May 16, 2024 • 37 mins
Greg anoints himself the voice of his generation and writes his “Garden State.”
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Mark as Played
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:05):
Welcome to Get It to Dutch, a screenwriter's Journey.
Speaker 2 (00:08):
I'm Mark, I'm Greg, I'm Brendan, and.
Speaker 1 (00:10):
We are a team of Hollywood screenwriters who meet every
week to read from an original screenplay that one of
us has written. We give notes and rank the scripts,
and at the end of the season, we're going to
pitch the best script for big time Hollywood producer Dutch Huxley,
who is dead.
Speaker 2 (00:25):
There he is finally came around.
Speaker 3 (00:27):
Well, you know what, truth shall shut you free.
Speaker 1 (00:30):
The truth will shit your pants. And the thing is,
at first, when Greg told us that Dutch was dead,
I didn't believe it. I was in denial. I will
admit that. But now I'm happy to say that I've
done my research and I am out of denial. Dutch
is definitely dead.
Speaker 3 (00:43):
And this has nothing to do with the fact that
you got Snopes checked.
Speaker 1 (00:47):
Well, that's true. I posted my dutches a live theory
on Facebook and Snopes debunked it really quick.
Speaker 2 (00:53):
Yeah.
Speaker 1 (00:53):
But now, of course we're pivoting from trying to get
our script to Dutch to trying to pitch to the
air Apparent to Dutch's Empire, which is Dutch's son Duck.
Speaker 2 (01:03):
And just to remind everyone, Duck is my friend and
my connection, and so now it seems.
Speaker 1 (01:08):
Yep, can you sleep on his couch?
Speaker 3 (01:11):
Ducks Ducks, I bet he's got a nice one.
Speaker 2 (01:13):
Well he has, no, he's I don't want to he's
my friend. I don't want to abuse that relationship.
Speaker 1 (01:19):
But you want to abuse this one.
Speaker 2 (01:20):
It's well right now, it's the This is kind of
quid pro quo, Mark, I give you screenwriting advice. You
let me sleep on this piece of shit popas on
or whatever this thing is.
Speaker 1 (01:29):
Who's giving who advice? Can we move on to new business?
Speaker 2 (01:32):
You know what? Duck has a sunken couch. Have you
ever seen one of those? It's like a bed in
the floor.
Speaker 3 (01:36):
Oh so cool to be rich.
Speaker 2 (01:41):
New business. Brendan, you go first.
Speaker 1 (01:43):
I'll do that part. Brendan, you go first.
Speaker 3 (01:45):
Well is it Greg's podcast now, because no.
Speaker 1 (01:47):
It's not. It's nobody's podcast. It's always been all of
our podcast. Just so happens that Greg does coke with
the guy that we're trying to get a script to.
Speaker 2 (01:55):
Don't do coke anymore. We do other stuff. It's more interesting.
Speaker 3 (01:58):
Oh, you're growing up.
Speaker 2 (02:00):
We have a new drug that we're trying. It's like coke,
but it makes you interesting PEPSI huh, all right.
Speaker 1 (02:07):
New business, new business.
Speaker 3 (02:08):
Well, I guess everybody's probably buzzing about my Big Wonder audition,
the remake of Small Wonder.
Speaker 2 (02:15):
Of course, how'd that go?
Speaker 3 (02:17):
Well? I felt great in the room casting reached out
to my manager at A one Entertainment A Steak Sauce. No,
this is it has nothing to do with the steak sauce.
I don't think different department. I'm part of the B
two wing of A one Entertainment.
Speaker 1 (02:31):
Uh, second tier talent.
Speaker 2 (02:33):
Yeah, I'm looking it up now.
Speaker 1 (02:35):
A one is.
Speaker 2 (02:35):
Actually it seems like they represent mostly children.
Speaker 3 (02:38):
Yeah, yeah, I kind of. I got in there when
I was in my twenties and I still look sixteen.
And you know, credit to my manager, Nan Plympton. She
never let me go. I really appreciate Nan. She's works
very hard for me, and she reached out to them.
They said audition went great, great, they said they were
big fans.
Speaker 2 (02:55):
Okay, and never a good sign.
Speaker 3 (02:57):
I haven't heard anything since. Yeah, so I made it's off.
God damn fucking shit.
Speaker 1 (03:02):
Well you all know, hey, hey, hey, hey, hey hey,
Now listen, this is just today. Who knows what's gonna happen.
Speaker 3 (03:08):
Big fans is what you say to somebody you don't
want to work with.
Speaker 2 (03:11):
Yeah, that's kind of Hollywood code for thanks. But no,
it's just.
Speaker 3 (03:15):
Insane because I had them laughing in the room, they
were rolling. The little fella they had reading with me
gave me no emotion, and I'm just blasting them with
these lines.
Speaker 2 (03:24):
And I think you have say little person.
Speaker 3 (03:26):
Now it's just a guy who works for. Okay, this
little guy who works for he's dying. But then out
of nowhere, they don't have me do the third scene.
I leave. I'm a little bit confused. Bus ride home,
Nan text me says, reached out to them, said you
did great, Big Fans, And now I'm you know, over
a week and a half later, still haven't heard anything.
So this town just exists to build you up and
(03:49):
then shit in your mouth and send it down the river,
said visceral image.
Speaker 1 (03:54):
The strange metaphor all over that way.
Speaker 3 (03:56):
I didn't want to be on that thing anyway. I mean,
reboots are ridiculed. Hollywood has no good new ideas. It's
all realized. I mean, small wonder that is the bottom
of the barrel.
Speaker 1 (04:08):
We have some good ideas, and I want to tell
you something. I'm a big fan of yours. Okay, let's
do no, no, no, that's a I'm a fan. So I'm
a big fan. Why don't we get into Greg's new business.
And hopefully this script today will pick you up.
Speaker 3 (04:22):
Because this is all I got, so please.
Speaker 1 (04:25):
One of these is going straight to the top.
Speaker 2 (04:27):
I have a great new business. I actually attended Dutches's funeral.
Speaker 1 (04:31):
Whoa yes, How did you get into that? Well?
Speaker 2 (04:34):
I pretended I was with catering, and then I just
kind of got in and then I ended up getting
up and saying a few words. What Yeah, it was great.
Speaker 3 (04:42):
You you can't do that at Dutch's funeral.
Speaker 2 (04:44):
Well, they kind of had an open mic, so I
got up there. I mean, everybody in Hollywood was there.
Some of the biggest names in Hollywood. You had Amazon's
Carter Diablo, you had Ricky Tusker from Warners, Wow, Warners. Yeah,
you had Fanny DeLong from Peacocks, and the who's who
of Hollywood was there. And I thought this could be
(05:04):
a perfect networking type of event.
Speaker 3 (05:07):
And you showed up to a funeral to network.
Speaker 1 (05:09):
Greg.
Speaker 2 (05:10):
Look, guys, I'm not going to miss an opportunity to
get up and pitch.
Speaker 1 (05:13):
Well, how did it go? It went?
Speaker 3 (05:15):
You pitched at the funeral.
Speaker 2 (05:17):
I pitched on Mike, and during your words, yeah you pitched,
I segued.
Speaker 1 (05:24):
What did you pitch in the room at a Where
was it like a church?
Speaker 2 (05:27):
It was at a synagogue?
Speaker 1 (05:29):
Jeez, Louise, I think there's that's probably illegal.
Speaker 2 (05:32):
I pitched cia vers FBI what that's my script? I know,
but it seemed like the perfect opportunity and I you know,
I've always liked that pitch.
Speaker 1 (05:40):
Yeah, but that's my script.
Speaker 2 (05:42):
This isn't the whole thing. To do this together? Mark,
who cares?
Speaker 1 (05:44):
Right? Well, how did it go?
Speaker 2 (05:46):
It went great. Everybody in the room was asking questions.
Speaker 1 (05:49):
Hey, that's good.
Speaker 2 (05:50):
Uh it was. It was a feeding frenzy.
Speaker 3 (05:53):
They were asking questions in the funeral.
Speaker 1 (05:55):
Yeah.
Speaker 2 (05:55):
And then of course Jim mcmanahanan from Sony, is in
the back and I just got mcmana handled.
Speaker 1 (06:02):
Yeah. Ah, this is wait. What did he do? Well?
Speaker 2 (06:05):
He started asking all the wrong questions.
Speaker 1 (06:08):
I've heard of this. They call this the mcmanahanan panic.
Did you panic?
Speaker 2 (06:12):
I panicked?
Speaker 3 (06:13):
Ah?
Speaker 2 (06:14):
It was a nightmare. He asked me what the season
three arc was and I said, it's a feature.
Speaker 1 (06:20):
How did the the room react?
Speaker 2 (06:23):
Room didn't like it? The room totally turned on me
mcmanahand threw a stapler at me from his seat in
the back.
Speaker 1 (06:29):
What.
Speaker 3 (06:29):
Yeah, he brought a staple funeral.
Speaker 1 (06:31):
This is he wanted to teach you a lesson. Yeah, stapler?
Speaker 3 (06:35):
Yeah, I tried this thing, will never jam.
Speaker 2 (06:38):
Wow. Yeah, that guy's a real rat fucker. Anyway, he
had everyone chanting hard pass by the end.
Speaker 3 (06:43):
Oh, and whole room of people channing art pass a
second corpse in the room.
Speaker 2 (06:49):
Yeah, good thing. I did get the phone number of
the widow Huxley. We're gonna have tea sometimes, madam?
Speaker 1 (06:55):
Do you have tea?
Speaker 2 (06:56):
Yeah?
Speaker 1 (06:57):
Is that why you've been drinking all my tea?
Speaker 2 (06:59):
Oh? Is this your? Yeah?
Speaker 3 (07:00):
Oh that grs. Greg gave me some.
Speaker 1 (07:02):
I'm sorry that's not his to give. But yes, you're
old Earl Gray.
Speaker 3 (07:08):
Hey, that's a good stage name, you think, are you
guys a big fan of Earl Gray?
Speaker 2 (07:12):
Huge fan?
Speaker 3 (07:12):
Well that's fucking trash then, isn't it.
Speaker 1 (07:14):
Why don't we get into the script, Greg, Why don't
you set this up? It's your week to shine.
Speaker 2 (07:19):
Well, I'm so excited about the script that I wrote
this week because I was really thinking that my generation,
the millennials, needs I'm a millennial.
Speaker 1 (07:31):
We're the same generation.
Speaker 2 (07:32):
No, we're not. You guys have a millennial. No, you
guys are way older than me.
Speaker 1 (07:37):
Really yeah? Two years older than you?
Speaker 3 (07:39):
Yeah?
Speaker 2 (07:39):
Well yeah, you might be two years older than me.
But generationally we're like, really far apart.
Speaker 3 (07:44):
Am I a baby boomer?
Speaker 1 (07:46):
I don't think so. I don't think we're far apart anyway.
Speaker 2 (07:48):
I think my generation, the millennials, needed our movie. Do
you know what I mean?
Speaker 1 (07:53):
But You're coming of age tail?
Speaker 2 (07:55):
Yeah, just the movie of my generation.
Speaker 1 (07:57):
Okay, what was my generation's coming of age?
Speaker 3 (08:00):
I mean we all had Garden State?
Speaker 2 (08:01):
Right, yeah? And look where you guys got, well, you
had it too.
Speaker 3 (08:04):
Where did we get Garden State? Was also yours?
Speaker 2 (08:07):
No? I didn't understand most of what was happening in
Garden State. You guys had Zach Barf. I need my.
Speaker 3 (08:12):
I don't think it's Zach Barf? Is it?
Speaker 1 (08:14):
Are you saying you're the Zach Barf of your generation?
Speaker 2 (08:17):
And I'm trying to give my generation a movie that
Zach Barf didn't deliver for his generation.
Speaker 3 (08:23):
Zachly, Yeah it does.
Speaker 1 (08:24):
He didn't deliver. But you're saying, you're saying that that's
my generation's coming of age movie, and he didn't deliver.
Speaker 2 (08:30):
No, and so I need to deliver from my generation.
If that makes sense. I need to take the mantle
for my generation.
Speaker 1 (08:36):
I still think we're the same generation.
Speaker 2 (08:38):
No, you guys were like old enough to be firefighters
at nine to eleven. I had my little baby hands
like gripping the tea.
Speaker 1 (08:44):
I remember younger than me.
Speaker 2 (08:46):
I remember looking at the television screen and going, like,
what happened?
Speaker 1 (08:49):
You couldn't talk at age twenty?
Speaker 3 (08:51):
Hold on, you're telling me why why couldn't you talk?
Speaker 1 (08:54):
At twenty?
Speaker 2 (08:55):
I was watching as the horror. I was crying. Everybody
around me was saying, what everything's changed now? Going, I
don't know.
Speaker 1 (09:01):
You use the phrase what happened at twenty?
Speaker 3 (09:03):
I was just going, why can I say something two
years later? Your little baby hands could hold a fire hose,
Because that's the difference. Right now, you're saying we were
firefighting men.
Speaker 2 (09:11):
If you were obeying, it was a sad day in
my young mind. That forever, everything from that point on,
like my generation was crushed by that, but in a
totally different way than your generation.
Speaker 3 (09:23):
I feel like, okay, okay, sure, maybe I am old.
Maybe that's why I didn't get a callback.
Speaker 1 (09:29):
Well, you're playing an old guy for Big Wonder.
Speaker 2 (09:32):
When you guys were coming up, you could buy a
house for thirteen thousand dollars?
Speaker 1 (09:35):
What we could what?
Speaker 4 (09:38):
I should have been all over that.
Speaker 1 (09:39):
I didn't have thirteen thousand dollars on nine to eleven.
Speaker 2 (09:42):
Yeah, probably because you weren't a firefighter.
Speaker 3 (09:44):
Why did I fucking tour Florida for a year?
Speaker 2 (09:47):
You did?
Speaker 1 (09:47):
Did?
Speaker 2 (09:48):
Yeah?
Speaker 4 (09:48):
As what?
Speaker 1 (09:48):
Oh, it's the worst state in the Union.
Speaker 3 (09:50):
Well, I just wanted to kind of take a vacation.
Could it afford Europe? Apparently I could have afforded a house.
Speaker 1 (09:55):
But Florida is not the Europe of America.
Speaker 3 (09:57):
No, it is not.
Speaker 1 (09:58):
It is not.
Speaker 2 (09:59):
What were you touring Florida? As?
Speaker 3 (10:01):
I just went up and down?
Speaker 2 (10:02):
Oh, you weren't doing it as a job.
Speaker 3 (10:04):
You America's dick.
Speaker 1 (10:05):
Yeah, I guess it, up and down America's dick.
Speaker 2 (10:07):
Anyway, let's get into this script because I'm so excited
to give a movie to my generation, and this is.
This movie is called The Boy, The Girl and Leopold.
Speaker 1 (10:19):
Ooh intrigue, can't wait to meet Leopold.
Speaker 2 (10:21):
Yeah, it's kind of an indie generational movie in the
spirit of a Garden State, but not like Zach Barf
would do it. So here's the plot. When aspiring young
artist Graham Hash moves to Chicago, he falls in love
and finds himself over three weeks and two thousand and seven,
finds himself where he finds himself, and he's in Chicago.
(10:43):
But he finds himself in Chicago, and it all takes
place in the.
Speaker 1 (10:45):
Shadow of conscious Was he unconscious?
Speaker 2 (10:48):
I was a little bit because I was so young.
Speaker 1 (10:50):
Then oh this is you?
Speaker 3 (10:51):
Are you Graham?
Speaker 2 (10:51):
Well, it's based on my experiences for sure.
Speaker 1 (10:54):
Oh okay.
Speaker 2 (10:55):
And it all takes place in the shadow of the
greatest financial crisis our country's ever seen, and tragedy worse
than nine to eleven.
Speaker 3 (11:02):
I think we got to stop talking about that.
Speaker 1 (11:04):
Learning something here. I thought nine to eleven was worse.
All right, set it up here we are where do
we dive in?
Speaker 2 (11:18):
Okay? So the Boy the Girl. In the first scene
we meet Graham, he's twenty eight, he's attractive. He works
at group on, he likes IPA's, he has shaggy hair,
He wears those snap buttoned cowboy shirts. He rides a bike.
He listens to Modest Mouse.
Speaker 3 (11:32):
It's definitely you.
Speaker 2 (11:33):
Okay, he doesn't know who he is yet, but that
is all going to change. And when we meet him
at the start of this film, and this is a film,
not a movie. He's on this terrible date and he
escapes through a bathroom window. But he's about to meet
the girl who's going to change everything. All right, So
let's pick up on page Let's see, let's do a
scene from page three. Okay, So Mark, why don't you
(11:56):
read the stage directions? And Brendan, why don't you read
the part of Imagen?
Speaker 1 (12:02):
Oh okay, all right, and you'll be graand oh yeah.
Speaker 3 (12:04):
Of course he use my sexiest lady voice.
Speaker 2 (12:07):
Just read it normal, all.
Speaker 3 (12:09):
Right, Page three, saying apple lady voice.
Speaker 2 (12:11):
Yeah, just read it in your normal lady voice.
Speaker 3 (12:13):
Oh all right.
Speaker 1 (12:14):
Page three, exterior bar night. Graham falls out of the
first story window into a snow drift, the sound of
a woman laughing. He looks up to see Imogen Wiley
twenty one, quirky in that really attractive way. Razorcut bangs
frame a flawless face with the exception of a gap
in her teeth that is more cute than anything. She
wears a Greek fisherman's cap with a down parka and
(12:37):
smokes a hand rolled cigarette in her other hand, A
heartbreaking work of staggering genius by Dave Eggers.
Speaker 3 (12:43):
Let me guess, bad date or did you just not
want to pay your tab?
Speaker 1 (12:47):
Graham stands, brushing the snow off his clothes.
Speaker 2 (12:49):
Bad date? Oh shit, I left my debit card in there.
You're weird, uh, says the person who's reading in the
cold and the dark.
Speaker 3 (12:58):
You think that's weird?
Speaker 1 (12:59):
Watch the image and scrunches up her face, crosses her
eyes and makes weird noises.
Speaker 2 (13:04):
We'll do it like cute though, Yeah, okay, what are
you doing?
Speaker 3 (13:09):
I do stuff like that all the time. I don't
know why. I just like it.
Speaker 1 (13:12):
Graham smiles.
Speaker 2 (13:13):
I'm Graham.
Speaker 3 (13:14):
Huh. You should pronounce it Graham like they do in London.
Speaker 2 (13:18):
What's your name?
Speaker 3 (13:19):
Wouldn't you like to know?
Speaker 1 (13:20):
She puts out her cigarette, swings a leg over her
fixed gear bicycle.
Speaker 2 (13:24):
Wait, we just met. Where are you going?
Speaker 3 (13:25):
I have a gig see you window boy.
Speaker 2 (13:27):
Wait, what's your name?
Speaker 1 (13:29):
Calls over her shoulder, image and then she sticks out
her tongue and disappears around the corner. Graham watches her
go with a mix of thrill and confusion on his face.
Imagen and scene. Okay, that's interesting.
Speaker 4 (13:45):
That's cool.
Speaker 3 (13:46):
That was a very me cute.
Speaker 1 (13:49):
Yeah they meet cute, so Graham and sort of the
manic pixie dream girl.
Speaker 3 (13:55):
Uh.
Speaker 2 (13:56):
I wouldn't call her that. I would say she's a
well rounded female character with lots of different feelings and emotions.
Speaker 1 (14:02):
He was stunning, but she's I mean, she's a she
fits the mold. She's a manic pixie dream girl.
Speaker 2 (14:06):
Mark. This is based on real people that I actually dated.
Speaker 1 (14:09):
It's not a knock, but it's it's a movie trope.
I mean, that's that's what you're setting up here.
Speaker 3 (14:13):
I'll say I was sort of cute.
Speaker 1 (14:15):
I was in her skin.
Speaker 3 (14:16):
I didn't feel manic, Okay, I felt beautiful.
Speaker 2 (14:19):
Yeah, And this is actually four girls I dated, all
sort of wrapped into one. Wow.
Speaker 1 (14:24):
So what does Graham say to the other girl that
he ditched at the bar?
Speaker 2 (14:27):
What does he Yeah, what does he say to her?
Speaker 1 (14:29):
Yeah? So he I mean the poor girl?
Speaker 2 (14:31):
She?
Speaker 1 (14:31):
I mean, does she think he's dead? Like, what's her situation?
Speaker 2 (14:34):
Who cares?
Speaker 1 (14:35):
Cares? Person that he ditched? Did you do that in
real life?
Speaker 2 (14:39):
Yes?
Speaker 1 (14:40):
What did the did you ever see the person again?
Speaker 2 (14:42):
Is somebody who worked with well, the good thing back then?
You probably too old to remember this, but back then,
when we were dating in Chicago, you just kind of
would climb out of windows.
Speaker 3 (14:49):
I had that happen to me a lot.
Speaker 1 (14:53):
Well, I don't remember that. Why don't we move on
to what's the next scene you want to share? Well?
Speaker 2 (14:58):
The next scene is this is kind of where their
relationship really starts to blossom, and Imagen becomes just even
more interesting and well.
Speaker 3 (15:07):
Rounded more interesting.
Speaker 1 (15:08):
Okay, which page.
Speaker 2 (15:10):
Let's go to page thirty one?
Speaker 1 (15:12):
Here thirty one, all right, Page thirty one. Exterior Chicago
Theater night. Imagen and Graham slowly walk down the quiet
city street.
Speaker 3 (15:22):
I'm bored.
Speaker 2 (15:23):
Let's go find something fun. But it's eleven thirty. The
city is dead.
Speaker 3 (15:27):
Not my city.
Speaker 1 (15:28):
Arcade fires, keep the car running, swells exterior street night.
Imagen pushes Graham through a gap in a metallic gate.
Speaker 2 (15:35):
Come on, window boy, She pulls.
Speaker 1 (15:37):
Them down a dark tunnel. The exit of the tunnel
to exterior center Field, Wrigley Field, Graham is in awe
tag You're it? They laugh and chase each other around
the field.
Speaker 2 (15:48):
Who are You?
Speaker 1 (15:49):
Cut to interior Tattoo Parlor. Imagen and Graham hold up
their forearms to reveal identical tattoos of half an avocado.
They put their arms together and make a whole avocado?
Speaker 3 (15:59):
Where did you?
Speaker 2 (16:00):
Home? Front?
Speaker 1 (16:00):
Image and crosses her eyes and mocks Cut two interior
Thai restaurant. Graham shovels some noodles into his face and
gives a satisfying groan.
Speaker 3 (16:09):
It's called chicken pad type, and beats a hot dog
and a hamburger.
Speaker 1 (16:13):
She makes a funny noise and crosses her eyes and
picks her nose. Graham smiles.
Speaker 2 (16:16):
What is happening?
Speaker 1 (16:18):
Interior bedroom night? Graham and Image and make love in
the missionary position, staring into each other's eyes.
Speaker 3 (16:24):
Now it's mind turn.
Speaker 1 (16:25):
Cut two Imagen behind Graham as she pegs them, both
of them in ecstasy. Who you Exterior Kinsey Street Bridge, Sunrise.
Graham and Leopold Ooh, their Imagen's differently abled friend, share
a cigarette as they watch Imagen walk along the railing
of the bridge like a balance beam. Whoa, whoa, take
(16:46):
care of her. Okay, she deserves all happiness in the world.
Were friends of image and are an odd bunch. We
have a broken toys and she fixed this. But when
you're the toymaker who puts you back together, you know.
Speaker 2 (17:00):
Could you do that? But like it, says British accent,
but not like a drunk guy in a pub who
got hit in the head with an anvil.
Speaker 3 (17:06):
He says he's differently able. Is it because he's British?
Speaker 1 (17:09):
Well that's I don't know, that's that's that's pretty spot
on British accent.
Speaker 2 (17:12):
Just like a little bit more. You know, he went
to Cambridge, he's got you know, a bit posh.
Speaker 1 (17:17):
I want an accent competition in college, So I feel
like that's pretty spot on.
Speaker 2 (17:21):
But you want an accent competition?
Speaker 1 (17:23):
Yeah, there was at a bar. They had a contest
to see.
Speaker 2 (17:26):
Anymore a bar accent competition. Wasn't It wasn't like a
scholastic thing.
Speaker 1 (17:31):
No, oh yeah, but what's wrong with that? Okay, bar
accent competition?
Speaker 2 (17:35):
Okay, competition, we'll change it. So just a little bit
more posh.
Speaker 1 (17:39):
Please take care of Okay, she deserves all the happiness
in the world.
Speaker 2 (17:43):
That's exactly the same.
Speaker 1 (17:45):
Why is it the same tongue? That's how they talk, man, Yeah,
they do that. Take out you know what.
Speaker 2 (17:52):
Just make him American, just straight up the middle.
Speaker 1 (17:55):
That's how they talk. Man. I spent six months in Kent.
Speaker 2 (17:59):
Please just make him from the Midwest, straight up the middle.
Speaker 1 (18:02):
Fie Walter, take care of her. Okay, she deserves all
the happiness in the world. We friends of Imagen are
an odd bunch. You know.
Speaker 3 (18:11):
We were broken toys and she fixed us.
Speaker 1 (18:14):
But when you're the toymaker who puts you back together,
Imagen slips and falls.
Speaker 2 (18:21):
Well, Imagen.
Speaker 1 (18:22):
Graham rushes to the railing. Imagen pops her head up
and giggles, gotcha. She presses his nose. Come on, interior group.
On conference room, Graham sleeps through a team meeting. His
boss shouts at him to wake up Graham. Graham slowly
opens his eyes.
Speaker 3 (18:40):
And he thoughts on using global e commerce to connect
subscribers with local merchants by offering activities, travels, goods, and services.
Speaker 1 (18:47):
Graham looks around at the vaguely annoyed faces of his colleagues,
what the hell they want him to say?
Speaker 2 (18:53):
Uh? Dr, excuse me DR.
Speaker 5 (18:59):
A few people laugh, uncomfortable, Graham, what the hell don't
you get it?
Speaker 2 (19:04):
You're doing it all wrong?
Speaker 3 (19:06):
And what exactly are we doing wrong?
Speaker 2 (19:08):
Graham Life, You're a bunch of thirty and thirty one
year olds doing it all wrong. I'm twenty eight and
I'm doing it right. You guys, with your ping pong
tables and your IPA's, you think you're so cool, But
I just got butt fucked by my dream girl to
an Arcade fire song last night. Saw this.
Speaker 3 (19:25):
Doesn't matter.
Speaker 2 (19:27):
I quit. Oh and one, we're thinking, let's pronounce Graham.
Speaker 1 (19:33):
He presses his boss's nose. Meep, morp, he shoe wheey
skates away. The team remains behind, silent, each wishing they
could be Graham. WHOA, Okay, so you and Graham have
the same avocado tattoo?
Speaker 2 (19:52):
Yeah, isn't that cool?
Speaker 3 (19:53):
Oh?
Speaker 1 (19:53):
Wow?
Speaker 3 (19:53):
Wait? Does this mean there's four girls out there with
avocado tattoos?
Speaker 2 (19:57):
Yeah? I guess it does mean there's two and a
half of Locado's out there. Two and a half, well,
the four girls plus my half.
Speaker 5 (20:04):
Ah.
Speaker 1 (20:05):
Okay, yeah, so I have some questions about Leopold. We
meet him on page thirty one, and yeah, do we
see him again?
Speaker 2 (20:13):
No?
Speaker 1 (20:14):
And why? I know you guys had some problems with
my spot on British accent, But why is he British?
Speaker 2 (20:19):
I think I'm going to change that after you read
it in a British accent.
Speaker 1 (20:22):
But you had a reason to make him British the
first time.
Speaker 2 (20:24):
Well, originally I thought I would have an actor that
could read it in a British accent, but now there's
just no way.
Speaker 1 (20:29):
Well, I'm not an actor. I'm I'm a writer, clearly. Okay,
Well show me the accent you think it should be.
Speaker 2 (20:36):
We friends of image and broken toys, so like New England.
Speaker 3 (20:41):
That's that's England and England.
Speaker 2 (20:42):
To me, we friends of image and not broken toys.
Speaker 3 (20:46):
Take care of her?
Speaker 1 (20:47):
Oh like that, take care of her, Oh like take
care of her, take care got scarvy outs? See right,
But that's how you did it.
Speaker 3 (20:58):
No, I didn't, I said, like Greg.
Speaker 2 (21:00):
No, I don't think Jay.
Speaker 1 (21:02):
Okay, are you.
Speaker 2 (21:03):
Guys too old to do a British accent?
Speaker 1 (21:06):
British accents are the oldest accents.
Speaker 2 (21:08):
Well, in my generation, we think of British accents in
like a more pashway. But you guys are kind of
thinking of it in the old British way. And that's
just because that again, this is a movie for my generation.
It's not really for you.
Speaker 1 (21:18):
Yeah, I don't really feel an ancient man.
Speaker 3 (21:21):
Every time you say that.
Speaker 1 (21:23):
I had it. In the script you said I'm twenty eight.
You guys are thirty.
Speaker 2 (21:26):
Yeah, yeah, eight thirty is like there, But did you
listen to it? I mean, it's clear that the generational
gap is huge.
Speaker 1 (21:34):
You've set up a generational gap. I don't know the day.
Speaker 3 (21:36):
Can I ask you guys and ask question. George's character
description in Big Wonder he was thirty five. Do I
look thirty five? Oh the fuck? That's why I didn't
get it.
Speaker 1 (21:45):
At least thirty five. I think it's good man. That's
when you're window.
Speaker 3 (21:50):
I look like I'm at least thirty five years old.
Speaker 2 (21:52):
Sure, maybe there will be a spin off called Old Wonder.
Speaker 3 (21:56):
I don't have time to wait for that.
Speaker 1 (21:57):
Can we move on? Let's jump to the scene.
Speaker 2 (22:00):
Okay, great, page seventy five, So I think you guys
are really gonna like this next scene. This is a
scene where Graham and Imagen are you know they're they've
had a falling out because Graham is jealous because Imagen
still is playing music with her ex boyfriend Samir and
they have a big gig at Uncommon Ground and Graham
refuses to go. So he's walking sadly through Lincoln Park
(22:22):
and that's when he sees Samir playing music with another
girl inside of Pop Belly sandwich shop and he goes
in and he confronts him and he's like, hey, fucker,
you have a gig tonight, and Samir's like, yeah, well,
another opportunity came up. And when Graham finds out that
he is basically bailed on Imagen, he says, you know,
(22:44):
you sort of a bitch, and he slaps Samir in
the nose, and you know, Samir is going.
Speaker 4 (22:49):
Like, this is my singing nose. Man.
Speaker 1 (22:52):
You know, it's like one of those things like slaps
the tip of his nose.
Speaker 2 (22:55):
It like slaps his nose. You know those scenes where
someone gets slapped slapped or punchs in the and they're like, man.
Speaker 1 (23:02):
Right, but like the voice, the physics of it work,
like the tip of his finger hits the.
Speaker 2 (23:07):
Nose, slaps him in the open hand slaps him in
the nose, his nose like Samir's nose huge.
Speaker 1 (23:13):
Well, okay, that might make some sense.
Speaker 2 (23:16):
And there's blood gushing everywhere. Slaps Samir's big old nose
and a popelly and it just explodes him. But and
he's like And Graham takes off on foot, races uptown
to rescue Imogen, and this is where he's really going
to prove himself that he's her rider. Die you know
what I mean?
Speaker 1 (23:36):
Did he get blood on him?
Speaker 2 (23:37):
Oh, Graham's covered in blood? Oh wow, you know, just
on the shirt though, like a you're okay, no, how
much blood? Samir is not okay. Well, we find out
later Samir was hemophiliac and he bleeds.
Speaker 1 (23:47):
Oh my god, bleeds out. So Graham ditches a girl
at a bar, kills Samir.
Speaker 2 (23:52):
Well, he doesn't kill him.
Speaker 1 (23:54):
He assaulted him and he's dead and he bleeds out.
Speaker 2 (23:57):
I think his own blood killed the mark.
Speaker 1 (23:59):
So a boyfriend because of the cause and effect from
the slat.
Speaker 2 (24:03):
Well, he could have run into a door and the
same thing would have happened, sure.
Speaker 1 (24:05):
But that's not what happened.
Speaker 3 (24:07):
So an old boyfriend dies, but we never see Leopoldigan.
No in Leopold's names in the title.
Speaker 2 (24:12):
Yeah, okay, so let's go to page seventy five.
Speaker 1 (24:25):
That's great, all right, let's get into it. Page seventy
five interior, uncommon ground coffee house night a bohemian cafe.
The crowd applauds as the host takes the mic. Okay,
folks are final act for the open mic competition. Please welcome,
friends of the President. Imagen walks on stage, ukulele in hand.
She gives one final look to the door for her bandmate.
Speaker 3 (24:46):
Then, Hi, I'm imaged. So normally I seing this with
my Danny's here, but I guess sometimes people don't show
up for you.
Speaker 1 (24:55):
Right, murmurs of acknowledgment from the crowd. They know this
is deeply true.
Speaker 3 (25:00):
Here's nothing, this is something that I wrote.
Speaker 1 (25:03):
She strums her ukulele.
Speaker 4 (25:06):
Won't you tell you love you more?
Speaker 1 (25:11):
She stops, She doesn't know the other part.
Speaker 2 (25:14):
Sorry.
Speaker 1 (25:17):
From the crowd, A heckler calls out next fighting back,
tears image and tries again, want you three foot love
you more?
Speaker 2 (25:30):
Sorry?
Speaker 1 (25:31):
Then suddenly, from the back of clear high voice joins in.
Speaker 4 (25:35):
Sleepless Long Nights, that was what my youth was for.
Speaker 1 (25:41):
Imagen beams with surprise as Graham stands from the back
covered in Sameir's blood, singing and making his way toward
the front.
Speaker 4 (25:53):
Left you with love, but they wanted more, you know.
Speaker 1 (26:09):
The crowd goes wild as they finished the song image
and looks at him, the sins of the last few
days evaporating. Who are you.
Speaker 2 (26:19):
En?
Speaker 1 (26:20):
Scene?
Speaker 2 (26:20):
Okay, wow, isn't that fun?
Speaker 1 (26:24):
So it's fun. It's's fun. It's a really and I
love the song. But you're saying that she wrote one
two three four by Feist.
Speaker 2 (26:36):
Yeah she wrote it.
Speaker 1 (26:37):
Feist didn't write it.
Speaker 2 (26:39):
Well, Feist didn't actually write it. My ex girlfriend Chicago
actually wrote that song.
Speaker 3 (26:42):
Really, Feist sold that song from your She.
Speaker 2 (26:46):
Was basically the Carlos Mencia of early two thousands in
d rac.
Speaker 1 (26:49):
Let me let me snopes it and see.
Speaker 3 (26:51):
Boy did they even let you on there?
Speaker 2 (26:53):
Do you remember my girlfriend Morgan? She was on that
wg in show for kids.
Speaker 3 (26:56):
All right, she got fired for being too chesty.
Speaker 2 (26:59):
Yeah, it was a kid song that she initially wrote
one two three four, but then she got fired and
then five stole it.
Speaker 3 (27:05):
Oh it makes sense.
Speaker 1 (27:06):
Why did she show so much cleavage?
Speaker 2 (27:08):
Well, see that's something your generation.
Speaker 1 (27:10):
Would it's not she was showing a ton of so
much cleavage, Yes she was.
Speaker 2 (27:16):
We were body positive. You all were like, we gotta
shut it down.
Speaker 1 (27:20):
Okay, body positive? Yes, I agree, But on a kid show.
Speaker 2 (27:23):
It was two thousand and eight. It was fine back then,
but we didn't even think it was clearly it wasn't.
We didn't think about that.
Speaker 1 (27:32):
Sorry, came to the coffee shop and stole it from
your ex girlfriend.
Speaker 2 (27:36):
Yes, after they actually kicked her off that show. The
show tank because no adults watched it.
Speaker 3 (27:41):
Wonder why I really am horn?
Speaker 1 (27:44):
All right, so can we move on to we have
one more?
Speaker 2 (27:47):
Okay, let's go to the finale. They've had another falling out,
actually after the feist. Geez this time, let's see what happened.
They have a bunch of breakups throughout the thing. I
think he eats meat and she catches him.
Speaker 1 (28:01):
What kind of meat? Backstory?
Speaker 2 (28:04):
He goes to an Asado burrito place and uh, and
then she finds a burrito in the back of his
car and it's bad, but he.
Speaker 1 (28:11):
Just chucked the burrito in the back of his.
Speaker 2 (28:13):
Two burritos, keeps one in the back of the car.
She finds it and they have a because he hides
it from her. That's the sin.
Speaker 1 (28:20):
Yeah, this is he had told her she wouldn't have
been as mad.
Speaker 2 (28:23):
And this is right after some your's funeral, so we
all know that he does die? Yeah, should they know?
You guys didn't know. That's what I was saying.
Speaker 1 (28:32):
All right, have you done a subtext pass on this one?
Speaker 2 (28:35):
What do you mean?
Speaker 1 (28:36):
Like you?
Speaker 2 (28:37):
The whole movie is subtext mark the sub film, Thank you,
brendan film. The whole film is subtext mark.
Speaker 3 (28:45):
Okay, that's what makes it a film and not a
movie movie. You gotta like bash somebody over the head
with it. Film.
Speaker 2 (28:51):
You're aloud, you're allowed to have subtext. So okay, this.
Speaker 1 (28:54):
Is not a manic pixie dream girl.
Speaker 3 (28:56):
Stop calling her that?
Speaker 2 (28:57):
Yeah? Please? Oh this is the big climax climax. He
wants to get back together with her. He can't get
a hold of her, so he goes to her place
and this is.
Speaker 3 (29:06):
Where we pick up.
Speaker 1 (29:07):
Okay, so we're on page one ten. Okay, interior logan
Square loft day. Graham sprints up the stairs to Imagen's apartment.
The door is slightly a jar. He enters to find
the place is empty. Everything is gone, the hammock, the
papasan chair, the CD tower, the bongo drum, the bead
curtain over the kitchen doorway, the little Mason jars of spices,
(29:29):
the death cab for QT poster, the postal service poster,
the Sopranos DVDs. Even her polaroid camera is gone, and
the living room wall that had been covered in polaroid
pictures of everyone who had ever been in the apartment
is now bare. A man in a pinstriped suit and
work boots steps out of the kitchen. This is Imagen's father,
(29:49):
Randall McTavish, classic Iowa farmer, businessman. Can I help you?
Speaker 2 (29:54):
Where's Imagen?
Speaker 1 (29:56):
Christ? Is that what she was here? In New York?
She was saved San Francisco. She was Yuki Yamagato, now
Imagen Son. She's a high school dropout from Iowa with
serious problems and a family farmed or on. Imagen doesn't exist.
Speaker 4 (30:13):
She's not real.
Speaker 2 (30:15):
She's not real. Why does this hurt so bad?
Speaker 1 (30:18):
Cut to interior Imagen's apartment. Moments later, Graham stares out
the window at Imagen in the passenger seat of her
dad's truck. She looks up at her eyes swollen from crying.
On her head a white bush cheney hat. Graham bangs
on the window, pleading. The truck pulls into the road.
Imagen winks and mouth's window boy in the window. Through
(30:41):
his tears, he laughs. Exterior Architecture Boat toward day. Graham
watches the buildings. As the boat passes under the Kinsey
Street Bridge. A tour guide prattles on.
Speaker 3 (30:53):
After the Great Chicago Fire, the city realized they could
remake itself, and this is what it became.
Speaker 1 (30:58):
Sploosh, A gusher of human waste rains down on the boat,
screams chaos, everyone running for cover, only Graham sits still
in his seat. He wipes the shit from his eyes.
He can finally see clearly. Graham looks up just in
time to catch a glimpse of the Dave Matthews tour
bus rumbling over the bridge, the perfect symbol of the
(31:22):
old generation. As it coasts away, Graham smiles to himself,
picks his way past the sobbing passengers, and swan dives
into the river. Exterior country Road, Iowa. Graham steers his
pt cruiser's zip car past the endless cornfields. He stops
at a mailbox, checks the address. This is the place.
(31:43):
He looks up at the long driveway to see a
big white farmhouse engulfed in flames. Graham is up the driveway,
out of the car into the house. A moment later
he returns, dragging Imagen's body from the blaze. He lays
her on the grass. Her eyes are closed. He wipes
the ash from her face.
Speaker 2 (32:01):
I'm sorry, I'm sorry. It wasn't there for you, but
I'm here now.
Speaker 1 (32:05):
He kisses his avocado tattoo and presses it against hers.
Speaker 2 (32:10):
I just want us to behold again.
Speaker 1 (32:12):
Her eyes flutter open. A mischievous smile crosses her face.
Got too, window boy, he laughs, shakes his head.
Speaker 4 (32:21):
Who are you?
Speaker 3 (32:22):
I'm Jasmine, Jasmine.
Speaker 1 (32:25):
She pulls him into a kiss as the house burned.
In the background, the charred corpse of Imogen's dad falls
out the window and lands on a bird. FIS's one, two, three,
four kicks in and we cut to black the end.
Speaker 3 (32:45):
Wow.
Speaker 2 (32:46):
Yeah, so I think it comes together while she was
acting that way because she was crazy.
Speaker 1 (32:52):
No, Uh what okay? Uh? So Jasmine, the Imagen kills
her dad, yep, lights the house on fire.
Speaker 2 (33:03):
Well, it's symbolic. I mean, think about that, you guys should.
Speaker 1 (33:05):
Be right, it's symbolic. But in the fucking script she
she burns the house down and kills her dad.
Speaker 2 (33:11):
Well, he symbolizes everything my generation hates. And in the
movie her dad actually invents mortgage backed securities wow, which
is essentially you know, he's like Rosama bin Latton if
you guys thought of it that way.
Speaker 1 (33:24):
Does Graham know he's an accomplice to a felony? It's
several felam he's including murder and he's also a murderer.
Speaker 2 (33:29):
Can't you just see the symbolism in it without getting.
Speaker 1 (33:32):
Just this straightforward, like you know, surface level story. There's
two deaths on their hands.
Speaker 2 (33:39):
I think it lightens the mood if you play Feist's
one two three four over it Morgan's one two three four.
Speaker 1 (33:45):
But right, So not a clear answer on that one.
How do we know she mouths window boy in the window.
Speaker 2 (33:50):
Everybody's been waiting for her to say window.
Speaker 1 (33:52):
Wait, wait, just do it without saying that same I'll
do it to Mark. Okay, we don't know where the
wind goes. What well, I don't know what he's saying.
What is that again? When did you blow the dildo? Don't?
I don't know what he's saying.
Speaker 2 (34:06):
Everyone in the movie will see when he's standing in
the window that she's going to say window boy in
the wood.
Speaker 1 (34:11):
I would I would encourage our listeners to go to
a mirror, turn to a friend without saying the words
mouthed and see.
Speaker 3 (34:18):
What a challenge that.
Speaker 2 (34:20):
We'll call this the window Boy in the Window Challenge.
Speaker 3 (34:23):
Awesome and hash Mark buys your lunch.
Speaker 2 (34:26):
Everybody, get on Twitter hashtag window Boy in the Window challenge,
send in your votes and we'll see if window Boy
in the Window tracks real quick?
Speaker 1 (34:33):
Why did? Why did? Why? Why kill the dad?
Speaker 2 (34:36):
Why not?
Speaker 3 (34:37):
Greg? Did you want one of your ex girlfriends kill
a family member?
Speaker 2 (34:40):
Did one of my ex girlfriends kill a family member?
Speaker 3 (34:43):
This is based on you did this happen?
Speaker 2 (34:46):
This is a scene from my life. This last scene.
Speaker 1 (34:50):
You pulled an ext girlfriend out of a burning barn
that she lit on fire to kill her dad.
Speaker 2 (34:53):
We'll call her house a barn mark. See this is
the classic.
Speaker 1 (34:56):
That's the fit, the sticking point. All right, let's can
we vot vote? Let's just let's move to a vote.
Speaker 3 (35:02):
All right, I am very confused. Okay, because you said
you've shown this character to some of your female friends
and they say she's a well written female character.
Speaker 2 (35:10):
Every woman that's read this has said so, I.
Speaker 3 (35:12):
Don't believe that.
Speaker 1 (35:13):
How many what's the number we're talking?
Speaker 2 (35:15):
Actually, you know what I do. I'm not sure if
a woman has read this yet. Did I show this
to a woman? I can't remember?
Speaker 1 (35:21):
Remember?
Speaker 3 (35:22):
Well, I think she's terribly written. You made her a psycho.
Speaker 1 (35:25):
I thought you liked the character.
Speaker 3 (35:27):
I don't like it, Mark, I love her. That's terribly
part about this thing. I can't get her out of
my head. Uh, after being inside her, I wanted. I
want her to be real.
Speaker 2 (35:39):
And you're thinking about Morgan, right, I mean.
Speaker 3 (35:41):
Just yeah, honestly, Ever since you put that out there,
Oh those sock puppets, man, Oh, I am so conflicted.
I love Imagen slash Jasmine. I feel old as fuck.
I feel like I don't get this movie. So Greg
must be right. I'm gonna give it a five.
Speaker 5 (35:59):
Greg, Well, I give it a ten clearly. Okay, you
know what I'm gonna surprise you guys? Oh great, So
I'm I'm actually gonna stick up for this one. And
here's why I think I think I get what's going on.
Greg is looking back on his life. He's wondering about
his future. He's taking stock.
Speaker 1 (36:18):
Of where he is currently in the present, and and
it's a real human moment captured in writing. I give
it a ten.
Speaker 2 (36:26):
No, that's not what I'm doing. What I mean, If
that's what you saw, I failed, well.
Speaker 1 (36:30):
Then fuck you. I give it a zero. So whatever,
I don't care. All right, so until next week it's
lights camera action. But for writing, why would you do that? Man?
Do what bullshit? I was trying to put a I
can't a branch.
Speaker 2 (36:44):
Oh yeah, If you call it an olive branch and
you're handing me a bent fork.
Speaker 1 (36:48):
That's all I have.
Speaker 3 (36:50):
Olive branch to text Morgan? Am I too old to text?
Speaker 2 (36:53):
Morgan passed the standard SIS was the standard T
Welcome to Get It to Dutch, a screenwriter's Journey.
Speaker 2 (00:08):
I'm Mark, I'm Greg, I'm Brendan, and.
Speaker 1 (00:10):
We are a team of Hollywood screenwriters who meet every
week to read from an original screenplay that one of
us has written. We give notes and rank the scripts,
and at the end of the season, we're going to
pitch the best script for big time Hollywood producer Dutch Huxley,
who is dead.
Speaker 2 (00:25):
There he is finally came around.
Speaker 3 (00:27):
Well, you know what, truth shall shut you free.
Speaker 1 (00:30):
The truth will shit your pants. And the thing is,
at first, when Greg told us that Dutch was dead,
I didn't believe it. I was in denial. I will
admit that. But now I'm happy to say that I've
done my research and I am out of denial. Dutch
is definitely dead.
Speaker 3 (00:43):
And this has nothing to do with the fact that
you got Snopes checked.
Speaker 1 (00:47):
Well, that's true. I posted my dutches a live theory
on Facebook and Snopes debunked it really quick.
Speaker 2 (00:53):
Yeah.
Speaker 1 (00:53):
But now, of course we're pivoting from trying to get
our script to Dutch to trying to pitch to the
air Apparent to Dutch's Empire, which is Dutch's son Duck.
Speaker 2 (01:03):
And just to remind everyone, Duck is my friend and
my connection, and so now it seems.
Speaker 1 (01:08):
Yep, can you sleep on his couch?
Speaker 3 (01:11):
Ducks Ducks, I bet he's got a nice one.
Speaker 2 (01:13):
Well he has, no, he's I don't want to he's
my friend. I don't want to abuse that relationship.
Speaker 1 (01:19):
But you want to abuse this one.
Speaker 2 (01:20):
It's well right now, it's the This is kind of
quid pro quo, Mark, I give you screenwriting advice. You
let me sleep on this piece of shit popas on
or whatever this thing is.
Speaker 1 (01:29):
Who's giving who advice? Can we move on to new business?
Speaker 2 (01:32):
You know what? Duck has a sunken couch. Have you
ever seen one of those? It's like a bed in
the floor.
Speaker 3 (01:36):
Oh so cool to be rich.
Speaker 2 (01:41):
New business. Brendan, you go first.
Speaker 1 (01:43):
I'll do that part. Brendan, you go first.
Speaker 3 (01:45):
Well is it Greg's podcast now, because no.
Speaker 1 (01:47):
It's not. It's nobody's podcast. It's always been all of
our podcast. Just so happens that Greg does coke with
the guy that we're trying to get a script to.
Speaker 2 (01:55):
Don't do coke anymore. We do other stuff. It's more interesting.
Speaker 3 (01:58):
Oh, you're growing up.
Speaker 2 (02:00):
We have a new drug that we're trying. It's like coke,
but it makes you interesting PEPSI huh, all right.
Speaker 1 (02:07):
New business, new business.
Speaker 3 (02:08):
Well, I guess everybody's probably buzzing about my Big Wonder audition,
the remake of Small Wonder.
Speaker 2 (02:15):
Of course, how'd that go?
Speaker 3 (02:17):
Well? I felt great in the room casting reached out
to my manager at A one Entertainment A Steak Sauce. No,
this is it has nothing to do with the steak sauce.
I don't think different department. I'm part of the B
two wing of A one Entertainment.
Speaker 1 (02:31):
Uh, second tier talent.
Speaker 2 (02:33):
Yeah, I'm looking it up now.
Speaker 1 (02:35):
A one is.
Speaker 2 (02:35):
Actually it seems like they represent mostly children.
Speaker 3 (02:38):
Yeah, yeah, I kind of. I got in there when
I was in my twenties and I still look sixteen.
And you know, credit to my manager, Nan Plympton. She
never let me go. I really appreciate Nan. She's works
very hard for me, and she reached out to them.
They said audition went great, great, they said they were
big fans.
Speaker 2 (02:55):
Okay, and never a good sign.
Speaker 3 (02:57):
I haven't heard anything since. Yeah, so I made it's off.
God damn fucking shit.
Speaker 1 (03:02):
Well you all know, hey, hey, hey, hey, hey hey,
Now listen, this is just today. Who knows what's gonna happen.
Speaker 3 (03:08):
Big fans is what you say to somebody you don't
want to work with.
Speaker 2 (03:11):
Yeah, that's kind of Hollywood code for thanks. But no,
it's just.
Speaker 3 (03:15):
Insane because I had them laughing in the room, they
were rolling. The little fella they had reading with me
gave me no emotion, and I'm just blasting them with
these lines.
Speaker 2 (03:24):
And I think you have say little person.
Speaker 3 (03:26):
Now it's just a guy who works for. Okay, this
little guy who works for he's dying. But then out
of nowhere, they don't have me do the third scene.
I leave. I'm a little bit confused. Bus ride home,
Nan text me says, reached out to them, said you
did great, Big Fans, And now I'm you know, over
a week and a half later, still haven't heard anything.
So this town just exists to build you up and
(03:49):
then shit in your mouth and send it down the river,
said visceral image.
Speaker 1 (03:54):
The strange metaphor all over that way.
Speaker 3 (03:56):
I didn't want to be on that thing anyway. I mean,
reboots are ridiculed. Hollywood has no good new ideas. It's
all realized. I mean, small wonder that is the bottom
of the barrel.
Speaker 1 (04:08):
We have some good ideas, and I want to tell
you something. I'm a big fan of yours. Okay, let's
do no, no, no, that's a I'm a fan. So I'm
a big fan. Why don't we get into Greg's new business.
And hopefully this script today will pick you up.
Speaker 3 (04:22):
Because this is all I got, so please.
Speaker 1 (04:25):
One of these is going straight to the top.
Speaker 2 (04:27):
I have a great new business. I actually attended Dutches's funeral.
Speaker 1 (04:31):
Whoa yes, How did you get into that? Well?
Speaker 2 (04:34):
I pretended I was with catering, and then I just
kind of got in and then I ended up getting
up and saying a few words. What Yeah, it was great.
Speaker 3 (04:42):
You you can't do that at Dutch's funeral.
Speaker 2 (04:44):
Well, they kind of had an open mic, so I
got up there. I mean, everybody in Hollywood was there.
Some of the biggest names in Hollywood. You had Amazon's
Carter Diablo, you had Ricky Tusker from Warners, Wow, Warners. Yeah,
you had Fanny DeLong from Peacocks, and the who's who
of Hollywood was there. And I thought this could be
(05:04):
a perfect networking type of event.
Speaker 3 (05:07):
And you showed up to a funeral to network.
Speaker 1 (05:09):
Greg.
Speaker 2 (05:10):
Look, guys, I'm not going to miss an opportunity to
get up and pitch.
Speaker 1 (05:13):
Well, how did it go? It went?
Speaker 3 (05:15):
You pitched at the funeral.
Speaker 2 (05:17):
I pitched on Mike, and during your words, yeah you pitched,
I segued.
Speaker 1 (05:24):
What did you pitch in the room at a Where
was it like a church?
Speaker 2 (05:27):
It was at a synagogue?
Speaker 1 (05:29):
Jeez, Louise, I think there's that's probably illegal.
Speaker 2 (05:32):
I pitched cia vers FBI what that's my script? I know,
but it seemed like the perfect opportunity and I you know,
I've always liked that pitch.
Speaker 1 (05:40):
Yeah, but that's my script.
Speaker 2 (05:42):
This isn't the whole thing. To do this together? Mark,
who cares?
Speaker 1 (05:44):
Right? Well, how did it go?
Speaker 2 (05:46):
It went great. Everybody in the room was asking questions.
Speaker 1 (05:49):
Hey, that's good.
Speaker 2 (05:50):
Uh it was. It was a feeding frenzy.
Speaker 3 (05:53):
They were asking questions in the funeral.
Speaker 1 (05:55):
Yeah.
Speaker 2 (05:55):
And then of course Jim mcmanahanan from Sony, is in
the back and I just got mcmana handled.
Speaker 1 (06:02):
Yeah. Ah, this is wait. What did he do? Well?
Speaker 2 (06:05):
He started asking all the wrong questions.
Speaker 1 (06:08):
I've heard of this. They call this the mcmanahanan panic.
Did you panic?
Speaker 2 (06:12):
I panicked?
Speaker 3 (06:13):
Ah?
Speaker 2 (06:14):
It was a nightmare. He asked me what the season
three arc was and I said, it's a feature.
Speaker 1 (06:20):
How did the the room react?
Speaker 2 (06:23):
Room didn't like it? The room totally turned on me
mcmanahand threw a stapler at me from his seat in
the back.
Speaker 1 (06:29):
What.
Speaker 3 (06:29):
Yeah, he brought a staple funeral.
Speaker 1 (06:31):
This is he wanted to teach you a lesson. Yeah, stapler?
Speaker 3 (06:35):
Yeah, I tried this thing, will never jam.
Speaker 2 (06:38):
Wow. Yeah, that guy's a real rat fucker. Anyway, he
had everyone chanting hard pass by the end.
Speaker 3 (06:43):
Oh, and whole room of people channing art pass a
second corpse in the room.
Speaker 2 (06:49):
Yeah, good thing. I did get the phone number of
the widow Huxley. We're gonna have tea sometimes, madam?
Speaker 1 (06:55):
Do you have tea?
Speaker 2 (06:56):
Yeah?
Speaker 1 (06:57):
Is that why you've been drinking all my tea?
Speaker 2 (06:59):
Oh? Is this your? Yeah?
Speaker 3 (07:00):
Oh that grs. Greg gave me some.
Speaker 1 (07:02):
I'm sorry that's not his to give. But yes, you're
old Earl Gray.
Speaker 3 (07:08):
Hey, that's a good stage name, you think, are you
guys a big fan of Earl Gray?
Speaker 2 (07:12):
Huge fan?
Speaker 3 (07:12):
Well that's fucking trash then, isn't it.
Speaker 1 (07:14):
Why don't we get into the script, Greg, Why don't
you set this up? It's your week to shine.
Speaker 2 (07:19):
Well, I'm so excited about the script that I wrote
this week because I was really thinking that my generation,
the millennials, needs I'm a millennial.
Speaker 1 (07:31):
We're the same generation.
Speaker 2 (07:32):
No, we're not. You guys have a millennial. No, you
guys are way older than me.
Speaker 1 (07:37):
Really yeah? Two years older than you?
Speaker 3 (07:39):
Yeah?
Speaker 2 (07:39):
Well yeah, you might be two years older than me.
But generationally we're like, really far apart.
Speaker 3 (07:44):
Am I a baby boomer?
Speaker 1 (07:46):
I don't think so. I don't think we're far apart anyway.
Speaker 2 (07:48):
I think my generation, the millennials, needed our movie. Do
you know what I mean?
Speaker 1 (07:53):
But You're coming of age tail?
Speaker 2 (07:55):
Yeah, just the movie of my generation.
Speaker 1 (07:57):
Okay, what was my generation's coming of age?
Speaker 3 (08:00):
I mean we all had Garden State?
Speaker 2 (08:01):
Right, yeah? And look where you guys got, well, you
had it too.
Speaker 3 (08:04):
Where did we get Garden State? Was also yours?
Speaker 2 (08:07):
No? I didn't understand most of what was happening in
Garden State. You guys had Zach Barf. I need my.
Speaker 3 (08:12):
I don't think it's Zach Barf? Is it?
Speaker 1 (08:14):
Are you saying you're the Zach Barf of your generation?
Speaker 2 (08:17):
And I'm trying to give my generation a movie that
Zach Barf didn't deliver for his generation.
Speaker 3 (08:23):
Zachly, Yeah it does.
Speaker 1 (08:24):
He didn't deliver. But you're saying, you're saying that that's
my generation's coming of age movie, and he didn't deliver.
Speaker 2 (08:30):
No, and so I need to deliver from my generation.
If that makes sense. I need to take the mantle
for my generation.
Speaker 1 (08:36):
I still think we're the same generation.
Speaker 2 (08:38):
No, you guys were like old enough to be firefighters
at nine to eleven. I had my little baby hands
like gripping the tea.
Speaker 1 (08:44):
I remember younger than me.
Speaker 2 (08:46):
I remember looking at the television screen and going, like,
what happened?
Speaker 1 (08:49):
You couldn't talk at age twenty?
Speaker 3 (08:51):
Hold on, you're telling me why why couldn't you talk?
Speaker 1 (08:54):
At twenty?
Speaker 2 (08:55):
I was watching as the horror. I was crying. Everybody
around me was saying, what everything's changed now? Going, I
don't know.
Speaker 1 (09:01):
You use the phrase what happened at twenty?
Speaker 3 (09:03):
I was just going, why can I say something two
years later? Your little baby hands could hold a fire hose,
Because that's the difference. Right now, you're saying we were
firefighting men.
Speaker 2 (09:11):
If you were obeying, it was a sad day in
my young mind. That forever, everything from that point on,
like my generation was crushed by that, but in a
totally different way than your generation.
Speaker 3 (09:23):
I feel like, okay, okay, sure, maybe I am old.
Maybe that's why I didn't get a callback.
Speaker 1 (09:29):
Well, you're playing an old guy for Big Wonder.
Speaker 2 (09:32):
When you guys were coming up, you could buy a
house for thirteen thousand dollars?
Speaker 1 (09:35):
What we could what?
Speaker 4 (09:38):
I should have been all over that.
Speaker 1 (09:39):
I didn't have thirteen thousand dollars on nine to eleven.
Speaker 2 (09:42):
Yeah, probably because you weren't a firefighter.
Speaker 3 (09:44):
Why did I fucking tour Florida for a year?
Speaker 2 (09:47):
You did?
Speaker 1 (09:47):
Did?
Speaker 2 (09:48):
Yeah?
Speaker 4 (09:48):
As what?
Speaker 1 (09:48):
Oh, it's the worst state in the Union.
Speaker 3 (09:50):
Well, I just wanted to kind of take a vacation.
Could it afford Europe? Apparently I could have afforded a house.
Speaker 1 (09:55):
But Florida is not the Europe of America.
Speaker 3 (09:57):
No, it is not.
Speaker 1 (09:58):
It is not.
Speaker 2 (09:59):
What were you touring Florida? As?
Speaker 3 (10:01):
I just went up and down?
Speaker 2 (10:02):
Oh, you weren't doing it as a job.
Speaker 3 (10:04):
You America's dick.
Speaker 1 (10:05):
Yeah, I guess it, up and down America's dick.
Speaker 2 (10:07):
Anyway, let's get into this script because I'm so excited
to give a movie to my generation, and this is.
This movie is called The Boy, The Girl and Leopold.
Speaker 1 (10:19):
Ooh intrigue, can't wait to meet Leopold.
Speaker 2 (10:21):
Yeah, it's kind of an indie generational movie in the
spirit of a Garden State, but not like Zach Barf
would do it. So here's the plot. When aspiring young
artist Graham Hash moves to Chicago, he falls in love
and finds himself over three weeks and two thousand and seven,
finds himself where he finds himself, and he's in Chicago.
(10:43):
But he finds himself in Chicago, and it all takes
place in the.
Speaker 1 (10:45):
Shadow of conscious Was he unconscious?
Speaker 2 (10:48):
I was a little bit because I was so young.
Speaker 1 (10:50):
Then oh this is you?
Speaker 3 (10:51):
Are you Graham?
Speaker 2 (10:51):
Well, it's based on my experiences for sure.
Speaker 1 (10:54):
Oh okay.
Speaker 2 (10:55):
And it all takes place in the shadow of the
greatest financial crisis our country's ever seen, and tragedy worse
than nine to eleven.
Speaker 3 (11:02):
I think we got to stop talking about that.
Speaker 1 (11:04):
Learning something here. I thought nine to eleven was worse.
All right, set it up here we are where do
we dive in?
Speaker 2 (11:18):
Okay? So the Boy the Girl. In the first scene
we meet Graham, he's twenty eight, he's attractive. He works
at group on, he likes IPA's, he has shaggy hair,
He wears those snap buttoned cowboy shirts. He rides a bike.
He listens to Modest Mouse.
Speaker 3 (11:32):
It's definitely you.
Speaker 2 (11:33):
Okay, he doesn't know who he is yet, but that
is all going to change. And when we meet him
at the start of this film, and this is a film,
not a movie. He's on this terrible date and he
escapes through a bathroom window. But he's about to meet
the girl who's going to change everything. All right, So
let's pick up on page Let's see, let's do a
scene from page three. Okay, So Mark, why don't you
(11:56):
read the stage directions? And Brendan, why don't you read
the part of Imagen?
Speaker 1 (12:02):
Oh okay, all right, and you'll be graand oh yeah.
Speaker 3 (12:04):
Of course he use my sexiest lady voice.
Speaker 2 (12:07):
Just read it normal, all.
Speaker 3 (12:09):
Right, Page three, saying apple lady voice.
Speaker 2 (12:11):
Yeah, just read it in your normal lady voice.
Speaker 3 (12:13):
Oh all right.
Speaker 1 (12:14):
Page three, exterior bar night. Graham falls out of the
first story window into a snow drift, the sound of
a woman laughing. He looks up to see Imogen Wiley
twenty one, quirky in that really attractive way. Razorcut bangs
frame a flawless face with the exception of a gap
in her teeth that is more cute than anything. She
wears a Greek fisherman's cap with a down parka and
(12:37):
smokes a hand rolled cigarette in her other hand, A
heartbreaking work of staggering genius by Dave Eggers.
Speaker 3 (12:43):
Let me guess, bad date or did you just not
want to pay your tab?
Speaker 1 (12:47):
Graham stands, brushing the snow off his clothes.
Speaker 2 (12:49):
Bad date? Oh shit, I left my debit card in there.
You're weird, uh, says the person who's reading in the
cold and the dark.
Speaker 3 (12:58):
You think that's weird?
Speaker 1 (12:59):
Watch the image and scrunches up her face, crosses her
eyes and makes weird noises.
Speaker 2 (13:04):
We'll do it like cute though, Yeah, okay, what are
you doing?
Speaker 3 (13:09):
I do stuff like that all the time. I don't
know why. I just like it.
Speaker 1 (13:12):
Graham smiles.
Speaker 2 (13:13):
I'm Graham.
Speaker 3 (13:14):
Huh. You should pronounce it Graham like they do in London.
Speaker 2 (13:18):
What's your name?
Speaker 3 (13:19):
Wouldn't you like to know?
Speaker 1 (13:20):
She puts out her cigarette, swings a leg over her
fixed gear bicycle.
Speaker 2 (13:24):
Wait, we just met. Where are you going?
Speaker 3 (13:25):
I have a gig see you window boy.
Speaker 2 (13:27):
Wait, what's your name?
Speaker 1 (13:29):
Calls over her shoulder, image and then she sticks out
her tongue and disappears around the corner. Graham watches her
go with a mix of thrill and confusion on his face.
Imagen and scene. Okay, that's interesting.
Speaker 4 (13:45):
That's cool.
Speaker 3 (13:46):
That was a very me cute.
Speaker 1 (13:49):
Yeah they meet cute, so Graham and sort of the
manic pixie dream girl.
Speaker 3 (13:55):
Uh.
Speaker 2 (13:56):
I wouldn't call her that. I would say she's a
well rounded female character with lots of different feelings and emotions.
Speaker 1 (14:02):
He was stunning, but she's I mean, she's a she
fits the mold. She's a manic pixie dream girl.
Speaker 2 (14:06):
Mark. This is based on real people that I actually dated.
Speaker 1 (14:09):
It's not a knock, but it's it's a movie trope.
I mean, that's that's what you're setting up here.
Speaker 3 (14:13):
I'll say I was sort of cute.
Speaker 1 (14:15):
I was in her skin.
Speaker 3 (14:16):
I didn't feel manic, Okay, I felt beautiful.
Speaker 2 (14:19):
Yeah, And this is actually four girls I dated, all
sort of wrapped into one. Wow.
Speaker 1 (14:24):
So what does Graham say to the other girl that
he ditched at the bar?
Speaker 2 (14:27):
What does he Yeah, what does he say to her?
Speaker 1 (14:29):
Yeah? So he I mean the poor girl?
Speaker 2 (14:31):
She?
Speaker 1 (14:31):
I mean, does she think he's dead? Like, what's her situation?
Speaker 2 (14:34):
Who cares?
Speaker 1 (14:35):
Cares? Person that he ditched? Did you do that in
real life?
Speaker 2 (14:39):
Yes?
Speaker 1 (14:40):
What did the did you ever see the person again?
Speaker 2 (14:42):
Is somebody who worked with well, the good thing back then?
You probably too old to remember this, but back then,
when we were dating in Chicago, you just kind of
would climb out of windows.
Speaker 3 (14:49):
I had that happen to me a lot.
Speaker 1 (14:53):
Well, I don't remember that. Why don't we move on
to what's the next scene you want to share? Well?
Speaker 2 (14:58):
The next scene is this is kind of where their
relationship really starts to blossom, and Imagen becomes just even
more interesting and well.
Speaker 3 (15:07):
Rounded more interesting.
Speaker 1 (15:08):
Okay, which page.
Speaker 2 (15:10):
Let's go to page thirty one?
Speaker 1 (15:12):
Here thirty one, all right, Page thirty one. Exterior Chicago
Theater night. Imagen and Graham slowly walk down the quiet
city street.
Speaker 3 (15:22):
I'm bored.
Speaker 2 (15:23):
Let's go find something fun. But it's eleven thirty. The
city is dead.
Speaker 3 (15:27):
Not my city.
Speaker 1 (15:28):
Arcade fires, keep the car running, swells exterior street night.
Imagen pushes Graham through a gap in a metallic gate.
Speaker 2 (15:35):
Come on, window boy, She pulls.
Speaker 1 (15:37):
Them down a dark tunnel. The exit of the tunnel
to exterior center Field, Wrigley Field, Graham is in awe
tag You're it? They laugh and chase each other around
the field.
Speaker 2 (15:48):
Who are You?
Speaker 1 (15:49):
Cut to interior Tattoo Parlor. Imagen and Graham hold up
their forearms to reveal identical tattoos of half an avocado.
They put their arms together and make a whole avocado?
Speaker 3 (15:59):
Where did you?
Speaker 2 (16:00):
Home? Front?
Speaker 1 (16:00):
Image and crosses her eyes and mocks Cut two interior
Thai restaurant. Graham shovels some noodles into his face and
gives a satisfying groan.
Speaker 3 (16:09):
It's called chicken pad type, and beats a hot dog
and a hamburger.
Speaker 1 (16:13):
She makes a funny noise and crosses her eyes and
picks her nose. Graham smiles.
Speaker 2 (16:16):
What is happening?
Speaker 1 (16:18):
Interior bedroom night? Graham and Image and make love in
the missionary position, staring into each other's eyes.
Speaker 3 (16:24):
Now it's mind turn.
Speaker 1 (16:25):
Cut two Imagen behind Graham as she pegs them, both
of them in ecstasy. Who you Exterior Kinsey Street Bridge, Sunrise.
Graham and Leopold Ooh, their Imagen's differently abled friend, share
a cigarette as they watch Imagen walk along the railing
of the bridge like a balance beam. Whoa, whoa, take
(16:46):
care of her. Okay, she deserves all happiness in the world.
Were friends of image and are an odd bunch. We
have a broken toys and she fixed this. But when
you're the toymaker who puts you back together, you know.
Speaker 2 (17:00):
Could you do that? But like it, says British accent,
but not like a drunk guy in a pub who
got hit in the head with an anvil.
Speaker 3 (17:06):
He says he's differently able. Is it because he's British?
Speaker 1 (17:09):
Well that's I don't know, that's that's that's pretty spot
on British accent.
Speaker 2 (17:12):
Just like a little bit more. You know, he went
to Cambridge, he's got you know, a bit posh.
Speaker 1 (17:17):
I want an accent competition in college, So I feel
like that's pretty spot on.
Speaker 2 (17:21):
But you want an accent competition?
Speaker 1 (17:23):
Yeah, there was at a bar. They had a contest
to see.
Speaker 2 (17:26):
Anymore a bar accent competition. Wasn't It wasn't like a
scholastic thing.
Speaker 1 (17:31):
No, oh yeah, but what's wrong with that? Okay, bar
accent competition?
Speaker 2 (17:35):
Okay, competition, we'll change it. So just a little bit
more posh.
Speaker 1 (17:39):
Please take care of Okay, she deserves all the happiness
in the world.
Speaker 2 (17:43):
That's exactly the same.
Speaker 1 (17:45):
Why is it the same tongue? That's how they talk, man, Yeah,
they do that. Take out you know what.
Speaker 2 (17:52):
Just make him American, just straight up the middle.
Speaker 1 (17:55):
That's how they talk. Man. I spent six months in Kent.
Speaker 2 (17:59):
Please just make him from the Midwest, straight up the middle.
Speaker 1 (18:02):
Fie Walter, take care of her. Okay, she deserves all
the happiness in the world. We friends of Imagen are
an odd bunch. You know.
Speaker 3 (18:11):
We were broken toys and she fixed us.
Speaker 1 (18:14):
But when you're the toymaker who puts you back together,
Imagen slips and falls.
Speaker 2 (18:21):
Well, Imagen.
Speaker 1 (18:22):
Graham rushes to the railing. Imagen pops her head up
and giggles, gotcha. She presses his nose. Come on, interior group.
On conference room, Graham sleeps through a team meeting. His
boss shouts at him to wake up Graham. Graham slowly
opens his eyes.
Speaker 3 (18:40):
And he thoughts on using global e commerce to connect
subscribers with local merchants by offering activities, travels, goods, and services.
Speaker 1 (18:47):
Graham looks around at the vaguely annoyed faces of his colleagues,
what the hell they want him to say?
Speaker 2 (18:53):
Uh? Dr, excuse me DR.
Speaker 5 (18:59):
A few people laugh, uncomfortable, Graham, what the hell don't
you get it?
Speaker 2 (19:04):
You're doing it all wrong?
Speaker 3 (19:06):
And what exactly are we doing wrong?
Speaker 2 (19:08):
Graham Life, You're a bunch of thirty and thirty one
year olds doing it all wrong. I'm twenty eight and
I'm doing it right. You guys, with your ping pong
tables and your IPA's, you think you're so cool, But
I just got butt fucked by my dream girl to
an Arcade fire song last night. Saw this.
Speaker 3 (19:25):
Doesn't matter.
Speaker 2 (19:27):
I quit. Oh and one, we're thinking, let's pronounce Graham.
Speaker 1 (19:33):
He presses his boss's nose. Meep, morp, he shoe wheey
skates away. The team remains behind, silent, each wishing they
could be Graham. WHOA, Okay, so you and Graham have
the same avocado tattoo?
Speaker 2 (19:52):
Yeah, isn't that cool?
Speaker 3 (19:53):
Oh?
Speaker 1 (19:53):
Wow?
Speaker 3 (19:53):
Wait? Does this mean there's four girls out there with
avocado tattoos?
Speaker 2 (19:57):
Yeah? I guess it does mean there's two and a
half of Locado's out there. Two and a half, well,
the four girls plus my half.
Speaker 5 (20:04):
Ah.
Speaker 1 (20:05):
Okay, yeah, so I have some questions about Leopold. We
meet him on page thirty one, and yeah, do we
see him again?
Speaker 2 (20:13):
No?
Speaker 1 (20:14):
And why? I know you guys had some problems with
my spot on British accent, But why is he British?
Speaker 2 (20:19):
I think I'm going to change that after you read
it in a British accent.
Speaker 1 (20:22):
But you had a reason to make him British the
first time.
Speaker 2 (20:24):
Well, originally I thought I would have an actor that
could read it in a British accent, but now there's
just no way.
Speaker 1 (20:29):
Well, I'm not an actor. I'm I'm a writer, clearly. Okay,
Well show me the accent you think it should be.
Speaker 2 (20:36):
We friends of image and broken toys, so like New England.
Speaker 3 (20:41):
That's that's England and England.
Speaker 2 (20:42):
To me, we friends of image and not broken toys.
Speaker 3 (20:46):
Take care of her?
Speaker 1 (20:47):
Oh like that, take care of her, Oh like take
care of her, take care got scarvy outs? See right,
But that's how you did it.
Speaker 3 (20:58):
No, I didn't, I said, like Greg.
Speaker 2 (21:00):
No, I don't think Jay.
Speaker 1 (21:02):
Okay, are you.
Speaker 2 (21:03):
Guys too old to do a British accent?
Speaker 1 (21:06):
British accents are the oldest accents.
Speaker 2 (21:08):
Well, in my generation, we think of British accents in
like a more pashway. But you guys are kind of
thinking of it in the old British way. And that's
just because that again, this is a movie for my generation.
It's not really for you.
Speaker 1 (21:18):
Yeah, I don't really feel an ancient man.
Speaker 3 (21:21):
Every time you say that.
Speaker 1 (21:23):
I had it. In the script you said I'm twenty eight.
You guys are thirty.
Speaker 2 (21:26):
Yeah, yeah, eight thirty is like there, But did you
listen to it? I mean, it's clear that the generational
gap is huge.
Speaker 1 (21:34):
You've set up a generational gap. I don't know the day.
Speaker 3 (21:36):
Can I ask you guys and ask question. George's character
description in Big Wonder he was thirty five. Do I
look thirty five? Oh the fuck? That's why I didn't
get it.
Speaker 1 (21:45):
At least thirty five. I think it's good man. That's
when you're window.
Speaker 3 (21:50):
I look like I'm at least thirty five years old.
Speaker 2 (21:52):
Sure, maybe there will be a spin off called Old Wonder.
Speaker 3 (21:56):
I don't have time to wait for that.
Speaker 1 (21:57):
Can we move on? Let's jump to the scene.
Speaker 2 (22:00):
Okay, great, page seventy five, So I think you guys
are really gonna like this next scene. This is a
scene where Graham and Imagen are you know they're they've
had a falling out because Graham is jealous because Imagen
still is playing music with her ex boyfriend Samir and
they have a big gig at Uncommon Ground and Graham
refuses to go. So he's walking sadly through Lincoln Park
(22:22):
and that's when he sees Samir playing music with another
girl inside of Pop Belly sandwich shop and he goes
in and he confronts him and he's like, hey, fucker,
you have a gig tonight, and Samir's like, yeah, well,
another opportunity came up. And when Graham finds out that
he is basically bailed on Imagen, he says, you know,
(22:44):
you sort of a bitch, and he slaps Samir in
the nose, and you know, Samir is going.
Speaker 4 (22:49):
Like, this is my singing nose. Man.
Speaker 1 (22:52):
You know, it's like one of those things like slaps
the tip of his nose.
Speaker 2 (22:55):
It like slaps his nose. You know those scenes where
someone gets slapped slapped or punchs in the and they're like, man.
Speaker 1 (23:02):
Right, but like the voice, the physics of it work,
like the tip of his finger hits the.
Speaker 2 (23:07):
Nose, slaps him in the open hand slaps him in
the nose, his nose like Samir's nose huge.
Speaker 1 (23:13):
Well, okay, that might make some sense.
Speaker 2 (23:16):
And there's blood gushing everywhere. Slaps Samir's big old nose
and a popelly and it just explodes him. But and
he's like And Graham takes off on foot, races uptown
to rescue Imogen, and this is where he's really going
to prove himself that he's her rider. Die you know
what I mean?
Speaker 1 (23:36):
Did he get blood on him?
Speaker 2 (23:37):
Oh, Graham's covered in blood? Oh wow, you know, just
on the shirt though, like a you're okay, no, how
much blood? Samir is not okay. Well, we find out
later Samir was hemophiliac and he bleeds.
Speaker 1 (23:47):
Oh my god, bleeds out. So Graham ditches a girl
at a bar, kills Samir.
Speaker 2 (23:52):
Well, he doesn't kill him.
Speaker 1 (23:54):
He assaulted him and he's dead and he bleeds out.
Speaker 2 (23:57):
I think his own blood killed the mark.
Speaker 1 (23:59):
So a boyfriend because of the cause and effect from
the slat.
Speaker 2 (24:03):
Well, he could have run into a door and the
same thing would have happened, sure.
Speaker 1 (24:05):
But that's not what happened.
Speaker 3 (24:07):
So an old boyfriend dies, but we never see Leopoldigan.
No in Leopold's names in the title.
Speaker 2 (24:12):
Yeah, okay, so let's go to page seventy five.
Speaker 1 (24:25):
That's great, all right, let's get into it. Page seventy
five interior, uncommon ground coffee house night a bohemian cafe.
The crowd applauds as the host takes the mic. Okay,
folks are final act for the open mic competition. Please welcome,
friends of the President. Imagen walks on stage, ukulele in hand.
She gives one final look to the door for her bandmate.
Speaker 3 (24:46):
Then, Hi, I'm imaged. So normally I seing this with
my Danny's here, but I guess sometimes people don't show
up for you.
Speaker 1 (24:55):
Right, murmurs of acknowledgment from the crowd. They know this
is deeply true.
Speaker 3 (25:00):
Here's nothing, this is something that I wrote.
Speaker 1 (25:03):
She strums her ukulele.
Speaker 4 (25:06):
Won't you tell you love you more?
Speaker 1 (25:11):
She stops, She doesn't know the other part.
Speaker 2 (25:14):
Sorry.
Speaker 1 (25:17):
From the crowd, A heckler calls out next fighting back,
tears image and tries again, want you three foot love
you more?
Speaker 2 (25:30):
Sorry?
Speaker 1 (25:31):
Then suddenly, from the back of clear high voice joins in.
Speaker 4 (25:35):
Sleepless Long Nights, that was what my youth was for.
Speaker 1 (25:41):
Imagen beams with surprise as Graham stands from the back
covered in Sameir's blood, singing and making his way toward
the front.
Speaker 4 (25:53):
Left you with love, but they wanted more, you know.
Speaker 1 (26:09):
The crowd goes wild as they finished the song image
and looks at him, the sins of the last few
days evaporating. Who are you.
Speaker 2 (26:19):
En?
Speaker 1 (26:20):
Scene?
Speaker 2 (26:20):
Okay, wow, isn't that fun?
Speaker 1 (26:24):
So it's fun. It's's fun. It's a really and I
love the song. But you're saying that she wrote one
two three four by Feist.
Speaker 2 (26:36):
Yeah she wrote it.
Speaker 1 (26:37):
Feist didn't write it.
Speaker 2 (26:39):
Well, Feist didn't actually write it. My ex girlfriend Chicago
actually wrote that song.
Speaker 3 (26:42):
Really, Feist sold that song from your She.
Speaker 2 (26:46):
Was basically the Carlos Mencia of early two thousands in
d rac.
Speaker 1 (26:49):
Let me let me snopes it and see.
Speaker 3 (26:51):
Boy did they even let you on there?
Speaker 2 (26:53):
Do you remember my girlfriend Morgan? She was on that
wg in show for kids.
Speaker 3 (26:56):
All right, she got fired for being too chesty.
Speaker 2 (26:59):
Yeah, it was a kid song that she initially wrote
one two three four, but then she got fired and
then five stole it.
Speaker 3 (27:05):
Oh it makes sense.
Speaker 1 (27:06):
Why did she show so much cleavage?
Speaker 2 (27:08):
Well, see that's something your generation.
Speaker 1 (27:10):
Would it's not she was showing a ton of so
much cleavage, Yes she was.
Speaker 2 (27:16):
We were body positive. You all were like, we gotta
shut it down.
Speaker 1 (27:20):
Okay, body positive? Yes, I agree, But on a kid show.
Speaker 2 (27:23):
It was two thousand and eight. It was fine back then,
but we didn't even think it was clearly it wasn't.
We didn't think about that.
Speaker 1 (27:32):
Sorry, came to the coffee shop and stole it from
your ex girlfriend.
Speaker 2 (27:36):
Yes, after they actually kicked her off that show. The
show tank because no adults watched it.
Speaker 3 (27:41):
Wonder why I really am horn?
Speaker 1 (27:44):
All right, so can we move on to we have
one more?
Speaker 2 (27:47):
Okay, let's go to the finale. They've had another falling out,
actually after the feist. Geez this time, let's see what happened.
They have a bunch of breakups throughout the thing. I
think he eats meat and she catches him.
Speaker 1 (28:01):
What kind of meat? Backstory?
Speaker 2 (28:04):
He goes to an Asado burrito place and uh, and
then she finds a burrito in the back of his
car and it's bad, but he.
Speaker 1 (28:11):
Just chucked the burrito in the back of his.
Speaker 2 (28:13):
Two burritos, keeps one in the back of the car.
She finds it and they have a because he hides
it from her. That's the sin.
Speaker 1 (28:20):
Yeah, this is he had told her she wouldn't have
been as mad.
Speaker 2 (28:23):
And this is right after some your's funeral, so we
all know that he does die? Yeah, should they know?
You guys didn't know. That's what I was saying.
Speaker 1 (28:32):
All right, have you done a subtext pass on this one?
Speaker 2 (28:35):
What do you mean?
Speaker 1 (28:36):
Like you?
Speaker 2 (28:37):
The whole movie is subtext mark the sub film, Thank you,
brendan film. The whole film is subtext mark.
Speaker 3 (28:45):
Okay, that's what makes it a film and not a
movie movie. You gotta like bash somebody over the head
with it. Film.
Speaker 2 (28:51):
You're aloud, you're allowed to have subtext. So okay, this.
Speaker 1 (28:54):
Is not a manic pixie dream girl.
Speaker 3 (28:56):
Stop calling her that?
Speaker 2 (28:57):
Yeah? Please? Oh this is the big climax climax. He
wants to get back together with her. He can't get
a hold of her, so he goes to her place
and this is.
Speaker 3 (29:06):
Where we pick up.
Speaker 1 (29:07):
Okay, so we're on page one ten. Okay, interior logan
Square loft day. Graham sprints up the stairs to Imagen's apartment.
The door is slightly a jar. He enters to find
the place is empty. Everything is gone, the hammock, the
papasan chair, the CD tower, the bongo drum, the bead
curtain over the kitchen doorway, the little Mason jars of spices,
(29:29):
the death cab for QT poster, the postal service poster,
the Sopranos DVDs. Even her polaroid camera is gone, and
the living room wall that had been covered in polaroid
pictures of everyone who had ever been in the apartment
is now bare. A man in a pinstriped suit and
work boots steps out of the kitchen. This is Imagen's father,
(29:49):
Randall McTavish, classic Iowa farmer, businessman. Can I help you?
Speaker 2 (29:54):
Where's Imagen?
Speaker 1 (29:56):
Christ? Is that what she was here? In New York?
She was saved San Francisco. She was Yuki Yamagato, now
Imagen Son. She's a high school dropout from Iowa with
serious problems and a family farmed or on. Imagen doesn't exist.
Speaker 4 (30:13):
She's not real.
Speaker 2 (30:15):
She's not real. Why does this hurt so bad?
Speaker 1 (30:18):
Cut to interior Imagen's apartment. Moments later, Graham stares out
the window at Imagen in the passenger seat of her
dad's truck. She looks up at her eyes swollen from crying.
On her head a white bush cheney hat. Graham bangs
on the window, pleading. The truck pulls into the road.
Imagen winks and mouth's window boy in the window. Through
(30:41):
his tears, he laughs. Exterior Architecture Boat toward day. Graham
watches the buildings. As the boat passes under the Kinsey
Street Bridge. A tour guide prattles on.
Speaker 3 (30:53):
After the Great Chicago Fire, the city realized they could
remake itself, and this is what it became.
Speaker 1 (30:58):
Sploosh, A gusher of human waste rains down on the boat,
screams chaos, everyone running for cover, only Graham sits still
in his seat. He wipes the shit from his eyes.
He can finally see clearly. Graham looks up just in
time to catch a glimpse of the Dave Matthews tour
bus rumbling over the bridge, the perfect symbol of the
(31:22):
old generation. As it coasts away, Graham smiles to himself,
picks his way past the sobbing passengers, and swan dives
into the river. Exterior country Road, Iowa. Graham steers his
pt cruiser's zip car past the endless cornfields. He stops
at a mailbox, checks the address. This is the place.
(31:43):
He looks up at the long driveway to see a
big white farmhouse engulfed in flames. Graham is up the driveway,
out of the car into the house. A moment later
he returns, dragging Imagen's body from the blaze. He lays
her on the grass. Her eyes are closed. He wipes
the ash from her face.
Speaker 2 (32:01):
I'm sorry, I'm sorry. It wasn't there for you, but
I'm here now.
Speaker 1 (32:05):
He kisses his avocado tattoo and presses it against hers.
Speaker 2 (32:10):
I just want us to behold again.
Speaker 1 (32:12):
Her eyes flutter open. A mischievous smile crosses her face.
Got too, window boy, he laughs, shakes his head.
Speaker 4 (32:21):
Who are you?
Speaker 3 (32:22):
I'm Jasmine, Jasmine.
Speaker 1 (32:25):
She pulls him into a kiss as the house burned.
In the background, the charred corpse of Imogen's dad falls
out the window and lands on a bird. FIS's one, two, three,
four kicks in and we cut to black the end.
Speaker 3 (32:45):
Wow.
Speaker 2 (32:46):
Yeah, so I think it comes together while she was
acting that way because she was crazy.
Speaker 1 (32:52):
No, Uh what okay? Uh? So Jasmine, the Imagen kills
her dad, yep, lights the house on fire.
Speaker 2 (33:03):
Well, it's symbolic. I mean, think about that, you guys should.
Speaker 1 (33:05):
Be right, it's symbolic. But in the fucking script she
she burns the house down and kills her dad.
Speaker 2 (33:11):
Well, he symbolizes everything my generation hates. And in the
movie her dad actually invents mortgage backed securities wow, which
is essentially you know, he's like Rosama bin Latton if
you guys thought of it that way.
Speaker 1 (33:24):
Does Graham know he's an accomplice to a felony? It's
several felam he's including murder and he's also a murderer.
Speaker 2 (33:29):
Can't you just see the symbolism in it without getting.
Speaker 1 (33:32):
Just this straightforward, like you know, surface level story. There's
two deaths on their hands.
Speaker 2 (33:39):
I think it lightens the mood if you play Feist's
one two three four over it Morgan's one two three four.
Speaker 1 (33:45):
But right, So not a clear answer on that one.
How do we know she mouths window boy in the window.
Speaker 2 (33:50):
Everybody's been waiting for her to say window.
Speaker 1 (33:52):
Wait, wait, just do it without saying that same I'll
do it to Mark. Okay, we don't know where the
wind goes. What well, I don't know what he's saying.
What is that again? When did you blow the dildo? Don't?
I don't know what he's saying.
Speaker 2 (34:06):
Everyone in the movie will see when he's standing in
the window that she's going to say window boy in
the wood.
Speaker 1 (34:11):
I would I would encourage our listeners to go to
a mirror, turn to a friend without saying the words
mouthed and see.
Speaker 3 (34:18):
What a challenge that.
Speaker 2 (34:20):
We'll call this the window Boy in the Window Challenge.
Speaker 3 (34:23):
Awesome and hash Mark buys your lunch.
Speaker 2 (34:26):
Everybody, get on Twitter hashtag window Boy in the Window challenge,
send in your votes and we'll see if window Boy
in the Window tracks real quick?
Speaker 1 (34:33):
Why did? Why did? Why? Why kill the dad?
Speaker 2 (34:36):
Why not?
Speaker 3 (34:37):
Greg? Did you want one of your ex girlfriends kill
a family member?
Speaker 2 (34:40):
Did one of my ex girlfriends kill a family member?
Speaker 3 (34:43):
This is based on you did this happen?
Speaker 2 (34:46):
This is a scene from my life. This last scene.
Speaker 1 (34:50):
You pulled an ext girlfriend out of a burning barn
that she lit on fire to kill her dad.
Speaker 2 (34:53):
We'll call her house a barn mark. See this is
the classic.
Speaker 1 (34:56):
That's the fit, the sticking point. All right, let's can
we vot vote? Let's just let's move to a vote.
Speaker 3 (35:02):
All right, I am very confused. Okay, because you said
you've shown this character to some of your female friends
and they say she's a well written female character.
Speaker 2 (35:10):
Every woman that's read this has said so, I.
Speaker 3 (35:12):
Don't believe that.
Speaker 1 (35:13):
How many what's the number we're talking?
Speaker 2 (35:15):
Actually, you know what I do. I'm not sure if
a woman has read this yet. Did I show this
to a woman? I can't remember?
Speaker 1 (35:21):
Remember?
Speaker 3 (35:22):
Well, I think she's terribly written. You made her a psycho.
Speaker 1 (35:25):
I thought you liked the character.
Speaker 3 (35:27):
I don't like it, Mark, I love her. That's terribly
part about this thing. I can't get her out of
my head. Uh, after being inside her, I wanted. I
want her to be real.
Speaker 2 (35:39):
And you're thinking about Morgan, right, I mean.
Speaker 3 (35:41):
Just yeah, honestly, Ever since you put that out there,
Oh those sock puppets, man, Oh, I am so conflicted.
I love Imagen slash Jasmine. I feel old as fuck.
I feel like I don't get this movie. So Greg
must be right. I'm gonna give it a five.
Speaker 5 (35:59):
Greg, Well, I give it a ten clearly. Okay, you
know what I'm gonna surprise you guys? Oh great, So
I'm I'm actually gonna stick up for this one. And
here's why I think I think I get what's going on.
Greg is looking back on his life. He's wondering about
his future. He's taking stock.
Speaker 1 (36:18):
Of where he is currently in the present, and and
it's a real human moment captured in writing. I give
it a ten.
Speaker 2 (36:26):
No, that's not what I'm doing. What I mean, If
that's what you saw, I failed, well.
Speaker 1 (36:30):
Then fuck you. I give it a zero. So whatever,
I don't care. All right, so until next week it's
lights camera action. But for writing, why would you do that? Man?
Do what bullshit? I was trying to put a I
can't a branch.
Speaker 2 (36:44):
Oh yeah, If you call it an olive branch and
you're handing me a bent fork.
Speaker 1 (36:48):
That's all I have.
Speaker 3 (36:50):
Olive branch to text Morgan? Am I too old to text?
Speaker 2 (36:53):
Morgan passed the standard SIS was the standard T
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