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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, and.

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Speaker 1: We are a team of Hollywood screenwriters who meet every

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

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

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Speaker 1: and at the end of the season, we're going to

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Speaker 1: pitch the best script for big time Hollywood producer Dutch Huxley,

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Speaker 1: who is dead.

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Speaker 2: There he is finally came around.

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Speaker 3: Well, you know what, truth shall shut you free.

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Speaker 1: The truth will shit your pants. And the thing is,

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Speaker 1: at first, when Greg told us that Dutch was dead,

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Speaker 1: I didn't believe it. I was in denial. I will

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Speaker 1: admit that. But now I'm happy to say that I've

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Speaker 1: done my research and I am out of denial. Dutch

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Speaker 1: is definitely dead.

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Speaker 3: And this has nothing to do with the fact that

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Speaker 3: you got Snopes checked.

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Speaker 1: Well, that's true. I posted my dutches a live theory

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Speaker 1: on Facebook and Snopes debunked it really quick.

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Speaker 2: Yeah.

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Speaker 1: But now, of course we're pivoting from trying to get

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Speaker 1: our script to Dutch to trying to pitch to the

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Speaker 1: air Apparent to Dutch's Empire, which is Dutch's son Duck.

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Speaker 2: And just to remind everyone, Duck is my friend and

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Speaker 2: my connection, and so now it seems.

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Speaker 1: Yep, can you sleep on his couch?

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Speaker 3: Ducks Ducks, I bet he's got a nice one.

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Speaker 2: Well he has, no, he's I don't want to he's

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Speaker 2: my friend. I don't want to abuse that relationship.

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Speaker 1: But you want to abuse this one.

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Speaker 2: It's well right now, it's the This is kind of

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Speaker 2: quid pro quo, Mark, I give you screenwriting advice. You

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Speaker 2: let me sleep on this piece of shit popas on

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Speaker 2: or whatever this thing is.

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Speaker 1: Who's giving who advice? Can we move on to new business?

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Speaker 2: You know what? Duck has a sunken couch. Have you

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Speaker 2: ever seen one of those? It's like a bed in

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Speaker 2: the floor.

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Speaker 3: Oh so cool to be rich.

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Speaker 2: New business. Brendan, you go first.

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Speaker 1: I'll do that part. Brendan, you go first.

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Speaker 3: Well is it Greg's podcast now, because no.

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Speaker 1: It's not. It's nobody's podcast. It's always been all of

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Speaker 1: our podcast. Just so happens that Greg does coke with

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Speaker 1: the guy that we're trying to get a script to.

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Speaker 2: Don't do coke anymore. We do other stuff. It's more interesting.

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Speaker 3: Oh, you're growing up.

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Speaker 2: We have a new drug that we're trying. It's like coke,

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Speaker 2: but it makes you interesting PEPSI huh, all right.

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Speaker 1: New business, new business.

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Speaker 3: Well, I guess everybody's probably buzzing about my Big Wonder audition,

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Speaker 3: the remake of Small Wonder.

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Speaker 2: Of course, how'd that go?

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Speaker 3: Well? I felt great in the room casting reached out

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Speaker 3: to my manager at A one Entertainment A Steak Sauce. No,

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Speaker 3: this is it has nothing to do with the steak sauce.

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Speaker 3: I don't think different department. I'm part of the B

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Speaker 3: two wing of A one Entertainment.

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Speaker 1: Uh, second tier talent.

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Speaker 2: Yeah, I'm looking it up now.

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Speaker 1: A one is.

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Speaker 2: Actually it seems like they represent mostly children.

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Speaker 3: Yeah, yeah, I kind of. I got in there when

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Speaker 3: I was in my twenties and I still look sixteen.

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Speaker 3: And you know, credit to my manager, Nan Plympton. She

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Speaker 3: never let me go. I really appreciate Nan. She's works

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Speaker 3: very hard for me, and she reached out to them.

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Speaker 3: They said audition went great, great, they said they were

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Speaker 3: big fans.

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Speaker 2: Okay, and never a good sign.

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Speaker 3: I haven't heard anything since. Yeah, so I made it's off.

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Speaker 3: God damn fucking shit.

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Speaker 1: Well you all know, hey, hey, hey, hey, hey hey,

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Speaker 1: Now listen, this is just today. Who knows what's gonna happen.

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Speaker 3: Big fans is what you say to somebody you don't

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Speaker 3: want to work with.

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Speaker 2: Yeah, that's kind of Hollywood code for thanks. But no,

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Speaker 2: it's just.

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Speaker 3: Insane because I had them laughing in the room, they

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Speaker 3: were rolling. The little fella they had reading with me

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Speaker 3: gave me no emotion, and I'm just blasting them with

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Speaker 3: these lines.

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Speaker 2: And I think you have say little person.

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Speaker 3: Now it's just a guy who works for. Okay, this

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Speaker 3: little guy who works for he's dying. But then out

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Speaker 3: of nowhere, they don't have me do the third scene.

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Speaker 3: I leave. I'm a little bit confused. Bus ride home,

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Speaker 3: Nan text me says, reached out to them, said you

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Speaker 3: did great, Big Fans, And now I'm you know, over

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Speaker 3: a week and a half later, still haven't heard anything.

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Speaker 3: So this town just exists to build you up and

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Speaker 3: then shit in your mouth and send it down the river,

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Speaker 3: said visceral image.

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Speaker 1: The strange metaphor all over that way.

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Speaker 3: I didn't want to be on that thing anyway. I mean,

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Speaker 3: reboots are ridiculed. Hollywood has no good new ideas. It's

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Speaker 3: all realized. I mean, small wonder that is the bottom

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Speaker 3: of the barrel.

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Speaker 1: We have some good ideas, and I want to tell

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Speaker 1: you something. I'm a big fan of yours. Okay, let's

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Speaker 1: do no, no, no, that's a I'm a fan. So I'm

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Speaker 1: a big fan. Why don't we get into Greg's new business.

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Speaker 1: And hopefully this script today will pick you up.

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Speaker 3: Because this is all I got, so please.

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Speaker 1: One of these is going straight to the top.

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Speaker 2: I have a great new business. I actually attended Dutches's funeral.

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Speaker 1: Whoa yes, How did you get into that? Well?

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Speaker 2: I pretended I was with catering, and then I just

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Speaker 2: kind of got in and then I ended up getting

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Speaker 2: up and saying a few words. What Yeah, it was great.

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Speaker 3: You you can't do that at Dutch's funeral.

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Speaker 2: Well, they kind of had an open mic, so I

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Speaker 2: got up there. I mean, everybody in Hollywood was there.

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Speaker 2: Some of the biggest names in Hollywood. You had Amazon's

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Speaker 2: Carter Diablo, you had Ricky Tusker from Warners, Wow, Warners. Yeah,

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Speaker 2: you had Fanny DeLong from Peacocks, and the who's who

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Speaker 2: of Hollywood was there. And I thought this could be

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Speaker 2: a perfect networking type of event.

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Speaker 3: And you showed up to a funeral to network.

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Speaker 1: Greg.

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Speaker 2: Look, guys, I'm not going to miss an opportunity to

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Speaker 2: get up and pitch.

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Speaker 1: Well, how did it go? It went?

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Speaker 3: You pitched at the funeral.

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Speaker 2: I pitched on Mike, and during your words, yeah you pitched,

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Speaker 2: I segued.

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Speaker 1: What did you pitch in the room at a Where

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Speaker 1: was it like a church?

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Speaker 2: It was at a synagogue?

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Speaker 1: Jeez, Louise, I think there's that's probably illegal.

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Speaker 2: I pitched cia vers FBI what that's my script? I know,

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Speaker 2: but it seemed like the perfect opportunity and I you know,

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Speaker 2: I've always liked that pitch.

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Speaker 1: Yeah, but that's my script.

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Speaker 2: This isn't the whole thing. To do this together? Mark,

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Speaker 2: who cares?

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Speaker 1: Right? Well, how did it go?

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Speaker 2: It went great. Everybody in the room was asking questions.

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Speaker 1: Hey, that's good.

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Speaker 2: Uh it was. It was a feeding frenzy.

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Speaker 3: They were asking questions in the funeral.

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Speaker 1: Yeah.

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Speaker 2: And then of course Jim mcmanahanan from Sony, is in

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Speaker 2: the back and I just got mcmana handled.

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Speaker 1: Yeah. Ah, this is wait. What did he do? Well?

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Speaker 2: He started asking all the wrong questions.

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Speaker 1: I've heard of this. They call this the mcmanahanan panic.

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Speaker 1: Did you panic?

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Speaker 2: I panicked?

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Speaker 3: Ah?

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Speaker 2: It was a nightmare. He asked me what the season

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Speaker 2: three arc was and I said, it's a feature.

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Speaker 1: How did the the room react?

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Speaker 2: Room didn't like it? The room totally turned on me

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Speaker 2: mcmanahand threw a stapler at me from his seat in

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Speaker 2: the back.

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Speaker 1: What.

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Speaker 3: Yeah, he brought a staple funeral.

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Speaker 1: This is he wanted to teach you a lesson. Yeah, stapler?

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Speaker 3: Yeah, I tried this thing, will never jam.

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Speaker 2: Wow. Yeah, that guy's a real rat fucker. Anyway, he

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Speaker 2: had everyone chanting hard pass by the end.

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Speaker 3: Oh, and whole room of people channing art pass a

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Speaker 3: second corpse in the room.

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Speaker 2: Yeah, good thing. I did get the phone number of

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Speaker 2: the widow Huxley. We're gonna have tea sometimes, madam?

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Speaker 1: Do you have tea?

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Speaker 2: Yeah?

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Speaker 1: Is that why you've been drinking all my tea?

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Speaker 2: Oh? Is this your? Yeah?

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Speaker 3: Oh that grs. Greg gave me some.

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Speaker 1: I'm sorry that's not his to give. But yes, you're

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Speaker 1: old Earl Gray.

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Speaker 3: Hey, that's a good stage name, you think, are you

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Speaker 3: guys a big fan of Earl Gray?

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Speaker 2: Huge fan?

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Speaker 3: Well that's fucking trash then, isn't it.

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Speaker 1: Why don't we get into the script, Greg, Why don't

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Speaker 1: you set this up? It's your week to shine.

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Speaker 2: Well, I'm so excited about the script that I wrote

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Speaker 2: this week because I was really thinking that my generation,

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Speaker 2: the millennials, needs I'm a millennial.

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Speaker 1: We're the same generation.

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Speaker 2: No, we're not. You guys have a millennial. No, you

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Speaker 2: guys are way older than me.

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Speaker 1: Really yeah? Two years older than you?

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Speaker 3: Yeah?

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Speaker 2: Well yeah, you might be two years older than me.

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Speaker 2: But generationally we're like, really far apart.

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Speaker 3: Am I a baby boomer?

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Speaker 1: I don't think so. I don't think we're far apart anyway.

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Speaker 2: I think my generation, the millennials, needed our movie. Do

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Speaker 2: you know what I mean?

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Speaker 1: But You're coming of age tail?

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Speaker 2: Yeah, just the movie of my generation.

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Speaker 1: Okay, what was my generation's coming of age?

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Speaker 3: I mean we all had Garden State?

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Speaker 2: Right, yeah? And look where you guys got, well, you

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Speaker 2: had it too.

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Speaker 3: Where did we get Garden State? Was also yours?

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Speaker 2: No? I didn't understand most of what was happening in

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Speaker 2: Garden State. You guys had Zach Barf. I need my.

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Speaker 3: I don't think it's Zach Barf? Is it?

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Speaker 1: Are you saying you're the Zach Barf of your generation?

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Speaker 2: And I'm trying to give my generation a movie that

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Speaker 2: Zach Barf didn't deliver for his generation.

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Speaker 3: Zachly, Yeah it does.

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Speaker 1: He didn't deliver. But you're saying, you're saying that that's

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Speaker 1: my generation's coming of age movie, and he didn't deliver.

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Speaker 2: No, and so I need to deliver from my generation.

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Speaker 2: If that makes sense. I need to take the mantle

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Speaker 2: for my generation.

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Speaker 1: I still think we're the same generation.

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Speaker 2: No, you guys were like old enough to be firefighters

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Speaker 2: at nine to eleven. I had my little baby hands

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Speaker 2: like gripping the tea.

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Speaker 1: I remember younger than me.

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Speaker 2: I remember looking at the television screen and going, like,

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Speaker 2: what happened?

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Speaker 1: You couldn't talk at age twenty?

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Speaker 3: Hold on, you're telling me why why couldn't you talk?

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Speaker 1: At twenty?

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Speaker 2: I was watching as the horror. I was crying. Everybody

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Speaker 2: around me was saying, what everything's changed now? Going, I

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Speaker 2: don't know.

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Speaker 1: You use the phrase what happened at twenty?

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Speaker 3: I was just going, why can I say something two

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Speaker 3: years later? Your little baby hands could hold a fire hose,

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Speaker 3: Because that's the difference. Right now, you're saying we were

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Speaker 3: firefighting men.

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Speaker 2: If you were obeying, it was a sad day in

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Speaker 2: my young mind. That forever, everything from that point on,

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Speaker 2: like my generation was crushed by that, but in a

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Speaker 2: totally different way than your generation.

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Speaker 3: I feel like, okay, okay, sure, maybe I am old.

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Speaker 3: Maybe that's why I didn't get a callback.

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Speaker 1: Well, you're playing an old guy for Big Wonder.

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Speaker 2: When you guys were coming up, you could buy a

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Speaker 2: house for thirteen thousand dollars?

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Speaker 1: What we could what?

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Speaker 4: I should have been all over that.

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Speaker 1: I didn't have thirteen thousand dollars on nine to eleven.

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Speaker 2: Yeah, probably because you weren't a firefighter.

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Speaker 3: Why did I fucking tour Florida for a year?

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Speaker 2: You did?

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Speaker 1: Did?

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Speaker 2: Yeah?

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Speaker 4: As what?

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Speaker 1: Oh, it's the worst state in the Union.

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Speaker 3: Well, I just wanted to kind of take a vacation.

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Speaker 3: Could it afford Europe? Apparently I could have afforded a house.

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Speaker 1: But Florida is not the Europe of America.

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Speaker 3: No, it is not.

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Speaker 1: It is not.

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Speaker 2: What were you touring Florida? As?

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Speaker 3: I just went up and down?

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Speaker 2: Oh, you weren't doing it as a job.

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Speaker 3: You America's dick.

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Speaker 1: Yeah, I guess it, up and down America's dick.

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Speaker 2: Anyway, let's get into this script because I'm so excited

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Speaker 2: to give a movie to my generation, and this is.

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Speaker 2: This movie is called The Boy, The Girl and Leopold.

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Speaker 1: Ooh intrigue, can't wait to meet Leopold.

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Speaker 2: Yeah, it's kind of an indie generational movie in the

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Speaker 2: spirit of a Garden State, but not like Zach Barf

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Speaker 2: would do it. So here's the plot. When aspiring young

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Speaker 2: artist Graham Hash moves to Chicago, he falls in love

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Speaker 2: and finds himself over three weeks and two thousand and seven,

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Speaker 2: finds himself where he finds himself, and he's in Chicago.

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Speaker 2: But he finds himself in Chicago, and it all takes

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Speaker 2: place in the.

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Speaker 1: Shadow of conscious Was he unconscious?

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Speaker 2: I was a little bit because I was so young.

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Speaker 1: Then oh this is you?

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Speaker 3: Are you Graham?

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Speaker 2: Well, it's based on my experiences for sure.

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Speaker 1: Oh okay.

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Speaker 2: And it all takes place in the shadow of the

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Speaker 2: greatest financial crisis our country's ever seen, and tragedy worse

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Speaker 2: than nine to eleven.

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Speaker 3: I think we got to stop talking about that.

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Speaker 1: Learning something here. I thought nine to eleven was worse.

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Speaker 1: All right, set it up here we are where do

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Speaker 1: we dive in?

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Speaker 2: Okay? So the Boy the Girl. In the first scene

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Speaker 2: we meet Graham, he's twenty eight, he's attractive. He works

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Speaker 2: at group on, he likes IPA's, he has shaggy hair,

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Speaker 2: He wears those snap buttoned cowboy shirts. He rides a bike.

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Speaker 2: He listens to Modest Mouse.

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Speaker 3: It's definitely you.

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Speaker 2: Okay, he doesn't know who he is yet, but that

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Speaker 2: is all going to change. And when we meet him

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Speaker 2: at the start of this film, and this is a film,

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Speaker 2: not a movie. He's on this terrible date and he

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Speaker 2: escapes through a bathroom window. But he's about to meet

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Speaker 2: the girl who's going to change everything. All right, So

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Speaker 2: let's pick up on page Let's see, let's do a

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Speaker 2: scene from page three. Okay, So Mark, why don't you

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Speaker 2: read the stage directions? And Brendan, why don't you read

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Speaker 2: the part of Imagen?

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Speaker 1: Oh okay, all right, and you'll be graand oh yeah.

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Speaker 3: Of course he use my sexiest lady voice.

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Speaker 2: Just read it normal, all.

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Speaker 3: Right, Page three, saying apple lady voice.

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Speaker 2: Yeah, just read it in your normal lady voice.

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Speaker 3: Oh all right.

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Speaker 1: Page three, exterior bar night. Graham falls out of the

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Speaker 1: first story window into a snow drift, the sound of

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Speaker 1: a woman laughing. He looks up to see Imogen Wiley

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Speaker 1: twenty one, quirky in that really attractive way. Razorcut bangs

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Speaker 1: frame a flawless face with the exception of a gap

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Speaker 1: in her teeth that is more cute than anything. She

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Speaker 1: wears a Greek fisherman's cap with a down parka and

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Speaker 1: smokes a hand rolled cigarette in her other hand, A

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Speaker 1: heartbreaking work of staggering genius by Dave Eggers.

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Speaker 3: Let me guess, bad date or did you just not

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Speaker 3: want to pay your tab?

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Speaker 1: Graham stands, brushing the snow off his clothes.

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Speaker 2: Bad date? Oh shit, I left my debit card in there.

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Speaker 2: You're weird, uh, says the person who's reading in the

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Speaker 2: cold and the dark.

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Speaker 3: You think that's weird?

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Speaker 1: Watch the image and scrunches up her face, crosses her

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Speaker 1: eyes and makes weird noises.

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Speaker 2: We'll do it like cute though, Yeah, okay, what are

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Speaker 2: you doing?

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Speaker 3: I do stuff like that all the time. I don't

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Speaker 3: know why. I just like it.

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Speaker 1: Graham smiles.

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Speaker 2: I'm Graham.

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Speaker 3: Huh. You should pronounce it Graham like they do in London.

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Speaker 2: What's your name?

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Speaker 3: Wouldn't you like to know?

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Speaker 1: She puts out her cigarette, swings a leg over her

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Speaker 1: fixed gear bicycle.

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Speaker 2: Wait, we just met. Where are you going?

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Speaker 3: I have a gig see you window boy.

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Speaker 2: Wait, what's your name?

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Speaker 1: Calls over her shoulder, image and then she sticks out

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Speaker 1: her tongue and disappears around the corner. Graham watches her

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Speaker 1: go with a mix of thrill and confusion on his face.

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Speaker 1: Imagen and scene. Okay, that's interesting.

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Speaker 4: That's cool.

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Speaker 3: That was a very me cute.

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Speaker 1: Yeah they meet cute, so Graham and sort of the

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Speaker 1: manic pixie dream girl.

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Speaker 3: Uh.

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Speaker 2: I wouldn't call her that. I would say she's a

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Speaker 2: well rounded female character with lots of different feelings and emotions.

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Speaker 1: He was stunning, but she's I mean, she's a she

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Speaker 1: fits the mold. She's a manic pixie dream girl.

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Speaker 2: Mark. This is based on real people that I actually dated.

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Speaker 1: It's not a knock, but it's it's a movie trope.

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Speaker 1: I mean, that's that's what you're setting up here.

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Speaker 3: I'll say I was sort of cute.

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Speaker 1: I was in her skin.

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Speaker 3: I didn't feel manic, Okay, I felt beautiful.

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Speaker 2: Yeah, And this is actually four girls I dated, all

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Speaker 2: sort of wrapped into one. Wow.

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Speaker 1: So what does Graham say to the other girl that

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Speaker 1: he ditched at the bar?

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Speaker 2: What does he Yeah, what does he say to her?

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Speaker 1: Yeah? So he I mean the poor girl?

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Speaker 2: She?

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Speaker 1: I mean, does she think he's dead? Like, what's her situation?

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Speaker 2: Who cares?

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Speaker 1: Cares? Person that he ditched? Did you do that in

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Speaker 1: real life?

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Speaker 2: Yes?

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Speaker 1: What did the did you ever see the person again?

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Speaker 2: Is somebody who worked with well, the good thing back then?

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Speaker 2: You probably too old to remember this, but back then,

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Speaker 2: when we were dating in Chicago, you just kind of

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Speaker 2: would climb out of windows.

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Speaker 3: I had that happen to me a lot.

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Speaker 1: Well, I don't remember that. Why don't we move on

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Speaker 1: to what's the next scene you want to share? Well?

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Speaker 2: The next scene is this is kind of where their

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Speaker 2: relationship really starts to blossom, and Imagen becomes just even

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Speaker 2: more interesting and well.

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Speaker 3: Rounded more interesting.

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Speaker 1: Okay, which page.

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Speaker 2: Let's go to page thirty one?

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Speaker 1: Here thirty one, all right, Page thirty one. Exterior Chicago

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Speaker 1: Theater night. Imagen and Graham slowly walk down the quiet

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Speaker 1: city street.

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Speaker 3: I'm bored.

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Speaker 2: Let's go find something fun. But it's eleven thirty. The

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Speaker 2: city is dead.

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Speaker 3: Not my city.

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Speaker 1: Arcade fires, keep the car running, swells exterior street night.

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Speaker 1: Imagen pushes Graham through a gap in a metallic gate.

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Speaker 2: Come on, window boy, She pulls.

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Speaker 1: Them down a dark tunnel. The exit of the tunnel

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Speaker 1: to exterior center Field, Wrigley Field, Graham is in awe

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Speaker 1: tag You're it? They laugh and chase each other around

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Speaker 1: the field.

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Speaker 2: Who are You?

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00:15:49,160 --> 00:15:52,600
Speaker 1: Cut to interior Tattoo Parlor. Imagen and Graham hold up

401
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Speaker 1: their forearms to reveal identical tattoos of half an avocado.

402
00:15:56,480 --> 00:15:59,280
Speaker 1: They put their arms together and make a whole avocado?

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Speaker 3: Where did you?

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Speaker 2: Home? Front?

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Speaker 1: Image and crosses her eyes and mocks Cut two interior

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Speaker 1: Thai restaurant. Graham shovels some noodles into his face and

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Speaker 1: gives a satisfying groan.

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00:16:09,480 --> 00:16:12,160
Speaker 3: It's called chicken pad type, and beats a hot dog

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Speaker 3: and a hamburger.

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00:16:13,000 --> 00:16:15,240
Speaker 1: She makes a funny noise and crosses her eyes and

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Speaker 1: picks her nose. Graham smiles.

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Speaker 2: What is happening?

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00:16:18,000 --> 00:16:21,040
Speaker 1: Interior bedroom night? Graham and Image and make love in

414
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Speaker 1: the missionary position, staring into each other's eyes.

415
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Speaker 3: Now it's mind turn.

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Speaker 1: Cut two Imagen behind Graham as she pegs them, both

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Speaker 1: of them in ecstasy. Who you Exterior Kinsey Street Bridge, Sunrise.

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Speaker 1: Graham and Leopold Ooh, their Imagen's differently abled friend, share

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Speaker 1: a cigarette as they watch Imagen walk along the railing

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Speaker 1: of the bridge like a balance beam. Whoa, whoa, take

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Speaker 1: care of her. Okay, she deserves all happiness in the world.

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00:16:50,480 --> 00:16:53,200
Speaker 1: Were friends of image and are an odd bunch. We

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Speaker 1: have a broken toys and she fixed this. But when

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Speaker 1: you're the toymaker who puts you back together, you know.

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00:17:00,080 --> 00:17:02,880
Speaker 2: Could you do that? But like it, says British accent,

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Speaker 2: but not like a drunk guy in a pub who

427
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Speaker 2: got hit in the head with an anvil.

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Speaker 3: He says he's differently able. Is it because he's British?

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Speaker 1: Well that's I don't know, that's that's that's pretty spot

430
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Speaker 1: on British accent.

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00:17:12,880 --> 00:17:14,760
Speaker 2: Just like a little bit more. You know, he went

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Speaker 2: to Cambridge, he's got you know, a bit posh.

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00:17:17,080 --> 00:17:20,160
Speaker 1: I want an accent competition in college, So I feel

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Speaker 1: like that's pretty spot on.

435
00:17:21,600 --> 00:17:23,280
Speaker 2: But you want an accent competition?

436
00:17:23,400 --> 00:17:25,760
Speaker 1: Yeah, there was at a bar. They had a contest

437
00:17:25,800 --> 00:17:26,200
Speaker 1: to see.

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00:17:26,880 --> 00:17:30,040
Speaker 2: Anymore a bar accent competition. Wasn't It wasn't like a

439
00:17:30,080 --> 00:17:30,960
Speaker 2: scholastic thing.

440
00:17:31,160 --> 00:17:34,560
Speaker 1: No, oh yeah, but what's wrong with that? Okay, bar

441
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Speaker 1: accent competition?

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Speaker 2: Okay, competition, we'll change it. So just a little bit

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Speaker 2: more posh.

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Speaker 1: Please take care of Okay, she deserves all the happiness

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Speaker 1: in the world.

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Speaker 2: That's exactly the same.

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Speaker 1: Why is it the same tongue? That's how they talk, man, Yeah,

448
00:17:49,119 --> 00:17:51,400
Speaker 1: they do that. Take out you know what.

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Speaker 2: Just make him American, just straight up the middle.

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Speaker 1: That's how they talk. Man. I spent six months in Kent.

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Speaker 2: Please just make him from the Midwest, straight up the middle.

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Speaker 1: Fie Walter, take care of her. Okay, she deserves all

453
00:18:06,640 --> 00:18:09,280
Speaker 1: the happiness in the world. We friends of Imagen are

454
00:18:09,320 --> 00:18:10,399
Speaker 1: an odd bunch. You know.

455
00:18:11,280 --> 00:18:13,720
Speaker 3: We were broken toys and she fixed us.

456
00:18:14,720 --> 00:18:18,320
Speaker 1: But when you're the toymaker who puts you back together,

457
00:18:19,359 --> 00:18:20,960
Speaker 1: Imagen slips and falls.

458
00:18:21,280 --> 00:18:22,400
Speaker 2: Well, Imagen.

459
00:18:22,680 --> 00:18:25,600
Speaker 1: Graham rushes to the railing. Imagen pops her head up

460
00:18:25,680 --> 00:18:31,840
Speaker 1: and giggles, gotcha. She presses his nose. Come on, interior group.

461
00:18:31,880 --> 00:18:34,919
Speaker 1: On conference room, Graham sleeps through a team meeting. His

462
00:18:35,040 --> 00:18:38,760
Speaker 1: boss shouts at him to wake up Graham. Graham slowly

463
00:18:38,800 --> 00:18:40,000
Speaker 1: opens his eyes.

464
00:18:40,240 --> 00:18:43,320
Speaker 3: And he thoughts on using global e commerce to connect

465
00:18:43,320 --> 00:18:47,480
Speaker 3: subscribers with local merchants by offering activities, travels, goods, and services.

466
00:18:47,560 --> 00:18:50,879
Speaker 1: Graham looks around at the vaguely annoyed faces of his colleagues,

467
00:18:51,200 --> 00:18:52,760
Speaker 1: what the hell they want him to say?

468
00:18:53,680 --> 00:18:59,080
Speaker 2: Uh? Dr, excuse me DR.

469
00:18:59,480 --> 00:19:03,399
Speaker 5: A few people laugh, uncomfortable, Graham, what the hell don't

470
00:19:03,440 --> 00:19:04,040
Speaker 5: you get it?

471
00:19:04,400 --> 00:19:05,720
Speaker 2: You're doing it all wrong?

472
00:19:06,040 --> 00:19:08,000
Speaker 3: And what exactly are we doing wrong?

473
00:19:08,119 --> 00:19:10,600
Speaker 2: Graham Life, You're a bunch of thirty and thirty one

474
00:19:10,680 --> 00:19:13,439
Speaker 2: year olds doing it all wrong. I'm twenty eight and

475
00:19:13,480 --> 00:19:15,720
Speaker 2: I'm doing it right. You guys, with your ping pong

476
00:19:15,760 --> 00:19:18,119
Speaker 2: tables and your IPA's, you think you're so cool, But

477
00:19:18,200 --> 00:19:20,240
Speaker 2: I just got butt fucked by my dream girl to

478
00:19:20,280 --> 00:19:23,600
Speaker 2: an Arcade fire song last night. Saw this.

479
00:19:25,520 --> 00:19:26,119
Speaker 3: Doesn't matter.

480
00:19:27,600 --> 00:19:32,800
Speaker 2: I quit. Oh and one, we're thinking, let's pronounce Graham.

481
00:19:33,440 --> 00:19:38,320
Speaker 1: He presses his boss's nose. Meep, morp, he shoe wheey

482
00:19:38,440 --> 00:19:42,040
Speaker 1: skates away. The team remains behind, silent, each wishing they

483
00:19:42,040 --> 00:19:50,480
Speaker 1: could be Graham. WHOA, Okay, so you and Graham have

484
00:19:50,560 --> 00:19:51,959
Speaker 1: the same avocado tattoo?

485
00:19:52,119 --> 00:19:53,080
Speaker 2: Yeah, isn't that cool?

486
00:19:53,160 --> 00:19:53,280
Speaker 3: Oh?

487
00:19:53,359 --> 00:19:53,560
Speaker 1: Wow?

488
00:19:53,680 --> 00:19:55,959
Speaker 3: Wait? Does this mean there's four girls out there with

489
00:19:56,000 --> 00:19:57,080
Speaker 3: avocado tattoos?

490
00:19:57,200 --> 00:19:59,440
Speaker 2: Yeah? I guess it does mean there's two and a

491
00:19:59,520 --> 00:20:02,800
Speaker 2: half of Locado's out there. Two and a half, well,

492
00:20:02,840 --> 00:20:04,359
Speaker 2: the four girls plus my half.

493
00:20:04,520 --> 00:20:05,040
Speaker 5: Ah.

494
00:20:05,280 --> 00:20:09,080
Speaker 1: Okay, yeah, so I have some questions about Leopold. We

495
00:20:09,160 --> 00:20:12,560
Speaker 1: meet him on page thirty one, and yeah, do we

496
00:20:12,640 --> 00:20:13,359
Speaker 1: see him again?

497
00:20:13,920 --> 00:20:14,160
Speaker 2: No?

498
00:20:14,680 --> 00:20:17,040
Speaker 1: And why? I know you guys had some problems with

499
00:20:17,080 --> 00:20:19,760
Speaker 1: my spot on British accent, But why is he British?

500
00:20:19,760 --> 00:20:21,280
Speaker 2: I think I'm going to change that after you read

501
00:20:21,280 --> 00:20:22,200
Speaker 2: it in a British accent.

502
00:20:22,280 --> 00:20:24,359
Speaker 1: But you had a reason to make him British the

503
00:20:24,400 --> 00:20:24,880
Speaker 1: first time.

504
00:20:24,960 --> 00:20:26,840
Speaker 2: Well, originally I thought I would have an actor that

505
00:20:26,880 --> 00:20:28,680
Speaker 2: could read it in a British accent, but now there's

506
00:20:28,720 --> 00:20:29,280
Speaker 2: just no way.

507
00:20:29,400 --> 00:20:32,440
Speaker 1: Well, I'm not an actor. I'm I'm a writer, clearly. Okay,

508
00:20:32,560 --> 00:20:35,439
Speaker 1: Well show me the accent you think it should be.

509
00:20:36,280 --> 00:20:40,560
Speaker 2: We friends of image and broken toys, so like New England.

510
00:20:41,080 --> 00:20:42,879
Speaker 3: That's that's England and England.

511
00:20:42,880 --> 00:20:45,680
Speaker 2: To me, we friends of image and not broken toys.

512
00:20:46,040 --> 00:20:46,800
Speaker 3: Take care of her?

513
00:20:47,160 --> 00:20:51,160
Speaker 1: Oh like that, take care of her, Oh like take

514
00:20:51,200 --> 00:20:56,880
Speaker 1: care of her, take care got scarvy outs? See right,

515
00:20:56,920 --> 00:20:57,960
Speaker 1: But that's how you did it.

516
00:20:58,160 --> 00:21:00,160
Speaker 3: No, I didn't, I said, like Greg.

517
00:21:00,480 --> 00:21:01,800
Speaker 2: No, I don't think Jay.

518
00:21:02,280 --> 00:21:03,680
Speaker 1: Okay, are you.

519
00:21:03,600 --> 00:21:05,399
Speaker 2: Guys too old to do a British accent?

520
00:21:06,840 --> 00:21:08,879
Speaker 1: British accents are the oldest accents.

521
00:21:08,920 --> 00:21:11,520
Speaker 2: Well, in my generation, we think of British accents in

522
00:21:11,560 --> 00:21:13,200
Speaker 2: like a more pashway. But you guys are kind of

523
00:21:13,200 --> 00:21:14,800
Speaker 2: thinking of it in the old British way. And that's

524
00:21:14,840 --> 00:21:17,400
Speaker 2: just because that again, this is a movie for my generation.

525
00:21:17,560 --> 00:21:18,520
Speaker 2: It's not really for you.

526
00:21:18,800 --> 00:21:21,800
Speaker 1: Yeah, I don't really feel an ancient man.

527
00:21:21,840 --> 00:21:22,880
Speaker 3: Every time you say that.

528
00:21:23,280 --> 00:21:25,560
Speaker 1: I had it. In the script you said I'm twenty eight.

529
00:21:25,600 --> 00:21:26,639
Speaker 1: You guys are thirty.

530
00:21:26,960 --> 00:21:30,240
Speaker 2: Yeah, yeah, eight thirty is like there, But did you

531
00:21:30,359 --> 00:21:32,639
Speaker 2: listen to it? I mean, it's clear that the generational

532
00:21:32,720 --> 00:21:34,040
Speaker 2: gap is huge.

533
00:21:34,440 --> 00:21:36,640
Speaker 1: You've set up a generational gap. I don't know the day.

534
00:21:36,720 --> 00:21:39,520
Speaker 3: Can I ask you guys and ask question. George's character

535
00:21:39,560 --> 00:21:42,159
Speaker 3: description in Big Wonder he was thirty five. Do I

536
00:21:42,160 --> 00:21:45,160
Speaker 3: look thirty five? Oh the fuck? That's why I didn't

537
00:21:45,200 --> 00:21:45,479
Speaker 3: get it.

538
00:21:45,520 --> 00:21:47,960
Speaker 1: At least thirty five. I think it's good man. That's

539
00:21:47,960 --> 00:21:49,439
Speaker 1: when you're window.

540
00:21:50,280 --> 00:21:52,120
Speaker 3: I look like I'm at least thirty five years old.

541
00:21:52,160 --> 00:21:54,399
Speaker 2: Sure, maybe there will be a spin off called Old Wonder.

542
00:21:56,000 --> 00:21:57,360
Speaker 3: I don't have time to wait for that.

543
00:21:57,880 --> 00:22:00,560
Speaker 1: Can we move on? Let's jump to the scene.

544
00:22:00,600 --> 00:22:03,240
Speaker 2: Okay, great, page seventy five, So I think you guys

545
00:22:03,240 --> 00:22:05,399
Speaker 2: are really gonna like this next scene. This is a

546
00:22:05,440 --> 00:22:09,480
Speaker 2: scene where Graham and Imagen are you know they're they've

547
00:22:09,480 --> 00:22:12,840
Speaker 2: had a falling out because Graham is jealous because Imagen

548
00:22:12,960 --> 00:22:16,719
Speaker 2: still is playing music with her ex boyfriend Samir and

549
00:22:16,840 --> 00:22:19,159
Speaker 2: they have a big gig at Uncommon Ground and Graham

550
00:22:19,280 --> 00:22:22,440
Speaker 2: refuses to go. So he's walking sadly through Lincoln Park

551
00:22:22,520 --> 00:22:25,720
Speaker 2: and that's when he sees Samir playing music with another

552
00:22:25,760 --> 00:22:28,800
Speaker 2: girl inside of Pop Belly sandwich shop and he goes

553
00:22:28,840 --> 00:22:31,560
Speaker 2: in and he confronts him and he's like, hey, fucker,

554
00:22:32,040 --> 00:22:36,320
Speaker 2: you have a gig tonight, and Samir's like, yeah, well,

555
00:22:36,720 --> 00:22:40,600
Speaker 2: another opportunity came up. And when Graham finds out that

556
00:22:40,680 --> 00:22:44,560
Speaker 2: he is basically bailed on Imagen, he says, you know,

557
00:22:44,640 --> 00:22:47,600
Speaker 2: you sort of a bitch, and he slaps Samir in

558
00:22:47,640 --> 00:22:49,440
Speaker 2: the nose, and you know, Samir is going.

559
00:22:49,280 --> 00:22:51,760
Speaker 4: Like, this is my singing nose. Man.

560
00:22:52,080 --> 00:22:54,400
Speaker 1: You know, it's like one of those things like slaps

561
00:22:54,400 --> 00:22:55,280
Speaker 1: the tip of his nose.

562
00:22:55,320 --> 00:22:58,200
Speaker 2: It like slaps his nose. You know those scenes where

563
00:22:58,240 --> 00:23:02,280
Speaker 2: someone gets slapped slapped or punchs in the and they're like, man.

564
00:23:02,520 --> 00:23:05,120
Speaker 1: Right, but like the voice, the physics of it work,

565
00:23:05,240 --> 00:23:07,320
Speaker 1: like the tip of his finger hits the.

566
00:23:07,240 --> 00:23:10,080
Speaker 2: Nose, slaps him in the open hand slaps him in

567
00:23:10,080 --> 00:23:13,760
Speaker 2: the nose, his nose like Samir's nose huge.

568
00:23:13,960 --> 00:23:16,000
Speaker 1: Well, okay, that might make some sense.

569
00:23:16,200 --> 00:23:20,120
Speaker 2: And there's blood gushing everywhere. Slaps Samir's big old nose

570
00:23:20,160 --> 00:23:21,879
Speaker 2: and a popelly and it just explodes him. But and

571
00:23:21,920 --> 00:23:29,440
Speaker 2: he's like And Graham takes off on foot, races uptown

572
00:23:29,640 --> 00:23:33,359
Speaker 2: to rescue Imogen, and this is where he's really going

573
00:23:33,440 --> 00:23:35,680
Speaker 2: to prove himself that he's her rider. Die you know

574
00:23:35,720 --> 00:23:36,080
Speaker 2: what I mean?

575
00:23:36,400 --> 00:23:37,520
Speaker 1: Did he get blood on him?

576
00:23:37,640 --> 00:23:40,760
Speaker 2: Oh, Graham's covered in blood? Oh wow, you know, just

577
00:23:40,800 --> 00:23:43,119
Speaker 2: on the shirt though, like a you're okay, no, how

578
00:23:43,200 --> 00:23:45,600
Speaker 2: much blood? Samir is not okay. Well, we find out

579
00:23:45,680 --> 00:23:47,960
Speaker 2: later Samir was hemophiliac and he bleeds.

580
00:23:47,640 --> 00:23:51,040
Speaker 1: Oh my god, bleeds out. So Graham ditches a girl

581
00:23:51,040 --> 00:23:52,760
Speaker 1: at a bar, kills Samir.

582
00:23:52,880 --> 00:23:54,080
Speaker 2: Well, he doesn't kill him.

583
00:23:54,160 --> 00:23:57,160
Speaker 1: He assaulted him and he's dead and he bleeds out.

584
00:23:57,200 --> 00:23:58,840
Speaker 2: I think his own blood killed the mark.

585
00:23:59,240 --> 00:24:02,040
Speaker 1: So a boyfriend because of the cause and effect from

586
00:24:02,080 --> 00:24:03,480
Speaker 1: the slat.

587
00:24:03,119 --> 00:24:04,520
Speaker 2: Well, he could have run into a door and the

588
00:24:04,520 --> 00:24:06,200
Speaker 2: same thing would have happened, sure.

589
00:24:05,960 --> 00:24:07,240
Speaker 1: But that's not what happened.

590
00:24:07,280 --> 00:24:10,520
Speaker 3: So an old boyfriend dies, but we never see Leopoldigan.

591
00:24:10,800 --> 00:24:12,600
Speaker 3: No in Leopold's names in the title.

592
00:24:12,880 --> 00:24:25,040
Speaker 2: Yeah, okay, so let's go to page seventy five.

593
00:24:25,400 --> 00:24:28,119
Speaker 1: That's great, all right, let's get into it. Page seventy

594
00:24:28,119 --> 00:24:32,960
Speaker 1: five interior, uncommon ground coffee house night a bohemian cafe.

595
00:24:33,320 --> 00:24:36,439
Speaker 1: The crowd applauds as the host takes the mic. Okay,

596
00:24:36,480 --> 00:24:39,680
Speaker 1: folks are final act for the open mic competition. Please welcome,

597
00:24:39,760 --> 00:24:43,760
Speaker 1: friends of the President. Imagen walks on stage, ukulele in hand.

598
00:24:43,840 --> 00:24:46,400
Speaker 1: She gives one final look to the door for her bandmate.

599
00:24:46,720 --> 00:24:51,320
Speaker 3: Then, Hi, I'm imaged. So normally I seing this with

600
00:24:51,359 --> 00:24:55,160
Speaker 3: my Danny's here, but I guess sometimes people don't show

601
00:24:55,240 --> 00:24:55,520
Speaker 3: up for you.

602
00:24:55,640 --> 00:24:58,879
Speaker 1: Right, murmurs of acknowledgment from the crowd. They know this

603
00:24:58,960 --> 00:25:00,240
Speaker 1: is deeply true.

604
00:25:00,680 --> 00:25:03,240
Speaker 3: Here's nothing, this is something that I wrote.

605
00:25:03,520 --> 00:25:04,920
Speaker 1: She strums her ukulele.

606
00:25:06,040 --> 00:25:10,359
Speaker 4: Won't you tell you love you more?

607
00:25:11,960 --> 00:25:14,320
Speaker 1: She stops, She doesn't know the other part.

608
00:25:14,920 --> 00:25:15,360
Speaker 2: Sorry.

609
00:25:17,840 --> 00:25:21,880
Speaker 1: From the crowd, A heckler calls out next fighting back,

610
00:25:21,920 --> 00:25:27,920
Speaker 1: tears image and tries again, want you three foot love

611
00:25:28,080 --> 00:25:28,520
Speaker 1: you more?

612
00:25:30,200 --> 00:25:30,600
Speaker 2: Sorry?

613
00:25:31,359 --> 00:25:35,000
Speaker 1: Then suddenly, from the back of clear high voice joins in.

614
00:25:35,320 --> 00:25:40,200
Speaker 4: Sleepless Long Nights, that was what my youth was for.

615
00:25:41,359 --> 00:25:44,360
Speaker 1: Imagen beams with surprise as Graham stands from the back

616
00:25:44,520 --> 00:25:47,920
Speaker 1: covered in Sameir's blood, singing and making his way toward

617
00:25:48,000 --> 00:25:52,119
Speaker 1: the front.

618
00:25:53,520 --> 00:26:06,359
Speaker 4: Left you with love, but they wanted more, you know.

619
00:26:09,040 --> 00:26:12,320
Speaker 1: The crowd goes wild as they finished the song image

620
00:26:12,359 --> 00:26:14,360
Speaker 1: and looks at him, the sins of the last few

621
00:26:14,440 --> 00:26:16,480
Speaker 1: days evaporating. Who are you.

622
00:26:19,960 --> 00:26:20,000
Speaker 2: En?

623
00:26:20,320 --> 00:26:20,720
Speaker 1: Scene?

624
00:26:20,920 --> 00:26:23,680
Speaker 2: Okay, wow, isn't that fun?

625
00:26:24,240 --> 00:26:29,879
Speaker 1: So it's fun. It's's fun. It's a really and I

626
00:26:30,440 --> 00:26:33,880
Speaker 1: love the song. But you're saying that she wrote one

627
00:26:33,960 --> 00:26:35,520
Speaker 1: two three four by Feist.

628
00:26:36,040 --> 00:26:37,520
Speaker 2: Yeah she wrote it.

629
00:26:37,560 --> 00:26:39,399
Speaker 1: Feist didn't write it.

630
00:26:39,680 --> 00:26:42,080
Speaker 2: Well, Feist didn't actually write it. My ex girlfriend Chicago

631
00:26:42,080 --> 00:26:42,840
Speaker 2: actually wrote that song.

632
00:26:42,880 --> 00:26:46,080
Speaker 3: Really, Feist sold that song from your She.

633
00:26:46,119 --> 00:26:48,720
Speaker 2: Was basically the Carlos Mencia of early two thousands in

634
00:26:48,760 --> 00:26:49,280
Speaker 2: d rac.

635
00:26:49,320 --> 00:26:51,399
Speaker 1: Let me let me snopes it and see.

636
00:26:51,640 --> 00:26:52,960
Speaker 3: Boy did they even let you on there?

637
00:26:53,000 --> 00:26:55,119
Speaker 2: Do you remember my girlfriend Morgan? She was on that

638
00:26:55,280 --> 00:26:56,840
Speaker 2: wg in show for kids.

639
00:26:56,800 --> 00:26:59,320
Speaker 3: All right, she got fired for being too chesty.

640
00:26:59,520 --> 00:27:01,920
Speaker 2: Yeah, it was a kid song that she initially wrote

641
00:27:02,000 --> 00:27:04,560
Speaker 2: one two three four, but then she got fired and

642
00:27:04,560 --> 00:27:05,359
Speaker 2: then five stole it.

643
00:27:05,400 --> 00:27:06,160
Speaker 3: Oh it makes sense.

644
00:27:06,440 --> 00:27:08,480
Speaker 1: Why did she show so much cleavage?

645
00:27:08,560 --> 00:27:10,160
Speaker 2: Well, see that's something your generation.

646
00:27:10,200 --> 00:27:14,240
Speaker 1: Would it's not she was showing a ton of so

647
00:27:14,400 --> 00:27:16,280
Speaker 1: much cleavage, Yes she was.

648
00:27:16,400 --> 00:27:18,680
Speaker 2: We were body positive. You all were like, we gotta

649
00:27:18,720 --> 00:27:19,440
Speaker 2: shut it down.

650
00:27:20,119 --> 00:27:23,160
Speaker 1: Okay, body positive? Yes, I agree, But on a kid show.

651
00:27:23,920 --> 00:27:26,200
Speaker 2: It was two thousand and eight. It was fine back then,

652
00:27:26,240 --> 00:27:28,760
Speaker 2: but we didn't even think it was clearly it wasn't.

653
00:27:28,880 --> 00:27:29,960
Speaker 2: We didn't think about that.

654
00:27:32,320 --> 00:27:35,120
Speaker 1: Sorry, came to the coffee shop and stole it from

655
00:27:35,119 --> 00:27:36,080
Speaker 1: your ex girlfriend.

656
00:27:36,160 --> 00:27:38,399
Speaker 2: Yes, after they actually kicked her off that show. The

657
00:27:38,440 --> 00:27:40,240
Speaker 2: show tank because no adults watched it.

658
00:27:41,000 --> 00:27:43,280
Speaker 3: Wonder why I really am horn?

659
00:27:44,119 --> 00:27:46,520
Speaker 1: All right, so can we move on to we have

660
00:27:46,560 --> 00:27:47,040
Speaker 1: one more?

661
00:27:47,359 --> 00:27:50,360
Speaker 2: Okay, let's go to the finale. They've had another falling out,

662
00:27:50,400 --> 00:27:56,359
Speaker 2: actually after the feist. Geez this time, let's see what happened.

663
00:27:56,400 --> 00:27:58,320
Speaker 2: They have a bunch of breakups throughout the thing. I

664
00:27:58,320 --> 00:28:00,359
Speaker 2: think he eats meat and she catches him.

665
00:28:01,040 --> 00:28:03,720
Speaker 1: What kind of meat? Backstory?

666
00:28:04,160 --> 00:28:07,679
Speaker 2: He goes to an Asado burrito place and uh, and

667
00:28:07,720 --> 00:28:09,919
Speaker 2: then she finds a burrito in the back of his

668
00:28:09,960 --> 00:28:11,840
Speaker 2: car and it's bad, but he.

669
00:28:11,840 --> 00:28:13,159
Speaker 1: Just chucked the burrito in the back of his.

670
00:28:13,520 --> 00:28:15,040
Speaker 2: Two burritos, keeps one in the back of the car.

671
00:28:15,160 --> 00:28:18,480
Speaker 2: She finds it and they have a because he hides

672
00:28:18,520 --> 00:28:19,600
Speaker 2: it from her. That's the sin.

673
00:28:20,280 --> 00:28:22,520
Speaker 1: Yeah, this is he had told her she wouldn't have

674
00:28:22,520 --> 00:28:23,080
Speaker 1: been as mad.

675
00:28:23,160 --> 00:28:26,639
Speaker 2: And this is right after some your's funeral, so we

676
00:28:26,760 --> 00:28:29,720
Speaker 2: all know that he does die? Yeah, should they know?

677
00:28:30,280 --> 00:28:32,040
Speaker 2: You guys didn't know. That's what I was saying.

678
00:28:32,200 --> 00:28:35,280
Speaker 1: All right, have you done a subtext pass on this one?

679
00:28:35,359 --> 00:28:35,880
Speaker 2: What do you mean?

680
00:28:36,160 --> 00:28:36,520
Speaker 1: Like you?

681
00:28:37,080 --> 00:28:41,760
Speaker 2: The whole movie is subtext mark the sub film, Thank you,

682
00:28:41,800 --> 00:28:44,920
Speaker 2: brendan film. The whole film is subtext mark.

683
00:28:45,360 --> 00:28:47,280
Speaker 3: Okay, that's what makes it a film and not a

684
00:28:47,280 --> 00:28:50,360
Speaker 3: movie movie. You gotta like bash somebody over the head

685
00:28:50,360 --> 00:28:50,920
Speaker 3: with it. Film.

686
00:28:51,080 --> 00:28:54,640
Speaker 2: You're aloud, you're allowed to have subtext. So okay, this.

687
00:28:54,600 --> 00:28:56,360
Speaker 1: Is not a manic pixie dream girl.

688
00:28:56,520 --> 00:28:57,520
Speaker 3: Stop calling her that?

689
00:28:57,640 --> 00:29:00,880
Speaker 2: Yeah? Please? Oh this is the big climax climax. He

690
00:29:00,960 --> 00:29:02,960
Speaker 2: wants to get back together with her. He can't get

691
00:29:03,000 --> 00:29:05,440
Speaker 2: a hold of her, so he goes to her place

692
00:29:05,760 --> 00:29:06,680
Speaker 2: and this is.

693
00:29:06,680 --> 00:29:07,400
Speaker 3: Where we pick up.

694
00:29:07,680 --> 00:29:12,120
Speaker 1: Okay, so we're on page one ten. Okay, interior logan

695
00:29:12,240 --> 00:29:16,000
Speaker 1: Square loft day. Graham sprints up the stairs to Imagen's apartment.

696
00:29:16,040 --> 00:29:18,520
Speaker 1: The door is slightly a jar. He enters to find

697
00:29:18,880 --> 00:29:22,360
Speaker 1: the place is empty. Everything is gone, the hammock, the

698
00:29:22,360 --> 00:29:25,720
Speaker 1: papasan chair, the CD tower, the bongo drum, the bead

699
00:29:25,760 --> 00:29:29,440
Speaker 1: curtain over the kitchen doorway, the little Mason jars of spices,

700
00:29:29,640 --> 00:29:33,000
Speaker 1: the death cab for QT poster, the postal service poster,

701
00:29:33,200 --> 00:29:37,520
Speaker 1: the Sopranos DVDs. Even her polaroid camera is gone, and

702
00:29:37,600 --> 00:29:40,160
Speaker 1: the living room wall that had been covered in polaroid

703
00:29:40,160 --> 00:29:42,920
Speaker 1: pictures of everyone who had ever been in the apartment

704
00:29:43,320 --> 00:29:46,360
Speaker 1: is now bare. A man in a pinstriped suit and

705
00:29:46,400 --> 00:29:49,680
Speaker 1: work boots steps out of the kitchen. This is Imagen's father,

706
00:29:49,840 --> 00:29:54,560
Speaker 1: Randall McTavish, classic Iowa farmer, businessman. Can I help you?

707
00:29:54,840 --> 00:29:55,600
Speaker 2: Where's Imagen?

708
00:29:56,320 --> 00:29:59,000
Speaker 1: Christ? Is that what she was here? In New York?

709
00:29:59,080 --> 00:30:03,680
Speaker 1: She was saved San Francisco. She was Yuki Yamagato, now

710
00:30:03,760 --> 00:30:08,560
Speaker 1: Imagen Son. She's a high school dropout from Iowa with

711
00:30:08,720 --> 00:30:12,880
Speaker 1: serious problems and a family farmed or on. Imagen doesn't exist.

712
00:30:13,280 --> 00:30:14,200
Speaker 4: She's not real.

713
00:30:15,720 --> 00:30:18,360
Speaker 2: She's not real. Why does this hurt so bad?

714
00:30:18,720 --> 00:30:23,040
Speaker 1: Cut to interior Imagen's apartment. Moments later, Graham stares out

715
00:30:23,080 --> 00:30:25,000
Speaker 1: the window at Imagen in the passenger seat of her

716
00:30:25,040 --> 00:30:29,600
Speaker 1: dad's truck. She looks up at her eyes swollen from crying.

717
00:30:30,160 --> 00:30:33,480
Speaker 1: On her head a white bush cheney hat. Graham bangs

718
00:30:33,520 --> 00:30:36,200
Speaker 1: on the window, pleading. The truck pulls into the road.

719
00:30:36,480 --> 00:30:41,160
Speaker 1: Imagen winks and mouth's window boy in the window. Through

720
00:30:41,200 --> 00:30:46,800
Speaker 1: his tears, he laughs. Exterior Architecture Boat toward day. Graham

721
00:30:46,840 --> 00:30:49,920
Speaker 1: watches the buildings. As the boat passes under the Kinsey

722
00:30:50,000 --> 00:30:52,640
Speaker 1: Street Bridge. A tour guide prattles on.

723
00:30:53,160 --> 00:30:56,000
Speaker 3: After the Great Chicago Fire, the city realized they could

724
00:30:56,040 --> 00:30:58,320
Speaker 3: remake itself, and this is what it became.

725
00:30:58,760 --> 00:31:03,720
Speaker 1: Sploosh, A gusher of human waste rains down on the boat,

726
00:31:04,040 --> 00:31:09,000
Speaker 1: screams chaos, everyone running for cover, only Graham sits still

727
00:31:09,040 --> 00:31:12,040
Speaker 1: in his seat. He wipes the shit from his eyes.

728
00:31:12,440 --> 00:31:15,880
Speaker 1: He can finally see clearly. Graham looks up just in

729
00:31:15,920 --> 00:31:18,440
Speaker 1: time to catch a glimpse of the Dave Matthews tour

730
00:31:18,520 --> 00:31:22,000
Speaker 1: bus rumbling over the bridge, the perfect symbol of the

731
00:31:22,080 --> 00:31:26,640
Speaker 1: old generation. As it coasts away, Graham smiles to himself,

732
00:31:27,200 --> 00:31:31,240
Speaker 1: picks his way past the sobbing passengers, and swan dives

733
00:31:31,280 --> 00:31:35,840
Speaker 1: into the river. Exterior country Road, Iowa. Graham steers his

734
00:31:35,920 --> 00:31:40,200
Speaker 1: pt cruiser's zip car past the endless cornfields. He stops

735
00:31:40,240 --> 00:31:43,200
Speaker 1: at a mailbox, checks the address. This is the place.

736
00:31:43,680 --> 00:31:45,600
Speaker 1: He looks up at the long driveway to see a

737
00:31:45,640 --> 00:31:50,440
Speaker 1: big white farmhouse engulfed in flames. Graham is up the driveway,

738
00:31:50,520 --> 00:31:53,000
Speaker 1: out of the car into the house. A moment later

739
00:31:53,040 --> 00:31:56,800
Speaker 1: he returns, dragging Imagen's body from the blaze. He lays

740
00:31:56,800 --> 00:31:59,360
Speaker 1: her on the grass. Her eyes are closed. He wipes

741
00:31:59,400 --> 00:32:00,640
Speaker 1: the ash from her face.

742
00:32:01,120 --> 00:32:04,560
Speaker 2: I'm sorry, I'm sorry. It wasn't there for you, but

743
00:32:04,640 --> 00:32:05,320
Speaker 2: I'm here now.

744
00:32:05,680 --> 00:32:08,959
Speaker 1: He kisses his avocado tattoo and presses it against hers.

745
00:32:10,600 --> 00:32:12,240
Speaker 2: I just want us to behold again.

746
00:32:12,560 --> 00:32:16,800
Speaker 1: Her eyes flutter open. A mischievous smile crosses her face.

747
00:32:16,960 --> 00:32:19,920
Speaker 1: Got too, window boy, he laughs, shakes his head.

748
00:32:21,760 --> 00:32:22,600
Speaker 4: Who are you?

749
00:32:22,960 --> 00:32:25,600
Speaker 3: I'm Jasmine, Jasmine.

750
00:32:25,920 --> 00:32:28,160
Speaker 1: She pulls him into a kiss as the house burned.

751
00:32:28,240 --> 00:32:32,360
Speaker 1: In the background, the charred corpse of Imogen's dad falls

752
00:32:32,360 --> 00:32:36,440
Speaker 1: out the window and lands on a bird. FIS's one, two, three,

753
00:32:36,520 --> 00:32:45,080
Speaker 1: four kicks in and we cut to black the end.

754
00:32:45,680 --> 00:32:45,960
Speaker 3: Wow.

755
00:32:46,400 --> 00:32:50,120
Speaker 2: Yeah, so I think it comes together while she was

756
00:32:50,160 --> 00:32:51,880
Speaker 2: acting that way because she was crazy.

757
00:32:52,080 --> 00:32:59,880
Speaker 1: No, Uh what okay? Uh? So Jasmine, the Imagen kills

758
00:32:59,880 --> 00:33:03,280
Speaker 1: her dad, yep, lights the house on fire.

759
00:33:03,320 --> 00:33:06,000
Speaker 2: Well, it's symbolic. I mean, think about that, you guys should.

760
00:33:05,760 --> 00:33:08,440
Speaker 1: Be right, it's symbolic. But in the fucking script she

761
00:33:08,440 --> 00:33:10,800
Speaker 1: she burns the house down and kills her dad.

762
00:33:11,320 --> 00:33:14,920
Speaker 2: Well, he symbolizes everything my generation hates. And in the

763
00:33:14,960 --> 00:33:19,240
Speaker 2: movie her dad actually invents mortgage backed securities wow, which

764
00:33:19,280 --> 00:33:23,360
Speaker 2: is essentially you know, he's like Rosama bin Latton if

765
00:33:23,400 --> 00:33:24,360
Speaker 2: you guys thought of it that way.

766
00:33:24,480 --> 00:33:26,840
Speaker 1: Does Graham know he's an accomplice to a felony? It's

767
00:33:26,880 --> 00:33:29,520
Speaker 1: several felam he's including murder and he's also a murderer.

768
00:33:29,520 --> 00:33:32,160
Speaker 2: Can't you just see the symbolism in it without getting.

769
00:33:32,560 --> 00:33:37,560
Speaker 1: Just this straightforward, like you know, surface level story. There's

770
00:33:37,720 --> 00:33:39,600
Speaker 1: two deaths on their hands.

771
00:33:39,880 --> 00:33:41,840
Speaker 2: I think it lightens the mood if you play Feist's

772
00:33:41,840 --> 00:33:44,960
Speaker 2: one two three four over it Morgan's one two three four.

773
00:33:45,040 --> 00:33:47,120
Speaker 1: But right, So not a clear answer on that one.

774
00:33:47,200 --> 00:33:50,480
Speaker 1: How do we know she mouths window boy in the window.

775
00:33:50,920 --> 00:33:52,680
Speaker 2: Everybody's been waiting for her to say window.

776
00:33:52,440 --> 00:33:55,080
Speaker 1: Wait, wait, just do it without saying that same I'll

777
00:33:55,240 --> 00:33:58,880
Speaker 1: do it to Mark. Okay, we don't know where the

778
00:33:58,920 --> 00:34:01,240
Speaker 1: wind goes. What well, I don't know what he's saying.

779
00:34:01,760 --> 00:34:04,720
Speaker 1: What is that again? When did you blow the dildo? Don't?

780
00:34:04,720 --> 00:34:05,960
Speaker 1: I don't know what he's saying.

781
00:34:06,240 --> 00:34:08,560
Speaker 2: Everyone in the movie will see when he's standing in

782
00:34:08,560 --> 00:34:10,719
Speaker 2: the window that she's going to say window boy in

783
00:34:10,719 --> 00:34:11,040
Speaker 2: the wood.

784
00:34:11,520 --> 00:34:14,160
Speaker 1: I would I would encourage our listeners to go to

785
00:34:14,520 --> 00:34:17,680
Speaker 1: a mirror, turn to a friend without saying the words

786
00:34:17,719 --> 00:34:18,800
Speaker 1: mouthed and see.

787
00:34:18,600 --> 00:34:19,960
Speaker 3: What a challenge that.

788
00:34:20,080 --> 00:34:23,120
Speaker 2: We'll call this the window Boy in the Window Challenge.

789
00:34:23,160 --> 00:34:25,760
Speaker 3: Awesome and hash Mark buys your lunch.

790
00:34:26,080 --> 00:34:29,080
Speaker 2: Everybody, get on Twitter hashtag window Boy in the Window challenge,

791
00:34:29,200 --> 00:34:32,000
Speaker 2: send in your votes and we'll see if window Boy

792
00:34:32,000 --> 00:34:33,799
Speaker 2: in the Window tracks real quick?

793
00:34:33,840 --> 00:34:36,000
Speaker 1: Why did? Why did? Why? Why kill the dad?

794
00:34:36,239 --> 00:34:36,600
Speaker 2: Why not?

795
00:34:37,000 --> 00:34:39,120
Speaker 3: Greg? Did you want one of your ex girlfriends kill

796
00:34:39,200 --> 00:34:40,040
Speaker 3: a family member?

797
00:34:40,719 --> 00:34:43,080
Speaker 2: Did one of my ex girlfriends kill a family member?

798
00:34:43,360 --> 00:34:45,160
Speaker 3: This is based on you did this happen?

799
00:34:46,080 --> 00:34:49,680
Speaker 2: This is a scene from my life. This last scene.

800
00:34:50,040 --> 00:34:52,200
Speaker 1: You pulled an ext girlfriend out of a burning barn

801
00:34:52,280 --> 00:34:53,879
Speaker 1: that she lit on fire to kill her dad.

802
00:34:53,960 --> 00:34:56,080
Speaker 2: We'll call her house a barn mark. See this is

803
00:34:56,080 --> 00:34:56,760
Speaker 2: the classic.

804
00:34:56,960 --> 00:34:59,640
Speaker 1: That's the fit, the sticking point. All right, let's can

805
00:34:59,680 --> 00:35:02,000
Speaker 1: we vot vote? Let's just let's move to a vote.

806
00:35:02,120 --> 00:35:05,360
Speaker 3: All right, I am very confused. Okay, because you said

807
00:35:05,560 --> 00:35:08,280
Speaker 3: you've shown this character to some of your female friends

808
00:35:08,280 --> 00:35:10,640
Speaker 3: and they say she's a well written female character.

809
00:35:10,640 --> 00:35:12,480
Speaker 2: Every woman that's read this has said so, I.

810
00:35:12,400 --> 00:35:13,000
Speaker 3: Don't believe that.

811
00:35:13,040 --> 00:35:14,479
Speaker 1: How many what's the number we're talking?

812
00:35:15,600 --> 00:35:17,200
Speaker 2: Actually, you know what I do. I'm not sure if

813
00:35:17,200 --> 00:35:20,120
Speaker 2: a woman has read this yet. Did I show this

814
00:35:20,160 --> 00:35:21,680
Speaker 2: to a woman? I can't remember?

815
00:35:21,719 --> 00:35:22,120
Speaker 1: Remember?

816
00:35:22,520 --> 00:35:25,640
Speaker 3: Well, I think she's terribly written. You made her a psycho.

817
00:35:25,960 --> 00:35:27,280
Speaker 1: I thought you liked the character.

818
00:35:27,640 --> 00:35:31,120
Speaker 3: I don't like it, Mark, I love her. That's terribly

819
00:35:31,200 --> 00:35:33,360
Speaker 3: part about this thing. I can't get her out of

820
00:35:33,360 --> 00:35:38,680
Speaker 3: my head. Uh, after being inside her, I wanted. I

821
00:35:38,719 --> 00:35:39,520
Speaker 3: want her to be real.

822
00:35:39,640 --> 00:35:41,560
Speaker 2: And you're thinking about Morgan, right, I mean.

823
00:35:41,560 --> 00:35:44,479
Speaker 3: Just yeah, honestly, Ever since you put that out there,

824
00:35:44,920 --> 00:35:50,440
Speaker 3: Oh those sock puppets, man, Oh, I am so conflicted.

825
00:35:51,000 --> 00:35:54,840
Speaker 3: I love Imagen slash Jasmine. I feel old as fuck.

826
00:35:55,000 --> 00:35:56,799
Speaker 3: I feel like I don't get this movie. So Greg

827
00:35:56,880 --> 00:35:58,919
Speaker 3: must be right. I'm gonna give it a five.

828
00:35:59,680 --> 00:36:04,200
Speaker 5: Greg, Well, I give it a ten clearly. Okay, you

829
00:36:04,239 --> 00:36:06,839
Speaker 5: know what I'm gonna surprise you guys? Oh great, So

830
00:36:07,000 --> 00:36:09,960
Speaker 5: I'm I'm actually gonna stick up for this one. And

831
00:36:10,040 --> 00:36:13,160
Speaker 5: here's why I think I think I get what's going on.

832
00:36:13,239 --> 00:36:16,520
Speaker 5: Greg is looking back on his life. He's wondering about

833
00:36:16,560 --> 00:36:18,439
Speaker 5: his future. He's taking stock.

834
00:36:18,120 --> 00:36:21,160
Speaker 1: Of where he is currently in the present, and and

835
00:36:21,239 --> 00:36:25,120
Speaker 1: it's a real human moment captured in writing. I give

836
00:36:25,160 --> 00:36:25,560
Speaker 1: it a ten.

837
00:36:26,160 --> 00:36:29,200
Speaker 2: No, that's not what I'm doing. What I mean, If

838
00:36:29,200 --> 00:36:31,040
Speaker 2: that's what you saw, I failed, well.

839
00:36:30,880 --> 00:36:33,560
Speaker 1: Then fuck you. I give it a zero. So whatever,

840
00:36:33,719 --> 00:36:36,600
Speaker 1: I don't care. All right, so until next week it's

841
00:36:36,680 --> 00:36:40,040
Speaker 1: lights camera action. But for writing, why would you do that? Man?

842
00:36:40,160 --> 00:36:43,160
Speaker 1: Do what bullshit? I was trying to put a I

843
00:36:43,200 --> 00:36:44,200
Speaker 1: can't a branch.

844
00:36:44,320 --> 00:36:46,600
Speaker 2: Oh yeah, If you call it an olive branch and

845
00:36:46,600 --> 00:36:48,440
Speaker 2: you're handing me a bent fork.

846
00:36:48,680 --> 00:36:49,200
Speaker 1: That's all I have.

847
00:36:50,080 --> 00:36:52,759
Speaker 3: Olive branch to text Morgan? Am I too old to text?

848
00:36:53,200 --> 00:37:04,160
Speaker 2: Morgan passed the standard SIS was the standard T