1>type that they're happening be looking for, then he's wrong.

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<v Speaker 2>This sends Bobby into one of his patented I'm through

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<v Speaker 2>being an actor tirades.

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<v Speaker 1>Right, We've seen this how many times enough?

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<v Speaker 2>Bobby jesus this performative gesture that he makes in front

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<v Speaker 2>of Louis and the Cabby's and the whole garage, like

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<v Speaker 2>it's too much I have. I'm quitting. It's enough, Bobby,

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<v Speaker 2>We get it. We cut away. We actually cut to

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<v Speaker 2>b roll of Bobby's awesome basement apartment again, which you

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00:15:30.240 --> 00:15:32.960
<v Speaker 2>and I have been enamored of for some time. We

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<v Speaker 2>cut inside as Bobby is sitting lost in his thoughts

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<v Speaker 2>while Tony runs down the steps. We see him in

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<v Speaker 2>the window running down the steps to the apartment. He

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<v Speaker 2>comes in bearing beer and fudgeticles nice, which for me,

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<v Speaker 2>it kind of gave me Laverne and Shirley vibes a

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<v Speaker 2>little bit, Father Malone. You remember when times were tough

283
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<v Speaker 2>and the girl Milk and Pepsy hit the spot. Beer

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<v Speaker 2>in fudgetacles just seems it actually is kind of endearing

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<v Speaker 2>that that's their thing, right, And of course Tony is now.

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<v Speaker 2>I don't know that we've seen him wearing this too much,

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00:16:10.759 --> 00:16:15.200
<v Speaker 2>but he's wearing his patented New York Yankees jackets his uniform.

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<v Speaker 2>Now he's trying to cheer up Bobby. Basically, he's bringing

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<v Speaker 2>him these things, the beer and the fudgetables. Bobby doesn't

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00:16:22.679 --> 00:16:27.440
<v Speaker 2>feel much like talking, but Tony asks Bobby earnestly if

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<v Speaker 2>he can teach him to be an actor, because he

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00:16:30.480 --> 00:16:33.039
<v Speaker 2>reasons that he's got the look that act the casting

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00:16:33.080 --> 00:16:36.799
<v Speaker 2>agents are looking for. Kind of makes sense when an

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00:16:36.799 --> 00:16:40.720
<v Speaker 2>incredulous Bobby asks Tony if he even knows what acting

295
00:16:40.840 --> 00:16:44.080
<v Speaker 2>is like, Tony says, he was in a grade school

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00:16:44.399 --> 00:16:47.960
<v Speaker 2>production of Rip van Winkle. He played the guy who

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00:16:48.039 --> 00:16:50.360
<v Speaker 2>woke up Rip, and he comes back to it a

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00:16:50.360 --> 00:16:52.759
<v Speaker 2>few times, like wake up, Rip, wake up. This is

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00:16:52.799 --> 00:16:56.519
<v Speaker 2>evidence of his acting, Chops which drives Bobby crazy.

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<v Speaker 1>Of course. Nevertheless, from the moment that Tony started puffing

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00:17:02.159 --> 00:17:05.400
<v Speaker 1>up in the background back at the garage, I got

302
00:17:05.440 --> 00:17:09.079
<v Speaker 1>excited because it's a Tony Bobby episode. Tony Bobby episodes

303
00:17:09.119 --> 00:17:12.119
<v Speaker 1>are usually fucking winners. So by the time we get

304
00:17:12.160 --> 00:17:14.839
<v Speaker 1>here and now here's the setup, Oh my god, how

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00:17:14.880 --> 00:17:19.240
<v Speaker 1>delirious Bobby has to manage Tony and puppeteer him into

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00:17:19.240 --> 00:17:22.039
<v Speaker 1>a career in acting. Sign me up.

307
00:17:23.079 --> 00:17:26.160
<v Speaker 2>The Bobby Tony episodes are usually pretty good, aren't they.

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00:17:26.480 --> 00:17:29.079
<v Speaker 1>Yeah. I love their friendship. I wish we spent more

309
00:17:29.119 --> 00:17:32.119
<v Speaker 1>time with it. I wish we spent more more time

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00:17:32.160 --> 00:17:35.359
<v Speaker 1>with them without plot getting in the way. Like I

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00:17:35.400 --> 00:17:39.279
<v Speaker 1>wouldn't say no to a hangout episode with those two guys.

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00:17:39.759 --> 00:17:42.200
<v Speaker 2>There is a fun dynamic between the two of them

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00:17:42.200 --> 00:17:44.799
<v Speaker 2>because they are so different, but there are such good friends.

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<v Speaker 2>Even though we all know that Bobby tends to be

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00:17:48.000 --> 00:17:50.720
<v Speaker 2>kind of a dick to Tony, but that's all part

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00:17:50.720 --> 00:17:52.960
<v Speaker 2>of the dynamic and we all accept that. So yeah,

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00:17:53.119 --> 00:17:55.279
<v Speaker 2>I agree. I was kind of excited for this too,

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<v Speaker 2>because we don't it's very rare. We don't get these

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00:17:57.759 --> 00:17:59.359
<v Speaker 2>kinds of stories that off.

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<v Speaker 1>Then and you know, pit with their friendship right here,

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00:18:01.759 --> 00:18:03.359
<v Speaker 1>and Bobby says, like, you know, you got to wipe

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00:18:03.359 --> 00:18:05.079
<v Speaker 1>your face. You got funch call all over it. And

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<v Speaker 1>then he uses yellow paper towels. It's the weirdest thing.

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00:18:08.720 --> 00:18:10.480
<v Speaker 2>Was it a paper towel or was it just a

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00:18:10.599 --> 00:18:11.359
<v Speaker 2>kitchen towel?

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00:18:11.640 --> 00:18:15.279
<v Speaker 1>No. He grabs a roll of paper towels and brings

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00:18:15.279 --> 00:18:17.480
<v Speaker 1>them into frame that are yellow, and then he peels

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00:18:17.480 --> 00:18:20.200
<v Speaker 1>off a yellow piece and then hands it to to Tony.

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00:18:21.279 --> 00:18:23.920
<v Speaker 2>Paper towels went through a thing for a while where

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<v Speaker 2>I don't know if this is the case anymore, because

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00:18:26.480 --> 00:18:28.720
<v Speaker 2>I don't I haven't seen them. But they used to

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00:18:28.759 --> 00:18:32.799
<v Speaker 2>have things printed on them. You could get pictures or designs.

333
00:18:32.839 --> 00:18:34.039
<v Speaker 2>It would look like something in.

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00:18:36.599 --> 00:18:38.920
<v Speaker 1>This paper towel is straight from France.

335
00:18:40.279 --> 00:18:42.839
<v Speaker 2>At some point everybody figured out that all that extra

336
00:18:42.920 --> 00:18:45.559
<v Speaker 2>ink was doing nobody any favors, at least of all

337
00:18:45.599 --> 00:18:48.880
<v Speaker 2>the cost of these things. So maybe that's this is

338
00:18:48.920 --> 00:18:51.920
<v Speaker 2>a throwback to that. I don't know. Bobby keeps trying

339
00:18:51.960 --> 00:18:55.440
<v Speaker 2>to dissuade Tony about this the folly of becoming an actor,

340
00:18:55.480 --> 00:18:57.559
<v Speaker 2>but he won't give up. Tony won't give up. He

341
00:18:57.640 --> 00:19:02.279
<v Speaker 2>reminds Bobby that the guy who Bobby out for the part,

342
00:19:02.400 --> 00:19:05.839
<v Speaker 2>also had no experience, but he had the look, and

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00:19:05.920 --> 00:19:09.640
<v Speaker 2>after a moment or two, Bobby he's swayed by Tony's

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00:19:09.759 --> 00:19:11.960
<v Speaker 2>logic for lack of a better word, and he says,

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00:19:12.000 --> 00:19:14.640
<v Speaker 2>what the hell, I'll call my agent and I'll set

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00:19:14.680 --> 00:19:14.960
<v Speaker 2>it up.

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00:19:15.519 --> 00:19:18.559
<v Speaker 1>No, no, no, no, no no. I don't want your agent.

348
00:19:20.119 --> 00:19:23.599
<v Speaker 1>Listen here, Bobby boy, your agent getting you nowhere. I

349
00:19:23.640 --> 00:19:24.519
<v Speaker 1>need a better agent.

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00:19:24.559 --> 00:19:27.839
<v Speaker 2>I need you, Bobby, Tony says, and on certain terms,

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00:19:27.960 --> 00:19:31.359
<v Speaker 2>I don't want your agent because your agent hasn't exactly

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00:19:31.400 --> 00:19:34.039
<v Speaker 2>made you, and it was star Bobby. I want you,

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<v Speaker 2>Bobby to be my agent, which is a wonderful vote

354
00:19:37.400 --> 00:19:42.559
<v Speaker 2>of confidence for Bobby and his skills at being a manager.

355
00:19:42.400 --> 00:19:47.519
<v Speaker 1>And all the possibilities here HP had they allowed Bobby

356
00:19:47.559 --> 00:19:53.680
<v Speaker 1>to pursue no longer acting, but theatrical agency, Oh my goodness,

357
00:19:53.880 --> 00:19:55.000
<v Speaker 1>where we could have gone.

358
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<v Speaker 2>Tony shares with Bobby this fantasy that he's had since

359
00:19:58.680 --> 00:20:00.400
<v Speaker 2>he was a kid. He said, he always out like

360
00:20:00.839 --> 00:20:04.119
<v Speaker 2>he was going to be famous. He always thought Tony

361
00:20:04.160 --> 00:20:05.839
<v Speaker 2>thought that it was going to be as a boxer.

362
00:20:06.519 --> 00:20:09.839
<v Speaker 2>But hearing all of this from Bobby makes him think

363
00:20:09.839 --> 00:20:12.920
<v Speaker 2>that maybe he's destined for fame and fortune as an

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00:20:13.000 --> 00:20:14.559
<v Speaker 2>actor and not a boxer.

365
00:20:16.000 --> 00:20:19.000
<v Speaker 1>He's he's ready for a role in the Rocky horror show,

366
00:20:19.640 --> 00:20:23.599
<v Speaker 1>some sort of revival off Broadway as Rocky.

367
00:20:23.759 --> 00:20:24.599
<v Speaker 2>He could be Rocky.

368
00:20:24.880 --> 00:20:28.960
<v Speaker 1>He could be Rocky. Totally pull that shit off. Yeah,

369
00:20:29.000 --> 00:20:29.680
<v Speaker 1>he could do that.

370
00:20:29.839 --> 00:20:31.759
<v Speaker 2>He doesn't. Yeah, it doesn't need to really do much

371
00:20:31.799 --> 00:20:35.839
<v Speaker 2>of anything, right, No, man, Yeah, I never thought of

372
00:20:35.880 --> 00:20:38.160
<v Speaker 2>it that way. And I'm sure it was playing in

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<v Speaker 2>Times Square at this time, right, wasn't this for Salpiro

374
00:20:41.200 --> 00:20:42.400
<v Speaker 2>and everybody that were at this was.

375
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<v Speaker 1>Like the the cult was born. Yeah, yeah, yeah, yeah,

376
00:20:45.359 --> 00:20:45.880
<v Speaker 1>that's a.

377
00:20:45.839 --> 00:20:49.359
<v Speaker 2>Good call, good call for Like I said, finally, Bobby

378
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<v Speaker 2>is convinced he's going to manage Tony. He says, let's

379
00:20:51.640 --> 00:20:54.400
<v Speaker 2>give it a shot. He pulls a bunch of plays

380
00:20:54.400 --> 00:20:57.480
<v Speaker 2>off of his shelf for Tony to study. He just

381
00:20:57.519 --> 00:20:58.279
<v Speaker 2>picks a bunch.

382
00:20:58.160 --> 00:21:01.039
<v Speaker 1>Of Oh wow, I wish I could have zoomed in

383
00:21:01.079 --> 00:21:02.759
<v Speaker 1>and gotten them. I mean I did zoom in but

384
00:21:02.880 --> 00:21:05.000
<v Speaker 1>couldn't get any of them. They name one of them,

385
00:21:05.000 --> 00:21:06.279
<v Speaker 1>but I don't even know if that's one of the

386
00:21:06.279 --> 00:21:07.359
<v Speaker 1>books that was in his hand.

387
00:21:07.920 --> 00:21:11.200
<v Speaker 2>I think he named Long Day's Journey in tonight I

388
00:21:11.200 --> 00:21:13.039
<v Speaker 2>think there's a monologue there that he said, you have

389
00:21:13.079 --> 00:21:15.039
<v Speaker 2>to you have to learn that. Might I might, I

390
00:21:15.119 --> 00:21:17.279
<v Speaker 2>might be wrong about that, but I think that's what

391
00:21:17.319 --> 00:21:20.279
<v Speaker 2>he said. And they're gonna start tomorrow. Tomorrow is the

392
00:21:20.319 --> 00:21:24.240
<v Speaker 2>official start of their enterprise. So Tony leaves as we

393
00:21:24.319 --> 00:21:29.480
<v Speaker 2>fade to commercial. We come back as Louie is entering

394
00:21:29.519 --> 00:21:32.000
<v Speaker 2>the garage. He's got his jacket on or whatever. It's

395
00:21:32.000 --> 00:21:35.240
<v Speaker 2>probably this bid. This is what qualifies as the B plot.

396
00:21:35.519 --> 00:21:38.400
<v Speaker 1>Yeah, this sequence made me tackle as a child.

397
00:21:38.799 --> 00:21:42.720
<v Speaker 2>Louie is walking very carefully and cautiously to his cage,

398
00:21:42.759 --> 00:21:45.359
<v Speaker 2>and Land is watching him with glee, I would say,

399
00:21:45.400 --> 00:21:49.160
<v Speaker 2>watching him as he nervously is looking around the cage

400
00:21:49.319 --> 00:21:52.759
<v Speaker 2>for this cockroach that's been plaguing him and just to

401
00:21:53.000 --> 00:21:55.119
<v Speaker 2>get under his skin even more. She she well, she

402
00:21:55.200 --> 00:21:57.960
<v Speaker 2>pokes fun at his worries about what he's doing anyway,

403
00:21:58.559 --> 00:22:01.160
<v Speaker 2>but then she gives him like a jump scare, like

404
00:22:01.319 --> 00:22:02.720
<v Speaker 2>she does one of these things.

405
00:22:02.519 --> 00:22:05.799
<v Speaker 1>It's great, like oh my god, look.

406
00:22:05.640 --> 00:22:09.440
<v Speaker 2>Over there, and he freaks out, and she is she

407
00:22:09.799 --> 00:22:13.400
<v Speaker 2>loves his reaction because he does it exactly the way

408
00:22:13.440 --> 00:22:15.039
<v Speaker 2>she wanted him to do it.

409
00:22:15.400 --> 00:22:19.440
<v Speaker 1>Elaine would do fucking fantastic in a haunted attraction as

410
00:22:19.440 --> 00:22:22.599
<v Speaker 1>a scare actor, like she's she's got it. She's also

411
00:22:22.680 --> 00:22:25.759
<v Speaker 1>acting as the interactive Greek chorus in this episode. She

412
00:22:25.839 --> 00:22:28.880
<v Speaker 1>just shows up says, what are you doing? Stop doing that?

413
00:22:28.920 --> 00:22:30.359
<v Speaker 1>All right? Fuck it? Buy so.

414
00:22:30.440 --> 00:22:34.039
<v Speaker 2>Then the Simpleton Tony comes in to the garage to

415
00:22:34.119 --> 00:22:37.200
<v Speaker 2>show Alex and Elaine his head shots. But what they

416
00:22:37.240 --> 00:22:40.960
<v Speaker 2>are they're not actual, professionally taking photos. They're the kind

417
00:22:40.960 --> 00:22:42.559
<v Speaker 2>of things you get at the carnival.

418
00:22:42.200 --> 00:22:44.400
<v Speaker 1>The photo photo booth photos.

419
00:22:44.640 --> 00:22:48.000
<v Speaker 2>The photo booth rolls three poses for fifty cents. Bobby

420
00:22:48.079 --> 00:22:52.160
<v Speaker 2>comes in and Tony, ever the Simpleton comes over and shows, hey, Bobby,

421
00:22:52.200 --> 00:22:55.200
<v Speaker 2>look at my look at my head shots, And I actually.

422
00:22:54.960 --> 00:22:55.440
<v Speaker 1>Really like this.

423
00:22:55.559 --> 00:22:57.640
<v Speaker 2>Bobby like does I don't think he looks at them.

424
00:22:57.680 --> 00:22:59.400
<v Speaker 1>He takes, he does not look at them.

425
00:22:59.720 --> 00:23:02.519
<v Speaker 2>He rips them up right there and not even looking

426
00:23:02.599 --> 00:23:06.119
<v Speaker 2>at them, not even caring. Bobby says that he's been

427
00:23:06.160 --> 00:23:10.200
<v Speaker 2>busy that every casting director in New York City has

428
00:23:10.240 --> 00:23:14.480
<v Speaker 2>Tony's photo on their desk. He's pounding the pavement. He's

429
00:23:14.519 --> 00:23:16.880
<v Speaker 2>doing what he should do as a manager. He gives

430
00:23:17.000 --> 00:23:22.039
<v Speaker 2>Tony a scene from Long Day's Journey into Night to practice,

431
00:23:22.640 --> 00:23:25.279
<v Speaker 2>but he reads the lie.

432
00:23:25.279 --> 00:23:31.119
<v Speaker 1>Would he give Tony a dummy? Eugene O'Neill give him

433
00:23:31.200 --> 00:23:34.319
<v Speaker 1>on the waterfront? What the fuck? Bobby?

434
00:23:35.119 --> 00:23:38.039
<v Speaker 2>Can I just say, I've noticed in this podcast and

435
00:23:38.079 --> 00:23:41.039
<v Speaker 2>others for them alone, you have a special skill with

436
00:23:41.079 --> 00:23:44.440
<v Speaker 2>the word dummy. No one uses the word tell me

437
00:23:45.160 --> 00:23:47.920
<v Speaker 2>has a put down better than you. And I love

438
00:23:48.000 --> 00:23:50.680
<v Speaker 2>when you describe Tony as a dummy. I don't know why.

439
00:23:50.720 --> 00:23:51.640
<v Speaker 2>It just makes me laugh.

440
00:23:51.680 --> 00:23:55.319
<v Speaker 1>It makes me happy. I didn't realize that. Okay, I'm

441
00:23:55.319 --> 00:23:56.920
<v Speaker 1>gonna be self cancious about it from now.

442
00:23:56.920 --> 00:24:00.680
<v Speaker 2>It's fantastic. Tony is reading his lines like do you

443
00:24:00.680 --> 00:24:04.160
<v Speaker 2>remember in the second Rocky movie in Rocky two, where

444
00:24:04.359 --> 00:24:08.799
<v Speaker 2>he tries to go into doing commercials but he can't read,

445
00:24:09.119 --> 00:24:11.359
<v Speaker 2>so he gets fired from all the jobs that he gets.

446
00:24:11.640 --> 00:24:14.799
<v Speaker 2>Tony's reading his lines like Rocky Balboa trying to read

447
00:24:14.799 --> 00:24:19.240
<v Speaker 2>a deodorant ad in Rocky Too. It's so wooden, it's terrible.

448
00:24:19.680 --> 00:24:23.880
<v Speaker 2>Alex Slaane and Bobby are all exchanging worried looks about

449
00:24:24.000 --> 00:24:27.160
<v Speaker 2>what this means for his acting career, such as it

450
00:24:27.240 --> 00:24:30.920
<v Speaker 2>is Loca shuffles in this. I love this bit. I

451
00:24:30.960 --> 00:24:32.880
<v Speaker 2>get to say, I'm not going to bury the lead.

452
00:24:32.920 --> 00:24:36.480
<v Speaker 2>I love this bit with Loaca. This is another one

453
00:24:36.480 --> 00:24:39.240
<v Speaker 2>where you get a little bit of the darkness of Loaca.

454
00:24:39.359 --> 00:24:42.680
<v Speaker 2>I think he goes over to Bobby and asks Bobby

455
00:24:42.480 --> 00:24:47.519
<v Speaker 2>if he could be Loca's agent too, and he It

456
00:24:47.559 --> 00:24:52.200
<v Speaker 2>really is funny. Loca explains that an Italian director came

457
00:24:52.599 --> 00:24:55.519
<v Speaker 2>to his country again with this country business. He came

458
00:24:55.559 --> 00:24:59.200
<v Speaker 2>to Loca's country to film a movie called Here Come

459
00:24:59.279 --> 00:25:03.160
<v Speaker 2>the Huns and asks Bobby if he wants to see

460
00:25:03.200 --> 00:25:07.640
<v Speaker 2>his performance, and Bobby kind of winces. As Loaca is

461
00:25:07.799 --> 00:25:11.720
<v Speaker 2>setting the scene. Basically, there's this preamble that Locker goes

462
00:25:11.759 --> 00:25:14.640
<v Speaker 2>into where the Huns have decimated everything. All the people

463
00:25:14.640 --> 00:25:18.039
<v Speaker 2>are gone, They've been destroyed, everything is in ruins, and

464
00:25:18.119 --> 00:25:22.279
<v Speaker 2>Loacha's character is surveying the destruction. He does that thing

465
00:25:22.279 --> 00:25:24.880
<v Speaker 2>where he puts his hand over his eyes to shade it,

466
00:25:24.960 --> 00:25:27.599
<v Speaker 2>like I'm surveying the land right now to see what's

467
00:25:27.640 --> 00:25:28.039
<v Speaker 2>going on.

468
00:25:28.680 --> 00:25:35.599
<v Speaker 1>And it's for guests. Quirky, you know, kind of performance

469
00:25:35.880 --> 00:25:38.000
<v Speaker 1>he would fit well and waiting for gofman here.

470
00:25:38.440 --> 00:25:41.160
<v Speaker 2>It is so funny. And my favorite part of all

471
00:25:41.240 --> 00:25:43.640
<v Speaker 2>of this scene is that just as Lacka is going

472
00:25:43.680 --> 00:25:48.839
<v Speaker 2>to launch into his part. He after he's described the scene,

473
00:25:48.880 --> 00:25:52.000
<v Speaker 2>he has this buoyant way of saying and it goes

474
00:25:52.279 --> 00:25:57.079
<v Speaker 2>something like this. After all this build up, Loca's character

475
00:25:57.160 --> 00:26:02.599
<v Speaker 2>looks around and he just goes he clucks his tongue

476
00:26:02.680 --> 00:26:05.319
<v Speaker 2>like hmm, Like like like you would do if you

477
00:26:05.359 --> 00:26:08.839
<v Speaker 2>saw somebody throwing litter on the ground. You think it's

478
00:26:08.839 --> 00:26:12.440
<v Speaker 2>gonna be this deep emotional scene with you know, ringing

479
00:26:12.440 --> 00:26:16.079
<v Speaker 2>of hands and crying and shrieking, and it's just plucking

480
00:26:16.119 --> 00:26:19.039
<v Speaker 2>his tongue. It's really trust me, it's really good. I'm

481
00:26:19.039 --> 00:26:23.799
<v Speaker 2>not doing it justice. It's really funny. Just after Laka

482
00:26:23.839 --> 00:26:28.400
<v Speaker 2>does this performance for Bobby, the phone rings. Bobby answers

483
00:26:28.440 --> 00:26:30.799
<v Speaker 2>the phone. He's flim flamming with the cast with a

484
00:26:30.839 --> 00:26:35.319
<v Speaker 2>casting director who's getting ready to offer Bobby, make check

485
00:26:35.400 --> 00:26:36.079
<v Speaker 2>my schedule.

486
00:26:36.160 --> 00:26:38.640
<v Speaker 1>Let me say always got to He's working with Barbara

487
00:26:38.640 --> 00:26:42.960
<v Speaker 1>streisand that week and next week it's uh.

488
00:26:43.039 --> 00:26:45.680
<v Speaker 2>He's trying to make Tony sound like he's this big

489
00:26:45.720 --> 00:26:48.359
<v Speaker 2>hot shot. He says, well, no, he's got the Fonda

490
00:26:48.839 --> 00:26:51.480
<v Speaker 2>movie that week, but I think we can fit you in.

491
00:26:51.720 --> 00:26:55.039
<v Speaker 2>And he gets an audition for Tony and Tony is

492
00:26:55.079 --> 00:26:57.799
<v Speaker 2>excitedly watching all of this, and then Bobby gets off

493
00:26:57.839 --> 00:27:01.119
<v Speaker 2>the phone and they're they're both literally jumping for joy.

494
00:27:01.200 --> 00:27:04.799
<v Speaker 2>This is Tony's first audition, which is pretty good considering

495
00:27:04.839 --> 00:27:09.359
<v Speaker 2>it's only been one day that he's been at this. Tony, ever,

496
00:27:09.400 --> 00:27:11.960
<v Speaker 2>the simpleton, doesn't want to hear about the actual audition.

497
00:27:12.359 --> 00:27:14.480
<v Speaker 2>He wants to hear about the fond of film that

498
00:27:14.599 --> 00:27:18.000
<v Speaker 2>Bobby was lying about. As we then fade out and

499
00:27:18.039 --> 00:27:22.240
<v Speaker 2>fade into the casting director's office. For the next scene,

500
00:27:22.279 --> 00:27:24.559
<v Speaker 2>Tony and Bobby are getting shown into this office to

501
00:27:24.599 --> 00:27:27.720
<v Speaker 2>meet the producers. And did you notice who one of

502
00:27:27.759 --> 00:27:29.200
<v Speaker 2>the producers was, Father Malone?

503
00:27:29.519 --> 00:27:32.240
<v Speaker 1>I did before I say his name. I know why

504
00:27:32.759 --> 00:27:36.960
<v Speaker 1>Tony gets the role because one of those producers was

505
00:27:37.000 --> 00:27:42.039
<v Speaker 1>going to commit suicide and Tony Banta stopped him. Good call,

506
00:27:42.400 --> 00:27:44.880
<v Speaker 1>because that character then and now is played by Ed

507
00:27:45.039 --> 00:27:48.200
<v Speaker 1>dot Weinberger, one of the original writers on this series

508
00:27:48.240 --> 00:27:50.799
<v Speaker 1>and one of the producers, one of the creators. Do

509
00:27:50.920 --> 00:27:52.680
<v Speaker 1>isn't he he was?

510
00:27:52.880 --> 00:27:56.759
<v Speaker 2>And you're referencing one of the two part episodes from

511
00:27:56.880 --> 00:27:58.480
<v Speaker 2>from the first season, I believe.

512
00:27:58.200 --> 00:28:02.400
<v Speaker 1>Where Pales of ca five oh eight or whatever eight

513
00:28:02.440 --> 00:28:05.880
<v Speaker 1>oh four? May I paint a picture for you? He's

514
00:28:05.920 --> 00:28:09.480
<v Speaker 1>in a blue button down shirt with white cuffs and

515
00:28:09.519 --> 00:28:11.519
<v Speaker 1>a white collar, so now you know what kind of

516
00:28:11.559 --> 00:28:17.240
<v Speaker 1>human this is. And he's wearing sunglasses indoors that are smoky.

517
00:28:17.319 --> 00:28:20.680
<v Speaker 1>He looks for all that he's perfectly cast. Whoever said

518
00:28:20.720 --> 00:28:22.799
<v Speaker 1>put him down there made the right call.

519
00:28:23.559 --> 00:28:26.680
<v Speaker 2>Everything about this scene. We always talk about the set

520
00:28:26.720 --> 00:28:30.480
<v Speaker 2>designers and how how they do their job well with

521
00:28:30.519 --> 00:28:33.039
<v Speaker 2>these big, flashy sets. But one of the things I

522
00:28:33.119 --> 00:28:36.400
<v Speaker 2>like about this is it's this looks exactly like you

523
00:28:36.440 --> 00:28:40.519
<v Speaker 2>would expect a New York casting directors or producer's office

524
00:28:40.640 --> 00:28:43.720
<v Speaker 2>to look, because these guys are producers. It's there's just

525
00:28:43.759 --> 00:28:46.000
<v Speaker 2>something about it. You can see the hallway behind them

526
00:28:46.000 --> 00:28:50.000
<v Speaker 2>with other actors waiting for their audition. I don't know,

527
00:28:50.079 --> 00:28:53.880
<v Speaker 2>there's something about it that feels very earthy and real

528
00:28:54.279 --> 00:28:57.200
<v Speaker 2>to me, including Ed Weinberger as a producer.

529
00:28:57.559 --> 00:29:02.279
<v Speaker 1>I'm talking the reality up to James Burrows, whose father

530
00:29:02.480 --> 00:29:06.039
<v Speaker 1>was a Broadway like writer producer, so I'm sure he

531
00:29:06.519 --> 00:29:08.400
<v Speaker 1>knew this scene a lot.

532
00:29:08.640 --> 00:29:12.400
<v Speaker 2>The assistant explains that the character that Tony is auditioning

533
00:29:12.440 --> 00:29:16.519
<v Speaker 2>for is a young New Yorker of Italian descent, eager, innocent,

534
00:29:16.839 --> 00:29:20.759
<v Speaker 2>and a little slow, basically describing Tony to a tee.

535
00:29:21.400 --> 00:29:23.839
<v Speaker 2>Bobby is going to play the part of his father

536
00:29:24.319 --> 00:29:26.319
<v Speaker 2>in this, which you know is going to give him

537
00:29:26.319 --> 00:29:30.680
<v Speaker 2>the the opportunity to act circles around Tony, right, I

538
00:29:30.720 --> 00:29:32.759
<v Speaker 2>can see you. You're grimacing there father alone.

539
00:29:32.880 --> 00:29:36.480
<v Speaker 1>Well, it's very embarrassing, the whole thing, and I don't

540
00:29:36.480 --> 00:29:39.119
<v Speaker 1>know why they let him continue when he continues the

541
00:29:39.279 --> 00:29:42.039
<v Speaker 1>obviously they cast him. They end up casting Tony just

542
00:29:42.039 --> 00:29:44.279
<v Speaker 1>for the look. But you know why he's allowed to

543
00:29:44.279 --> 00:29:46.240
<v Speaker 1>go on. As long as he goes on. It's kind

544
00:29:46.240 --> 00:29:50.720
<v Speaker 1>of crazier and is very cringey, but no more out

545
00:29:50.759 --> 00:29:55.759
<v Speaker 1>of hand in cringey than the other producer's perm. Is

546
00:29:55.799 --> 00:29:57.039
<v Speaker 1>it Brady Day.

547
00:29:56.839 --> 00:30:01.240
<v Speaker 2>Here his perm It had that mister goodboe body Richard

548
00:30:01.279 --> 00:30:02.839
<v Speaker 2>Simmons kind of look to it.

549
00:30:03.079 --> 00:30:06.599
<v Speaker 1>Yes, exactly, like it's a very loose perm. It's not.

550
00:30:06.759 --> 00:30:10.079
<v Speaker 1>It's not a Brady tight to the skull with curls. No,

551
00:30:10.240 --> 00:30:13.400
<v Speaker 1>this is this is almost like I want an afro.

552
00:30:13.839 --> 00:30:17.240
<v Speaker 2>When you say Brady, you mean Mike Brady from The

553
00:30:17.279 --> 00:30:17.920
<v Speaker 2>Brady Bunch.

554
00:30:18.039 --> 00:30:20.039
<v Speaker 1>Yeah, of course, if you're talking about a man having

555
00:30:20.119 --> 00:30:22.640
<v Speaker 1>a perm, all roads lead to Mike Brady and then

556
00:30:22.640 --> 00:30:25.119
<v Speaker 1>you can branch off in tributaries from him.

557
00:30:25.480 --> 00:30:28.440
<v Speaker 2>They dive into this bit of dialogue. Of course, Bobby

558
00:30:28.839 --> 00:30:31.480
<v Speaker 2>is giving his all with his reading, and he has

559
00:30:31.519 --> 00:30:34.039
<v Speaker 2>all the heavy lifting to do. Anyway, this like father

560
00:30:34.160 --> 00:30:40.880
<v Speaker 2>son thing. All Tony's lines are basically monosyllabic replies, yeah, okay,

561
00:30:41.440 --> 00:30:45.039
<v Speaker 2>that kind of stuff he never has Yeah, no, wait

562
00:30:45.680 --> 00:30:50.599
<v Speaker 2>really it's it's totally cringey. I know what they're going for,

563
00:30:50.640 --> 00:30:54.519
<v Speaker 2>but it's a little too over the top. And I

564
00:30:54.640 --> 00:30:56.480
<v Speaker 2>have to agree with you, father Malone. If if I

565
00:30:56.480 --> 00:31:00.519
<v Speaker 2>were the producer watching this unfold, it would only take

566
00:31:00.559 --> 00:31:03.079
<v Speaker 2>me like half of the line from Tony to say,

567
00:31:03.119 --> 00:31:05.480
<v Speaker 2>you know what, this guy's a big dummy. You can

568
00:31:05.480 --> 00:31:12.359
<v Speaker 2>barely read, let alone emte. But that's this being a sitcom's.

569
00:31:11.079 --> 00:31:12.960
<v Speaker 1>Alo that I disagree. I think they were going to

570
00:31:13.039 --> 00:31:14.759
<v Speaker 1>cast him no matter what, and I think as soon

571
00:31:14.759 --> 00:31:16.079
<v Speaker 1>as he opened his mouth and they went, oh he

572
00:31:16.119 --> 00:31:18.559
<v Speaker 1>can he can actually speak, Okay, great, perfect, he's got

573
00:31:18.559 --> 00:31:21.599
<v Speaker 1>the role, which I think I think in the middle

574
00:31:21.640 --> 00:31:24.640
<v Speaker 1>of Bobby's thing, they should have They should have stopped him,

575
00:31:24.839 --> 00:31:26.599
<v Speaker 1>and then they could have played that as we have

576
00:31:26.680 --> 00:31:28.680
<v Speaker 1>to stop you because you're so great, kind of a

577
00:31:28.720 --> 00:31:31.640
<v Speaker 1>thing that Bobby assumes. But it's actually just we don't care,

578
00:31:31.759 --> 00:31:33.400
<v Speaker 1>We just want we want the dummy.

579
00:31:33.440 --> 00:31:37.000
<v Speaker 2>He's pretty, so you think that the actual line reading

580
00:31:37.079 --> 00:31:40.519
<v Speaker 2>was just a formality. They already knew within minutes that

581
00:31:40.559 --> 00:31:42.880
<v Speaker 2>they were going to hire him for this role because

582
00:31:42.920 --> 00:31:43.400
<v Speaker 2>of his look.

583
00:31:44.079 --> 00:31:45.920
<v Speaker 1>Yeah, it's like when you hear people when they meet

584
00:31:46.000 --> 00:31:47.960
<v Speaker 1>Lauren Michaels and they're like, I don't know what that

585
00:31:48.039 --> 00:31:51.240
<v Speaker 1>meeting was. It's basically just to find out if you're

586
00:31:51.279 --> 00:31:52.519
<v Speaker 1>not a gibbering lunatic.

587
00:31:53.200 --> 00:31:57.119
<v Speaker 2>The reading ends between Tony and Bobby, and Bobby starts

588
00:31:57.279 --> 00:31:59.640
<v Speaker 2>hustling them out of the room. He's convinced already that

589
00:31:59.680 --> 00:32:02.920
<v Speaker 2>it was a terrible, terrible reading, but to his surprise,

590
00:32:03.039 --> 00:32:06.880
<v Speaker 2>the producers instead they asked Tony if he can start tomorrow.

591
00:32:07.759 --> 00:32:13.759
<v Speaker 2>Bobby is incredulous, completely incredulous they're gonna hire Tony after

592
00:32:13.880 --> 00:32:16.920
<v Speaker 2>that reading. It should be kind of a moment of

593
00:32:17.319 --> 00:32:20.599
<v Speaker 2>triumph for him because he he did what he set

594
00:32:20.640 --> 00:32:23.759
<v Speaker 2>out to do, He got Tony a role. But then

595
00:32:23.839 --> 00:32:27.200
<v Speaker 2>Bobby's bitterness comes out, this whole acting thing, the fact

596
00:32:27.200 --> 00:32:31.400
<v Speaker 2>that he quit acting under these circumstances. He launches into

597
00:32:31.440 --> 00:32:34.880
<v Speaker 2>this tirade against the producers. Basically finally stomping out of

598
00:32:34.920 --> 00:32:38.480
<v Speaker 2>the office as we fade out. Now we fade back

599
00:32:38.480 --> 00:32:43.000
<v Speaker 2>in to Bobby's apartment. He's sitting at the table drinking

600
00:32:43.000 --> 00:32:45.680
<v Speaker 2>a beer again, a little lost in his thoughts. He

601
00:32:45.680 --> 00:32:49.039
<v Speaker 2>has a lot that is eating a fudgle at that

602
00:32:49.200 --> 00:32:53.119
<v Speaker 2>moment too, He's still got because Tony would have left

603
00:32:53.119 --> 00:32:55.039
<v Speaker 2>the box there to make him to cheer him up.

604
00:32:55.119 --> 00:32:55.279
<v Speaker 1>Right.

605
00:32:56.160 --> 00:32:59.079
<v Speaker 2>So so Tony comes in again and he and Bobby

606
00:33:00.119 --> 00:33:04.240
<v Speaker 2>his credit. He apologizes for his outburst in the producer's office.

607
00:33:04.720 --> 00:33:07.680
<v Speaker 2>He asks Tony, Hey, how is your first day as

608
00:33:07.680 --> 00:33:10.680
<v Speaker 2>an actor? Tony says, well, he went to Long Island,

609
00:33:10.799 --> 00:33:13.680
<v Speaker 2>he had a cup of coffee, he watched George she

610
00:33:13.799 --> 00:33:17.200
<v Speaker 2>Scott eat a jelly donut, and then he was fired.

611
00:33:18.359 --> 00:33:20.799
<v Speaker 2>The director at the end of the day didn't think

612
00:33:20.839 --> 00:33:23.799
<v Speaker 2>he was right for the role. Apparently under know in

613
00:33:23.839 --> 00:33:27.480
<v Speaker 2>certain terms. He was pretty upset that they hired Tony

614
00:33:27.960 --> 00:33:33.559
<v Speaker 2>at all. Bobby sympathizes and admits that despite how badly

615
00:33:33.640 --> 00:33:38.519
<v Speaker 2>they both feel about this situation, Bobby is actually glad

616
00:33:38.599 --> 00:33:41.160
<v Speaker 2>that he was fired. He said. This is where the

617
00:33:41.240 --> 00:33:44.079
<v Speaker 2>moralizing comes in. He says that Bobby says the director

618
00:33:44.119 --> 00:33:48.799
<v Speaker 2>was right. Somebody finally stood up for quality. Bobby lays

619
00:33:48.839 --> 00:33:52.039
<v Speaker 2>this guilt trip on Tony. He says, don't you understand

620
00:33:52.599 --> 00:33:58.519
<v Speaker 2>people sacrifice food and clothing for acting lessons, living in poverty,

621
00:33:58.920 --> 00:34:03.039
<v Speaker 2>just to face rejection over and over and over.

622
00:34:03.200 --> 00:34:06.119
<v Speaker 1>Oh my god, shut up. Let me tell you something.

623
00:34:06.319 --> 00:34:10.320
<v Speaker 1>The problem here is Bobby. This guy asked him to

624
00:34:10.320 --> 00:34:14.039
<v Speaker 1>become his manager and asked him before any of that,

625
00:34:14.199 --> 00:34:16.679
<v Speaker 1>can you show me how to act? So he's failed

626
00:34:16.800 --> 00:34:20.360
<v Speaker 1>as the guy's manager because he basically torpedoed his fucking audition.

627
00:34:20.719 --> 00:34:23.679
<v Speaker 1>He didn't teach him how to act at all. All

628
00:34:23.719 --> 00:34:25.639
<v Speaker 1>he did was use it as a grandstand to try

629
00:34:25.679 --> 00:34:28.719
<v Speaker 1>and leap over him and get some other fucking roll and.

630
00:34:29.840 --> 00:34:32.920
<v Speaker 2>A Bobby's the one who has an act to grind

631
00:34:33.440 --> 00:34:37.400
<v Speaker 2>still in this whole thing. Bobby finishes by saying, the

632
00:34:37.440 --> 00:34:42.440
<v Speaker 2>director firing Tony is an affirmation of these people's sacrifice

633
00:34:42.440 --> 00:34:45.719
<v Speaker 2>in his story. Tony's story, Bobby says, will be an

634
00:34:45.800 --> 00:34:51.559
<v Speaker 2>inspiration to all of Bobby's other loser actor friends, and

635
00:34:51.599 --> 00:34:54.880
<v Speaker 2>then they share a laughing embrace as we fade the commercial.

636
00:34:55.280 --> 00:34:56.639
<v Speaker 2>I mean, I guess at the end of the day,

637
00:34:56.960 --> 00:34:59.159
<v Speaker 2>Tony really doesn't seem to have cared all that much

638
00:34:59.199 --> 00:35:01.679
<v Speaker 2>about getting fired. I think maybe he realizes that this

639
00:35:01.800 --> 00:35:03.440
<v Speaker 2>was a little more This is going to be a

640
00:35:03.480 --> 00:35:05.199
<v Speaker 2>lot more work than he had thought it was going

641
00:35:05.280 --> 00:35:08.599
<v Speaker 2>to be, So maybe he's to some degree relieved. But

642
00:35:09.599 --> 00:35:11.760
<v Speaker 2>I'm with you, followable, and I don't like the fact

643
00:35:11.800 --> 00:35:17.000
<v Speaker 2>that Bobby basically used Tony as an example to prove

644
00:35:17.039 --> 00:35:22.360
<v Speaker 2>his own superiority, his perceived superiority as an actor. And

645
00:35:23.280 --> 00:35:24.559
<v Speaker 2>I just have a real problem with that.

646
00:35:24.920 --> 00:35:26.639
<v Speaker 1>Yeah, So I don't know what the motive was. Was

647
00:35:26.679 --> 00:35:29.719
<v Speaker 1>that to prove to Tony that he's out of his depth,

648
00:35:30.199 --> 00:35:33.760
<v Speaker 1>Was that to prove to himself that he could get

649
00:35:33.840 --> 00:35:36.360
<v Speaker 1>a dummy into a role? Did he use it the

650
00:35:36.400 --> 00:35:38.480
<v Speaker 1>whole thing just as a gambit to get in the

651
00:35:38.559 --> 00:35:43.920
<v Speaker 1>room and sell himself over Tony? And if not any

652
00:35:44.000 --> 00:35:48.280
<v Speaker 1>of those things, he's a terrible friend for not speaking

653
00:35:48.360 --> 00:35:51.960
<v Speaker 1>plainly with Tony and saying, yes, you can potentially get

654
00:35:51.960 --> 00:35:55.199
<v Speaker 1>a role because you're pretty and you're dumb, but you

655
00:35:55.360 --> 00:35:58.840
<v Speaker 1>cannot act. You are going to have a problem.

656
00:35:59.519 --> 00:36:02.039
<v Speaker 2>The thing of it is, we were talking about all

657
00:36:02.079 --> 00:36:05.519
<v Speaker 2>of these other Tony and Bobby episodes, and they are

658
00:36:05.559 --> 00:36:09.559
<v Speaker 2>good episodes, but this is all well within the parameters

659
00:36:09.559 --> 00:36:13.000
<v Speaker 2>of what goes into those episodes because Bobby has been

660
00:36:13.039 --> 00:36:16.920
<v Speaker 2>shown time and time again to be a terrible friend

661
00:36:17.199 --> 00:36:20.559
<v Speaker 2>to Tony, starting with the fact that he killed Tony's

662
00:36:20.760 --> 00:36:25.679
<v Speaker 2>fish and had them Macobley mounted on the largest plaque

663
00:36:25.719 --> 00:36:28.880
<v Speaker 2>that he could find. It's gruesome. It's like an easy

664
00:36:28.920 --> 00:36:31.880
<v Speaker 2>comic come to life. We talked about it. So this

665
00:36:31.920 --> 00:36:33.920
<v Speaker 2>is all well within character for Bobby. So I'm not

666
00:36:33.960 --> 00:36:34.800
<v Speaker 2>a bit surprised.

667
00:36:35.320 --> 00:36:37.719
<v Speaker 1>Well yeah, but again, I'm trying to figure out his

668
00:36:37.760 --> 00:36:40.079
<v Speaker 1>angle here, because if he wanted to prove to Tony

669
00:36:40.199 --> 00:36:42.960
<v Speaker 1>that Tony was out of his depth, then he should

670
00:36:42.960 --> 00:36:45.880
<v Speaker 1>have said, yeah, i'll be your manager, but first go

671
00:36:46.000 --> 00:36:49.400
<v Speaker 1>talk to my agent, you know, like just do an

672
00:36:49.440 --> 00:36:51.519
<v Speaker 1>audition for him and see what he has to say,

673
00:36:51.679 --> 00:36:54.559
<v Speaker 1>because that would have at least given Tony the knowledge

674
00:36:54.599 --> 00:36:57.559
<v Speaker 1>that he's going to be fired from any job he

675
00:36:57.880 --> 00:36:59.360
<v Speaker 1>lucks into this.

676
00:36:59.559 --> 00:37:03.280
<v Speaker 2>Probably a dozen ways that he could have proved to

677
00:37:03.280 --> 00:37:06.559
<v Speaker 2>Tony without actually telling him right out that you're not good,

678
00:37:06.960 --> 00:37:08.719
<v Speaker 2>You're not going to be an actor. He could have

679
00:37:08.880 --> 00:37:11.480
<v Speaker 2>enrolled them in an acting class just so they could

680
00:37:11.519 --> 00:37:13.679
<v Speaker 2>have been the ones to say, I don't think this

681
00:37:13.719 --> 00:37:14.360
<v Speaker 2>is going to work out.

682
00:37:14.440 --> 00:37:17.760
<v Speaker 1>You have no talent, but I want you to come

683
00:37:17.960 --> 00:37:20.480
<v Speaker 1>to my instructor I take a class. I just want

684
00:37:20.519 --> 00:37:22.119
<v Speaker 1>you to come to the class with me, and I

685
00:37:22.119 --> 00:37:23.559
<v Speaker 1>want you to get up and do something and then

686
00:37:23.599 --> 00:37:25.760
<v Speaker 1>hear the critique and then decide if you want me

687
00:37:25.800 --> 00:37:26.800
<v Speaker 1>to be your manager or not.

688
00:37:27.519 --> 00:37:30.360
<v Speaker 2>You're giving all of these possibilities as to what Bobby's

689
00:37:30.440 --> 00:37:32.920
<v Speaker 2>endgame was possibly going to be, and the only thing

690
00:37:32.960 --> 00:37:35.760
<v Speaker 2>I can say to all of those possibilities is yes,

691
00:37:36.159 --> 00:37:38.920
<v Speaker 2>I think any and all of those things were in

692
00:37:39.000 --> 00:37:42.599
<v Speaker 2>play on this. I think Bobby he's always playing the

693
00:37:42.639 --> 00:37:46.280
<v Speaker 2>martyr when it comes to acting. This is just another

694
00:37:46.360 --> 00:37:51.400
<v Speaker 2>way for him to prove to the acting world at large,

695
00:37:51.679 --> 00:37:56.199
<v Speaker 2>to the industry that fine, you want somebody for their

696
00:37:56.239 --> 00:37:59.360
<v Speaker 2>look but lack of talent. Here you go. I'm going

697
00:37:59.440 --> 00:38:01.760
<v Speaker 2>to give you the the guy with the least amount

698
00:38:01.760 --> 00:38:06.280
<v Speaker 2>of talent that I could find and have at it. Hollywood,

699
00:38:07.199 --> 00:38:09.320
<v Speaker 2>go for it. Let's see how you like it. You

700
00:38:09.360 --> 00:38:11.320
<v Speaker 2>know you don't want a guy like me with talent

701
00:38:11.639 --> 00:38:15.519
<v Speaker 2>and ability and looks then ghost to matter.

702
00:38:15.840 --> 00:38:18.519
<v Speaker 1>No matter the motive, it's ultimately petty.

703
00:38:19.480 --> 00:38:22.199
<v Speaker 2>There's something to be said for that, for that laser

704
00:38:22.320 --> 00:38:26.079
<v Speaker 2>focus on being so petty and proving it. I don't know.

705
00:38:26.119 --> 00:38:27.719
<v Speaker 2>I guess maybe there's something to be said for that.

706
00:38:28.679 --> 00:38:31.320
<v Speaker 2>So now we have the resolution of the b plot here.

707
00:38:31.400 --> 00:38:33.079
<v Speaker 2>This is a little bumper. We don't get enough of

708
00:38:33.079 --> 00:38:35.079
<v Speaker 2>these bumpers. I don't think we got a lot in

709
00:38:35.079 --> 00:38:38.039
<v Speaker 2>the first season, not so much second season. We fade

710
00:38:38.079 --> 00:38:41.639
<v Speaker 2>back in as Louis is making this loud show of

711
00:38:41.760 --> 00:38:45.239
<v Speaker 2>leaving his cage. All right, everybody, I'm going home. Everybody

712
00:38:45.360 --> 00:38:48.400
<v Speaker 2>have a good you know. He's obviously putting this on

713
00:38:48.599 --> 00:38:49.880
<v Speaker 2>for the cockroaches benefit.

714
00:38:50.199 --> 00:38:52.480
<v Speaker 1>Oh yeah, we got a fool of the cockroas that

715
00:38:52.559 --> 00:38:55.599
<v Speaker 1>it's going to be alone and it should emerge from

716
00:38:55.639 --> 00:38:56.519
<v Speaker 1>its hiding place.

717
00:38:57.199 --> 00:39:00.079
<v Speaker 2>So Alex comes down the stairs, probably going home for

718
00:39:00.199 --> 00:39:04.440
<v Speaker 2>the morning or whatever. He sees Louie emerge with this

719
00:39:04.800 --> 00:39:09.199
<v Speaker 2>big fishing rod, and he casts the fishing rod into

720
00:39:09.239 --> 00:39:11.920
<v Speaker 2>the cage. He says, I think he tells Alex that

721
00:39:11.960 --> 00:39:16.440
<v Speaker 2>he baited it with hamburger. Alex observes all of this,

722
00:39:16.559 --> 00:39:19.199
<v Speaker 2>and he starts talking to Louie about this crazy scheme

723
00:39:19.239 --> 00:39:22.559
<v Speaker 2>that he's going to catch the cockroach with the fishing

724
00:39:22.599 --> 00:39:25.840
<v Speaker 2>What he crazy? Louie And they're having this conversation and

725
00:39:25.880 --> 00:39:28.800
<v Speaker 2>they're arguing about whether this is going to work or not.

726
00:39:29.000 --> 00:39:32.719
<v Speaker 2>And as they're arguing, Loui has stood up the fishing

727
00:39:32.800 --> 00:39:35.000
<v Speaker 2>rod in the corner so that he can talk with

728
00:39:35.039 --> 00:39:38.719
<v Speaker 2>Alex and kind of gesture with his hands. We see

729
00:39:39.840 --> 00:39:43.159
<v Speaker 2>the fishing rod start to jerk wildly. He actually has

730
00:39:43.199 --> 00:39:46.039
<v Speaker 2>a bite on the end of this thing. To their horror,

731
00:39:46.039 --> 00:39:48.719
<v Speaker 2>they notice this is happening, and he tells Louie. Just

732
00:39:48.760 --> 00:39:52.280
<v Speaker 2>as Louie grabs the fishing pole and they do this

733
00:39:52.320 --> 00:39:55.480
<v Speaker 2>great thing. There's obviously somebody in the cage who's been

734
00:39:55.519 --> 00:39:59.679
<v Speaker 2>pulling on it. The person basically throws the fishing line

735
00:39:59.719 --> 00:40:02.920
<v Speaker 2>back over to Louis, but there's nothing on the line anymore.

736
00:40:02.960 --> 00:40:06.320
<v Speaker 2>It's just this empty line that gets that SAgs around.

737
00:40:06.960 --> 00:40:10.920
<v Speaker 2>They both nervously run out of the garage at this tableau.

738
00:40:10.960 --> 00:40:12.639
<v Speaker 2>As the credits start to.

739
00:40:12.639 --> 00:40:18.840
<v Speaker 1>Roll, Blue gills, blue gill right right through that piano ryer.

740
00:40:20.239 --> 00:40:21.920
<v Speaker 1>Don't you go tell me my business again?

741
00:40:22.480 --> 00:40:25.239
<v Speaker 2>That is the episode now, as is our custom father Malone,

742
00:40:25.239 --> 00:40:27.039
<v Speaker 2>We're going to talk yellow lights.

743
00:40:27.159 --> 00:40:28.880
<v Speaker 1>What does a yellow light mean?

744
00:40:29.000 --> 00:40:31.719
<v Speaker 2>Reminder one yellow light. This is a scale between one

745
00:40:31.719 --> 00:40:35.639
<v Speaker 2>and five. One yellow light is the worst taxi episode,

746
00:40:35.920 --> 00:40:39.920
<v Speaker 2>five is the best taxi episode. And as is also

747
00:40:39.960 --> 00:40:41.800
<v Speaker 2>our custom, Father Malone, We're going to throw it back

748
00:40:41.840 --> 00:40:46.280
<v Speaker 2>to you first. What do you give the ten percent solution?

749
00:40:47.159 --> 00:40:51.920
<v Speaker 1>I give it three yellow lights. I think it's a

750
00:40:52.000 --> 00:40:57.400
<v Speaker 1>solid middling episode. It's the focus is Bobby and Tony,

751
00:40:57.440 --> 00:41:01.679
<v Speaker 1>which I'm always interested in. The the jokes are mainly good.

752
00:41:02.320 --> 00:41:05.599
<v Speaker 1>Everyone's in character here, particularly Bobby. Even if I don't

753
00:41:05.639 --> 00:41:07.920
<v Speaker 1>like what he's doing, it actually makes sense what he's doing.

754
00:41:08.800 --> 00:41:11.800
<v Speaker 1>And it's just theris in enough of you know what.

755
00:41:11.840 --> 00:41:14.519
<v Speaker 1>There is a lot of everybody here, maybe not enough

756
00:41:14.519 --> 00:41:20.400
<v Speaker 1>of Jim, but it's not that balance. It's not great overall,

757
00:41:20.440 --> 00:41:22.360
<v Speaker 1>there's nothing really wrong with it. I would I didn't

758
00:41:22.480 --> 00:41:25.480
<v Speaker 1>object to anything like previous episodes. Just I want to

759
00:41:25.480 --> 00:41:28.800
<v Speaker 1>give it four for that funky roach Hunt theme, but

760
00:41:29.679 --> 00:41:31.239
<v Speaker 1>instead I think just three'll do.

761
00:41:33.000 --> 00:41:36.159
<v Speaker 2>I also gave it three yellow lights, Father Malone. I

762
00:41:37.079 --> 00:41:38.880
<v Speaker 2>agree with you on many of these points. It's a

763
00:41:39.000 --> 00:41:44.159
<v Speaker 2>rare Tony Bobby episode. It's pleasant enough to watch. There's

764
00:41:44.199 --> 00:41:47.280
<v Speaker 2>there's no there's very low stakes, there's some good laughs.

765
00:41:47.599 --> 00:41:51.519
<v Speaker 2>It's a perfectly average episode of Taxi's not gonna win

766
00:41:51.559 --> 00:41:55.039
<v Speaker 2>any Emmys, but it's also one that I might recommend,

767
00:41:55.440 --> 00:41:56.280
<v Speaker 2>you know, it's funny.

768
00:41:56.920 --> 00:42:00.320
<v Speaker 1>Absolutely, I would I would definitely recommend this episode. Watch

769
00:42:00.360 --> 00:42:00.840
<v Speaker 1>this episode.

770
00:42:00.880 --> 00:42:04.199
<v Speaker 2>It's fun, you know, and it's got those weird bits

771
00:42:04.239 --> 00:42:07.440
<v Speaker 2>with Laca that they don't necessarily add a ton.

772
00:42:07.440 --> 00:42:09.119
<v Speaker 1>Sinister bit with Laka.

773
00:42:09.360 --> 00:42:12.679
<v Speaker 2>Yeah, I love that they're they're they're peppering him in

774
00:42:12.719 --> 00:42:15.320
<v Speaker 2>a little bit more here and there. So that's going

775
00:42:15.400 --> 00:42:17.800
<v Speaker 2>to do it for this episode of night Mister Walters

776
00:42:17.880 --> 00:42:21.119
<v Speaker 2>Father Alone. When you're not clocked into the garage, where

777
00:42:21.159 --> 00:42:22.679
<v Speaker 2>can the find folks find you?

778
00:42:24.239 --> 00:42:26.119
<v Speaker 1>Well, you can always find me at midnight Viewing. That

779
00:42:26.280 --> 00:42:30.159
<v Speaker 1>is my podcast. It's mainly a horror anthology podcast where

780
00:42:30.159 --> 00:42:33.199
<v Speaker 1>we look at tales from the dark Side week every

781
00:42:33.239 --> 00:42:36.440
<v Speaker 1>other week, but every week you can hear Father Malone's

782
00:42:36.480 --> 00:42:38.159
<v Speaker 1>weekly round up. That's part of the show. And we

783
00:42:38.239 --> 00:42:40.159
<v Speaker 1>do anthologies Attack that's another part of the show. And

784
00:42:40.159 --> 00:42:42.800
<v Speaker 1>then we're doing Fusco Fest right now, HP and I

785
00:42:42.840 --> 00:42:46.119
<v Speaker 1>are doing Fusco Fest. So far, well, we're working through

786
00:42:46.119 --> 00:42:50.039
<v Speaker 1>the works of screenwriter John Fusco. So far, we've done Crossroads,

787
00:42:50.159 --> 00:42:54.320
<v Speaker 1>Young Guns, Young Guns to the Babe, and Thunderheart. Next

788
00:42:54.360 --> 00:42:55.880
<v Speaker 1>up is going to be Locknest. But go back and

789
00:42:55.880 --> 00:42:58.480
<v Speaker 1>listen to all of those episodes because they're fucking great.

790
00:42:58.880 --> 00:43:02.440
<v Speaker 2>Awesome stuff and like Follom alone. You can find me

791
00:43:02.599 --> 00:43:06.840
<v Speaker 2>also on the Weirdingway Network. I host the Noise Junkies

792
00:43:06.920 --> 00:43:10.079
<v Speaker 2>music podcast. I'm an occasional guest on The Culture Cast

793
00:43:10.480 --> 00:43:15.039
<v Speaker 2>with Chris Dashu, and I also have a bandcampsite Hpmusicplace

794
00:43:15.039 --> 00:43:17.239
<v Speaker 2>dot bandcamp dot com. I got some music up there.

795
00:43:17.239 --> 00:43:20.239
<v Speaker 2>Please check it out if you will, But thank you

796
00:43:20.280 --> 00:43:23.039
<v Speaker 2>so much for listening. Please feel free to subscribe to

797
00:43:23.079 --> 00:43:25.440
<v Speaker 2>this podcast, write a review or rate us. We'd love

798
00:43:25.480 --> 00:43:30.039
<v Speaker 2>to hear from you. My email address is Hpmusicplace at

799
00:43:30.119 --> 00:43:34.639
<v Speaker 2>gmail dot com. Please write if you liked, hated, felt good,

800
00:43:34.719 --> 00:43:37.559
<v Speaker 2>felt bad, whatever your mood is, just drop me a

801
00:43:37.599 --> 00:43:41.199
<v Speaker 2>line and anyway, thanks again for listening and we'll see

802
00:43:41.239 --> 00:43:48.400
<v Speaker 2>you guys again next week. Hi,