Speaker 1: Welcome to Get It to Dutch, a screenwriter's Journey.
Speaker 2: I'm Mark, I'm Greg, I'm Brendan, and.
Speaker 1: We are a team of Hollywood screenwriters who meet every
Speaker 1: week to read from an original screenplay that one of
Speaker 1: us has written. We give notes and rank the scripts,
Speaker 1: and at the end of the season, we're going to
Speaker 1: pitch the best script for big time Hollywood producer Dutch Huxley,
Speaker 1: who is dead.
Speaker 2: There he is finally came around.
Speaker 3: Well, you know what, truth shall shut you free.
Speaker 1: The truth will shit your pants. And the thing is,
Speaker 1: at first, when Greg told us that Dutch was dead,
Speaker 1: I didn't believe it. I was in denial. I will
Speaker 1: admit that. But now I'm happy to say that I've
Speaker 1: done my research and I am out of denial. Dutch
Speaker 1: is definitely dead.
Speaker 3: And this has nothing to do with the fact that
Speaker 3: you got Snopes checked.
Speaker 1: Well, that's true. I posted my dutches a live theory
Speaker 1: on Facebook and Snopes debunked it really quick.
Speaker 2: Yeah.
Speaker 1: But now, of course we're pivoting from trying to get
Speaker 1: our script to Dutch to trying to pitch to the
Speaker 1: air Apparent to Dutch's Empire, which is Dutch's son Duck.
Speaker 2: And just to remind everyone, Duck is my friend and
Speaker 2: my connection, and so now it seems.
Speaker 1: Yep, can you sleep on his couch?
Speaker 3: Ducks Ducks, I bet he's got a nice one.
Speaker 2: Well he has, no, he's I don't want to he's
Speaker 2: my friend. I don't want to abuse that relationship.
Speaker 1: But you want to abuse this one.
Speaker 2: It's well right now, it's the This is kind of
Speaker 2: quid pro quo, Mark, I give you screenwriting advice. You
Speaker 2: let me sleep on this piece of shit popas on
Speaker 2: or whatever this thing is.
Speaker 1: Who's giving who advice? Can we move on to new business?
Speaker 2: You know what? Duck has a sunken couch. Have you
Speaker 2: ever seen one of those? It's like a bed in
Speaker 2: the floor.
Speaker 3: Oh so cool to be rich.
Speaker 2: New business. Brendan, you go first.
Speaker 1: I'll do that part. Brendan, you go first.
Speaker 3: Well is it Greg's podcast now, because no.
Speaker 1: It's not. It's nobody's podcast. It's always been all of
Speaker 1: our podcast. Just so happens that Greg does coke with
Speaker 1: the guy that we're trying to get a script to.
Speaker 2: Don't do coke anymore. We do other stuff. It's more interesting.
Speaker 3: Oh, you're growing up.
Speaker 2: We have a new drug that we're trying. It's like coke,
Speaker 2: but it makes you interesting PEPSI huh, all right.
Speaker 1: New business, new business.
Speaker 3: Well, I guess everybody's probably buzzing about my Big Wonder audition,
Speaker 3: the remake of Small Wonder.
Speaker 2: Of course, how'd that go?
Speaker 3: Well? I felt great in the room casting reached out
Speaker 3: to my manager at A one Entertainment A Steak Sauce. No,
Speaker 3: this is it has nothing to do with the steak sauce.
Speaker 3: I don't think different department. I'm part of the B
Speaker 3: two wing of A one Entertainment.
Speaker 1: Uh, second tier talent.
Speaker 2: Yeah, I'm looking it up now.
Speaker 1: A one is.
Speaker 2: Actually it seems like they represent mostly children.
Speaker 3: Yeah, yeah, I kind of. I got in there when
Speaker 3: I was in my twenties and I still look sixteen.
Speaker 3: And you know, credit to my manager, Nan Plympton. She
Speaker 3: never let me go. I really appreciate Nan. She's works
Speaker 3: very hard for me, and she reached out to them.
Speaker 3: They said audition went great, great, they said they were
Speaker 3: big fans.
Speaker 2: Okay, and never a good sign.
Speaker 3: I haven't heard anything since. Yeah, so I made it's off.
Speaker 3: God damn fucking shit.
Speaker 1: Well you all know, hey, hey, hey, hey, hey hey,
Speaker 1: Now listen, this is just today. Who knows what's gonna happen.
Speaker 3: Big fans is what you say to somebody you don't
Speaker 3: want to work with.
Speaker 2: Yeah, that's kind of Hollywood code for thanks. But no,
Speaker 2: it's just.
Speaker 3: Insane because I had them laughing in the room, they
Speaker 3: were rolling. The little fella they had reading with me
Speaker 3: gave me no emotion, and I'm just blasting them with
Speaker 3: these lines.
Speaker 2: And I think you have say little person.
Speaker 3: Now it's just a guy who works for. Okay, this
Speaker 3: little guy who works for he's dying. But then out
Speaker 3: of nowhere, they don't have me do the third scene.
Speaker 3: I leave. I'm a little bit confused. Bus ride home,
Speaker 3: Nan text me says, reached out to them, said you
Speaker 3: did great, Big Fans, And now I'm you know, over
Speaker 3: a week and a half later, still haven't heard anything.
Speaker 3: So this town just exists to build you up and
Speaker 3: then shit in your mouth and send it down the river,
Speaker 3: said visceral image.
Speaker 1: The strange metaphor all over that way.
Speaker 3: I didn't want to be on that thing anyway. I mean,
Speaker 3: reboots are ridiculed. Hollywood has no good new ideas. It's
Speaker 3: all realized. I mean, small wonder that is the bottom
Speaker 3: of the barrel.
Speaker 1: We have some good ideas, and I want to tell
Speaker 1: you something. I'm a big fan of yours. Okay, let's
Speaker 1: do no, no, no, that's a I'm a fan. So I'm
Speaker 1: a big fan. Why don't we get into Greg's new business.
Speaker 1: And hopefully this script today will pick you up.
Speaker 3: Because this is all I got, so please.
Speaker 1: One of these is going straight to the top.
Speaker 2: I have a great new business. I actually attended Dutches's funeral.
Speaker 1: Whoa yes, How did you get into that? Well?
Speaker 2: I pretended I was with catering, and then I just
Speaker 2: kind of got in and then I ended up getting
Speaker 2: up and saying a few words. What Yeah, it was great.
Speaker 3: You you can't do that at Dutch's funeral.
Speaker 2: Well, they kind of had an open mic, so I
Speaker 2: got up there. I mean, everybody in Hollywood was there.
Speaker 2: Some of the biggest names in Hollywood. You had Amazon's
Speaker 2: Carter Diablo, you had Ricky Tusker from Warners, Wow, Warners. Yeah,
Speaker 2: you had Fanny DeLong from Peacocks, and the who's who
Speaker 2: of Hollywood was there. And I thought this could be
Speaker 2: a perfect networking type of event.
Speaker 3: And you showed up to a funeral to network.
Speaker 1: Greg.
Speaker 2: Look, guys, I'm not going to miss an opportunity to
Speaker 2: get up and pitch.
Speaker 1: Well, how did it go? It went?
Speaker 3: You pitched at the funeral.
Speaker 2: I pitched on Mike, and during your words, yeah you pitched,
Speaker 2: I segued.
Speaker 1: What did you pitch in the room at a Where
Speaker 1: was it like a church?
Speaker 2: It was at a synagogue?
Speaker 1: Jeez, Louise, I think there's that's probably illegal.
Speaker 2: I pitched cia vers FBI what that's my script? I know,
Speaker 2: but it seemed like the perfect opportunity and I you know,
Speaker 2: I've always liked that pitch.
Speaker 1: Yeah, but that's my script.
Speaker 2: This isn't the whole thing. To do this together? Mark,
Speaker 2: who cares?
Speaker 1: Right? Well, how did it go?
Speaker 2: It went great. Everybody in the room was asking questions.
Speaker 1: Hey, that's good.
Speaker 2: Uh it was. It was a feeding frenzy.
Speaker 3: They were asking questions in the funeral.
Speaker 1: Yeah.
Speaker 2: And then of course Jim mcmanahanan from Sony, is in
Speaker 2: the back and I just got mcmana handled.
Speaker 1: Yeah. Ah, this is wait. What did he do? Well?
Speaker 2: He started asking all the wrong questions.
Speaker 1: I've heard of this. They call this the mcmanahanan panic.
Speaker 1: Did you panic?
Speaker 2: I panicked?
Speaker 3: Ah?
Speaker 2: It was a nightmare. He asked me what the season
Speaker 2: three arc was and I said, it's a feature.
Speaker 1: How did the the room react?
Speaker 2: Room didn't like it? The room totally turned on me
Speaker 2: mcmanahand threw a stapler at me from his seat in
Speaker 2: the back.
Speaker 1: What.
Speaker 3: Yeah, he brought a staple funeral.
Speaker 1: This is he wanted to teach you a lesson. Yeah, stapler?
Speaker 3: Yeah, I tried this thing, will never jam.
Speaker 2: Wow. Yeah, that guy's a real rat fucker. Anyway, he
Speaker 2: had everyone chanting hard pass by the end.
Speaker 3: Oh, and whole room of people channing art pass a
Speaker 3: second corpse in the room.
Speaker 2: Yeah, good thing. I did get the phone number of
Speaker 2: the widow Huxley. We're gonna have tea sometimes, madam?
Speaker 1: Do you have tea?
Speaker 2: Yeah?
Speaker 1: Is that why you've been drinking all my tea?
Speaker 2: Oh? Is this your? Yeah?
Speaker 3: Oh that grs. Greg gave me some.
Speaker 1: I'm sorry that's not his to give. But yes, you're
Speaker 1: old Earl Gray.
Speaker 3: Hey, that's a good stage name, you think, are you
Speaker 3: guys a big fan of Earl Gray?
Speaker 2: Huge fan?
Speaker 3: Well that's fucking trash then, isn't it.
Speaker 1: Why don't we get into the script, Greg, Why don't
Speaker 1: you set this up? It's your week to shine.
Speaker 2: Well, I'm so excited about the script that I wrote
Speaker 2: this week because I was really thinking that my generation,
Speaker 2: the millennials, needs I'm a millennial.
Speaker 1: We're the same generation.
Speaker 2: No, we're not. You guys have a millennial. No, you
Speaker 2: guys are way older than me.
Speaker 1: Really yeah? Two years older than you?
Speaker 3: Yeah?
Speaker 2: Well yeah, you might be two years older than me.
Speaker 2: But generationally we're like, really far apart.
Speaker 3: Am I a baby boomer?
Speaker 1: I don't think so. I don't think we're far apart anyway.
Speaker 2: I think my generation, the millennials, needed our movie. Do
Speaker 2: you know what I mean?
Speaker 1: But You're coming of age tail?
Speaker 2: Yeah, just the movie of my generation.
Speaker 1: Okay, what was my generation's coming of age?
Speaker 3: I mean we all had Garden State?
Speaker 2: Right, yeah? And look where you guys got, well, you
Speaker 2: had it too.
Speaker 3: Where did we get Garden State? Was also yours?
Speaker 2: No? I didn't understand most of what was happening in
Speaker 2: Garden State. You guys had Zach Barf. I need my.
Speaker 3: I don't think it's Zach Barf? Is it?
Speaker 1: Are you saying you're the Zach Barf of your generation?
Speaker 2: And I'm trying to give my generation a movie that
Speaker 2: Zach Barf didn't deliver for his generation.
Speaker 3: Zachly, Yeah it does.
Speaker 1: He didn't deliver. But you're saying, you're saying that that's
Speaker 1: my generation's coming of age movie, and he didn't deliver.
Speaker 2: No, and so I need to deliver from my generation.
Speaker 2: If that makes sense. I need to take the mantle
Speaker 2: for my generation.
Speaker 1: I still think we're the same generation.
Speaker 2: No, you guys were like old enough to be firefighters
Speaker 2: at nine to eleven. I had my little baby hands
Speaker 2: like gripping the tea.
Speaker 1: I remember younger than me.
Speaker 2: I remember looking at the television screen and going, like,
Speaker 2: what happened?
Speaker 1: You couldn't talk at age twenty?
Speaker 3: Hold on, you're telling me why why couldn't you talk?
Speaker 1: At twenty?
Speaker 2: I was watching as the horror. I was crying. Everybody
Speaker 2: around me was saying, what everything's changed now? Going, I
Speaker 2: don't know.
Speaker 1: You use the phrase what happened at twenty?
Speaker 3: I was just going, why can I say something two
Speaker 3: years later? Your little baby hands could hold a fire hose,
Speaker 3: Because that's the difference. Right now, you're saying we were
Speaker 3: firefighting men.
Speaker 2: If you were obeying, it was a sad day in
Speaker 2: my young mind. That forever, everything from that point on,
Speaker 2: like my generation was crushed by that, but in a
Speaker 2: totally different way than your generation.
Speaker 3: I feel like, okay, okay, sure, maybe I am old.
Speaker 3: Maybe that's why I didn't get a callback.
Speaker 1: Well, you're playing an old guy for Big Wonder.
Speaker 2: When you guys were coming up, you could buy a
Speaker 2: house for thirteen thousand dollars?
Speaker 1: What we could what?
Speaker 4: I should have been all over that.
Speaker 1: I didn't have thirteen thousand dollars on nine to eleven.
Speaker 2: Yeah, probably because you weren't a firefighter.
Speaker 3: Why did I fucking tour Florida for a year?
Speaker 2: You did?
Speaker 1: Did?
Speaker 2: Yeah?
Speaker 4: As what?
Speaker 1: Oh, it's the worst state in the Union.
Speaker 3: Well, I just wanted to kind of take a vacation.
Speaker 3: Could it afford Europe? Apparently I could have afforded a house.
Speaker 1: But Florida is not the Europe of America.
Speaker 3: No, it is not.
Speaker 1: It is not.
Speaker 2: What were you touring Florida? As?
Speaker 3: I just went up and down?
Speaker 2: Oh, you weren't doing it as a job.
Speaker 3: You America's dick.
Speaker 1: Yeah, I guess it, up and down America's dick.
Speaker 2: Anyway, let's get into this script because I'm so excited
Speaker 2: to give a movie to my generation, and this is.
Speaker 2: This movie is called The Boy, The Girl and Leopold.
Speaker 1: Ooh intrigue, can't wait to meet Leopold.
Speaker 2: Yeah, it's kind of an indie generational movie in the
Speaker 2: spirit of a Garden State, but not like Zach Barf
Speaker 2: would do it. So here's the plot. When aspiring young
Speaker 2: artist Graham Hash moves to Chicago, he falls in love
Speaker 2: and finds himself over three weeks and two thousand and seven,
Speaker 2: finds himself where he finds himself, and he's in Chicago.
Speaker 2: But he finds himself in Chicago, and it all takes
Speaker 2: place in the.
Speaker 1: Shadow of conscious Was he unconscious?
Speaker 2: I was a little bit because I was so young.
Speaker 1: Then oh this is you?
Speaker 3: Are you Graham?
Speaker 2: Well, it's based on my experiences for sure.
Speaker 1: Oh okay.
Speaker 2: And it all takes place in the shadow of the
Speaker 2: greatest financial crisis our country's ever seen, and tragedy worse
Speaker 2: than nine to eleven.
Speaker 3: I think we got to stop talking about that.
Speaker 1: Learning something here. I thought nine to eleven was worse.
Speaker 1: All right, set it up here we are where do
Speaker 1: we dive in?
Speaker 2: Okay? So the Boy the Girl. In the first scene
Speaker 2: we meet Graham, he's twenty eight, he's attractive. He works
Speaker 2: at group on, he likes IPA's, he has shaggy hair,
Speaker 2: He wears those snap buttoned cowboy shirts. He rides a bike.
Speaker 2: He listens to Modest Mouse.
Speaker 3: It's definitely you.
Speaker 2: Okay, he doesn't know who he is yet, but that
Speaker 2: is all going to change. And when we meet him
Speaker 2: at the start of this film, and this is a film,
Speaker 2: not a movie. He's on this terrible date and he
Speaker 2: escapes through a bathroom window. But he's about to meet
Speaker 2: the girl who's going to change everything. All right, So
Speaker 2: let's pick up on page Let's see, let's do a
Speaker 2: scene from page three. Okay, So Mark, why don't you
Speaker 2: read the stage directions? And Brendan, why don't you read
Speaker 2: the part of Imagen?
Speaker 1: Oh okay, all right, and you'll be graand oh yeah.
Speaker 3: Of course he use my sexiest lady voice.
Speaker 2: Just read it normal, all.
Speaker 3: Right, Page three, saying apple lady voice.
Speaker 2: Yeah, just read it in your normal lady voice.
Speaker 3: Oh all right.
Speaker 1: Page three, exterior bar night. Graham falls out of the
Speaker 1: first story window into a snow drift, the sound of
Speaker 1: a woman laughing. He looks up to see Imogen Wiley
Speaker 1: twenty one, quirky in that really attractive way. Razorcut bangs
Speaker 1: frame a flawless face with the exception of a gap
Speaker 1: in her teeth that is more cute than anything. She
Speaker 1: wears a Greek fisherman's cap with a down parka and
Speaker 1: smokes a hand rolled cigarette in her other hand, A
Speaker 1: heartbreaking work of staggering genius by Dave Eggers.
Speaker 3: Let me guess, bad date or did you just not
Speaker 3: want to pay your tab?
Speaker 1: Graham stands, brushing the snow off his clothes.
Speaker 2: Bad date? Oh shit, I left my debit card in there.
Speaker 2: You're weird, uh, says the person who's reading in the
Speaker 2: cold and the dark.
Speaker 3: You think that's weird?
Speaker 1: Watch the image and scrunches up her face, crosses her
Speaker 1: eyes and makes weird noises.
Speaker 2: We'll do it like cute though, Yeah, okay, what are
Speaker 2: you doing?
Speaker 3: I do stuff like that all the time. I don't
Speaker 3: know why. I just like it.
Speaker 1: Graham smiles.
Speaker 2: I'm Graham.
Speaker 3: Huh. You should pronounce it Graham like they do in London.
Speaker 2: What's your name?
Speaker 3: Wouldn't you like to know?
Speaker 1: She puts out her cigarette, swings a leg over her
Speaker 1: fixed gear bicycle.
Speaker 2: Wait, we just met. Where are you going?
Speaker 3: I have a gig see you window boy.
Speaker 2: Wait, what's your name?
Speaker 1: Calls over her shoulder, image and then she sticks out
Speaker 1: her tongue and disappears around the corner. Graham watches her
Speaker 1: go with a mix of thrill and confusion on his face.
Speaker 1: Imagen and scene. Okay, that's interesting.
Speaker 4: That's cool.
Speaker 3: That was a very me cute.
Speaker 1: Yeah they meet cute, so Graham and sort of the
Speaker 1: manic pixie dream girl.
Speaker 3: Uh.
Speaker 2: I wouldn't call her that. I would say she's a
Speaker 2: well rounded female character with lots of different feelings and emotions.
Speaker 1: He was stunning, but she's I mean, she's a she
Speaker 1: fits the mold. She's a manic pixie dream girl.
Speaker 2: Mark. This is based on real people that I actually dated.
Speaker 1: It's not a knock, but it's it's a movie trope.
Speaker 1: I mean, that's that's what you're setting up here.
Speaker 3: I'll say I was sort of cute.
Speaker 1: I was in her skin.
Speaker 3: I didn't feel manic, Okay, I felt beautiful.
Speaker 2: Yeah, And this is actually four girls I dated, all
Speaker 2: sort of wrapped into one. Wow.
Speaker 1: So what does Graham say to the other girl that
Speaker 1: he ditched at the bar?
Speaker 2: What does he Yeah, what does he say to her?
Speaker 1: Yeah? So he I mean the poor girl?
Speaker 2: She?
Speaker 1: I mean, does she think he's dead? Like, what's her situation?
Speaker 2: Who cares?
Speaker 1: Cares? Person that he ditched? Did you do that in
Speaker 1: real life?
Speaker 2: Yes?
Speaker 1: What did the did you ever see the person again?
Speaker 2: Is somebody who worked with well, the good thing back then?
Speaker 2: You probably too old to remember this, but back then,
Speaker 2: when we were dating in Chicago, you just kind of
Speaker 2: would climb out of windows.
Speaker 3: I had that happen to me a lot.
Speaker 1: Well, I don't remember that. Why don't we move on
Speaker 1: to what's the next scene you want to share? Well?
Speaker 2: The next scene is this is kind of where their
Speaker 2: relationship really starts to blossom, and Imagen becomes just even
Speaker 2: more interesting and well.
Speaker 3: Rounded more interesting.
Speaker 1: Okay, which page.
Speaker 2: Let's go to page thirty one?
Speaker 1: Here thirty one, all right, Page thirty one. Exterior Chicago
Speaker 1: Theater night. Imagen and Graham slowly walk down the quiet
Speaker 1: city street.
Speaker 3: I'm bored.
Speaker 2: Let's go find something fun. But it's eleven thirty. The
Speaker 2: city is dead.
Speaker 3: Not my city.
Speaker 1: Arcade fires, keep the car running, swells exterior street night.
Speaker 1: Imagen pushes Graham through a gap in a metallic gate.
Speaker 2: Come on, window boy, She pulls.
Speaker 1: Them down a dark tunnel. The exit of the tunnel
Speaker 1: to exterior center Field, Wrigley Field, Graham is in awe
Speaker 1: tag You're it? They laugh and chase each other around
Speaker 1: the field.
Speaker 2: Who are You?
Speaker 1: Cut to interior Tattoo Parlor. Imagen and Graham hold up
Speaker 1: their forearms to reveal identical tattoos of half an avocado.
Speaker 1: They put their arms together and make a whole avocado?
Speaker 3: Where did you?
Speaker 2: Home? Front?
Speaker 1: Image and crosses her eyes and mocks Cut two interior
Speaker 1: Thai restaurant. Graham shovels some noodles into his face and
Speaker 1: gives a satisfying groan.
Speaker 3: It's called chicken pad type, and beats a hot dog
Speaker 3: and a hamburger.
Speaker 1: She makes a funny noise and crosses her eyes and
Speaker 1: picks her nose. Graham smiles.
Speaker 2: What is happening?
Speaker 1: Interior bedroom night? Graham and Image and make love in
Speaker 1: the missionary position, staring into each other's eyes.
Speaker 3: Now it's mind turn.
Speaker 1: Cut two Imagen behind Graham as she pegs them, both
Speaker 1: of them in ecstasy. Who you Exterior Kinsey Street Bridge, Sunrise.
Speaker 1: Graham and Leopold Ooh, their Imagen's differently abled friend, share
Speaker 1: a cigarette as they watch Imagen walk along the railing
Speaker 1: of the bridge like a balance beam. Whoa, whoa, take
Speaker 1: care of her. Okay, she deserves all happiness in the world.
Speaker 1: Were friends of image and are an odd bunch. We
Speaker 1: have a broken toys and she fixed this. But when
Speaker 1: you're the toymaker who puts you back together, you know.
Speaker 2: Could you do that? But like it, says British accent,
Speaker 2: but not like a drunk guy in a pub who
Speaker 2: got hit in the head with an anvil.
Speaker 3: He says he's differently able. Is it because he's British?
Speaker 1: Well that's I don't know, that's that's that's pretty spot
Speaker 1: on British accent.
Speaker 2: Just like a little bit more. You know, he went
Speaker 2: to Cambridge, he's got you know, a bit posh.
Speaker 1: I want an accent competition in college, So I feel
Speaker 1: like that's pretty spot on.
Speaker 2: But you want an accent competition?
Speaker 1: Yeah, there was at a bar. They had a contest
Speaker 1: to see.
Speaker 2: Anymore a bar accent competition. Wasn't It wasn't like a
Speaker 2: scholastic thing.
Speaker 1: No, oh yeah, but what's wrong with that? Okay, bar
Speaker 1: accent competition?
Speaker 2: Okay, competition, we'll change it. So just a little bit
Speaker 2: more posh.
Speaker 1: Please take care of Okay, she deserves all the happiness
Speaker 1: in the world.
Speaker 2: That's exactly the same.
Speaker 1: Why is it the same tongue? That's how they talk, man, Yeah,
Speaker 1: they do that. Take out you know what.
Speaker 2: Just make him American, just straight up the middle.
Speaker 1: That's how they talk. Man. I spent six months in Kent.
Speaker 2: Please just make him from the Midwest, straight up the middle.
Speaker 1: Fie Walter, take care of her. Okay, she deserves all
Speaker 1: the happiness in the world. We friends of Imagen are
Speaker 1: an odd bunch. You know.
Speaker 3: We were broken toys and she fixed us.
Speaker 1: But when you're the toymaker who puts you back together,
Speaker 1: Imagen slips and falls.
Speaker 2: Well, Imagen.
Speaker 1: Graham rushes to the railing. Imagen pops her head up
Speaker 1: and giggles, gotcha. She presses his nose. Come on, interior group.
Speaker 1: On conference room, Graham sleeps through a team meeting. His
Speaker 1: boss shouts at him to wake up Graham. Graham slowly
Speaker 1: opens his eyes.
Speaker 3: And he thoughts on using global e commerce to connect
Speaker 3: subscribers with local merchants by offering activities, travels, goods, and services.
Speaker 1: Graham looks around at the vaguely annoyed faces of his colleagues,
Speaker 1: what the hell they want him to say?
Speaker 2: Uh? Dr, excuse me DR.
Speaker 5: A few people laugh, uncomfortable, Graham, what the hell don't
Speaker 5: you get it?
Speaker 2: You're doing it all wrong?
Speaker 3: And what exactly are we doing wrong?
Speaker 2: Graham Life, You're a bunch of thirty and thirty one
Speaker 2: year olds doing it all wrong. I'm twenty eight and
Speaker 2: I'm doing it right. You guys, with your ping pong
Speaker 2: tables and your IPA's, you think you're so cool, But
Speaker 2: I just got butt fucked by my dream girl to
Speaker 2: an Arcade fire song last night. Saw this.
Speaker 3: Doesn't matter.
Speaker 2: I quit. Oh and one, we're thinking, let's pronounce Graham.
Speaker 1: He presses his boss's nose. Meep, morp, he shoe wheey
Speaker 1: skates away. The team remains behind, silent, each wishing they
Speaker 1: could be Graham. WHOA, Okay, so you and Graham have
Speaker 1: the same avocado tattoo?
Speaker 2: Yeah, isn't that cool?
Speaker 3: Oh?
Speaker 1: Wow?
Speaker 3: Wait? Does this mean there's four girls out there with
Speaker 3: avocado tattoos?
Speaker 2: Yeah? I guess it does mean there's two and a
Speaker 2: half of Locado's out there. Two and a half, well,
Speaker 2: the four girls plus my half.
Speaker 5: Ah.
Speaker 1: Okay, yeah, so I have some questions about Leopold. We
Speaker 1: meet him on page thirty one, and yeah, do we
Speaker 1: see him again?
Speaker 2: No?
Speaker 1: And why? I know you guys had some problems with
Speaker 1: my spot on British accent, But why is he British?
Speaker 2: I think I'm going to change that after you read
Speaker 2: it in a British accent.
Speaker 1: But you had a reason to make him British the
Speaker 1: first time.
Speaker 2: Well, originally I thought I would have an actor that
Speaker 2: could read it in a British accent, but now there's
Speaker 2: just no way.
Speaker 1: Well, I'm not an actor. I'm I'm a writer, clearly. Okay,
Speaker 1: Well show me the accent you think it should be.
Speaker 2: We friends of image and broken toys, so like New England.
Speaker 3: That's that's England and England.
Speaker 2: To me, we friends of image and not broken toys.
Speaker 3: Take care of her?
Speaker 1: Oh like that, take care of her, Oh like take
Speaker 1: care of her, take care got scarvy outs? See right,
Speaker 1: But that's how you did it.
Speaker 3: No, I didn't, I said, like Greg.
Speaker 2: No, I don't think Jay.
Speaker 1: Okay, are you.
Speaker 2: Guys too old to do a British accent?
Speaker 1: British accents are the oldest accents.
Speaker 2: Well, in my generation, we think of British accents in
Speaker 2: like a more pashway. But you guys are kind of
Speaker 2: thinking of it in the old British way. And that's
Speaker 2: just because that again, this is a movie for my generation.
Speaker 2: It's not really for you.
Speaker 1: Yeah, I don't really feel an ancient man.
Speaker 3: Every time you say that.
Speaker 1: I had it. In the script you said I'm twenty eight.
Speaker 1: You guys are thirty.
Speaker 2: Yeah, yeah, eight thirty is like there, But did you
Speaker 2: listen to it? I mean, it's clear that the generational
Speaker 2: gap is huge.
Speaker 1: You've set up a generational gap. I don't know the day.
Speaker 3: Can I ask you guys and ask question. George's character
Speaker 3: description in Big Wonder he was thirty five. Do I
Speaker 3: look thirty five? Oh the fuck? That's why I didn't
Speaker 3: get it.
Speaker 1: At least thirty five. I think it's good man. That's
Speaker 1: when you're window.
Speaker 3: I look like I'm at least thirty five years old.
Speaker 2: Sure, maybe there will be a spin off called Old Wonder.
Speaker 3: I don't have time to wait for that.
Speaker 1: Can we move on? Let's jump to the scene.
Speaker 2: Okay, great, page seventy five, So I think you guys
Speaker 2: are really gonna like this next scene. This is a
Speaker 2: scene where Graham and Imagen are you know they're they've
Speaker 2: had a falling out because Graham is jealous because Imagen
Speaker 2: still is playing music with her ex boyfriend Samir and
Speaker 2: they have a big gig at Uncommon Ground and Graham
Speaker 2: refuses to go. So he's walking sadly through Lincoln Park
Speaker 2: and that's when he sees Samir playing music with another
Speaker 2: girl inside of Pop Belly sandwich shop and he goes
Speaker 2: in and he confronts him and he's like, hey, fucker,
Speaker 2: you have a gig tonight, and Samir's like, yeah, well,
Speaker 2: another opportunity came up. And when Graham finds out that
Speaker 2: he is basically bailed on Imagen, he says, you know,
Speaker 2: you sort of a bitch, and he slaps Samir in
Speaker 2: the nose, and you know, Samir is going.
Speaker 4: Like, this is my singing nose. Man.
Speaker 1: You know, it's like one of those things like slaps
Speaker 1: the tip of his nose.
Speaker 2: It like slaps his nose. You know those scenes where
Speaker 2: someone gets slapped slapped or punchs in the and they're like, man.
Speaker 1: Right, but like the voice, the physics of it work,
Speaker 1: like the tip of his finger hits the.
Speaker 2: Nose, slaps him in the open hand slaps him in
Speaker 2: the nose, his nose like Samir's nose huge.
Speaker 1: Well, okay, that might make some sense.
Speaker 2: And there's blood gushing everywhere. Slaps Samir's big old nose
Speaker 2: and a popelly and it just explodes him. But and
Speaker 2: he's like And Graham takes off on foot, races uptown
Speaker 2: to rescue Imogen, and this is where he's really going
Speaker 2: to prove himself that he's her rider. Die you know
Speaker 2: what I mean?
Speaker 1: Did he get blood on him?
Speaker 2: Oh, Graham's covered in blood? Oh wow, you know, just
Speaker 2: on the shirt though, like a you're okay, no, how
Speaker 2: much blood? Samir is not okay. Well, we find out
Speaker 2: later Samir was hemophiliac and he bleeds.
Speaker 1: Oh my god, bleeds out. So Graham ditches a girl
Speaker 1: at a bar, kills Samir.
Speaker 2: Well, he doesn't kill him.
Speaker 1: He assaulted him and he's dead and he bleeds out.
Speaker 2: I think his own blood killed the mark.
Speaker 1: So a boyfriend because of the cause and effect from
Speaker 1: the slat.
Speaker 2: Well, he could have run into a door and the
Speaker 2: same thing would have happened, sure.
Speaker 1: But that's not what happened.
Speaker 3: So an old boyfriend dies, but we never see Leopoldigan.
Speaker 3: No in Leopold's names in the title.
Speaker 2: Yeah, okay, so let's go to page seventy five.
Speaker 1: That's great, all right, let's get into it. Page seventy
Speaker 1: five interior, uncommon ground coffee house night a bohemian cafe.
Speaker 1: The crowd applauds as the host takes the mic. Okay,
Speaker 1: folks are final act for the open mic competition. Please welcome,
Speaker 1: friends of the President. Imagen walks on stage, ukulele in hand.
Speaker 1: She gives one final look to the door for her bandmate.
Speaker 3: Then, Hi, I'm imaged. So normally I seing this with
Speaker 3: my Danny's here, but I guess sometimes people don't show
Speaker 3: up for you.
Speaker 1: Right, murmurs of acknowledgment from the crowd. They know this
Speaker 1: is deeply true.
Speaker 3: Here's nothing, this is something that I wrote.
Speaker 1: She strums her ukulele.
Speaker 4: Won't you tell you love you more?
Speaker 1: She stops, She doesn't know the other part.
Speaker 2: Sorry.
Speaker 1: From the crowd, A heckler calls out next fighting back,
Speaker 1: tears image and tries again, want you three foot love
Speaker 1: you more?
Speaker 2: Sorry?
Speaker 1: Then suddenly, from the back of clear high voice joins in.
Speaker 4: Sleepless Long Nights, that was what my youth was for.
Speaker 1: Imagen beams with surprise as Graham stands from the back
Speaker 1: covered in Sameir's blood, singing and making his way toward
Speaker 1: the front.
Speaker 4: Left you with love, but they wanted more, you know.
Speaker 1: The crowd goes wild as they finished the song image
Speaker 1: and looks at him, the sins of the last few
Speaker 1: days evaporating. Who are you.
Speaker 2: En?
Speaker 1: Scene?
Speaker 2: Okay, wow, isn't that fun?
Speaker 1: So it's fun. It's's fun. It's a really and I
Speaker 1: love the song. But you're saying that she wrote one
Speaker 1: two three four by Feist.
Speaker 2: Yeah she wrote it.
Speaker 1: Feist didn't write it.
Speaker 2: Well, Feist didn't actually write it. My ex girlfriend Chicago
Speaker 2: actually wrote that song.
Speaker 3: Really, Feist sold that song from your She.
Speaker 2: Was basically the Carlos Mencia of early two thousands in
Speaker 2: d rac.
Speaker 1: Let me let me snopes it and see.
Speaker 3: Boy did they even let you on there?
Speaker 2: Do you remember my girlfriend Morgan? She was on that
Speaker 2: wg in show for kids.
Speaker 3: All right, she got fired for being too chesty.
Speaker 2: Yeah, it was a kid song that she initially wrote
Speaker 2: one two three four, but then she got fired and
Speaker 2: then five stole it.
Speaker 3: Oh it makes sense.
Speaker 1: Why did she show so much cleavage?
Speaker 2: Well, see that's something your generation.
Speaker 1: Would it's not she was showing a ton of so
Speaker 1: much cleavage, Yes she was.
Speaker 2: We were body positive. You all were like, we gotta
Speaker 2: shut it down.
Speaker 1: Okay, body positive? Yes, I agree, But on a kid show.
Speaker 2: It was two thousand and eight. It was fine back then,
Speaker 2: but we didn't even think it was clearly it wasn't.
Speaker 2: We didn't think about that.
Speaker 1: Sorry, came to the coffee shop and stole it from
Speaker 1: your ex girlfriend.
Speaker 2: Yes, after they actually kicked her off that show. The
Speaker 2: show tank because no adults watched it.
Speaker 3: Wonder why I really am horn?
Speaker 1: All right, so can we move on to we have
Speaker 1: one more?
Speaker 2: Okay, let's go to the finale. They've had another falling out,
Speaker 2: actually after the feist. Geez this time, let's see what happened.
Speaker 2: They have a bunch of breakups throughout the thing. I
Speaker 2: think he eats meat and she catches him.
Speaker 1: What kind of meat? Backstory?
Speaker 2: He goes to an Asado burrito place and uh, and
Speaker 2: then she finds a burrito in the back of his
Speaker 2: car and it's bad, but he.
Speaker 1: Just chucked the burrito in the back of his.
Speaker 2: Two burritos, keeps one in the back of the car.
Speaker 2: She finds it and they have a because he hides
Speaker 2: it from her. That's the sin.
Speaker 1: Yeah, this is he had told her she wouldn't have
Speaker 1: been as mad.
Speaker 2: And this is right after some your's funeral, so we
Speaker 2: all know that he does die? Yeah, should they know?
Speaker 2: You guys didn't know. That's what I was saying.
Speaker 1: All right, have you done a subtext pass on this one?
Speaker 2: What do you mean?
Speaker 1: Like you?
Speaker 2: The whole movie is subtext mark the sub film, Thank you,
Speaker 2: brendan film. The whole film is subtext mark.
Speaker 3: Okay, that's what makes it a film and not a
Speaker 3: movie movie. You gotta like bash somebody over the head
Speaker 3: with it. Film.
Speaker 2: You're aloud, you're allowed to have subtext. So okay, this.
Speaker 1: Is not a manic pixie dream girl.
Speaker 3: Stop calling her that?
Speaker 2: Yeah? Please? Oh this is the big climax climax. He
Speaker 2: wants to get back together with her. He can't get
Speaker 2: a hold of her, so he goes to her place
Speaker 2: and this is.
Speaker 3: Where we pick up.
Speaker 1: Okay, so we're on page one ten. Okay, interior logan
Speaker 1: Square loft day. Graham sprints up the stairs to Imagen's apartment.
Speaker 1: The door is slightly a jar. He enters to find
Speaker 1: the place is empty. Everything is gone, the hammock, the
Speaker 1: papasan chair, the CD tower, the bongo drum, the bead
Speaker 1: curtain over the kitchen doorway, the little Mason jars of spices,
Speaker 1: the death cab for QT poster, the postal service poster,
Speaker 1: the Sopranos DVDs. Even her polaroid camera is gone, and
Speaker 1: the living room wall that had been covered in polaroid
Speaker 1: pictures of everyone who had ever been in the apartment
Speaker 1: is now bare. A man in a pinstriped suit and
Speaker 1: work boots steps out of the kitchen. This is Imagen's father,
Speaker 1: Randall McTavish, classic Iowa farmer, businessman. Can I help you?
Speaker 2: Where's Imagen?
Speaker 1: Christ? Is that what she was here? In New York?
Speaker 1: She was saved San Francisco. She was Yuki Yamagato, now
Speaker 1: Imagen Son. She's a high school dropout from Iowa with
Speaker 1: serious problems and a family farmed or on. Imagen doesn't exist.
Speaker 4: She's not real.
Speaker 2: She's not real. Why does this hurt so bad?
Speaker 1: Cut to interior Imagen's apartment. Moments later, Graham stares out
Speaker 1: the window at Imagen in the passenger seat of her
Speaker 1: dad's truck. She looks up at her eyes swollen from crying.
Speaker 1: On her head a white bush cheney hat. Graham bangs
Speaker 1: on the window, pleading. The truck pulls into the road.
Speaker 1: Imagen winks and mouth's window boy in the window. Through
Speaker 1: his tears, he laughs. Exterior Architecture Boat toward day. Graham
Speaker 1: watches the buildings. As the boat passes under the Kinsey
Speaker 1: Street Bridge. A tour guide prattles on.
Speaker 3: After the Great Chicago Fire, the city realized they could
Speaker 3: remake itself, and this is what it became.
Speaker 1: Sploosh, A gusher of human waste rains down on the boat,
Speaker 1: screams chaos, everyone running for cover, only Graham sits still
Speaker 1: in his seat. He wipes the shit from his eyes.
Speaker 1: He can finally see clearly. Graham looks up just in
Speaker 1: time to catch a glimpse of the Dave Matthews tour
Speaker 1: bus rumbling over the bridge, the perfect symbol of the
Speaker 1: old generation. As it coasts away, Graham smiles to himself,
Speaker 1: picks his way past the sobbing passengers, and swan dives
Speaker 1: into the river. Exterior country Road, Iowa. Graham steers his
Speaker 1: pt cruiser's zip car past the endless cornfields. He stops
Speaker 1: at a mailbox, checks the address. This is the place.
Speaker 1: He looks up at the long driveway to see a
Speaker 1: big white farmhouse engulfed in flames. Graham is up the driveway,
Speaker 1: out of the car into the house. A moment later
Speaker 1: he returns, dragging Imagen's body from the blaze. He lays
Speaker 1: her on the grass. Her eyes are closed. He wipes
Speaker 1: the ash from her face.
Speaker 2: I'm sorry, I'm sorry. It wasn't there for you, but
Speaker 2: I'm here now.
Speaker 1: He kisses his avocado tattoo and presses it against hers.
Speaker 2: I just want us to behold again.
Speaker 1: Her eyes flutter open. A mischievous smile crosses her face.
Speaker 1: Got too, window boy, he laughs, shakes his head.
Speaker 4: Who are you?
Speaker 3: I'm Jasmine, Jasmine.
Speaker 1: She pulls him into a kiss as the house burned.
Speaker 1: In the background, the charred corpse of Imogen's dad falls
Speaker 1: out the window and lands on a bird. FIS's one, two, three,
Speaker 1: four kicks in and we cut to black the end.
Speaker 3: Wow.
Speaker 2: Yeah, so I think it comes together while she was
Speaker 2: acting that way because she was crazy.
Speaker 1: No, Uh what okay? Uh? So Jasmine, the Imagen kills
Speaker 1: her dad, yep, lights the house on fire.
Speaker 2: Well, it's symbolic. I mean, think about that, you guys should.
Speaker 1: Be right, it's symbolic. But in the fucking script she
Speaker 1: she burns the house down and kills her dad.
Speaker 2: Well, he symbolizes everything my generation hates. And in the
Speaker 2: movie her dad actually invents mortgage backed securities wow, which
Speaker 2: is essentially you know, he's like Rosama bin Latton if
Speaker 2: you guys thought of it that way.
Speaker 1: Does Graham know he's an accomplice to a felony? It's
Speaker 1: several felam he's including murder and he's also a murderer.
Speaker 2: Can't you just see the symbolism in it without getting.
Speaker 1: Just this straightforward, like you know, surface level story. There's
Speaker 1: two deaths on their hands.
Speaker 2: I think it lightens the mood if you play Feist's
Speaker 2: one two three four over it Morgan's one two three four.
Speaker 1: But right, So not a clear answer on that one.
Speaker 1: How do we know she mouths window boy in the window.
Speaker 2: Everybody's been waiting for her to say window.
Speaker 1: Wait, wait, just do it without saying that same I'll
Speaker 1: do it to Mark. Okay, we don't know where the
Speaker 1: wind goes. What well, I don't know what he's saying.
Speaker 1: What is that again? When did you blow the dildo? Don't?
Speaker 1: I don't know what he's saying.
Speaker 2: Everyone in the movie will see when he's standing in
Speaker 2: the window that she's going to say window boy in
Speaker 2: the wood.
Speaker 1: I would I would encourage our listeners to go to
Speaker 1: a mirror, turn to a friend without saying the words
Speaker 1: mouthed and see.
Speaker 3: What a challenge that.
Speaker 2: We'll call this the window Boy in the Window Challenge.
Speaker 3: Awesome and hash Mark buys your lunch.
Speaker 2: Everybody, get on Twitter hashtag window Boy in the Window challenge,
Speaker 2: send in your votes and we'll see if window Boy
Speaker 2: in the Window tracks real quick?
Speaker 1: Why did? Why did? Why? Why kill the dad?
Speaker 2: Why not?
Speaker 3: Greg? Did you want one of your ex girlfriends kill
Speaker 3: a family member?
Speaker 2: Did one of my ex girlfriends kill a family member?
Speaker 3: This is based on you did this happen?
Speaker 2: This is a scene from my life. This last scene.
Speaker 1: You pulled an ext girlfriend out of a burning barn
Speaker 1: that she lit on fire to kill her dad.
Speaker 2: We'll call her house a barn mark. See this is
Speaker 2: the classic.
Speaker 1: That's the fit, the sticking point. All right, let's can
Speaker 1: we vot vote? Let's just let's move to a vote.
Speaker 3: All right, I am very confused. Okay, because you said
Speaker 3: you've shown this character to some of your female friends
Speaker 3: and they say she's a well written female character.
Speaker 2: Every woman that's read this has said so, I.
Speaker 3: Don't believe that.
Speaker 1: How many what's the number we're talking?
Speaker 2: Actually, you know what I do. I'm not sure if
Speaker 2: a woman has read this yet. Did I show this
Speaker 2: to a woman? I can't remember?
Speaker 1: Remember?
Speaker 3: Well, I think she's terribly written. You made her a psycho.
Speaker 1: I thought you liked the character.
Speaker 3: I don't like it, Mark, I love her. That's terribly
Speaker 3: part about this thing. I can't get her out of
Speaker 3: my head. Uh, after being inside her, I wanted. I
Speaker 3: want her to be real.
Speaker 2: And you're thinking about Morgan, right, I mean.
Speaker 3: Just yeah, honestly, Ever since you put that out there,
Speaker 3: Oh those sock puppets, man, Oh, I am so conflicted.
Speaker 3: I love Imagen slash Jasmine. I feel old as fuck.
Speaker 3: I feel like I don't get this movie. So Greg
Speaker 3: must be right. I'm gonna give it a five.
Speaker 5: Greg, Well, I give it a ten clearly. Okay, you
Speaker 5: know what I'm gonna surprise you guys? Oh great, So
Speaker 5: I'm I'm actually gonna stick up for this one. And
Speaker 5: here's why I think I think I get what's going on.
Speaker 5: Greg is looking back on his life. He's wondering about
Speaker 5: his future. He's taking stock.
Speaker 1: Of where he is currently in the present, and and
Speaker 1: it's a real human moment captured in writing. I give
Speaker 1: it a ten.
Speaker 2: No, that's not what I'm doing. What I mean, If
Speaker 2: that's what you saw, I failed, well.
Speaker 1: Then fuck you. I give it a zero. So whatever,
Speaker 1: I don't care. All right, so until next week it's
Speaker 1: lights camera action. But for writing, why would you do that? Man?
Speaker 1: Do what bullshit? I was trying to put a I
Speaker 1: can't a branch.
Speaker 2: Oh yeah, If you call it an olive branch and
Speaker 2: you're handing me a bent fork.
Speaker 1: That's all I have.
Speaker 3: Olive branch to text Morgan? Am I too old to text?
Speaker 2: Morgan passed the standard SIS was the standard T