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Speaker 1: Welcome to Get It to Dutch, a screenwriter's Journey.

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Speaker 2: I'm Mark, I'm Greg, I'm Brendan.

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Speaker 1: And we are a team of Hollywood screenwriters who meet

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Speaker 1: every week to read from an original screenplay that one

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Speaker 1: of us has written. We give notes and rank the scripts,

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Speaker 1: and of course, at the end of the season, we

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Speaker 1: were going to pitch the best script to legendary producer

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Speaker 1: Dutch Huxley. But of course Dutch is dead. We all

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Speaker 1: know that, but that's not going to stop us. We're

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Speaker 1: still going to pitch to a legendary Hollywood producer when

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Speaker 1: we find one, which we will. In the meantime, we're

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Speaker 1: joined this week by a guest, my landlord, mister Hartunian. Welcome,

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Speaker 1: mister Hartunian. Greg. Do you want to explain how he

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Speaker 1: got here? Well?

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Speaker 2: I ran into him in the hall earlier today. He

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Speaker 2: said he had some cool pictures of cars on his phone,

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Speaker 2: and I thought I'd.

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Speaker 3: Say that right away, right. We talked for a minute.

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Speaker 2: We talked and he.

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Speaker 3: Said, what are you looking at this cool picture cars? Yeah?

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Speaker 2: And then I said, why don't you drop on by

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Speaker 2: and be a guest on the Yeah.

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Speaker 1: So you're a You're a guest on the podcast. So welcome,

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Speaker 1: welcome to the pod.

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Speaker 3: Thanks for having me. This is really cool. It's equipment,

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Speaker 3: it's all really cool.

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Speaker 1: Yeah. Thanks. Have you done podcasting before?

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Speaker 3: I think so.

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Speaker 1: You don't remember though.

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Speaker 4: No, there was like a bad accident and I like

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Speaker 4: was on a podcast about it.

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Speaker 5: Oh the cop interviewed you.

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Speaker 1: Was it that?

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Speaker 3: What happened?

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Speaker 1: That's not Was it a deposition?

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Speaker 2: Was it a true crime thing?

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Speaker 3: Or was this something that and I saw an accident?

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Speaker 2: So maybe a court report a report? Okay, it might

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Speaker 2: have been.

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Speaker 1: Yeah, that's a good idea for a podcast. Just look

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Speaker 1: for accidents.

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Speaker 5: Can I call you tuney?

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Speaker 1: I think it was a podcast.

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Speaker 3: Hearts that sounds like I know heart wouldn't what hearts?

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Speaker 1: Heartsy?

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Speaker 3: Oh yeah. When I was coming up, people used to

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Speaker 3: call me heartsy.

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Speaker 5: Oh coming up in the Landlord game.

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Speaker 3: Yeah, I was the youngest landlord of all time.

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Speaker 2: You've done this for a while now.

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Speaker 3: Yeah, nine year old landlord.

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Speaker 5: You were the boy landlord of Los Angeles.

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Speaker 1: That is a superlative.

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Speaker 3: I didn't know that boy landlord.

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Speaker 2: So you've had this building, this whole all sorts of buildings,

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Speaker 2: but this is what I am.

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Speaker 1: Okay, you're the toot in common of landlords.

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Speaker 2: They common was the accident at one of your buildings.

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Speaker 4: I was walking and I saw an accident at like

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Speaker 4: car accident mixed with a bike.

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Speaker 1: The car hit the bike or the bike was on there.

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Speaker 3: They hit, they hit.

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Speaker 4: And this is the what I did on the podcast too,

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Speaker 4: is I They would ask me, and I would not

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Speaker 4: give any definitive answer.

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Speaker 1: I would believe, like, do you know what happened? And

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Speaker 1: you're you're choosing not to say or not really.

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Speaker 4: I mean I didn't really see it all that well,

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Speaker 4: but I started getting all this attention and you know.

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Speaker 2: What from the podcast or just from the accident.

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Speaker 3: Both, I mean the podcast.

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Speaker 1: Who put a mic in front of you?

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Speaker 5: Yeah?

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Speaker 1: Is it? Can we hear the recording?

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Speaker 3: I don't know where it is?

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Speaker 1: Okay, but somebody was you were on a mic. Did

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Speaker 1: you're wearing the cans.

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Speaker 2: Well, don't say cans, Mark, that's kind of a I'm.

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Speaker 1: Wearing headphones, Tony cans or headphones where you were sitting

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Speaker 1: down wearing headphones talking to Mike like we are now.

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Speaker 4: It's it was a different podcast thing. It was early

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Speaker 4: days of podcasts, so it was a little bit different.

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Speaker 4: But I had a hat on, and I had a hat.

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Speaker 1: On that doesn't hats.

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Speaker 3: Podcast.

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Speaker 4: It's like they'd ask me anything. I would just like

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Speaker 4: be so confusing. I would just deliberately yes to try to.

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Speaker 3: Just I just didn't know what the hell was going on.

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Speaker 1: Were they police? This is I really have to get

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Speaker 1: to the bottom of this. We're police talking to you.

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Speaker 2: I don't know if it's that important Mark or a reporter.

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Speaker 1: Like I don't think that's a podcast. What were you doing?

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Speaker 1: Walk right? You saw an accident I saw, and then

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Speaker 1: on the street someone put a microphone up to you.

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Speaker 1: M M okay, that's not it's not a pody.

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Speaker 2: Some people do field record.

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Speaker 5: Did they say something like this is street Slams, you're

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Speaker 5: on street Slams or something like that.

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Speaker 3: Nothing like that. No, I don't think it was a podcast.

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Speaker 5: Okay, I'm all into bed. It was the bike's fault.

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Speaker 3: I don't know.

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Speaker 4: I barely saw it. I definitely told him almost nothing

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Speaker 4: about the accident. What I gave them they already knew.

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Speaker 5: Maybe it was a podcast about snitches in your past.

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Speaker 3: Just stop trying to guess it.

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Speaker 1: Well, you're here, you like fast cars, and uh, you

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Speaker 1: know that doesn't have anything to do with the script

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Speaker 1: that we have today.

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Speaker 2: So maybe just why don't you tell us a little

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Speaker 2: bit about the script you brought in today.

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Speaker 1: Yeah, okay, I wasn't prepared to have mister Hartuoni in

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Speaker 1: here with us.

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Speaker 2: He's just hanging out.

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Speaker 1: It's nice, I know. It just throws the dynamic, the

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Speaker 1: rhythm of the podcast off.

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Speaker 2: I'm just glad you thought we had a dynamic up

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Speaker 2: until now.

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Speaker 1: Well, it's usually just the three of us.

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Speaker 3: Great to have you here, Yips, you're not hungry at all.

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Speaker 1: Thank god. So this script, it's a bit of a departure.

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Speaker 1: This is my homage to Wes Anderson. And Okay, I

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Speaker 1: just was kind of watching a bunch of his stuff

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Speaker 1: and I got so inspired that it really just flowed

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Speaker 1: out of me. It was just like, you know, one

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Speaker 1: of those things that you read about where you know,

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Speaker 1: somebody smokes opium and they wake up and there's a

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Speaker 1: poem there that's kind of what do you read? Huh?

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Speaker 2: What are you reading where someone smokes opium in a pot?

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Speaker 1: Don't you know that famous poem where the guy smoked

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Speaker 1: opium and he woke up and the poem was there? Yeah,

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Speaker 1: you do know no.

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Speaker 3: Yeah, and then he somebody broke into his house.

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Speaker 1: Or something when he was Maybe is that part of it.

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Speaker 3: I think that's figured it out about it because.

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Speaker 1: They figured that out that he they broke into his house, he.

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Speaker 3: Took opium, and then so he broke in and wrote

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Speaker 3: a poem.

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Speaker 1: So you are that's the story. No, this guy wrote

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Speaker 1: the story. It's a great So a great poet came

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Speaker 1: in and wrote the story. I don't think that's the story.

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Speaker 3: I thought there's two different ones there, very similar.

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Speaker 1: Huh, two stories where someone smoked opium and a poem

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Speaker 1: came out. Wow, heard a.

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Speaker 3: Different version than what you heard, and in mind it

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Speaker 3: was crack.

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Speaker 1: Yeah, that's a way different your story. Someone smoked crack,

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Speaker 1: someone broke into their house, wrote a poem, left it there.

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Speaker 3: Left there was no poem.

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Speaker 1: Oh well then that's a that's a whole different. It's

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Speaker 1: not even in the same fat and somebody smoked cracking.

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Speaker 1: Someone broke it.

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Speaker 4: Sorry, sorry, sorry, Oh.

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Speaker 1: That's not what I'm talking about. Sorry I said anything

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Speaker 1: about smoking opium. I didn't smoke opium. I know that

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Speaker 1: that is frowned upon in this apartment complex. I got inspired.

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Speaker 1: It flowed out of me in just the kind of

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Speaker 1: easiest way possible. I think you're gonna love it.

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Speaker 5: You got pretty strong drug laws here and.

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Speaker 4: You're in the building. Yeah, we have tons of laws. Yeah,

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Speaker 4: tons of like building.

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Speaker 1: Laws harsher than California laws. Like he says you can't

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Speaker 1: smoke cannabis, which it's legal to smoke.

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Speaker 3: The one law here is you can't smoke cannabis in here.

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Speaker 2: Oh okay, why is that you can't?

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Speaker 1: Yeah?

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Speaker 2: I mean I just kind of like things I wrote down.

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Speaker 3: It's like I care really either way.

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Speaker 1: Oh really, Yeah, I can smoke a joint in here.

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Speaker 3: No, there's a law you can't.

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Speaker 4: Right, I made the law, But I just don't really

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Speaker 4: care about these things. Like when I was the boy landlord,

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Speaker 4: I was pushed around a lot because people were.

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Speaker 2: Like that's a boy, oh, by the tenants.

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Speaker 3: By everybody. I would be like, you got to pay me,

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Speaker 3: and they'd be like, yeah, sure, boy, get away from

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Speaker 3: me a little kid or whatever. And so a landlord

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Speaker 3: to me, you got to have more laws here.

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Speaker 4: So I created a bunch of laws of just anything,

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Speaker 4: and and those that's grown over time.

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Speaker 3: I've had this book of laws since I was nine

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Speaker 3: years old. The boy, I'd love to.

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Speaker 2: See those sometimes.

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Speaker 1: Yeah, they're pretty Oh.

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Speaker 2: That's oh these are them? Is spiral right here? Yeah,

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Speaker 2: spiral notebook written in crayon.

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Speaker 1: Well the later pages are are not in cram Yeah,

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Speaker 1: I get older.

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Speaker 2: Oh yeah, as you go starts with crayon, goes to pencil, ballpoint,

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Speaker 2: and then there's sections there you rented out with the printer.

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Speaker 1: You have to save your change in a pickle jar.

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Speaker 1: Like it's some esoteric stuff.

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Speaker 3: That's a good movie, like the Rules of a Boy.

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Speaker 2: Oh, the Boy Landlord is a great movie.

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Speaker 3: Yeah, you ever, they've tried, really have tried. They've come

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Speaker 3: to me and they've tried. Who Mike Myers, Mike did really.

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Speaker 1: You wanted to be the Boy Landlord? So did you

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Speaker 1: sell them the rights?

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Speaker 4: You wanted to play like the Boy Landlord and then

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Speaker 4: my whole family and stuff?

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Speaker 2: And did he want to do it? Ad you want

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Speaker 2: to be the Boy Landlord with makeup, And he.

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Speaker 3: Wanted to be the Boy Landlord. He wanted to be

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Speaker 3: the tenants.

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Speaker 5: It was going to be a clump. He was going

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Speaker 5: to clump the whole movie Eddie Murphy with clumps.

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Speaker 1: Oh right, yes, I mean it's your story. But would

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Speaker 1: you be willing to give us the rights so that

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Speaker 1: we could write that story. It's pretty cool.

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Speaker 4: It would have to be a process, but the same

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Speaker 4: that the process with Mike and everything like that. Because

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Speaker 4: the reason Mike lost it because I went and watched

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Speaker 4: some of the movies and I was just like, no way, yeah,

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Speaker 4: no way, because it.

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Speaker 1: Was like a comedy. You didn't want it to be

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Speaker 1: a comedy.

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Speaker 3: Most of them. I didn't. Most of them were like

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Speaker 3: not even trying to be funny. I didn't think the

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Speaker 3: ones I saw, Oh, I was like, this is not

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Speaker 3: doing it.

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Speaker 1: He's too hyper. Who would you want to play you

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Speaker 1: as the boy? Landlord?

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Speaker 3: I want to me, like, what actor?

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Speaker 1: Do you feel like this person captures my essence?

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Speaker 3: Wow?

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Speaker 1: Not Mike Myers right now?

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Speaker 3: Me as a boy, or I mean.

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Speaker 1: Someone you as a boy and someone as you as

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Speaker 1: an adult. Does the story take place as you get older?

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Speaker 3: Mike wanted to do all sorts of stuff with it,

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Speaker 3: stuff that didn't happen to me and stuff.

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Speaker 1: Oh okay, so not Mike, But what if there's someone else?

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Speaker 3: Wow, that's a great question. You're really throwing me for

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Speaker 3: a loop here.

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Speaker 1: Uh what about that? TikTok?

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Speaker 3: Boy, which one Husbullah, he's like a little man.

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Speaker 2: I think that's a terrorist organization.

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Speaker 1: Mark, Yeah, no, I know that one. Well we could

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Speaker 1: come back.

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Speaker 3: Yeah, let me think on it.

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Speaker 4: We can come back just going right to like people

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Speaker 4: don't exist and stuff like that.

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Speaker 1: Well now you can do like holograms and ai and

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Speaker 1: oh yeah right.

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Speaker 3: But I'm like, oh, like Barney Rubble or something like that.

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Speaker 2: Oh yeah, so you're kind.

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Speaker 3: But I don't think that's perfect. It's just the first

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Speaker 3: name that comes to my mind. I think of actor.

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Speaker 1: Yeah, Well, we're a long way from casting. I think

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Speaker 1: we could probably. Well, you asked you, It's true. I

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Speaker 1: did ask. I know I'm not putting that on you.

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Speaker 1: I did ask.

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Speaker 5: Yeah so that Mark?

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Speaker 1: Yeah, sorry about that all right?

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Speaker 2: So why did you write a Wes Anderson movie?

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Speaker 5: Mark?

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Speaker 1: Like I said it was, it's just kind of an homage.

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Speaker 1: I was inspired after watching it and and it wasn't

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Speaker 1: even a choice. It was just an automatic. It was

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Speaker 1: like I sort of channeled something and out it came.

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Speaker 1: I think you're gonna like it. It's maybe one of

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Speaker 1: my favorite things I've written, definitely recently. I'm just really

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Speaker 1: really excited to read it. We have our first kind

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Speaker 1: of audience member.

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Speaker 2: Yeah, it'll be fun to see what he thinks.

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Speaker 1: Yeah, we have had some folks in before, but nobody

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Speaker 1: just to be here to listen and so so I'm

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Speaker 1: excited to have you here, mister Hartunian Thang.

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Speaker 2: You Interior Museum of Aviation, Present Day. A young boy,

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Speaker 2: neatly dressed in a Talian sweater jacket, stares up at

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Speaker 2: a replica of an elegant old plane hanging from the ceiling.

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Speaker 2: An old man, neatly dressed with a scarf tidally draped

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Speaker 2: over a top coat and aviator goggle, settled on the

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Speaker 2: top of his Homburg hat, sidles up next to him.

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Speaker 5: The Merrigol one one nine, top speed one hundred and

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Speaker 5: twelve knots, cruising altitude fourteen thousand feet. The cargo hold

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Speaker 5: held eleven hundred gallons of French champagne and five hundred

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Speaker 5: smoke hams. They don't make him like this anymore.

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Speaker 2: The boy holds up his point and shoot camera and

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Speaker 2: snaps it out of the airplane.

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Speaker 1: You know so much about this old bird.

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Speaker 5: I was the last one to fly it off.

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Speaker 2: The replica of the plane. We cut to the actual

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Speaker 2: Marigold rattling down the runway. The title says nineteen forty.

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Speaker 5: Eight, the Marrigold Aviation Company endeavored to build the most

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Speaker 5: luxurious aircraft to ever roam the skies. Would take eleven

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Speaker 5: years and eight models before she finally took flight.

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Speaker 2: The plane we're looking at lifts off the ground for

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Speaker 2: a moment, then slams back down and plows into a

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Speaker 2: barn at the end of the runway.

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Speaker 5: The Merrigold one oh one was airborne for only two

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Speaker 5: seconds and got three inches off the ground. Then it

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Speaker 5: rolled through a barn and caught fire.

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Speaker 2: The barn explodes.

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Speaker 5: The Merrigold one oh two's kitchen was too heavy and

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Speaker 5: it fell through the bottom of the planet. The Merrigold

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Speaker 5: one oh three was overtaken by pirates. The Merrigold one

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Speaker 5: oh four was made of glass and shattered. The one

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Speaker 5: O five through the one oh seven were all shot

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Speaker 5: down by German U boats who had failed to receive

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Speaker 5: word of the war's end. The one O eight disappeared

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Speaker 5: into the Bermuda triangle and is never heard from again.

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Speaker 5: But the one O nine. The one O nine was

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Speaker 5: the shimmering Silver tri wind free level six engind luxurious

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Speaker 5: turbo pop airliner, and she was the gem of the skies.

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Speaker 2: We pushed into one of the second level windows to

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Speaker 2: the Marigold's opulent ballroom. The cream of society swirls around

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Speaker 2: to a dance floor and an orchestra place.

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Speaker 5: At its helm. Captain Percy Northplank, the best pilot in

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Speaker 5: the world.

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Speaker 2: Captain Percy Northplank, a handsome man with a thin mustache,

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Speaker 2: neatly dressed in a navy blue military uniform, strides down

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Speaker 2: the hallway, trailed by a newspaper reporter.

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Speaker 1: The Marigold one O nine is the height of excellence

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Speaker 1: when it comes to sky travel. We have everything that

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Speaker 1: anyone could ever need. It has.

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Speaker 2: We see a life sized cross section of the plane.

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Speaker 2: The camera moves us through a series of elegant and

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Speaker 2: tidy rooms in rhythm with Percy's descriptions.

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Speaker 1: A solarium, a planetarium, a vomitatorium, a butterfly garden. Two theaters,

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Speaker 1: one to show movies, one to show films, a stone

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Speaker 1: grotto with hot water springs, an Olympic sized swimming pool,

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Speaker 1: three ballrooms, a bank, a barber, a baker, a wooden anchor,

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Speaker 1: and a candlestick maker. It has a speakeasy, a vineyard

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Speaker 1: that makes its own port wine, a printing press, and

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Speaker 1: a full team of reporters to deliver the day's news.

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Speaker 1: And the third finest collection of rare bird books in

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Speaker 1: the known world. A man could live happily on this

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Speaker 1: ship for the rest of his days.

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Speaker 5: Is that on the record?

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Speaker 1: Sure?

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Speaker 5: But after a decade of glory, a rise in rushing

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Speaker 5: gas prices force the Marigold Aviation and its competitors to

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Speaker 5: shutter their luxurious airline divisions.

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Speaker 2: We see the Marigold one oh nine flying through the sky.

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Speaker 2: The paint peels, patches appear on the rusty wings. The

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Speaker 2: old elegance is still there, but she's shabbier now, an

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Speaker 2: echo of Glory's past. We're now in the cockpit. Percy

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Speaker 2: north Plank stands in front of blinking controls. He's older,

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Speaker 2: a hollownist behind his eyes.

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Speaker 5: A Marrigold's final flight is set for nine hundred hours

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Speaker 5: October first, nineteen sixty one. It's usual route from New

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Speaker 5: York to Paris. Expected flight time seventeen hours, thirty two minutes, lunch, dinner,

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Speaker 5: and a midnight snack.

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Speaker 2: Provided the plane rattles down the runway, then groans as

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Speaker 2: it lifts into the air. Interior Marigold post office. Later,

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Speaker 2: a tiny postal plane glides alongside the Marigold. The steward

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Speaker 2: opens a door and a sack of letters fly in.

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Speaker 2: A flight attendant enters the cockpit, neatly dressed in purple

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Speaker 2: and pink.

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Speaker 5: Mail plane arrived. This one's for you.

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Speaker 2: Percy slices open the letter and reads it.

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Speaker 1: It's from my wife.

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Speaker 5: You sound surprised.

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Speaker 1: She's dead.

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Speaker 5: I'm sorry to hear that.

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Speaker 1: Well, she was dead. She's alive. Now that's a relief

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Speaker 1: my heart.

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Speaker 5: You poor thing. Would you like tea?

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Speaker 1: Don't pity me of it. I'm fine.

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00:14:04,480 --> 00:14:06,960
Speaker 5: It's my job. I serve tea. I'm required to ask.

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Speaker 1: Oh, then no, she leaves.

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00:14:10,559 --> 00:14:12,600
Speaker 2: He inspects the stamp on the letter. It has an

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Speaker 2: island with a palm tree, interior ballroom over the pa

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Speaker 2: a microphone wines.

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Speaker 1: Ladies and gentlemen, this is your captain. There will be

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Speaker 1: two performances of The Winds Go West this afternoon. Also,

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Speaker 1: we're no longer going to Paris. We're going to find

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Speaker 1: my wife.

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Speaker 2: Percy turns the wheel and steers into the sunset. Title

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Speaker 2: the final flight of the Merrigold one O nine. Wow,

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00:14:34,280 --> 00:14:37,240
Speaker 2: mars Uh, this is completely unlike you. Sort of an

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Speaker 2: unsettling departure, is it.

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Speaker 1: Yeah, I don't know, man, I made it. You know,

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Speaker 1: I'm kind of art house. I get it.

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Speaker 2: You know, I'd say I'm gonna walk, not run to

376
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Speaker 2: this script.

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Speaker 1: Dude, it is very We don't vote until the end. Man,

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00:14:49,920 --> 00:14:50,400
Speaker 1: this is well.

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Speaker 2: I'm just saying right now where it sits with me.

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Speaker 5: Buddy, I really love it. It's tidy, it's cool. You're

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Speaker 5: dealing with the death of your ex wife.

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Speaker 1: No, not doing that. It has nothing to do with

383
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Speaker 1: my ex wife.

384
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Speaker 2: His wife.

385
00:15:03,680 --> 00:15:05,359
Speaker 1: Well, we don't have to get into.

386
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Speaker 5: Mark's wait for two days and she jumped off the

387
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Speaker 5: back of a cruise ship and he hasn't seen her since.

388
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Speaker 5: And I think it's good that your process.

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Speaker 3: Back of a cruise Well, she did.

390
00:15:14,920 --> 00:15:17,120
Speaker 1: It doesn't matter. This has nothing to do with her.

391
00:15:17,200 --> 00:15:19,600
Speaker 1: We don't have to bring that up. Mister Hartoonian doesn't

392
00:15:19,640 --> 00:15:21,720
Speaker 1: need to know about. I think there's a law about

393
00:15:21,760 --> 00:15:23,000
Speaker 1: sharing too much information.

394
00:15:23,280 --> 00:15:25,880
Speaker 5: I think that's what doctors in the building.

395
00:15:26,080 --> 00:15:29,440
Speaker 1: Yeah, yeah, don't overshare. I mean, I guess you could

396
00:15:29,480 --> 00:15:30,720
Speaker 1: take that however you want to have been.

397
00:15:30,600 --> 00:15:33,680
Speaker 5: In your twenties because it's written in marker, right right, right.

398
00:15:33,640 --> 00:15:35,480
Speaker 4: Yeah, But if I want to hear about it, I'm

399
00:15:35,480 --> 00:15:37,800
Speaker 4: I allowed to ask any question I want, really.

400
00:15:37,640 --> 00:15:38,480
Speaker 1: Can I? No?

401
00:15:38,480 --> 00:15:40,480
Speaker 4: No, no, that's just don't overshare. A lot of these

402
00:15:40,480 --> 00:15:42,480
Speaker 4: are like, don't overshare with me much.

403
00:15:43,080 --> 00:15:44,800
Speaker 3: But if I have to tell you something, that's fine,

404
00:15:44,840 --> 00:15:46,360
Speaker 3: or if I need your help or whatever I'm allowed

405
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Speaker 3: to do.

406
00:15:46,600 --> 00:15:48,920
Speaker 1: Or if you want me to share, right, okay, well

407
00:15:49,400 --> 00:15:51,720
Speaker 1: off the back of a what if I don't want.

408
00:15:51,600 --> 00:15:54,240
Speaker 5: To share what it seems like you are sharing market?

409
00:15:54,480 --> 00:15:55,120
Speaker 1: Do I have to?

410
00:15:55,600 --> 00:15:56,600
Speaker 2: It? Says you got to answer?

411
00:15:56,720 --> 00:15:58,440
Speaker 1: Is there a law that says I have to share?

412
00:15:58,480 --> 00:15:59,080
Speaker 1: If you ask?

413
00:15:59,640 --> 00:15:59,880
Speaker 3: Yeah?

414
00:16:00,320 --> 00:16:00,800
Speaker 1: There is.

415
00:16:01,600 --> 00:16:02,600
Speaker 2: Well, he's writing in it.

416
00:16:03,720 --> 00:16:05,960
Speaker 1: You don't write now, that can't be that.

417
00:16:06,160 --> 00:16:08,640
Speaker 2: It's in there now. He says you got it, says

418
00:16:08,800 --> 00:16:15,280
Speaker 2: you don't overt w I okay, I got to talk

419
00:16:15,280 --> 00:16:15,920
Speaker 2: about wife.

420
00:16:16,160 --> 00:16:20,520
Speaker 1: Yes, okay, it's fine, talk about what. I'm over it.

421
00:16:21,240 --> 00:16:24,480
Speaker 1: I have grieved she jumped off the back of a

422
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Speaker 1: cruise ship.

423
00:16:25,400 --> 00:16:28,000
Speaker 5: This is not inspired by her. No, she's not the

424
00:16:28,000 --> 00:16:30,960
Speaker 5: woman who wrote the letter in this. No, okay, I'm

425
00:16:31,000 --> 00:16:32,800
Speaker 5: just asking. I'm allowed to ask things.

426
00:16:32,840 --> 00:16:35,880
Speaker 1: You're allowed to take things from your life and write

427
00:16:35,920 --> 00:16:38,680
Speaker 1: about That's how you make allowed.

428
00:16:38,840 --> 00:16:41,320
Speaker 3: His buddies are allowed to point at the book.

429
00:16:42,000 --> 00:16:43,960
Speaker 1: Yeah, don't tell him what to put in the book.

430
00:16:44,160 --> 00:16:46,960
Speaker 1: This is my apartment complex.

431
00:16:46,760 --> 00:16:49,280
Speaker 2: That has Mark has to take a note in the book.

432
00:16:49,480 --> 00:16:54,240
Speaker 4: Yeah, I'm not taking suggestions for this is no putting.

433
00:16:53,880 --> 00:16:55,800
Speaker 1: That, Thank you, mister har Years.

434
00:16:55,800 --> 00:16:59,080
Speaker 3: I might not know where the hell Mark is.

435
00:17:06,920 --> 00:17:09,240
Speaker 2: Did you know Mark before you came down here today?

436
00:17:09,560 --> 00:17:11,679
Speaker 2: As in, did you know that this was his place?

437
00:17:11,840 --> 00:17:11,879
Speaker 1: No?

438
00:17:12,040 --> 00:17:14,120
Speaker 3: Really, I don't know where people are going. I've seen him,

439
00:17:14,280 --> 00:17:17,480
Speaker 3: seen him walking around. What the hell is that guy doing?

440
00:17:18,119 --> 00:17:18,520
Speaker 3: See him?

441
00:17:18,520 --> 00:17:21,359
Speaker 4: I come in here and I'm like, oh my god,

442
00:17:21,600 --> 00:17:24,120
Speaker 4: Like I just came in here, and then he goes

443
00:17:24,160 --> 00:17:25,520
Speaker 4: into door and I don't you know?

444
00:17:25,640 --> 00:17:26,399
Speaker 3: But no, I did not know.

445
00:17:26,440 --> 00:17:28,400
Speaker 2: He looked at you. Well, he does live here.

446
00:17:28,680 --> 00:17:32,880
Speaker 1: Yeah, you cartooning in You've come in here several times.

447
00:17:32,880 --> 00:17:34,760
Speaker 1: You told me about the hot water heater. I told

448
00:17:34,760 --> 00:17:37,360
Speaker 1: you that the refrigerator makes that noise?

449
00:17:37,640 --> 00:17:38,280
Speaker 3: What noise?

450
00:17:38,400 --> 00:17:39,879
Speaker 1: That like that? Low?

451
00:17:40,000 --> 00:17:42,600
Speaker 3: Like these they don't make noises.

452
00:17:43,359 --> 00:17:45,360
Speaker 1: You were in here like two weeks ago.

453
00:17:45,280 --> 00:17:46,520
Speaker 3: And did I said? I heard it?

454
00:17:46,760 --> 00:17:48,840
Speaker 1: Yeah, we had a conversation about it and then we

455
00:17:49,160 --> 00:17:52,040
Speaker 1: talked about like what dogs can hear and what humans

456
00:17:52,040 --> 00:17:55,560
Speaker 1: can't hear, and like the like pulsing that comes from

457
00:17:55,560 --> 00:17:58,280
Speaker 1: outer space as it does. You brought the whole alien

458
00:17:58,359 --> 00:18:01,080
Speaker 1: thing to me. We sat and chatted. Jen. Did you

459
00:18:01,119 --> 00:18:03,800
Speaker 1: read that I after you mentioned it, I read it

460
00:18:03,920 --> 00:18:06,720
Speaker 1: fucked up? Yeah, it's like, what is that noise? It's

461
00:18:06,720 --> 00:18:08,280
Speaker 1: some weird pulse right?

462
00:18:08,359 --> 00:18:11,879
Speaker 3: That was fucked up, isn't it. Yeah, you don't tell everybody.

463
00:18:11,880 --> 00:18:12,240
Speaker 3: That's all.

464
00:18:12,400 --> 00:18:16,080
Speaker 4: Anytime there's a law, if there's a law, I hate lulls. Okay,

465
00:18:16,160 --> 00:18:19,360
Speaker 4: so there's a lull, I just start going. Like dogs

466
00:18:19,400 --> 00:18:23,160
Speaker 4: can hear like a train from countries.

467
00:18:22,720 --> 00:18:24,600
Speaker 5: Away, A dock can hear a train, dog can hear

468
00:18:24,640 --> 00:18:27,760
Speaker 5: a country from a dog can hear a train county.

469
00:18:27,640 --> 00:18:29,840
Speaker 3: Country is away, a dock, can hear a train in

470
00:18:29,880 --> 00:18:34,680
Speaker 3: a dog's head. It's just like it's nuts in there.

471
00:18:34,800 --> 00:18:38,360
Speaker 1: Everyone just listened right now, it happened. Well, it's it's

472
00:18:38,440 --> 00:18:42,320
Speaker 1: not happening right now. That's always what it is. Well,

473
00:18:42,400 --> 00:18:44,600
Speaker 1: it comes on intermittently like that.

474
00:18:44,840 --> 00:18:47,359
Speaker 4: It's it just comes so so maybe we'll it come

475
00:18:47,400 --> 00:18:49,399
Speaker 4: on while we're doing this, while you're having me on this.

476
00:18:49,560 --> 00:18:50,520
Speaker 1: Don't get mad, at me.

477
00:18:50,680 --> 00:18:51,359
Speaker 3: It's not mad.

478
00:18:51,800 --> 00:18:53,719
Speaker 1: It seems like you're mad.

479
00:18:53,840 --> 00:18:56,800
Speaker 2: I get mad, you'll definitely know that's the void.

480
00:18:56,920 --> 00:18:59,080
Speaker 3: No, I can't do it because I'm not mad. That's

481
00:18:59,160 --> 00:19:00,480
Speaker 3: me trying to show what it's like.

482
00:19:00,640 --> 00:19:02,600
Speaker 4: But oh god, if I got mad, it would be

483
00:19:02,680 --> 00:19:04,760
Speaker 4: But just showing you what I think it is.

484
00:19:04,800 --> 00:19:07,680
Speaker 3: It's like you don't talk to me like that.

485
00:19:07,960 --> 00:19:11,359
Speaker 4: But that's not it, because I can't do it unless

486
00:19:11,359 --> 00:19:12,840
Speaker 4: I'm really actually mad.

487
00:19:12,960 --> 00:19:16,160
Speaker 5: Okay, now you're saying if the refrigerator was making noise

488
00:19:16,240 --> 00:19:17,720
Speaker 5: a dog in India would hear it?

489
00:19:17,880 --> 00:19:19,200
Speaker 3: I said, trains idiot?

490
00:19:19,640 --> 00:19:23,840
Speaker 5: Hereins and look that voice, that was the real voice.

491
00:19:24,000 --> 00:19:24,840
Speaker 3: What do you do you want?

492
00:19:24,880 --> 00:19:25,920
Speaker 1: You're mad? You're mad.

493
00:19:26,480 --> 00:19:28,760
Speaker 5: I'm in it. I'm one of the gang. I'm one

494
00:19:28,760 --> 00:19:29,240
Speaker 5: of the writers.

495
00:19:29,440 --> 00:19:30,600
Speaker 3: But what do you do on it?

496
00:19:30,760 --> 00:19:32,040
Speaker 5: I write, I do the acting.

497
00:19:32,080 --> 00:19:33,359
Speaker 1: Did you did you hear his voice?

498
00:19:33,359 --> 00:19:35,400
Speaker 2: He was doing the voice, he was talking earlier.

499
00:19:35,440 --> 00:19:36,320
Speaker 1: He was the narrator.

500
00:19:36,760 --> 00:19:37,640
Speaker 5: I was the narrator.

501
00:19:37,720 --> 00:19:39,640
Speaker 1: That was me. You didn't hear his narration?

502
00:19:40,680 --> 00:19:42,479
Speaker 3: My eyes somewhere else?

503
00:19:42,920 --> 00:19:45,639
Speaker 2: Oh, did you have any thoughts on the first setup

504
00:19:45,680 --> 00:19:46,200
Speaker 2: of this?

505
00:19:46,440 --> 00:19:48,560
Speaker 1: What are you doing here if you don't want to

506
00:19:48,600 --> 00:19:51,240
Speaker 1: hear this? When you're not listening to What are you

507
00:19:51,359 --> 00:19:51,840
Speaker 1: doing here?

508
00:19:52,040 --> 00:19:58,320
Speaker 3: I'm here talking to you. There it is, that's not close.

509
00:19:58,359 --> 00:20:02,560
Speaker 4: That's still me faking it.

510
00:20:00,440 --> 00:20:04,320
Speaker 3: I'm at all. Let him alone.

511
00:20:04,320 --> 00:20:06,960
Speaker 1: I'm happy. Really, face is so red.

512
00:20:07,240 --> 00:20:08,120
Speaker 3: Who cares?

513
00:20:08,920 --> 00:20:10,119
Speaker 5: Stop grabbing my collar?

514
00:20:11,040 --> 00:20:16,520
Speaker 3: Let me go, let me stop, yelly yell.

515
00:20:18,760 --> 00:20:23,160
Speaker 1: Collar. Sit down. I guess you can't walk with those

516
00:20:23,200 --> 00:20:24,879
Speaker 1: headphones on, man, Sit down?

517
00:20:25,119 --> 00:20:26,399
Speaker 3: You got wireless at all?

518
00:20:26,840 --> 00:20:28,240
Speaker 1: No, I don't have a wireless.

519
00:20:28,280 --> 00:20:29,879
Speaker 2: Hey did you hurt your neck? It seemed like that

520
00:20:29,960 --> 00:20:31,040
Speaker 2: jerked your head pretty hard.

521
00:20:31,200 --> 00:20:34,520
Speaker 3: My neck is totally fine. Watch you're turning your whole body,

522
00:20:34,640 --> 00:20:34,760
Speaker 3: you know?

523
00:20:35,240 --> 00:20:35,640
Speaker 1: Is that okay?

524
00:20:35,680 --> 00:20:38,040
Speaker 3: Okay, okay, okay, his whole body to look at me.

525
00:20:38,440 --> 00:20:41,560
Speaker 3: I just we don't have We don't get off of him.

526
00:20:41,720 --> 00:20:43,640
Speaker 2: We don't have to get physical.

527
00:20:44,640 --> 00:20:45,679
Speaker 5: Not us hates me.

528
00:20:45,880 --> 00:20:47,880
Speaker 2: Let him fix it, all right.

529
00:20:48,080 --> 00:20:49,640
Speaker 1: Nothing is wrong with his collar.

530
00:20:49,720 --> 00:20:51,560
Speaker 3: I want to see what you do on this thing.

531
00:20:51,800 --> 00:20:55,360
Speaker 1: It's a fair question. Pay attention, mister Hartoon.

532
00:20:56,720 --> 00:20:59,560
Speaker 3: Probably the keeps saying that, probably the best one.

533
00:21:00,119 --> 00:21:04,479
Speaker 1: That's debatable. Listen, he's gonna say some things in this

534
00:21:04,600 --> 00:21:06,560
Speaker 1: next scene. Can we set up the next scene?

535
00:21:06,600 --> 00:21:08,080
Speaker 5: Yeah, I'm a double.

536
00:21:07,800 --> 00:21:12,280
Speaker 3: Threat actor writer, talker triple triple threat.

537
00:21:12,440 --> 00:21:14,720
Speaker 4: Just if you're not doing any of that right now,

538
00:21:14,760 --> 00:21:16,480
Speaker 4: all you're doing is bothering me.

539
00:21:16,680 --> 00:21:18,040
Speaker 5: I'm sorry, I'm sorry.

540
00:21:18,280 --> 00:21:20,840
Speaker 1: Stop bothering him. Let's just get back and he's the script.

541
00:21:20,920 --> 00:21:21,720
Speaker 2: He's my guest.

542
00:21:22,200 --> 00:21:24,760
Speaker 1: He's my guest. Technically, in fact.

543
00:21:26,480 --> 00:21:28,520
Speaker 3: This whole building, everybody here's my guest.

544
00:21:28,760 --> 00:21:30,000
Speaker 1: Well, I'm legally paying.

545
00:21:30,040 --> 00:21:31,760
Speaker 3: I want to turn this into a burger king I

546
00:21:31,880 --> 00:21:34,640
Speaker 3: can you are said? If I want?

547
00:21:34,880 --> 00:21:37,080
Speaker 1: I do have renners' rights. I know my rights in

548
00:21:37,160 --> 00:21:37,600
Speaker 1: this state.

549
00:21:38,480 --> 00:21:39,480
Speaker 2: Not if you don't have a lease.

550
00:21:41,119 --> 00:21:41,520
Speaker 1: There is.

551
00:21:43,080 --> 00:21:47,160
Speaker 3: There's I don't have a clue what you're doing here.

552
00:21:47,359 --> 00:21:49,720
Speaker 1: Okay, you'll find out in this next scene.

553
00:21:49,760 --> 00:21:52,520
Speaker 2: Okay, Okay, set it up. Mark scene too.

554
00:21:52,760 --> 00:21:54,720
Speaker 1: So yeah, this is what do you want to do

555
00:21:54,760 --> 00:21:55,240
Speaker 1: with this one?

556
00:21:55,280 --> 00:21:55,520
Speaker 3: Mark?

557
00:21:55,600 --> 00:21:58,200
Speaker 1: This is when we were getting into the second act.

558
00:21:58,240 --> 00:22:01,359
Speaker 1: It's it's pretty straightforward. I don't know. Let's just read it.

559
00:22:01,760 --> 00:22:03,520
Speaker 1: You didn't get it, okay, and.

560
00:22:03,560 --> 00:22:06,320
Speaker 5: Miss Hartunian, I'll probably be switching my voices around, but

561
00:22:06,359 --> 00:22:08,919
Speaker 5: you'll see that I'm a guy who's an actor and

562
00:22:08,920 --> 00:22:10,120
Speaker 5: a writer and a director.

563
00:22:10,400 --> 00:22:12,680
Speaker 3: Okay, man, cool, let's check it out.

564
00:22:12,760 --> 00:22:15,720
Speaker 1: Are you gonna pay attention to what to the script.

565
00:22:16,200 --> 00:22:18,399
Speaker 4: Yeah, I'll pay attention to this time where you guys

566
00:22:18,480 --> 00:22:20,880
Speaker 4: all start talking all quiet.

567
00:22:21,000 --> 00:22:21,719
Speaker 3: Yeah, I'll do that.

568
00:22:22,359 --> 00:22:23,679
Speaker 2: Do you want us to talk like we're in a

569
00:22:23,680 --> 00:22:25,640
Speaker 2: Wes Anderson movie. It kind of seems like we're all

570
00:22:25,680 --> 00:22:25,960
Speaker 2: doing that.

571
00:22:26,400 --> 00:22:30,200
Speaker 1: Yes, that that is the you're completely getting the vibe.

572
00:22:30,280 --> 00:22:32,800
Speaker 1: That's exactly what it's supposed to be. That's how he

573
00:22:32,920 --> 00:22:35,960
Speaker 1: expresses emotion. I mean, that's that's that's what's so great

574
00:22:36,000 --> 00:22:36,560
Speaker 1: about Wes.

575
00:22:36,520 --> 00:22:38,440
Speaker 2: Anders I don't know if he does express emotion, it

576
00:22:38,440 --> 00:22:39,280
Speaker 2: doesn't seem well, just.

577
00:22:39,280 --> 00:22:45,720
Speaker 1: Keep reading, keep reading, you'll it just jumps off the page.

578
00:22:45,920 --> 00:22:47,640
Speaker 1: We haven't started, mister Hartner.

579
00:22:47,760 --> 00:22:49,960
Speaker 4: Everybody talked over each other and being but this is

580
00:22:49,960 --> 00:22:52,400
Speaker 4: all still part of it, this part of the podcast.

581
00:22:52,960 --> 00:22:54,600
Speaker 1: I'll probably have to cut a ton of this.

582
00:22:54,800 --> 00:22:56,000
Speaker 3: You're gonna cut some of this stuff.

583
00:22:56,080 --> 00:22:58,040
Speaker 1: Yeah, I don't want it to be like forty minutes

584
00:22:58,080 --> 00:23:02,119
Speaker 1: of you yelling at Brendan. Who hell's Brendan?

585
00:23:03,160 --> 00:23:04,840
Speaker 3: How you doing? Hey? Nice to me?

586
00:23:05,040 --> 00:23:06,760
Speaker 2: Oh he's been here, that was him.

587
00:23:06,960 --> 00:23:09,000
Speaker 1: Yeah, the guy that you were see you were just

588
00:23:09,040 --> 00:23:11,640
Speaker 1: grabbing his collar, he has been here the whole time.

589
00:23:11,480 --> 00:23:13,359
Speaker 2: The guy that you were showing. How you would be

590
00:23:13,440 --> 00:23:15,480
Speaker 2: mad if you got mad? That was him?

591
00:23:15,600 --> 00:23:16,240
Speaker 3: What's he doing?

592
00:23:16,760 --> 00:23:17,760
Speaker 1: You will see?

593
00:23:17,880 --> 00:23:20,080
Speaker 2: Okay, we'll show you right now.

594
00:23:20,200 --> 00:23:21,760
Speaker 5: I am ready to wow you, sir.

595
00:23:22,160 --> 00:23:26,000
Speaker 2: Okay. Scene two, the Marigold flies by the screen. A

596
00:23:26,040 --> 00:23:31,000
Speaker 2: long banner flaps behind, reading Act two Mutiny Interior Marrigold Day.

597
00:23:31,040 --> 00:23:33,720
Speaker 2: Captain Percy is pressed back on the cockpit door, trying

598
00:23:33,720 --> 00:23:36,159
Speaker 2: to hold off a neatly dressed mob of passengers.

599
00:23:36,320 --> 00:23:39,200
Speaker 1: Ladies and gentlemen. Please, I understand you're upset, but let's

600
00:23:39,240 --> 00:23:40,080
Speaker 1: not lose our heads.

601
00:23:40,520 --> 00:23:43,000
Speaker 2: Losing our heads is precisely what I'm afraid of. In

602
00:23:43,040 --> 00:23:46,000
Speaker 2: a manner of speaking, the camera finds doctor Henry Lammel,

603
00:23:46,280 --> 00:23:49,040
Speaker 2: world famous brain surgeon, holding up a cooler that says,

604
00:23:49,240 --> 00:23:52,360
Speaker 2: brain on it. If I'm not in surgery in four hours,

605
00:23:52,400 --> 00:23:55,760
Speaker 2: this brain is toasted. The mob gripes and shouts, Ladies

606
00:23:55,800 --> 00:23:56,400
Speaker 2: and gentlemen.

607
00:23:56,480 --> 00:23:59,120
Speaker 1: Please, the reason why I've done what I've done is well,

608
00:23:59,320 --> 00:24:01,440
Speaker 1: to put it, Plaine, my dead wife's not dead.

609
00:24:01,520 --> 00:24:04,560
Speaker 2: The mob goes quiet. Percy continues. In a flashback, Percy,

610
00:24:04,680 --> 00:24:07,080
Speaker 2: young and full of life, walks through a small regional airport.

611
00:24:07,280 --> 00:24:09,880
Speaker 2: He stops in front of an elegant bookstore entirely dedicated

612
00:24:09,880 --> 00:24:14,040
Speaker 2: to Polynesia intrigue, Percy enters to find Marjorie. Bookish but beautiful.

613
00:24:14,320 --> 00:24:17,400
Speaker 2: She looks up from a tiny potted palm tree. She's watering.

614
00:24:17,720 --> 00:24:19,560
Speaker 5: If you're looking for the John, it's a door over.

615
00:24:19,960 --> 00:24:22,800
Speaker 1: Marjorie was the type of person you meet and you think, wonders,

616
00:24:22,920 --> 00:24:25,200
Speaker 1: what a person I've just met. I'm looking for a book.

617
00:24:25,240 --> 00:24:28,040
Speaker 1: I guess she was stunned. Most folks don't come to

618
00:24:28,080 --> 00:24:30,160
Speaker 1: an airport looking for books on Polynesia.

619
00:24:30,200 --> 00:24:33,359
Speaker 5: After all, she was the preeminent scholar of Polynesian history.

620
00:24:33,600 --> 00:24:35,760
Speaker 5: Opened the store ten years ago. Three years after that,

621
00:24:35,840 --> 00:24:37,080
Speaker 5: they built an airport around it.

622
00:24:37,240 --> 00:24:39,280
Speaker 2: Percy and Marjorie now sit at a small table in

623
00:24:39,320 --> 00:24:41,480
Speaker 2: the shop, sharing teaki drinks out of coconuts.

624
00:24:41,760 --> 00:24:43,840
Speaker 1: Polynesia certainly seems a wondrous place.

625
00:24:43,880 --> 00:24:45,040
Speaker 5: I wouldn't know. I've never been.

626
00:24:45,280 --> 00:24:47,560
Speaker 1: You're in an airport. You could go today? Or wouldn't

627
00:24:47,560 --> 00:24:50,080
Speaker 1: your husband allow it? No, we wouldn't, dang it. So

628
00:24:50,119 --> 00:24:50,639
Speaker 1: you're married.

629
00:24:50,840 --> 00:24:53,240
Speaker 5: Happily, I should get back to her.

630
00:24:53,440 --> 00:24:55,119
Speaker 2: She stands up and falls through the table.

631
00:24:55,480 --> 00:24:58,080
Speaker 1: I would visit her often, finding any excuse to lay over.

632
00:24:58,200 --> 00:25:00,240
Speaker 1: I would bring her trinkets for my travel, and she

633
00:25:00,280 --> 00:25:02,080
Speaker 1: would tell me the Wonders of Polynesia.

634
00:25:02,160 --> 00:25:04,560
Speaker 2: We see Marjorie and Percy reading together in her shop,

635
00:25:04,680 --> 00:25:07,280
Speaker 2: the shelves and tables around them filled with Percy's gifts.

636
00:25:07,640 --> 00:25:11,400
Speaker 2: Marjorie's husband, State Senator Richard Jenkins enters speaking to two

637
00:25:11,440 --> 00:25:14,399
Speaker 2: men in suits. Gentlemen, this is my wife's bookstore, and

638
00:25:14,480 --> 00:25:16,719
Speaker 2: that is my wife. And I assume you're the man

639
00:25:16,800 --> 00:25:18,480
Speaker 2: to thank for all these wondrous dude ads.

640
00:25:18,640 --> 00:25:20,679
Speaker 1: Yes, sir, Captain Percy north Plank.

641
00:25:20,560 --> 00:25:23,560
Speaker 2: State Senator Richard Jenkins. These men are in soap. They're

642
00:25:23,560 --> 00:25:26,080
Speaker 2: planning to build a factory here. How's that for dodad?

643
00:25:26,200 --> 00:25:28,800
Speaker 2: Join us for dinner, won't you? Cut to Codcakes, a

644
00:25:28,800 --> 00:25:31,880
Speaker 2: fancy restaurant in the airport. Percy, Marjorie, and Senator Richard

645
00:25:31,920 --> 00:25:34,840
Speaker 2: Jenkins eat codcakes. All the servers are neatly dressed in

646
00:25:34,880 --> 00:25:38,200
Speaker 2: Beajian white linen suits, perfectly matching the color of the codcakes.

647
00:25:38,359 --> 00:25:40,200
Speaker 2: Let me ask you, Captain north Plank, what do you

648
00:25:40,240 --> 00:25:43,040
Speaker 2: think of our little airport? Well, it's Percy's eyes find

649
00:25:43,080 --> 00:25:46,159
Speaker 2: Marjorie beautiful, ain't you though? I've never cared much for

650
00:25:46,240 --> 00:25:48,679
Speaker 2: airports because airports take you away, and why would I

651
00:25:48,720 --> 00:25:51,440
Speaker 2: ever away? I love it here though I suppose the

652
00:25:51,520 --> 00:25:53,680
Speaker 2: upside is it also brings people here.

653
00:25:54,040 --> 00:25:56,080
Speaker 1: You mean to tell me you've never left Newchester?

654
00:25:56,480 --> 00:25:59,720
Speaker 2: Got No, we have everything right here. Roots, Roots are

655
00:25:59,720 --> 00:26:02,600
Speaker 2: what's important. I hope you take no offense, captain, But you, sir,

656
00:26:02,720 --> 00:26:06,719
Speaker 2: are rudderless, afloat upon the wind, a potted plant. No roots.

657
00:26:06,920 --> 00:26:08,320
Speaker 1: I take a small offense me.

658
00:26:08,560 --> 00:26:10,879
Speaker 2: I was born here, I senatored here, and I'll be

659
00:26:11,000 --> 00:26:14,760
Speaker 2: buried here. Actually, right there we whipanned to a small plot.

660
00:26:14,840 --> 00:26:17,760
Speaker 2: Dug up and ready. A tombstone reads Senator Richard Jenkins

661
00:26:17,880 --> 00:26:20,879
Speaker 2: nineteen fifteen to blank A stone carver stands there with

662
00:26:20,920 --> 00:26:23,639
Speaker 2: a chisel and hammer, just waiting. Not today, Taka, you

663
00:26:23,680 --> 00:26:26,720
Speaker 2: can go home. Taka nods and walks off. As he goes,

664
00:26:26,760 --> 00:26:30,240
Speaker 2: we see another tombstone that reads Missus State Senator Jenkins.

665
00:26:30,400 --> 00:26:33,800
Speaker 2: Percy looks at Marjorie. Her chin quivers. Later, in the bookstore,

666
00:26:33,800 --> 00:26:36,080
Speaker 2: Marjorie stands on a ladder as Percy hands her books.

667
00:26:36,359 --> 00:26:38,800
Speaker 1: That man is smothering you. If I may be so bold,

668
00:26:38,800 --> 00:26:41,240
Speaker 1: I think it's high time Missus State Senator Jenkins became

669
00:26:41,440 --> 00:26:42,600
Speaker 1: just plain Marjorie again.

670
00:26:42,920 --> 00:26:44,520
Speaker 5: Okay, just plain Marjorie.

671
00:26:44,560 --> 00:26:44,840
Speaker 3: It is.

672
00:26:45,080 --> 00:26:46,720
Speaker 2: She pulls off her wedding ring and sets it on

673
00:26:46,760 --> 00:26:49,160
Speaker 2: a shelf. Percy takes a new ring from his pocket.

674
00:26:49,560 --> 00:26:51,560
Speaker 1: Just plain, Marjorie, would you do me the honor of

675
00:26:51,560 --> 00:26:53,920
Speaker 1: becoming missus? Captain Percy North blank Marjorie.

676
00:26:54,040 --> 00:26:57,240
Speaker 2: Marjorie smiles as we cut to the jetway the maregold

677
00:26:57,280 --> 00:26:59,520
Speaker 2: flies a banner reading just Married, with tin cans and

678
00:26:59,600 --> 00:27:02,600
Speaker 2: ribbons hanging from the tail. Percy and Marjorie, neatly dressed

679
00:27:02,600 --> 00:27:05,199
Speaker 2: in wedding attire, stand outside the cabin door, holding his

680
00:27:05,280 --> 00:27:06,879
Speaker 2: and hers potted palm trees.

681
00:27:07,200 --> 00:27:09,760
Speaker 1: We spent one wondrous night together over the Atlantic as

682
00:27:09,840 --> 00:27:10,639
Speaker 1: husband and wife.

683
00:27:10,760 --> 00:27:13,480
Speaker 2: In the wedding suite, Percy faces Marjorie. She slips the

684
00:27:13,480 --> 00:27:15,359
Speaker 2: strap of her gown off her shoulder and it falls

685
00:27:15,400 --> 00:27:17,680
Speaker 2: to the ground. Percy's eyes go wide, and he takes

686
00:27:17,680 --> 00:27:18,680
Speaker 2: the pipe out of his mouth.

687
00:27:18,960 --> 00:27:21,120
Speaker 1: Sweet Jesus be He moves.

688
00:27:20,880 --> 00:27:23,280
Speaker 2: In to kiss her. The next morning, a steward burst

689
00:27:23,320 --> 00:27:25,080
Speaker 2: into the room, jolting Percy awake.

690
00:27:25,240 --> 00:27:27,200
Speaker 5: Captain Norklink the rear door was a jar and a

691
00:27:27,240 --> 00:27:28,080
Speaker 5: parachute is missing.

692
00:27:28,119 --> 00:27:30,760
Speaker 2: Percy looks to the bedside table. His tiny palm tree

693
00:27:30,800 --> 00:27:33,560
Speaker 2: stands alone. We cut back to present day. Percy looks

694
00:27:33,600 --> 00:27:35,960
Speaker 2: down at the potted plant. Everyone has tears.

695
00:27:35,680 --> 00:27:36,160
Speaker 3: In their eyes.

696
00:27:36,359 --> 00:27:38,639
Speaker 1: I thought she had perished until this arrived.

697
00:27:38,760 --> 00:27:39,680
Speaker 2: He holds out a letter.

698
00:27:39,840 --> 00:27:42,920
Speaker 5: It reads, my dearest Percy, I'm alive. If you're still

699
00:27:42,920 --> 00:27:45,600
Speaker 5: in possession of my book, Rare Birds of the South Pacific,

700
00:27:45,880 --> 00:27:47,600
Speaker 5: could you be a sport and bring it. These are

701
00:27:47,600 --> 00:27:51,919
Speaker 5: my coordinates. I realize this. It's a lot to ask warmly, Marjorie.

702
00:27:51,480 --> 00:27:53,480
Speaker 2: Do you have the book? Percy pulls it out of

703
00:27:53,480 --> 00:27:55,440
Speaker 2: his suit coat. It has a bullet stuck in it.

704
00:27:55,440 --> 00:27:57,800
Speaker 1: It saved my life the last time the passengers mutinied

705
00:27:57,840 --> 00:27:59,800
Speaker 1: when we ran out of steaks in the main dining room.

706
00:28:00,040 --> 00:28:03,560
Speaker 1: Old Earl Habitsham lost his mind. Sorry, Captain, it's all right, Earl.

707
00:28:06,400 --> 00:28:11,399
Speaker 2: Oh scene too interesting scene. So it's clearly about your

708
00:28:11,400 --> 00:28:11,840
Speaker 2: ex wife.

709
00:28:11,880 --> 00:28:13,479
Speaker 5: This is definitely about your ex wife.

710
00:28:13,560 --> 00:28:16,040
Speaker 1: I mean there's a little bit about you know, Mallory

711
00:28:16,080 --> 00:28:17,359
Speaker 1: in there here. It is.

712
00:28:17,520 --> 00:28:18,920
Speaker 2: Yeah, just I mean, it's not.

713
00:28:18,920 --> 00:28:23,359
Speaker 1: Like a it's a sprinkling. It's like a little salt

714
00:28:23,400 --> 00:28:23,880
Speaker 1: in the soup.

715
00:28:24,119 --> 00:28:27,160
Speaker 5: You're dealing with some emotions. But I think you need

716
00:28:27,200 --> 00:28:28,520
Speaker 5: to talk about Yeah.

717
00:28:28,320 --> 00:28:31,240
Speaker 1: No, that's that's what I'm saying. It's it's not because

718
00:28:31,280 --> 00:28:33,320
Speaker 1: of her, It's just emotions come out when I watch

719
00:28:33,400 --> 00:28:34,120
Speaker 1: Wes Anderson.

720
00:28:34,160 --> 00:28:35,720
Speaker 2: Did you at least get to see what he could

721
00:28:35,760 --> 00:28:37,960
Speaker 2: do this time? Mister Hartunians or Hartunia?

722
00:28:38,000 --> 00:28:39,360
Speaker 5: What did you think of my performance?

723
00:28:39,560 --> 00:28:40,560
Speaker 3: Performance? Yeah?

724
00:28:40,880 --> 00:28:43,720
Speaker 5: I read three different parts in there. I was Marjorie the.

725
00:28:43,880 --> 00:28:45,479
Speaker 3: Love Yeah, did all like?

726
00:28:45,600 --> 00:28:48,640
Speaker 4: It all sounded the same? Everything a sound the same.

727
00:28:48,720 --> 00:28:51,200
Speaker 4: So every time he talked, I was like, who the

728
00:28:51,240 --> 00:28:51,720
Speaker 4: hell is this?

729
00:28:51,840 --> 00:28:54,800
Speaker 3: Is this the one from before? Everything sounded the same?

730
00:28:55,040 --> 00:28:56,680
Speaker 5: I thought I was doing different voices?

731
00:28:56,800 --> 00:28:58,360
Speaker 1: Could you you could follow the story though?

732
00:28:58,400 --> 00:29:00,520
Speaker 4: I mean I got at I got ripped up a

733
00:29:00,560 --> 00:29:03,320
Speaker 4: couple of times because I'm like, how the hell's that

734
00:29:03,680 --> 00:29:06,560
Speaker 4: person talking to this themselves? Because you don't change your

735
00:29:06,640 --> 00:29:08,960
Speaker 4: voice enough, okay, to where it just sounds like it's

736
00:29:09,000 --> 00:29:09,800
Speaker 4: all the same person.

737
00:29:10,000 --> 00:29:13,280
Speaker 2: Like, think about when he got this is my lady voice,

738
00:29:13,400 --> 00:29:15,560
Speaker 2: that's okay. Think about when he got mad how much

739
00:29:15,600 --> 00:29:16,280
Speaker 2: his voice changed?

740
00:29:16,440 --> 00:29:18,680
Speaker 3: Right? And that's me even I can't even do the

741
00:29:18,680 --> 00:29:21,080
Speaker 3: real version. That's an imitation because you're not mad yet.

742
00:29:21,120 --> 00:29:22,640
Speaker 3: I'm not mad at all. I haven't been mad the

743
00:29:22,760 --> 00:29:23,640
Speaker 3: entire time I've been here.

744
00:29:23,720 --> 00:29:25,880
Speaker 5: Thing is I got like mail marks on my neck

745
00:29:25,920 --> 00:29:26,600
Speaker 5: from when you were.

746
00:29:26,520 --> 00:29:29,280
Speaker 3: Really shipped up is embarrassed.

747
00:29:29,440 --> 00:29:30,920
Speaker 5: Okay, God, you're getting hot again.

748
00:29:30,960 --> 00:29:33,120
Speaker 1: You seem mad, so mad?

749
00:29:33,280 --> 00:29:34,560
Speaker 3: This is about your wife?

750
00:29:35,040 --> 00:29:38,840
Speaker 1: Yeah, well sort of Like I said, it's a seasoning

751
00:29:39,120 --> 00:29:40,360
Speaker 1: in the stew mark.

752
00:29:40,400 --> 00:29:42,720
Speaker 5: I think you have a lot of stew in you

753
00:29:42,960 --> 00:29:45,400
Speaker 5: that it's time to put in a pot and deal with.

754
00:29:45,600 --> 00:29:48,280
Speaker 5: And I'm glad it's happening here. All right, I'm glad

755
00:29:48,280 --> 00:29:50,040
Speaker 5: you're talking about your dead wife, is what I'm trying

756
00:29:50,040 --> 00:29:50,400
Speaker 5: to say.

757
00:29:50,880 --> 00:29:53,360
Speaker 1: Can I make an announcement? She's not dead?

758
00:29:53,640 --> 00:29:54,440
Speaker 2: Whoa what?

759
00:30:03,760 --> 00:30:04,400
Speaker 1: She's not dead?

760
00:30:04,440 --> 00:30:04,960
Speaker 2: What do you mean?

761
00:30:05,600 --> 00:30:09,040
Speaker 1: All right? Full disclosure. I got an email from her

762
00:30:09,280 --> 00:30:11,000
Speaker 1: and she wants her plant.

763
00:30:10,760 --> 00:30:12,720
Speaker 5: Back the plan you've been pissing in.

764
00:30:13,080 --> 00:30:15,800
Speaker 1: Well, I have to because Greg's dog won't let me

765
00:30:15,840 --> 00:30:16,760
Speaker 1: go the bathroom at night.

766
00:30:16,840 --> 00:30:18,360
Speaker 2: I don't think it's a matter of letting.

767
00:30:18,920 --> 00:30:21,800
Speaker 1: The dog gets mad at me. Well, no, Greg brought

768
00:30:21,800 --> 00:30:25,320
Speaker 1: his dog over it. No, it's not my dog. It's Greg.

769
00:30:25,400 --> 00:30:27,480
Speaker 1: Greg found a dog and he put it on the

770
00:30:27,520 --> 00:30:31,440
Speaker 1: couch and it was just the dog got on the couch.

771
00:30:31,680 --> 00:30:33,760
Speaker 3: Huh did you jump up or he put it there?

772
00:30:33,960 --> 00:30:35,800
Speaker 1: I don't know. I came home and the dog was

773
00:30:35,840 --> 00:30:38,000
Speaker 1: on the couch, Greg was gone, lost the.

774
00:30:37,960 --> 00:30:39,360
Speaker 3: Dog the coucher to jump up.

775
00:30:39,520 --> 00:30:41,080
Speaker 2: I wasn't here, Mark was here.

776
00:30:41,120 --> 00:30:43,640
Speaker 1: I wasn't here. I fucking showed up and you were

777
00:30:43,680 --> 00:30:46,120
Speaker 1: gone and lost in the desert, and the fucking dog

778
00:30:46,200 --> 00:30:46,720
Speaker 1: was on the couch.

779
00:30:47,000 --> 00:30:50,080
Speaker 2: It jumped up, then, does it? I didn't.

780
00:30:50,200 --> 00:30:51,640
Speaker 1: I didn't put it up there.

781
00:30:51,840 --> 00:30:54,640
Speaker 5: Gentlemen, gentlemen, please stop fighting.

782
00:30:55,080 --> 00:30:55,560
Speaker 3: What is that?

783
00:30:55,720 --> 00:30:56,479
Speaker 1: Is that a voice?

784
00:30:56,800 --> 00:30:57,640
Speaker 5: A southern bell?

785
00:30:58,120 --> 00:30:59,280
Speaker 3: What is that thing?

786
00:30:59,400 --> 00:30:59,920
Speaker 5: I just did?

787
00:31:00,120 --> 00:31:00,560
Speaker 1: One thing?

788
00:31:00,640 --> 00:31:03,440
Speaker 3: You just did that sounded just like my regular voice.

789
00:31:03,560 --> 00:31:05,560
Speaker 3: It's not exactly how you sound out. What are you

790
00:31:05,640 --> 00:31:09,560
Speaker 3: trying to do?

791
00:31:09,960 --> 00:31:13,240
Speaker 1: This is Brendan's mimic. He's pretty good at mimicking anybody.

792
00:31:13,360 --> 00:31:13,960
Speaker 2: I wouldn't see.

793
00:31:14,640 --> 00:31:16,560
Speaker 3: I'm gonna throw someone out there. You do it, okay,

794
00:31:17,120 --> 00:31:18,800
Speaker 3: Simon Cowell the best?

795
00:31:19,240 --> 00:31:21,000
Speaker 5: That was atrocious?

796
00:31:21,440 --> 00:31:22,880
Speaker 1: No stars, no.

797
00:31:23,520 --> 00:31:27,320
Speaker 4: Stars, by hell giving someone?

798
00:31:28,400 --> 00:31:29,479
Speaker 5: He doesn't give out stars.

799
00:31:29,480 --> 00:31:31,680
Speaker 3: They don't give out stars. Let's just say yes or no.

800
00:31:31,720 --> 00:31:37,040
Speaker 1: I don't give you. You're mad you're mad about at Yes,

801
00:31:37,320 --> 00:31:38,400
Speaker 1: I'm not bad about that.

802
00:31:38,760 --> 00:31:42,480
Speaker 3: Okay, that seems so mad when you guys hear this thing.

803
00:31:42,480 --> 00:31:45,040
Speaker 4: If you actually get me mad, trust me, you're gonna

804
00:31:45,040 --> 00:31:46,680
Speaker 4: be wishing you didn't.

805
00:31:47,040 --> 00:31:49,760
Speaker 2: Someone else anyway, somebody else put the dog up on

806
00:31:49,800 --> 00:31:50,800
Speaker 2: the couch because I didn't.

807
00:31:50,880 --> 00:31:53,560
Speaker 3: Nobody put the dog, put the dog anywhere.

808
00:31:53,760 --> 00:31:55,720
Speaker 1: What does it don't matter? What does it matter? Because

809
00:31:55,720 --> 00:31:56,240
Speaker 1: I don't want.

810
00:31:56,080 --> 00:31:57,840
Speaker 3: People putting dogs places.

811
00:31:58,200 --> 00:32:01,200
Speaker 1: Okay, a dog ghost to it. It's you don't know

812
00:32:01,280 --> 00:32:03,320
Speaker 1: what happened. The dog was on the couch.

813
00:32:03,800 --> 00:32:05,320
Speaker 3: None of you put it there.

814
00:32:05,440 --> 00:32:07,360
Speaker 2: He doesn't like it if people pick up the dog.

815
00:32:07,400 --> 00:32:09,000
Speaker 2: Mark don't pick up dog is huge.

816
00:32:09,040 --> 00:32:10,560
Speaker 1: I could not pick up the dog. It was like

817
00:32:10,560 --> 00:32:11,479
Speaker 1: four hundred pounds.

818
00:32:11,880 --> 00:32:13,320
Speaker 5: You can't left four hundred pounds. I could.

819
00:32:13,400 --> 00:32:15,920
Speaker 1: Yeah, me too, No you can't, No one can.

820
00:32:16,040 --> 00:32:17,360
Speaker 5: What do you think, mister Dartonia, Look at.

821
00:32:17,280 --> 00:32:21,040
Speaker 4: The Kermit, Kermit the frog, Hi, everybody, he wants some

822
00:32:21,160 --> 00:32:23,280
Speaker 4: more lyft and iced tea, lifting iced tea.

823
00:32:23,440 --> 00:32:26,240
Speaker 1: That was great? Oh my god, it was fucking perfect.

824
00:32:26,280 --> 00:32:28,280
Speaker 2: Why did he want the hell did he giving.

825
00:32:28,120 --> 00:32:29,200
Speaker 3: People iced tea?

826
00:32:29,240 --> 00:32:30,600
Speaker 5: I saw him on a commercial for.

827
00:32:30,640 --> 00:32:31,720
Speaker 3: It once a Kermit.

828
00:32:31,960 --> 00:32:34,720
Speaker 5: Yeah, it was in a commercial, yes, for little.

829
00:32:34,600 --> 00:32:37,440
Speaker 3: Would that work? They just did it.

830
00:32:37,520 --> 00:32:38,720
Speaker 5: They hired the muppets.

831
00:32:39,120 --> 00:32:41,400
Speaker 3: Excuse me, what hired the muppets?

832
00:32:41,520 --> 00:32:43,760
Speaker 5: The Lipton iced tea went to the Muppets and hired.

833
00:32:43,880 --> 00:32:44,640
Speaker 1: What to the Muppets?

834
00:32:44,720 --> 00:32:46,920
Speaker 3: Where at Muppet Studios?

835
00:32:47,200 --> 00:32:49,160
Speaker 1: If you're not mad, what do you call this?

836
00:32:49,480 --> 00:32:51,920
Speaker 3: Ask you questions? You're so mad though, I'm not mad

837
00:32:51,960 --> 00:32:54,640
Speaker 3: at all. I'm fine. I'm just asking him.

838
00:32:54,760 --> 00:32:58,200
Speaker 4: He's got every time he does a mimic, there's something

839
00:32:58,240 --> 00:32:59,640
Speaker 4: at the end of it that I don't.

840
00:32:59,480 --> 00:33:04,800
Speaker 1: Know what the hell he's nailing these things? Gathering fucking crew?

841
00:33:04,880 --> 00:33:05,280
Speaker 3: What's that?

842
00:33:05,480 --> 00:33:07,560
Speaker 2: Don't want to feel good to be together?

843
00:33:08,000 --> 00:33:08,720
Speaker 1: That's Kermit?

844
00:33:09,200 --> 00:33:10,600
Speaker 3: Sound like Kermit at all?

845
00:33:10,680 --> 00:33:13,320
Speaker 5: I don't like got some lip and sweet ice?

846
00:33:13,800 --> 00:33:14,600
Speaker 1: That sounds great.

847
00:33:15,080 --> 00:33:17,520
Speaker 3: James Bond, pardon me, ma'am.

848
00:33:18,080 --> 00:33:20,640
Speaker 5: Where'd you happen to have that much any shaking?

849
00:33:20,840 --> 00:33:22,640
Speaker 3: Not just that that's great?

850
00:33:22,640 --> 00:33:24,240
Speaker 2: He's drunk. Michael Kane very good?

851
00:33:24,400 --> 00:33:25,800
Speaker 1: Can we get back to the script.

852
00:33:25,960 --> 00:33:28,920
Speaker 2: Well, I guess this thirteen is coming up in Brendan.

853
00:33:29,000 --> 00:33:31,400
Speaker 2: Maybe try to do like a different voice so that.

854
00:33:31,520 --> 00:33:33,840
Speaker 3: You know, I just make him like so I know

855
00:33:34,040 --> 00:33:37,000
Speaker 3: that it's somebody new. Okay, he's got some dead weight.

856
00:33:37,640 --> 00:33:40,200
Speaker 1: You don't have to perform for, mister Hartoon.

857
00:33:40,480 --> 00:33:42,080
Speaker 5: Jos and my belly. Can we.

858
00:33:45,880 --> 00:33:47,160
Speaker 3: Really start to like you a lot?

859
00:33:47,680 --> 00:33:51,120
Speaker 1: He's not a dog, mister Hartoony and stop scratching.

860
00:33:50,680 --> 00:33:52,680
Speaker 5: Him, mister Hartoony, I can't sit on the weight bench

861
00:33:52,720 --> 00:33:54,600
Speaker 5: of her there. I don't want to sit on your lap.

862
00:33:54,680 --> 00:33:57,320
Speaker 1: Don't pat your knee, mister Hartoony. Let him sit where

863
00:33:57,320 --> 00:34:00,320
Speaker 1: he wants. Can we focus on the podcast? The most

864
00:34:00,360 --> 00:34:02,600
Speaker 1: important don't perform for him. The most important thing is

865
00:34:02,640 --> 00:34:02,840
Speaker 1: we do.

866
00:34:03,480 --> 00:34:05,720
Speaker 3: Just don't do for me, do for yourself so you

867
00:34:05,840 --> 00:34:07,160
Speaker 3: can define yourself here.

868
00:34:07,280 --> 00:34:10,239
Speaker 1: Okay, I think he's doing great. Can we do the

869
00:34:10,360 --> 00:34:10,799
Speaker 1: last scene?

870
00:34:10,880 --> 00:34:12,719
Speaker 5: Yeah, let's just seem perfect, all right?

871
00:34:13,200 --> 00:34:16,880
Speaker 2: Exterior tropical beach day. Captain Percy North Playing stands on

872
00:34:16,960 --> 00:34:19,960
Speaker 2: the sand, the passengers fanned out and the tableaux behind him.

873
00:34:20,320 --> 00:34:22,759
Speaker 2: Further back, the smoking wreckage of the Marrigold one oh

874
00:34:22,880 --> 00:34:25,719
Speaker 2: nine slowly sinks into the ocean, reverse on a dozen

875
00:34:25,800 --> 00:34:29,320
Speaker 2: or more natives and grass skirts, standing motionless, wielding spears.

876
00:34:29,880 --> 00:34:31,000
Speaker 1: I suppose this is the end.

877
00:34:31,080 --> 00:34:33,960
Speaker 2: Then a native bangs a drum twice. The group parts

878
00:34:34,040 --> 00:34:36,920
Speaker 2: to reveal Marjorie, also in a grass skirt, her hair

879
00:34:36,960 --> 00:34:38,400
Speaker 2: adorned with tropical flowers.

880
00:34:38,680 --> 00:34:40,200
Speaker 1: Marjorie, do you have the book?

881
00:34:40,520 --> 00:34:42,520
Speaker 2: Percy pulls it out of his suit coat. It has

882
00:34:42,560 --> 00:34:45,440
Speaker 2: a bullet stuck in it. Percy hands the book to Marjorie.

883
00:34:45,560 --> 00:34:47,920
Speaker 2: She opens it and holds it up. Through the bullet hole.

884
00:34:48,000 --> 00:34:50,120
Speaker 2: We see an exotic island bird standing in the water

885
00:34:50,200 --> 00:34:52,120
Speaker 2: that perfectly matches the picture on the page.

886
00:34:52,520 --> 00:34:56,120
Speaker 5: Colden, Christen Sapsucker, thank you for bringing this. It occurred

887
00:34:56,160 --> 00:34:58,040
Speaker 5: to me that seeing you might bring up some old feelings,

888
00:34:58,480 --> 00:34:58,759
Speaker 5: has it?

889
00:34:59,360 --> 00:34:59,560
Speaker 3: Yes?

890
00:35:00,400 --> 00:35:02,880
Speaker 2: Later, Percy and Marjorie walk together through the village.

891
00:35:03,160 --> 00:35:04,000
Speaker 1: Did you ever love me?

892
00:35:04,239 --> 00:35:04,960
Speaker 3: Of course I did?

893
00:35:05,360 --> 00:35:06,080
Speaker 1: Why'd you jump?

894
00:35:06,360 --> 00:35:08,240
Speaker 5: I needed time to beat just plane? Marjorie?

895
00:35:08,440 --> 00:35:10,440
Speaker 1: Do you still need time love me?

896
00:35:10,960 --> 00:35:12,799
Speaker 2: They arrive at the base of a large palm tree.

897
00:35:13,040 --> 00:35:14,200
Speaker 2: He looks up at the fronds.

898
00:35:14,880 --> 00:35:15,799
Speaker 1: Is that yes?

899
00:35:16,200 --> 00:35:18,640
Speaker 2: She looks down at the withered, potted palm he's holding.

900
00:35:19,000 --> 00:35:19,719
Speaker 3: What's wrong with it?

901
00:35:20,000 --> 00:35:22,200
Speaker 1: I've been pissing in it. There's a dog. Won't let

902
00:35:22,239 --> 00:35:23,880
Speaker 1: me go to the bathroom. It's a long story.

903
00:35:24,400 --> 00:35:25,560
Speaker 2: A rumble from the volcano.

904
00:35:26,000 --> 00:35:27,040
Speaker 5: That thing's gonna blow.

905
00:35:27,480 --> 00:35:29,440
Speaker 1: Our planes could put we still.

906
00:35:29,280 --> 00:35:31,600
Speaker 2: Have this one. The natives pull back some vines and

907
00:35:31,640 --> 00:35:34,560
Speaker 2: reveal the missing until now Marigold one oh eight.

908
00:35:35,120 --> 00:35:37,839
Speaker 1: Everyone on to the plane. Marjorie, I'm staying here.

909
00:35:38,360 --> 00:35:40,960
Speaker 2: They share a long, meaningful stare. Then Percy walks over

910
00:35:41,040 --> 00:35:43,480
Speaker 2: to the tree he digs a hole plants his tree.

911
00:35:43,800 --> 00:35:45,680
Speaker 2: He turns back to look at her. She smiles.

912
00:35:45,880 --> 00:35:46,640
Speaker 5: What does that mean?

913
00:35:46,920 --> 00:35:48,080
Speaker 2: It means he's staying too.

914
00:35:48,560 --> 00:35:49,800
Speaker 5: Who's gonna fly the bird?

915
00:35:50,160 --> 00:35:50,560
Speaker 1: He will?

916
00:35:50,800 --> 00:35:54,000
Speaker 2: We whippan to the young stowaway, who nods. Percy tosses

917
00:35:54,080 --> 00:35:56,560
Speaker 2: him a ring of brass airplane keys, his captain's hat,

918
00:35:56,600 --> 00:35:59,920
Speaker 2: and his captain's jacket. The stowaway lowers his aviator's goggle.

919
00:36:00,520 --> 00:36:03,359
Speaker 2: Marragold one to eight. Moments later, the young stowaway sits

920
00:36:03,360 --> 00:36:05,600
Speaker 2: in the cockpit as the passengers and natives dragged the

921
00:36:05,640 --> 00:36:08,040
Speaker 2: Marrygold one aweight up the volcano with ropes and vines.

922
00:36:08,280 --> 00:36:11,720
Speaker 2: The volcano shutters and shakes. In the cockpit, the young stowaway,

923
00:36:11,800 --> 00:36:14,719
Speaker 2: neatly dressed with aviator goggles, settled on the top of

924
00:36:14,760 --> 00:36:18,080
Speaker 2: his Homburg hat, expertly flips knobs and buttons. He looks

925
00:36:18,120 --> 00:36:20,520
Speaker 2: over to Adelaide, who's strapped into the co pilot's seat.

926
00:36:20,760 --> 00:36:23,120
Speaker 2: She lifts up her eye patch, kisses him on the cheek,

927
00:36:23,239 --> 00:36:27,240
Speaker 2: and puts it back down. Then boom, the eruption blasts

928
00:36:27,280 --> 00:36:29,640
Speaker 2: the Maragold like a rocket into the blue sky. The

929
00:36:29,760 --> 00:36:31,960
Speaker 2: engines sputter to life, as it buzzes up and down

930
00:36:32,120 --> 00:36:34,719
Speaker 2: and then finally away. Back on the beach, Percy and

931
00:36:34,760 --> 00:36:37,480
Speaker 2: Marjorie stand in front of their trees block pinkies as

932
00:36:37,560 --> 00:36:38,960
Speaker 2: the plane dips over the horizon.

933
00:36:42,280 --> 00:36:44,360
Speaker 5: Wow, Mark, you're.

934
00:36:45,680 --> 00:36:47,680
Speaker 2: Bomb what's up man?

935
00:36:48,440 --> 00:36:48,760
Speaker 1: Nothing?

936
00:36:48,960 --> 00:36:49,239
Speaker 2: I just.

937
00:36:51,840 --> 00:36:54,400
Speaker 1: I just I'm touched by the story.

938
00:36:55,880 --> 00:36:59,680
Speaker 5: Of your own screw emotional story because it just makes me.

939
00:37:03,000 --> 00:37:16,719
Speaker 3: This time tomorrow. It's so good.

940
00:37:17,120 --> 00:37:19,480
Speaker 2: Simon cal gives that singing two stars.

941
00:37:19,680 --> 00:37:22,719
Speaker 1: So good. Okay, No, Moore, note, I can't. I can't

942
00:37:22,760 --> 00:37:24,760
Speaker 1: do notes. I can't do notes.

943
00:37:25,200 --> 00:37:27,440
Speaker 2: What happened when Mallory jumped off the back of the

944
00:37:27,480 --> 00:37:29,200
Speaker 2: cruise ship? Why did she jump?

945
00:37:29,920 --> 00:37:32,319
Speaker 5: She didn't jump, She jumped jump.

946
00:37:33,200 --> 00:37:34,960
Speaker 2: What did you say to her before she jumps?

947
00:37:35,200 --> 00:37:38,479
Speaker 1: I was talking to her about Ora Boros. But that's

948
00:37:38,560 --> 00:37:40,120
Speaker 1: not why she jumped. She didn't.

949
00:37:40,520 --> 00:37:41,120
Speaker 2: She didn't.

950
00:37:41,360 --> 00:37:45,440
Speaker 1: She didn't. She got into a Metavac helicopter with an

951
00:37:45,480 --> 00:37:48,160
Speaker 1: EMT and then she flew off. She spelled it out

952
00:37:48,160 --> 00:37:48,800
Speaker 1: in her email.

953
00:37:49,160 --> 00:37:51,360
Speaker 3: She throw someone off the back. I didn't do.

954
00:37:51,560 --> 00:37:53,279
Speaker 1: I didn't throw anybody off the back.

955
00:37:53,400 --> 00:37:55,439
Speaker 3: This is my Did a body hit the water?

956
00:37:56,400 --> 00:37:58,960
Speaker 1: No? I thought that it did. That was the story.

957
00:37:59,040 --> 00:38:01,960
Speaker 1: But I just got an email from her. She's still

958
00:38:02,080 --> 00:38:03,960
Speaker 1: technically my wife might be dead.

959
00:38:03,800 --> 00:38:04,560
Speaker 3: And got hacked.

960
00:38:04,760 --> 00:38:05,520
Speaker 5: That's a good point.

961
00:38:05,600 --> 00:38:08,640
Speaker 3: That's a good point, got hacked. I cannot take just

962
00:38:08,680 --> 00:38:11,360
Speaker 3: getting emails from my grandma for years.

963
00:38:11,600 --> 00:38:14,000
Speaker 1: No, she has a photo of her with SHEMT.

964
00:38:14,360 --> 00:38:14,800
Speaker 2: Your grandma.

965
00:38:15,000 --> 00:38:15,520
Speaker 3: She's a lot.

966
00:38:15,760 --> 00:38:17,560
Speaker 2: Oh but she does an email?

967
00:38:17,719 --> 00:38:18,480
Speaker 3: Does an email?

968
00:38:18,719 --> 00:38:18,839
Speaker 1: Oh?

969
00:38:19,200 --> 00:38:20,680
Speaker 3: Just getting for years and years?

970
00:38:21,320 --> 00:38:22,520
Speaker 1: Thanks for following up with me.

971
00:38:22,680 --> 00:38:25,040
Speaker 3: Guys, did you reply to the email? You just thought

972
00:38:25,040 --> 00:38:27,480
Speaker 3: it was her for years? I was here for years,

973
00:38:27,520 --> 00:38:28,320
Speaker 3: but she was hacked.

974
00:38:28,520 --> 00:38:30,480
Speaker 5: Did you guys have a good relationship anyway?

975
00:38:30,640 --> 00:38:33,640
Speaker 3: My wife, the version of the hacker was way better

976
00:38:33,680 --> 00:38:35,120
Speaker 3: grandma than my grandma ever was.

977
00:38:35,200 --> 00:38:35,680
Speaker 5: That's sweet?

978
00:38:35,800 --> 00:38:37,960
Speaker 1: That was beautiful. She ran off with an EMT named

979
00:38:38,040 --> 00:38:38,760
Speaker 1: Darryl Spice.

980
00:38:39,160 --> 00:38:42,040
Speaker 2: Darryl Spice, Darryl Spice, the guy with the TV show

981
00:38:42,160 --> 00:38:43,080
Speaker 2: Miami Spice.

982
00:38:43,440 --> 00:38:46,520
Speaker 1: Yeah, I mean I know you didn't know you knew him,

983
00:38:46,560 --> 00:38:47,840
Speaker 1: but yeah, that's.

984
00:38:47,680 --> 00:38:51,160
Speaker 3: Him Reality TV EMT Darryl.

985
00:38:51,080 --> 00:38:53,480
Speaker 1: Spe Yeah, Reality EMT.

986
00:38:53,840 --> 00:38:54,680
Speaker 2: That's awesome show.

987
00:38:54,760 --> 00:38:57,040
Speaker 3: You got to seen that. What's good?

988
00:38:57,080 --> 00:38:57,759
Speaker 2: It's on all the.

989
00:38:57,760 --> 00:38:58,959
Speaker 1: Time, A spice of life.

990
00:38:59,080 --> 00:39:01,840
Speaker 2: It's like he's like the How but for like hunky ampts.

991
00:39:02,160 --> 00:39:05,080
Speaker 2: So in this script, you're actually State Senator Richard Jenkins.

992
00:39:05,360 --> 00:39:07,680
Speaker 1: Nobody is anybody in this script.

993
00:39:07,640 --> 00:39:10,920
Speaker 5: The whole time. I know North Plank, But that's god.

994
00:39:11,320 --> 00:39:12,440
Speaker 1: It's not my story.

995
00:39:12,600 --> 00:39:13,840
Speaker 5: It's Darryl Spice's story.

996
00:39:14,120 --> 00:39:18,160
Speaker 1: No, it's just story. No, it's not Darryl Spice's story.

997
00:39:18,239 --> 00:39:19,520
Speaker 3: If it is, he could come after you.

998
00:39:19,840 --> 00:39:21,799
Speaker 2: So wait, you're on the back of a cruise ship.

999
00:39:21,960 --> 00:39:24,960
Speaker 2: You're telling your dead wife about a screenplay that you

1000
00:39:25,080 --> 00:39:27,760
Speaker 2: want to write. She jumps, She didn't jump.

1001
00:39:28,160 --> 00:39:29,640
Speaker 3: So why did you say she jumped?

1002
00:39:29,640 --> 00:39:32,080
Speaker 1: Because I thought she jumped based on what she wrote

1003
00:39:32,120 --> 00:39:33,919
Speaker 1: a note that said I'm jumping.

1004
00:39:33,840 --> 00:39:35,920
Speaker 5: Jumping, she took the g off wait.

1005
00:39:37,480 --> 00:39:40,480
Speaker 2: Jumping, yeah, and she handed you the note said I'm jumping,

1006
00:39:40,520 --> 00:39:41,440
Speaker 2: and then did it. No.

1007
00:39:41,640 --> 00:39:43,799
Speaker 1: I woke up and she was gone, and she there

1008
00:39:43,920 --> 00:39:45,960
Speaker 1: was a note there that said I'm jumping, and so

1009
00:39:46,080 --> 00:39:47,880
Speaker 1: I went out and she was gone. It turns out

1010
00:39:47,920 --> 00:39:50,320
Speaker 1: she was on a Metavac helicopter with Darryl Spike.

1011
00:39:50,640 --> 00:39:53,880
Speaker 5: If there's no G in an apostrophe, she swing down.

1012
00:39:54,000 --> 00:39:58,919
Speaker 1: That means it's fun, means fun. Who maybe maybe that's

1013
00:39:58,960 --> 00:40:01,319
Speaker 1: what it meant. Maybe it just meant jumping, like I'm

1014
00:40:01,520 --> 00:40:02,240
Speaker 1: jumping out.

1015
00:40:02,200 --> 00:40:03,080
Speaker 2: You say the back.

1016
00:40:03,440 --> 00:40:07,760
Speaker 3: If she just said I'm jumping jump off the Yeah.

1017
00:40:07,840 --> 00:40:10,200
Speaker 1: Because I thought she jumped off the back? Like, where

1018
00:40:10,239 --> 00:40:11,880
Speaker 1: else are you gonna jump? I don't know where the

1019
00:40:11,880 --> 00:40:12,480
Speaker 1: fuck she went?

1020
00:40:12,840 --> 00:40:14,040
Speaker 3: Easier to die for the front.

1021
00:40:14,120 --> 00:40:16,799
Speaker 1: Where are you fucking hackling this man? Let him?

1022
00:40:16,840 --> 00:40:19,280
Speaker 5: He's my guest, that's true. If you're gonna jump.

1023
00:40:19,120 --> 00:40:21,279
Speaker 1: I'm me a grief party here, assholes.

1024
00:40:21,719 --> 00:40:25,320
Speaker 3: Hey, hey, asshole, I'm.

1025
00:40:25,239 --> 00:40:27,719
Speaker 1: Going through something emotional and you guys are jumping all

1026
00:40:27,760 --> 00:40:29,279
Speaker 1: over me about it? Not even dead?

1027
00:40:29,320 --> 00:40:30,120
Speaker 3: How's that emotional?

1028
00:40:30,280 --> 00:40:33,960
Speaker 1: Not because she's gone and she was gone for years.

1029
00:40:34,320 --> 00:40:36,640
Speaker 5: You're starting to piss him off? Right? Are you pissed?

1030
00:40:36,719 --> 00:40:36,879
Speaker 4: Yeah?

1031
00:40:36,880 --> 00:40:39,040
Speaker 3: I'm not mad at all, really not at all.

1032
00:40:39,400 --> 00:40:42,799
Speaker 2: I think this script as it stands now is going

1033
00:40:42,840 --> 00:40:44,719
Speaker 2: to be a pass from me. I think it needs

1034
00:40:44,760 --> 00:40:45,200
Speaker 2: more truth.

1035
00:40:46,400 --> 00:40:48,520
Speaker 5: Okay, Can I ask the question? Was the young stow

1036
00:40:48,520 --> 00:40:49,720
Speaker 5: away the old man at the beginning?

1037
00:40:50,080 --> 00:40:50,319
Speaker 1: Yes?

1038
00:40:50,880 --> 00:40:51,799
Speaker 5: Oh that's fun?

1039
00:40:52,120 --> 00:40:54,120
Speaker 1: Yeah, nice catch man? Good?

1040
00:40:54,520 --> 00:40:55,120
Speaker 2: Give it a five.

1041
00:40:55,440 --> 00:40:56,840
Speaker 1: It's a good movie. What do you give it?

1042
00:40:57,040 --> 00:40:59,120
Speaker 2: I'll give it a zero?

1043
00:41:00,239 --> 00:41:00,719
Speaker 1: What do you give it?

1044
00:41:01,360 --> 00:41:01,480
Speaker 4: Uh?

1045
00:41:01,920 --> 00:41:02,600
Speaker 3: Really enjoyed it?

1046
00:41:03,480 --> 00:41:07,840
Speaker 1: Twenty five? I think this is the one. No, why No,

1047
00:41:08,640 --> 00:41:10,760
Speaker 1: he's your guest? If he's part of the podcast.

1048
00:41:10,880 --> 00:41:12,120
Speaker 2: He can count I'm part of this.

1049
00:41:12,600 --> 00:41:16,279
Speaker 3: Well, I mean today you are wow, what days do

1050
00:41:16,480 --> 00:41:16,680
Speaker 3: do this?

1051
00:41:17,040 --> 00:41:18,120
Speaker 1: As standing Thursday?

1052
00:41:18,160 --> 00:41:18,719
Speaker 2: But it'd be great.

1053
00:41:19,440 --> 00:41:21,719
Speaker 5: Don't are you kicking me out of the podcast?

1054
00:41:21,800 --> 00:41:23,160
Speaker 2: Well, he said, you didn't do anything.

1055
00:41:23,600 --> 00:41:25,879
Speaker 3: I just don't know what he does. And I've done

1056
00:41:25,920 --> 00:41:27,960
Speaker 3: the whole time. I've been here the whole time. I'm

1057
00:41:27,960 --> 00:41:30,200
Speaker 3: still like, what the hell is this guy? Don't you

1058
00:41:30,280 --> 00:41:33,240
Speaker 3: know what he does? Him? Yeah, runs it, he doesn't

1059
00:41:33,360 --> 00:41:33,640
Speaker 3: run it.

1060
00:41:33,880 --> 00:41:36,120
Speaker 1: He did the stage direction. All right, Well, thank you,

1061
00:41:36,239 --> 00:41:37,879
Speaker 1: mister Hartunian for being here.

1062
00:41:38,280 --> 00:41:40,120
Speaker 5: I would like to take you to dinner, sir. Get

1063
00:41:40,160 --> 00:41:41,719
Speaker 5: to know you if you get to know me.

1064
00:41:42,120 --> 00:41:42,319
Speaker 3: Yeah.

1065
00:41:42,680 --> 00:41:47,560
Speaker 1: Well, until next time, it's lights, camera action, but for writing.