Transcript
Speaker: be good. Oh, right. i like how we were making all sorts of noise. Like, just like, I mean, that's a rude toad, right? That's a rude toad. I mean, I remember you were like, we want, I want, you wanted to do a podcast, I think where we were eating.
Speaker: Remember, you were like, oh we're going to have, you'll get the sounds of the forks and and stuff. You're like, ah because we were going to do the meet. We're going to have everyone meet up and do like the New Year's podcast. But we're going to do it at like a restaurant or something. You wanted to do in l LA, or I think. Oh, really? Yeah, you I think you had pitched it to me. And I was just like, that sounds like such a nightmare. You were like, like buddy Maybe if we had like a thousand listeners. Oh, yeah. I think I said it like outside in a patio. Yeah. Right? It was just us kind of hanging out, chit-chatting.
Speaker: damn dude I for completely you rejected me so hard with from that idea that i wiped it from my memory well I was just like buddy like I'll never speak again no no no I mean it's a it's a great idea it's just man no that's a tough that's a tough one we gotta to at least make it like once we make our first dollar on the podcast I know dude we could do it right these days hi So, if you're not aware, this is Twin Shadows podcast, podcast about film, filmmakers, and filmmaking.
Speaker: Brought to always by the two filmmakers who ah are most likely to receive death penalties through AI.
Speaker: Tom and Steve. Hey, buddy. How's it going? Is it because the AI looked at our search history? Yeah. I honestly couldn't think of anything funny to say, and that was just the first thing that popped into my head. And it would be like, delete.
Speaker: But, ah yeah. How you doing, buddy? I'm doing all right. I'm tired. Yeah. Yeah. um I got puked on last night, so didn't get much sleep.
Speaker: Yeah. Because I wanted to work on more stuff. I've been trying to I've actually been getting back into working on stuff. Yeah. Like, I finally started working on Dickhead. Even though it took me a few hours because I'm still, like, arranging files and and um trying to see the best course of action.
Speaker: Because I found that, you know, we want to add a couple things on the audio side. And there's some sounds that just aren't on any of the tracks. So I kind of have to go off of the one master.
Speaker: oh interesting. Yeah. Crappy. Yeah. There's like, it's basically like the sound that's recorded on mic. That's not dialogue. That's not in any of the individual tracks. Ah, I see. So like the natural foley, so to say. Yeah. The natural sound, the atmosphere, natural atmosphere. that we captured.
Speaker: And the issue with that is like, you know, let's say it's only atmosphere track that I might have to adjust for whatever reason. Well, I can isolate that one track, adjust things on there, and not affect any of the other tracks like music, dialogue, whatever, sound effects.
Speaker: But because it's all in the master, it's like, well, if I do something there, it's going to overlap on all the other tracks automatically because it's the master. and So there's natural footsteps that you want to bring up. It's also going to bring up the score and the sound. and Exactly. It's actually defeating the purpose of trying to bring up that said. Exactly. So it's going to make all of that a lot harder. But within that...
Speaker: It's not that big of a deal because that's probably already outside my wheelhouse. Yeah. So it's not like I can adjust it that much anyways. Well, I figured what we needed to do was just the few things that we communicated over and over and couldn't get across. and Yeah. that We just got to add and fix that stuff and then... Yeah, which really wouldn't take too long. But what I want to do now is kind of just go over it, listen for some things I don't like. and Because there was some artifact you know we were still picking up that just needs to individually be spotted out, essentially.
Speaker: So I'll take the time and do that. um But anyway, so I was just kind of figuring that out. was like, dude, where the fuck is this audio? like I was freaking out for a while thinking I deleted it. Yeah. So, you know, that resulted in like two hours of just searching my computer over and over ah for these audio files and then finding out, oh, okay, it just probably doesn't exist.
Speaker: um But so I've been doing that and then we have a script we're going to be going over, I think, possibly. yeah We'll talk more about that, but editing it. And um like I started listening to some audio books too.
Speaker: And then also there's... ah What audiobooks do you want to divulge to our audience? but Yeah, sure. i Well, we're going to talk about Joba, right? Yeah. So I'll bring up the audiobook.
Speaker: But the one I'm listening to right this second is um Sunny Boy? Yeah, but the Al Pacino book. Yeah, so I just started that. i yeah i am I love autobiographies. like yeah ah read Especially read by the author. The person, yeah. Oh my god, it is...
Speaker: like i don't worry You know, a lot a lot of people ah ah say a lot of, i don't know if cruel is quite the right word, but very divisive about audiobook listening. It's like, oh, you're not really reading. but I always give you shit like that. Yeah, and it's like, okay, fair. I i will i can't really deny it. i i I don't think you get as much of an impact, like especially like through the English language. like You don't really hear or feel the grammar.
Speaker: Because the narrator is taking over the role of essentially the text. And then you're getting really informed by the narrator. like If the narrator is getting hyper in a scene, you don't necessarily need to be like, oh, Bob exclaimed. you know He's going like, wow, and then and you know and shepherds they shall be for thee, my lord, and for thee, you know or shit like that. It's like their ah their tone and intonation is kind of giving you a hint of what's going on in the scene. As opposed to when you're reading it, you're kind of having to do that legwork. And I think that helps you absorb the information. I think it keeps you more focused. Yeah. And there's, well, I've been watching YouTube videos where they mention that's true.
Speaker: But I also saw a YouTube video where someone mentioned, they were like, you know, books are storytelling. And the oldest form of storytelling was oral.
Speaker: Yeah. was like, you know, audiobooks kind of predate the book by a few good thousand years there. And I was like, you know, that's that's a good point. That's a really good point. Well, I i think it's a different discipline. It's a different activity. yeah Listening to a book and reading a book are different.
Speaker: yeah um I don't necessarily know if one's better than the other. All I know is one I can do while driving. Yeah, well, this one said, you know, in reality, there's not a difference. The only difference is that you're more focused when you read it and you can go back easily. Yeah, I would say, yeah, exactly. Like you can reread a sentence over and over or come back, you know, read a part and then go back previous and read that over.
Speaker: I would say i'm that's probably, there's probably this the minority of people that only just listen to an audio book. I mean, they're not doing dishes. They're not driving to work or. Oh, like sitting there listening. That's probably a very small. minority of actual listeners.
Speaker: and I know you're out there, you fuckers. Because you're listening to this, clearly. I mean, I imagine people listen to this as they're like, one more stroke of this blade. You fuckers. fucking losers. know, a shit. you know we're like that we We live on rock bottom with you. ah But it's interesting because
Speaker: you... Because I listen to a lot of audiobooks. Yeah. i Yeah. um And I've been thinking like, yeah, you know, I have a hard time kind of – even just remembering the last book I read. Like I couldn't tell you like like every little detail. um I probably could if I had thought about it. it's i But also I just think we live in this world where everyone's always doing – has something.
Speaker: like you no one It's a very rare thing that you can just actually have some attention purely focused on something. I mean, we're parents now. we Literally, it's not it's not really a thing. like You're always kind of like, you have like dad radar, right? It's like, hopefully if your dad radar is working, it will alert you to any disaster. But whilst the time dad radar got shut down by the air. But you know it's like, beep, beep, beep. And you're like watching. Whatever you're doing, right? You're not really 100% focused on it. yeah um And audiobooks really lend themselves to this
Speaker: like essentially like multi attention, like everything is trying to vie for your attention. That's what I'm trying to get at that long winded speech. um And right. And that's why I kind of, I like audio books, but I know i'm not getting like as much out of it as if I had read it.
Speaker: Well, I think when you listen to it, it's a passive way of absorbing it, you know? And okay, now i found it. And that's what gets me back to what I wanted to say was that's why I like autobiographies because I don't think autobiographies can actually get more out of for reading.
Speaker: Yeah, no. Because it auto it's it's not like, oh, I'm here for the great English like storytelling. It's like, no, this is just ah a dude telling you a story of his life. Yeah. And it's so much better because like a year're you're listening to the Sonny Boy. Yeah. Al Pacino, like he has moments where you can almost like hear him recollecting it as he's reading it. Yeah. He started laughing and I mean, he's responding to the story he's telling you, you know, he's not just this unbiased narrator. He's extremely biased. Yes. Oh yeah. Which yeah which is kind of refreshing because most are never biased, right? Yeah.
Speaker: No. I don't think I've ever heard one where they're biased. You know, like even if it's their book, they always seem to kind of have that observational narration. It's part of the game, right? It's like, you can't be all about yourself, even in your own book. yeah You have to still be like, oh, you know, we had our difficulties, but they were still the greatest writer. And Al Pacino's like, that motherfucker. I want to fucking cut him.
Speaker: I just wanted a sandwich. I was so hungry. You don't get it. when We were working on selling tickets. Yeah. I would be drunk all the time because I was an alcoholic. But also, you know, in the case. My mama called me Suddy Boy. In the case of Suddy Boy, it is nice to hear him read his story. Yeah, absolutely. I think that adds to it. And I think in those instances, it's maybe better?
Speaker: Than reading It is. Because you know they're kind of full of shit, right? A little bit. Well, not just that, but like you said, it's not... Not to say it's not a great story, but it's not like they're focusing on the literature, right? On the grammar and the words they're using and everything.
Speaker: They're not trying to make art in that way. They're trying to tell their story. So it's been nice to to hear him. Give it... Yeah.
Speaker: And that's what I kind of want to do the audiobooks more of, like nonfiction. Yeah. And then I'll just leave the fictional um works to reading time. Yeah, absolutely. Yeah. Yeah, because you're... It's it's just... it's It's so great having Uncle Al Pacino just reading. Like, yeah well, sit down, kid. Let me tell you what it was like. One thing about... Sorry, this is another tangent. It's like, after... list ah old Norm makes fun of this in his book. But like it's like everyone was fucked as a kid like or had some kind of sexual trauma. Like, holy shit. Al Pacino talks about the guy that would flash, you know, like um the other kids that were getting like fucked by like that bum.
Speaker: i Maybe you haven't gotten there yet. No, I just did. Because he' he's talking about this kid that they were playing in the subway and he just went like catatonic. Yeah. And then he said someone...
Speaker: Some guy pissed in his mouth. And then Al Pacino was like, I don't think he meant what he thought. I'm pretty sure was something else. I don't think it was pee. He didn't go tinkle in that mouth. nih But you know, me, my dumbass, I was like, oh damn, someone pissed in his mouth. And then after he explained, I was like, that wasn't pee. That's how Kit sees it, right?
Speaker: But yeah, but yeah because yeah I listened to the... um I always talk about it, the William Friedkin book. Yeah. And he' he's kind of like that too. where Does he read his own? Mm-hmm. Oh, okay. Then I'll probably check out the audio. Oh, his is, it's as good as making movies.
Speaker: Yeah. Like, it doesn't, it's not like, and this is directing. it He's just like, I did this and this. And you know, like, well, you really got to focus about this when you're really thinking about setting up a scene and considering the lights and the the different kinds of lights. And it's like, he essentially rewrote making movies, but like the William Friedkin version. Yeah. Oh, that's And added it into it more of a biography. Yeah. um Because he was actually a really interesting success because he won Best Picture on his first feature.
Speaker: Which one was that? French Connection. That was his first one? Oh, God. Yeah. Shit. Talk about setting the bar, huh? Yeah, literally. And then he made Exorcist. Yeah. And then Sorcerer would have been next? I believe so, yeah.
Speaker: And then it's just like. And then he never made another movie again. No. mean yes guys he's oh Sorry. that sorry hit Things are hitting. um But yeah, yeah I yeah really like
Speaker: Well, that's good, buddy. ah So yeah, I kind of, you know, and by doing the audio books, like listening to William Friedkin and Al Pacino, you know, it's educational. You know, it's a passive way for us to kind of study without studying.
Speaker: yeah um So been doing that and kind of getting back on board, which has felt nice. Because, you know, there was a point, I don't know if you feel the same way.
Speaker: And I think procrastination and, I don't know, fear or getting in the way of things. But there was a point where working was really fun. Yes. You know, and it was kind of like the outlet to relieve stress.
Speaker: And I was like, God damn, let me just play magic, please. And I dread working on the project. But then i was working on something. might have been like playing with sound or something.
Speaker: And it it was like, man, this is just kind of fun too. You know, if you can kind of put all of, I don't know, the ego aside and just kind of have fun with the work. Let me say this and let me, to hear what you think about this.
Speaker: ah So when it was just me and you, it was like, there was no pressure because we, like all right our cast and crew have already abandoned us, right? Like we are alone on this.
Speaker: um And then when we started bringing in the freelancers, like when we brought in, Adam and Pat and Jorge and Summer. And like, it it became more like work again because it was like, we had to make sure these people were doing what they need to do and that they were doing it the way we needed to do it. And we had all these expectations that it was like, we have to like be on them. We have to do, we have to like actually meet and work and not just, it's like, you're like, Hey, you feeling okay, buddy? It's like,
Speaker: Let's play magic this time. It's like we couldn't really do that because we were working with other people. So I think it added a level of stress, at least for me. And this is what I want to know about you. and that's was that it was it It became more work because it was like we were waiting on people to do the work as opposed to us doing it at our pace. Yeah, that's interesting. I don't feel like it became more work ah because I think we worked very hard when we edited. No, different work. It's like a different type. No, yeah, well, that's what I was going to say is that, you know, we worked really hard in the edit.
Speaker: And i I don't know if you felt the same way, but I certainly, in my head, I thought, uh, ignorantly. We were done. That once we got the edit, you know, we're done with the hard work. Like it's done. Now it's just coasting and everyone else is getting paid to do what we need. And it's going to just, we're crossing that finish line. And, you know, after running at top speed, you can't just stop or you'll fall on your face. so You know, you just slow down and ease into the end.
Speaker: yeah Once you cross the finish line, and I guess I kind of felt that was going to be the case once we hired people. People who know what they're doing, for one. And then for them to do the work, you know, it's like direct.
Speaker: But ah yeah, no, I guess the work was just different, quite different, right? But it was still just as much work and
Speaker: And I think that's part of it. but Maybe also like sabotage to a degree, i think for me, because even with working on this stuff, I haven't jumped on it like I should have. You know, I'm barely starting to get into it, but I am starting to get into it.
Speaker: Um, i I'll say for me, i was working with other people was like emotionally draining. Like I kind of remember once once the paycheck left to pay audio off and then you paid off color.
Speaker: i was like, I need a break like big time just from like, cause I felt like it was so stressed. Like, cause we were working on their pace. Yeah. And it was like when they were ready to work, it because I remember sometimes summer be like, I want this, like I need it like by the weekend.
Speaker: I'm like, fuck, I actually had to like go home and like stay up late and getting this shit for summer ready. And that, it was just like, that was stressful because, ah Like I said, when we were doing the edit, like we would just have a block of time. And it was like, whatever we got done, we got done. it's like we weren't like And then not worry about it until we meet again. Yeah, we it wasn't like, hey, we have to have picture locked by next Sunday. Or we might like just lose everything. like These people might just leave. And yeah so like Jorge, right? Just drop the project. yeah And probably partly because of that, right? It wasn't as easy as he thought it was. And it was more time consuming. Yeah. But I feel like we couldn't have been more We were this going be hard. Like, this is impossible. Like, you're literally performing a miracle for us. And it's like we've told to everybody.
Speaker: i just don't think anyone takes this seriously or sincerely. Or maybe they just want the paycheck. Maybe they just want the paycheck. And it's like, hey, you know, like, when you're interviewing for a job, you're never like, yeah, you know, I could do an okay job. Like, as long as it's not too big.
Speaker: You're always going to boast that you can do whatever the job demands. Yeah. So maybe it's that. Maybe it's our fault in not doing a better interview process to vet.
Speaker: it's Well, it's easier to put the blame on us because then we we can only be responsible for what we can do. Yeah. Because I think we did a pretty damn good job. We were not ever like trying to sneak our way past anybody. And if anything, we were maybe we played too much into the opposite.
Speaker: Where maybe we said it was too much of a piece of shit. Because we go pretty hard on ourselves. And I'm sure people don't want that level of negative enthusiasm against this work that going to do. Why are you going to want to work on a project where the people are like, yeah, it's a piece of shit, but...
Speaker: Well, we didn't say piece of shit, but we're just like, this is a mess. There's a lot of mess. like you Sure, you can handle this. And maybe that that is where we could probably self-reflect on a little bit. Well, I'll just say, I know I've shown our trailer and stuff to people who have been interested in working on other things.
Speaker: And every time they see the trailer, they don't respond back to my messages. Oh, really? Yeah. I think there is that. I think the – Maybe it's just bad. i Well, no. i was going to say i think the fear and what we're trying to pitch is we kind of just don't know. Like we can see – well, we obviously don't know. I mean we can see the good elements that we hope others see.
Speaker: you know We can see the positive we hope others can see and ignore the negative enough. Yeah. But also it's like, yeah, you know, there's a lot of rough shit in there and who knows how. Yeah. So I guess we're just trying not to overpromise.
Speaker: But of course, then we kind of take it too far with the self-deprecation. Yeah. we Because we we feed off each other too. And then it's bad. but Well, I just don't want to bullshit someone, you know? either. And my thing too, yeah. it's like I want them to be pleasantly surprised. It's my absolute biggest fear is that, I i i know I've said this a lot. and My biggest fear, at least in regard to dickhead, is like that we just have no idea.
Speaker: Yeah. And we because like I said, that's why I've always like wait wait been waiting for someone to watch it and be like, it fucking sucks. Like you guys wasted your time. Yeah. but Because everyone's been like, wow, this is like a real thing. This is really interesting. And I was engaged. been very nice. And and it's like, damn it. Like but test screenings are, I think are, i kind of hate the idea of them.
Speaker: But i after doing it, I think, oh, wow, it's very important to at least have a pulse on what other people are seeing. well Regardless if you think they're right or wrong, it's like you can't change the idea that no one figures out that Tom's her brother. It's like, well, we we put it in there. we I think it's pretty damn obvious. Yeah. Yeah.
Speaker: But so a lot of people just, right? Everyone's like, oh, it's her boyfriend. Yeah, no one ever gets But also it's like that's a taboo in their brain. like filling in the It's like you know how you can't see that your brain is actually filling in those gaps between your eyes or whatever that you can't see. Well, I don't know, man. Because no one's ever seen the new audio version. And I think a huge issue with people's understanding of the film was the technical aspects getting in the way of it.
Speaker: wasn't the come. Well, no, just the fact that you can't hear the movie when we were showing it to them. yeah But now you can really hear it and maybe that'll get them to catch these things.
Speaker: And also just the the movie feels a lot different because it has its own score now. has its own score. You can hear it. It has a nice look to it. It feels yeah it looks like a movie. yeah At least the color.
Speaker: You know, the cinematography, it has its moments where it sure don't. But ah we have – you know, I'm always thinking it's like you live on your highest high, but you die on your lowest low.
Speaker: And it's like we live for a little bit. you know we We get resuscitated every now and then. But, yeah, we got some ugly shots. There's some moments where we flap our hand our arms fast enough. We get off the ground a little. We're off the ground for five minutes. know. Chickalittle. Don't look up. Yeah. um but Yeah, you know, because... so I think that gets in the way, because, you know, i mean... Well, I guess I just see it like, what separates us from the great and terrible day of the Lord, or who donet done it, or... Hair Trigger. Hair Trigger.
Speaker: And I don't know... And I don't know how that's going for them, you know? have a little idea. But, well, yeah, we have a little idea, but I guess...
Speaker: ah it's going to be the same path. It's yeah. ah We'll say no one that we know has had their Cinderella story. Yeah. They're still working hard. I haven't at least no one other than the already established people that we've interviewed. i don't think anyone that we've had on the show is now a full-time filmmaker.
Speaker: Yeah. Um, We've had people that are that are still making stuff. Everyone's still making stuff. Yeah, no one's a full-time film. They all have their day job, yeah they even if that's in film.
Speaker: yeah Except for actors, I guess. Who? I was hoping you wouldn't say that part. ah i was hoping you wouldn't ask that question. hey All of them, buddy. What talking about? What actors? We haven't had that many. um I guess for all of dickhead.
Speaker: No, I meant like ah that we've interviewed on the show. Oh, interviewed? Guests. um Guests that we've interviewed on the show that like have wanted to make it into the industry. And least far as I know, aren't.
Speaker: um But you know but it's still the the dream. And in the path with Dickhead, while it is the same. And the only difference is is like... The only difference- We gave ourselves. We put ourselves in a position where we like overdid it on everything to a point where a lot of people were like, no, we actually want to like get done with our projects so we can do another one or something. And we're like, we're going to get the one right.
Speaker: And we pushed hard to get it right. I mean. yeah we essentially weighed ourselves that way, right? It's not about the next project. It's just about this. and Yeah. It was like we – because we were kept running into pitfalls. We just ran into pitfalls. We just – we literally just epitomized – like we just had the epiphany just now of like, oh, yeah, like we probably need to actually be a little more confident in our interviews with people. Oh, for sure. this is something that we – Learn because of how long we've taken on the process. I mean, that's what Cargill said. That was one of his words of wisdom to us. was
Speaker: Yeah, just don't talk shit about it. Be the ah person to champion your work. Yeah, because I think... Well, it's just so interesting because with Adam and Pat, they were like, we really under get your enthusiasm. And I'm like, where's everybody else not getting that? No, I feel like Summer was with that too. Like she could see. Of course. there's so so But I'll say this. Everyone has been, and you know who I know? It's because we've gotten everyone for so cheap throughout the entirety of this project. No one has gotten paid their worth.
Speaker: You know, Summer did us a huge favor with what she charged. Adam and Pat and John did us a huge favor with what they charged. Huge. Monumental. Our actors all did us huge favors in what they would have charged and expected.
Speaker: Our crew. Like, it's never not been that. So that's always been ah saving grace. And also with them, you know, to...
Speaker: Except for George and Sean and Danny. Well, George, I mean, he's doing like grunt work. you know there's no He's not seeing anything come to life. yeah It's just, this shot's good, this shot's good, this shot's bad. Also, I think it was just a night... like The actual workflow was just a nightmare for him, and he was like, i don't want to do it. Because he could only... because For some reason, I could not figure out how to get him to upload more than the his two gig. I was like, let me just upgrade your Google Drive. I'll send you the money for it. And he was like, oh, it's fine. It's fine. It's fine. yeah well, he never did the work. And then it was like it would upload and I'd be like, OK, I download the upload. Delete your files and upload your new ones. I think that was just too much for him. He's just like, I'm out. Fuck you guys. I'll take the loss.
Speaker: Yeah. Because that was just a nightmare. That was ah another thing is you have to fucking relearn. how like Well, not relearn. You never knew it in the first place. But that this digital workflow is tough, man, to figure out like that just the logistics of getting the files shared. And while it's not as simple... like It's not as simple. No, it's the other way. It would be much simpler to just send a drive back and forth. Way more expensive, way timelier, right? Because you're, well, maybe we could, you know. I think it might not be that much more timely because of the transferring back and forth. yeah take I know for my computer, that takes like days to transfer. Yeah. Or to upload. Yeah.
Speaker: So that I think because there's a lot of pros and cons to that to be discussed, and I would be interested if you out there listening have any comments about that. where ah we're not really We don't really monitor any socials anymore, but maybe we should do that. um If anyone would want to be a free intern on Twitch House Podcast for our our media consultant marketing,
Speaker: Maybe not free. I could ah could i could pay you like 10 bucks a month. 20 bucks a month. we Because that could probably help us out. um Yeah, i don't know. ah Man, it's tough.
Speaker: what So what would you, in the if we we're, you know, next project, um whatever, um you going to want to ship a drive or do you want? I'd rather ship it. I think I kind of in there too. I just, because it's just easier for me to understand the workflow.
Speaker: Put it on Drive, label it as best you can, send it to them. They work off that, they send it back. I think the thing too was like, I, for at least with with with Jorge, I was his assistant and I didn't really want to be. I did not want to do, because he was like, oh, like you know send me the yeah the individual file. Yeah. don't want to do the like that grunt work. i Yeah, no. And that's hard work. We did this. I've done this. I've done this so much. I guess it's not hard work. But, you know, that's awful It's a lot of work. I'll say it's awful work because it's so monotonous and tedious. Yeah. You got to pay attention. When we're filling out the VFX sheet, I was like, God, dude. like yeah so My soul is just escaping my body with the tedium of this. It's so painful. Yeah.
Speaker: And we have to do it for And the thing, too, is it's so... Big. Yes. If it was like 12 entries or something, I'd be like, fuck, let's do it all day. It's like 144. Like, imagine doing something 144 times over and over again. Like, you would want to fucking kill yourself. Yeah, I can only do 20 at a time, and then I'm like, I...
Speaker: Or maybe it's not. It might be Ted. i My eyes go across quick. Yeah. And then I just get into like this robot mode where then it's like I can't even like see. not even seeing the numbers anymore. And then it's like, holy shit. Well, you're fast. Fast.
Speaker: but yeah i i really But the thing is, like if we send the drive, then we can't do that assistant work as well. don't want to. Tell them to find it. It's all there. That's why you label it as clearly as possible. And then we just have them store a backup maybe on a cloud storage and then ship it back.
Speaker: And then just go off of that and transfer everything real easy. So I would like the hard drive approach more. Yeah, people out there with experience with it, let us know. Because there's also thing about the drive thing. I don't think anyone else is mailing hard drives, right? No. Because it's honestly a really risky thing too. Because if the drive gets damaged or stolen. Like, no. I just had to add the credit. Or lost.
Speaker: Yeah. Right? And it's like, that had everything. Like, that the the person did, right? There's no backup. Like, you could potentially. But that's how it was back in the day, right?
Speaker: You send the negatives off. That's true. But we don't we live in a society where we don't have to do that. It's like. You can't reproduce negatives like you can reproduce digital files too. yeah But also, it's like, well, I'm sorry. I guess I'll take a little bit of time. Like, we really should have spent. I should have just been like, bro, I'm sending you $20. Like, upgrade your Google for like a month.
Speaker: Yeah. And we will be done. So last night, ah today is March 7th. Yesterday was March 6th. The last episode of oh ah The Last Drive-In with Joe Bob.
Speaker: a Big thing for me and my family, we it's something we watch every time it's on. um So it was an announced, yeah, Shudder is canceling their show. They'll have four more specials because that were they're contracted for. They had already had that in the paid for, essentially.
Speaker: And so those will be that will be it. I mean, it's not going go away. He's probably going to be – a lot of people were speculating, maybe Tubi will like host the show because it brings in numbers. Yeah. ah But who knows? it's not It's not the end, but it's like it's like you know it's like that's an end of and a thing. That was a kick in the nuts. And they will it will never be that thing again because it's over now. Yeah. Well, maybe. I mean, it could be like the Mystery Science Theater. But it could be better. That's the thing. It's like the new thing could be better.
Speaker: could be I mean, did Mystery Science just keep getting bumped and jumped around? Yeah, yeah. Now you can see them, but it's like live shows or something. Yeah, but i mean the thing the the thing was, is it felt like it was an end of something. like Because obviously, Joe Bob can't do it forever. He's 73. Oh, he's that old now.
Speaker: Yeah. um So, yeah, you know it was ah it was a big bummer. But they were showing the clips from previous episodes. And there was a little one of the episodes i had I hadn't seen is the one cut of the dead that he did.
Speaker: um And then that's when he did the speech, from the Keep On Rolling speech that I sent you. and Oh, yeah. what do you What do you have to say, buddy? Sorry. No. You said a lot.
Speaker: How are you doing? oh like you know i mean, it really bummed out. asked me how I'm doing. it How are you doing, buddy? said it It really actually bummed me out because I feel like there's not always like that much to look forward to these days.
Speaker: Yeah. Like literally, like I look forward to doing the podcast. you know I look forward to you know working on Dickhead and having that done. But like i mean, I don't look forward to new magic sets like I used to. I don't look forward to movies coming out like I used to. like i don't think i'm I'm not excited for really anything. There's stuff I want to see, but I'm not like, oh my God, like my my heart starts racing. I used to get goosebumps watching trailers. It's like, now i'm just dead. you know I don't feel that at all.
Speaker: um right I was like, The Odyssey. husk of a man. Okay, I'll watch The Odyssey. yeah I get more excited to watch old films. by Joe Bob, right? the shows The movies that he would show me that I would never ever watch in a million years. But because it's been selected for me,
Speaker: That's always for something. to give the chance. I give it the chance, right? Like the movie that we watched last night, the last movie that he did was called The Last Horror Film. I would never watch that movie, but it was freaking awesome.
Speaker: It's this movie about this guy that wants to become a director. And it's played by, oh fuck, what's his name? ah But he's a famous actor that is in like Godfather. He always plays like the bit part because he kind of has that scarred up pucky face. Yeah. um And he has real weird eyes. ah oh man. I wish I could remember what his name was. Maybe I could look it up and I could show you real fast.
Speaker: My phone's kind of broken. So it's been ah it might take a second here. That's right. the last that edible is hitting hard horror film it's a attacking attacking Joe Spinell oh yeah Joe Spinell you know him no Godfather yeah I think I've seen him like once or twice he's in Rocky
Speaker: I don't remember him on Rocky. He's the loan shark that Rocky is the bruiser for. Rocky's a bruiser for someone? Yeah. Rocky collects money for a guy. Okay.
Speaker: In the first movie. Yeah. Yeah. but So he's he he wants to be a filmmaker, but he's like a really weird, socially awkward guy. Yeah. um So he goes to the Cannes Film Festival to stalk his favorite actress, who's like the queen of horror.
Speaker: Oh, okay. And he wants to meet her to be like, you got to be in my movie. It's a perfect movie. like You got to be my movie. Yeah. That's kind of how he talks. ah And he ends up being driven crazy and murdering everybody.
Speaker: But the interesting thing, and that there's a lot of twists and turns, and I won't spoil it anymore, but... Fascinating film. And it's extra fascinating because he's Joe Spinell from The Godfather and like people actually know him. Yeah. And he filmed it at Cannes, during Cannes. Oh, wow. he just guerrilla filmed.
Speaker: They ended up getting sued by the city because of all the shit that they were doing. We're like breaking into buildings and filming and shit like that. Really? Yeah. And Joe Bob was talking about it. They had to actually finish the film in another country because they had so many lawsuits and penalties pending against them in the city. Oh, shit. Because, yeah, they they he would just like sneak into places and like whip out a fucking camcorder and just start filming people. and it was like And following, just the actress would just like run ahead and they were just like filming them and stuff. yeah
Speaker: In the middle of the crowds, they weren't getting release forms for anybody or nothing. It's just... Yeah. And that's kind of, a lot of the shots in the film are like that. Did that look good? Yeah, it's really cool. Was really executed? Yeah. It's really cool.
Speaker: um And it was really well made, honestly. Yeah. Yeah. um But, you know, i that's an example of, I would never have watched that movie without Holt. I've never heard of it.
Speaker: Yeah, i've I had heard of it because it's, a lot of people talk about i films ah that, uh,
Speaker: Films that are about people making movies, this is always the one that's brought up. Oh, okay. Because the way he's the way the movie is set up is that he's filming everything. So when he's murdering people, he's getting like the genuine reaction of people watching them being murdered because he's like filming people while he's murdering people while he's filming.
Speaker: and like or he'll set up a tripod and then murder somebody. And then like all the people... So he was actually doing so fake murders in front of... Shit like that, yes. People? Yeah. Yeah, that's fucking awesome. Shit, that's cool.
Speaker: ah But yeah, I mean, there's shit like that that's going on. But yeah, you know. um But there he had that little speech, right? They keep rolling. and yeah It really hit me. like I was sitting there and just like, man... it it He's right. I mean, I think he he takes it a little lightly, but at the same time, like that speech the speech, you know, just keep rolling.
Speaker: He takes it a little lightly because it's not that easy. I mean, he right, he made it sound like, learn everything. It's like, yeah yeah, let me, like, some people spend a lifetime learning everything. Joe Bob, I'm, you know, 30 years old.
Speaker: Yeah. And I've already forgot half the shit I knew. You know, too much drugs and booze. I guess, you know, that's my responsibility to kick that. But I think, you know, what he was really saying is like, no, if you want to, it's like, you're not an aspiring filmmaker. You are a filmmaker. Like, just go out, you know, you just do it. Just do it, like Shia said.
Speaker: And... i think they ah But he says, just do it. But he's also like, and do it like completely. yeah It's not a thing you just, oh, well, I guess I'll work on it on the weekend. It's like, no, what is my writing planning schedule for today? like What am I supposed to be doing to get to the next step of whatever I need to do? Put in the actual time every day. try to do it every day because you are a filmmaker. And that's what a filmmaker does.
Speaker: And you know he's just like straight with you. He is, I know. Sometimes I play magic though. And it's like, it's so easy to hide behind the, well, I'm just, you know, if I had this, because like where he goes through those things, like every filmmaker says, like they don't have money, they don't have cast. and It's like, he's like, you know, just go to the local fucking theater and and find some young hungry kid at the community college. yeah
Speaker: Right? You might find the next fucking Shia LaBeouf. Yeah. Yeah. But i mean um you watched it. what did What was your takeaway? did you have ah You knew I was going to ask you about it.
Speaker: Yeah. So I know you were thinking about a little bit. Yeah. No. um Because you we were talking about audiobooks. So one of the other audiobooks, one that I actually did listen to because I went to Vegas ah the weekend prior.
Speaker: And I listened to the Norm audiobook. That's why I was trying to get the Plex the whole time. Oh, yeah, yeah. So I could hear it. And, um you know, he reads it. So it was really I mean, it was good. It was really good. I enjoyed it. It's good.
Speaker: You know, it's it's like a gonzo autobiography. um Yeah, because... And then it's awesome that it's read in Norm's voice. That's, like, the best part. And he sounds healthy. Mm-hmm.
Speaker: So yeah, I mean, I really enjoyed it. you know Of all the things that could be said about that book, at least you know Norm, he wasn't a rapist. I think that was my funniest part. or The funniest bit of that whole book. um I love when he talks about that when he gets raped in jail.
Speaker: He's like, it's a power trip. Yeah.
Speaker: And he talks himself out of not getting raved. Oh, it was so good. Wait, did you finish it? Yeah, no, I just finished it. That's when I started the Al Pacino one. I mean, hold on. We're going to spoil the book, end of the book, because I think I talked about this with you a little bit when I had finished it, but I couldn't spoil the end about the writer, the ghost writer, becoming Norman, getting shot. Yeah.
Speaker: And then Norm ends up just winning at the end and he's like, well, it right he's like ready to go to heaven. like Poor Adam Ygritte. I know, dude.
Speaker: a Poor Ghost Rider. I don't even think he gets a name. think his name is just Ghost Rider. So I finished sad and it was like sad because you know Norm's gone. who And and i enjoyed that very much.
Speaker: And then you tell me like, man, Joe Bob's good too. It was like, I don't know. Kind of weird. Even though I never really watched Joe Bob, I think only watched one with you. Maybe two?
Speaker: probably yeah. Because you watched Werewolves. Oh. Because we watched Dog Soldiers. Okay. Yeah. So that was the one that I saw. and And yeah, I thought his ah farewell speech was very poignant, very well done.
Speaker: like the way he, what he said, the way he did it. You know, it seemed very heartfelt. And, you know, did ah motivational too, I'll say. You know, it felt inspiring too to the aspiring filmmaker.
Speaker: um We should send him a physical letter with dickhead once it's done. Well, that's what I was going to say. and And he's right. you know You just got to actually put in take the step.
Speaker: you know It's like going to the gym. You either do it or you don't do it. And you really should do it. Because the more you do it also, the easier it gets. the easier it gets, ah the better you get.
Speaker: And yeah, you know, so it's all good to, and that's how you succeed. You know, that's going to be the number one factor to succeeding is you put in the time and you kept putting in the time.
Speaker: And I think, yeah and it wasn't even, because he also talks about, right, like, it's like, don't bullshit yourself. Yeah. And that's, like, a big thing, too. I mean, i won't I won't bring up names, but maybe if he, you know, he's constantly producing and putting things out, but it's never getting better. And it's like, it's just... Well, it's also bad.
Speaker: and But, yeah, I mean, it's never, it's bad. I mean, I've edited some of this out. But, yeah, I mean... Right. The person that... Here, how about this? ill I'll give you something to start from.
Speaker: There are filmmakers that just keep making bad stuff over and over and over again. They're constantly producing work, but it's not good. And there's just literally, but and normally you would think you're going to grow, right? They're going to look back and be like, oh, like these angles are boring and bland, but this these filmmakers just keep making it again and again. Like how how do you break from that? How do you recognize that that's where you are?
Speaker: I don't know. challenge that. Because I think Joe Bob says you have to be able to recognize that because you have to be self-objective. yeah It's not an ego thing. like You've got to be good if you want. You drop the ego if you want to succeed in this. Yeah. um Yeah, I don't know. I don't understand that person.
Speaker: That's not my issue. My issue isn't I work so hard. and But I don't grow. My issue is the complete opposite of that.
Speaker: I don't work hard enough and I have nothing to show.
Speaker: It's like you're, ah you know, you know those flowers that, um that ah it's like they're a seed for like a thousand years. But once they bloom, they're like this gorgeous plant. Yeah. And it'll just be for like a week. But no one's watering you. Yeah. You're not watering the seed. yes like You just got to water it. It'll you You're just poking it like, where like where's my flower? yeah And it's like, now you got to till the soil. You got to fucking put the water in. You got to fucking rotate and shelter. and Exactly. you know It's like the flower's in there. Yeah. so You got to tend the garden, motherfucker. Yeah.
Speaker: But some people are are growing fucking ah petunias and others are growing fucking you know shit potatoes or whatever. Exactly. But they're out there every day working on that shit potato. Yeah. And they got a whole lot of potatoes. They ain't starving this winter. It's like, yeah, how do you?
Speaker: But that one- You make so many potatoes, but they're all shit. They're so interesting. I can't comprehend that kind of issue to run into. You know, you'd look at the lumpy, veiny, like misshapen thing and you'd be like, why is it like this, daddy? Yeah.
Speaker: Why is my potato so misshapen? Nope. Well, just go plant more, son. Why not? That's the solution. That's as best as you got. You ain't ever getting better than that lumpy potato. But, you know, really inside of that lumpy potato is probably a seed that can be nurtured.
Speaker: it's It's still a potato that has some nutrition to it. Yeah. And so, yeah. So, you know. That's actually a great analogy. It really is because. i I don't know what their issue is.
Speaker: You know, it's it's I'll say it's separate. But I commend anyone who's constantly working and making it. Even regardless of the quality, I think, in my opinion.
Speaker: Because it is so hard to do. Yeah. no No, no, You know. I mean, also the completion part's hard to do. you know, to just complete it. I mean, as people who've never completed anything, think it's the hardest thing could ever do. That's very hard. It's just put that final period on it.
Speaker: Yeah. So, you know, so if you could do that, man. Like, why to say anything? Um... But, you know, that there's a very easy argument against that. Is that, like, you know, we all poop twice a day.
Speaker: Just because you shit three times doesn't mean you're special. ah I don't know what that really meant. but but then But then... My point is, what I'm saying is, like, if you're only producing shit, even though it's great and it's hard that you're producing stuff, it's like, if it's literally of no worth...
Speaker: Well, I mean, that's a hard thing to- Because sometimes I feel like, God, I wish I could have those six minutes back. Like, literally. was like, I got no enjoyment out of this. The only thing I got out of it was, I wish I could just talk to Steven about how bad this is. Like, why didn't you just do this? I enjoy shitting on this stuff. And it's like, yes, I know it's, you know, schadenfreude. It's not nice to be fucking shitting on people's hard work. It makes me feel good inside. It's like, do you watch the Special Olympics and fucking make fun of them? No, you cheer them on because they got it. And as much as I'm cheering them on, it's like I still acknowledge it ain't the regular Olympics.
Speaker: I ain't expecting to see no world record-breaking pole vault then, right? At the Special Olympics. Yeah.
Speaker: That's so terrible. I mean, I'm just happy to see them get over the hurdles, you know? Like, their life's a hurdle. um and Life is tough. Life is tough, man. You know, I'm the funny man Life is tough.
Speaker: um But yeah, dude, Joe Bob being gone. mean, he's alive. But the show being over. But his show ending. Yeah, I mean, I think it's better to hear your thoughts or your feelings on it.
Speaker: But I'll just say that or I'll just finish with.
Speaker: um Yeah. We should send Dickhead to him. He said he'll watch it. He'll be like, Joe Bob, we finally did it. We finally kept on. Yeah.
Speaker: And we crossed that finish line. I bet he'd check it out. Oh, yeah. He'd be like, what thanks for sending me something to fill my trash can with. Thank you for giving me some kiddling. It started a warm fire. It sure did. Yes, sirree.
Speaker: I'll say that letter you wrote sure did burn quick. But yeah, man, I mean, it's a hope. I mean, I'm sure it's it's going to come back and it's going to be a thing.
Speaker: But all eras must end. All things must pass. You know? Maybe Dickhead will be the first movie he shows on his new streaming channel. were like Look, this is what I was talking about. Ten years for this piece of shit.
Speaker: Don't do this. He's like, the fun facts? These guys suck. You know how many shitty movies I gotta to see like this? Yeah. Why'd you keep rolling? Why didn't you stop? No, Joe Bob. No, not us.
Speaker: You're still doing good on your whiskey. Yeah. I'm fucking high as shit. um Well, good, buddy. I'm having a good time. All right. What are we talking about next? Well, what else did are we going to talk about? I mean, we have your script.
Speaker: Yeah, let's... so what are we at on the time? 53? 53? seventy three Okay. i think good du So how do you want to do this? Because like I wrote a bunch of notes.
Speaker: Because there's just some things I need clarification. Well, I need a clarification on a lot of things. So there's that aspect. Or did you want to go like page by page? Because I noticed as I got further in, the notes got less.
Speaker: So it's up to you. And I think I got to the first act? Probably. are through it? For notes, so I don't know how you want to... Why don't we go over the notes? So why don't we talk, introduce what we're doing, and then let's do the notes. We're going to do like a writing note session. just page by page? Page by page. Okay. um If you want. I don't know if that will take too much time. but And then when we get to where you've your most recent notes, and we'll stop.
Speaker: Yeah. Yeah. Well, because also, I mean, we'll see how long it takes. Yeah, maybe we'll stop before. Who knows? I have no idea what… I mean… well I don't know how hard it it'll be to answer some of this stuff.
Speaker: Because also it just feels so preliminary. Yeah. Like I haven't dived as deep in yet. But also, yeah, the clarification of how deep do you want me to dive into it?
Speaker: Yeah, yeah, sure. For So I wrote a ah script. i This was a ah script that had started, um man, I think it must have been two years ago I started writing this.
Speaker: And I think I only got like 10 or 15 pages in. and don't remember exactly how far in it was. It was, I think, I wrote up until... After he gets booed off stage.
Speaker: After he gets kicked. Essentially, that that's where i kind of stopped. At Chocos? Yeah. ah Him at the game waking up in the dumpster. That's where I had stopped. Yeah. ah Years ago.
Speaker: And I told you recently, like I've just wanting been wanting to go back and and work on these scripts. that i've art like it's like Some of the work's already done. like You dumb fuck. like this Just keep going. You know the story. You but you thought about the story.
Speaker: I've thought about this story a lot. I mean... and something i've been I've thought about ah like a lot. So I really just got into writing it, getting back into it, and and the pages were just flowing out of me. And then the other thing, too, is like when I i had had kind of stalled out at like page 56, I'd already got to the end.
Speaker: And I was like, wait, i have there's more there's got to be more to the story. So that's when I went back and I like added scenes and started adding scenes. And that was, it was, that was an interesting thing. Normally I would just go from beginning to end, but I got to the end too fast.
Speaker: And I was like, Oh dude, there's so much stuff like missing. yeah that was ah was probably too fucking high when I was right. Do you know how many pages that was initially? It was like 56 pages. And you were done?
Speaker: And I was done. And like, wait a second. One, two, three. was like, the end. Well, because you know what I did? and i I wrote my, and I kind of did this i kind of did to myself, was I told you i had finished a 90 page.
Speaker: Yeah. And it was at 56. But was at 56. And I said, that means i have to make this 90 pages so I'm not fucking pulling Steven's leg, right? We got getting him excited over nothing. ah And so I fucking was like, no, you got to work, bitch. You you you're gonna be told Steven you sent it to him. yeah ah So I just plowed through. I think I worked for like nine hours straight or eight hours straight, like taking taking like maybe a one or two breaks.
Speaker: And I got to the 90 pages. and But it was because i would I would read it and then I would be like, okay, I'm going add a scene here. And it was the first time I've ever really written like that. It was... Because usually kind of just go all the way through it, right? Yeah. And this is where I was thinking like, okay, well, where could you... Because normally it's like, I'm ah i'm always a on the add more, cut later.
Speaker: Yeah. And this was like, no, you need to add, bitch, like a lot. Yeah. Like a lot, a lot. Like you really need to figure out how you're going flesh these characters out a little more and yeah and maybe a lot more.
Speaker: Yeah, so that was ah that was an interesting thing. and so and the And then the other thing, too, was I was writing it. I was like, I would like to, you know, maybe we don't have to like get this screen ready. But I thought you and I could do a draft or two kind of for the podcast. This could be. no I think it would be good to get it to what we consider screen ready.
Speaker: I mean, I don't know how long that'll take because we have time. Well, that's my thing is I'm i'm not saying we're going to drop everything to get this screen ready.
Speaker: then Well, yeah, that's why I'm saying. like yeah Yeah, just the touch and the go on it and let it... take the time it needs. But I thought, well, my thing was, I wanted I thought this would resonate with you and then you would have stuff that you would want to add. Yeah. And then I think that's where we could make this stronger. Cause I think we write better together.
Speaker: Yeah. So this is kind of like my introduction to you to then, if you add what you want or we can discuss, add what you want, be like, Hey, no, let's cut this.
Speaker: what do you think of this? Like we did with Dickhead, right? yeah It would be like, what do you think of this scene? And it's not something like, right. It's not like you have to rewrite the whole thing in unless you don't think it's garbage, but it's like, you know, instead of like, cause they're just random jokes. Like I didn't write all the jokes. funny man written by Steven Tejas, assisted by Tom K. You know, a lot of them, I would just like, was like, like worst dad jokes or whatever.
Speaker: Because I was like, i can't I ain't that good. I can't even think of bad jokes. Let alone good ones. yeah That's how fucking pathetic I am. ah But, you know, so that's what, you know, that's what this is the introduction to this series, I guess. We could call it the Funny Man series on the podcast. Yeah. um And then you can join along with us and then maybe learn and, or, you know, as we...
Speaker: kind of go through this process. And once we, i figured once we got ah through a draft or two, we could do a full table read podcast where we invite actors, actual, our friends, actors to be on the show, to play characters, to do a full table read since it will be like a series that we're doing on the podcast just about this story.
Speaker: Yeah, that'd be awesome. So that's all that's the introduction. And then people can see how much we suck. Well, we'll see. let's stand Let's stand by. let's you know We're turning a new leaf. We're standing by our work. We're putting in the effort to be better and make this our careers. And yeah, we're filmmakers. God damn it.
Speaker: ah So this is... The funny man. We're only going to go, we're going to be doing, essentially, Stephen did some notes. And we're going to be going until we get to the notes. And we'll just be going page by page. reading We'll be reading the script out loud.
Speaker: And then do you want to just like, should we do the, read the page and then do the notes? Like read the whole page and then the notes or read notes and then. We'll just read notes, I think. yeah Okay.
Speaker: ah Well, first though, we need to number the pages. Okay. Okay. That's a good point. He's fuck you, Steven. You could have done that in the document, co-writer.
Speaker: Well, I haven't even touched ah the the what you've typed. I just have written. Okay. I don't want to fuck anything up yet. Because that's also what I was saying, and like the clarification, because I didn't know how much you want me to help, like, essentially write it with you. Yes, co-write if you're interested.
Speaker: Well, that's what was saying. Like, I wasn't sure, like, you want me to do that? You sure? i'm okay I'm inviting you. Yes, this is what I want. If you don't want to, though. No, no, no no So I'm just asking because also i think from my perspective, I want to ah keep everything in the spirit of what you've already written. Okay. You know, so i don't want to like just come in and like just destroy everything.
Speaker: If you um if if think it's better, let's just go for the best. Well, I'm just trying to, like, there's a lot of stuff I'm just trying to understand, like, okay, what's the idea here What are you trying to get across? and then Okay, fair. So I think that's where these notes are at ah right now that I have.
Speaker: Damn, I did that much? Okay, so should I? Yeah, this is you' you're the you're the originator. OK, are you going to do some voices at least?
Speaker: ah Sure. Who do you want me to do? ah When we go up to a character, we'll just decide who's doing it. How's that sound? Sure. Because the first, I think, while there's no dialogue. Yeah.
Speaker: All right. This is called. Oh, wait, but I'm the one who wrote the notes. Oh, yeah. you think So then I have to like know when to interject. Yeah. Sorry. Okay. Well, this is titled The Funny Man. First, I guess critique. What do you think of the title off top of your head? um Yeah, it's okay.
Speaker: Okay. Tell how you really feel. ah Definitely got to still work on the title. You had given the title The Closer for the stand-up Yes. we Oh, that was the original. Yes, The Closer.
Speaker: So I think that could be… You think that's a better title? I think it… i'm a make sure You should write that down. I think The Closer is an amazing title. Yeah, I think that's what we call it. So… See?
Speaker: That's why I have my notes right here. Actually, gra that's great. I mean, I think I actually originally entitled that. don't know how I got it mixed up. Dude, don't do drugs, kids. I'll tell you right now… Sometimes it's inspiring. Other times you write, you just you just forget things.
Speaker: Are we going to read it? Yeah, i'll do I'll do the action. That way I can kind of okay stop when I want to go over the note. I'm just trying to remember. yeah The edibles hitting very hard.
Speaker: Sorry, but it's okay. Okay. ah Exterior, desert, suburban road, night. A long, empty stretch of road. Joshua trees sway in the wind like moored spectators.
Speaker: A Nissan Altima, one headlight working, and the other dead, squeals down the road. Larry, 35, grips the wheel. Greasy hair, tired eyes. He smells faintly of cleaning chemicals and regret.
Speaker: The radio plays an old stand-up set. The audience laughter warps, slows, then cuts out completely. Larry taps the radio, silence.
Speaker: He drives. The empty road stretches too long. The laughter echoes once more than nothing. Okay, so... I guess in this scene, definitely show don't tell.
Speaker: But... I wrote, what do you want in scene could be... So what do you want in the scene? And then I was thinking, potentially, like, yeah, going with that show, Not Telling, right? Is the idea that maybe he's listening to a kind comp comedian stand-up, like yeah famous one of some sort. Yes, yeah.
Speaker: And that's someone that maybe he's trying to emulate himself after. I mean, it's he's just, he listens, he's a stand-up nerd. Yeah, but you know, you're going to have your favorite. Yeah, so he listens to sets, like, on his way home. Yeah, but I was thinking that could, in that one, you can kind of show, like, who he idolizes, yeah I would say.
Speaker: And I figured this would, the reason why I didn't write something was because I don't know if you would be able to do copyright laws. on a You couldn't do like Richard Pryor, right? A Richard Pryor set.
Speaker: um Well, I mean, i think we would just leave that in. Because my thing was like, sometimes I will just leave things vague because I don't know how I would execute that.
Speaker: I think... I just said listening to an old stand-up set because it's like... yeah Ideally, would it would probably be Mitch Hedberg because he is the jokes that are being stolen in the act at the in the next piece. Okay. is that He's listening to mit like an old Mitch Hedberg tape that's kind of going out because he's listened to it so many times. That's kind of the idea.
Speaker: Yeah. that and And it's just the introduction of the character. It's just him driving home. Right? That's... you know he He lives by his work, but he's just this is him driving home.
Speaker: Yeah, so I was thinking that... um Well, I think we should just approach it to where we can work in a feasible way. In a sense that I'm sure we could find a great comedian who we could afford to use a copyright.
Speaker: We just might have to go far back and educate ourselves of comedians. But... but kind But I think it would be important for it to be a real person.
Speaker: No, I think so too. you know It's just, like I said. like Because i I wrote, like, maybe he's trying to be a funny, like, you know, prior being considered the greatest comedian.
Speaker: My thing about Larry is he doesn't he's a very against trying to be like anyone else. Okay, well, see, that's what I'm saying. But that's why he's so against the Cody character because he's like, that motherfucker just steals every night. But it's like, dude, none of these people know any of these fucking comedians' bits.
Speaker: like This is a small bar. like they He fucking gets laughs and get they drink. like and And this is literally like an affront to Larry, right? He is completely insulted. You can't steal jokes. You fucking can't. like That's not a thing, you right?
Speaker: Yeah. Because he's a purist, which is why he sucks. Right? Like, he is just not funny. he Yeah, was going to say, I think he sucks because he's just not a good comedian. Yeah, exactly.
Speaker: He's a nerd. He's a comic nerd. But I think this first scene can really be expanded upon. Oh, absolutely. Because you can just use it.
Speaker: i mean... Yeah, just the way you want to film it. So we should kind of expand upon it to really describe ah Larry, his character and everything about him. it's not only establishing Larry, it's establishing like the area. it's just You kind of need to get this small town feel from these opening shots because that's kind of the town. The tail that small town is as much of a character as anything. That's what I'm saying. We've got to really utilize...
Speaker: You can really utilize this scene to establish everything. Yeah. And um so that's what I mean. it Like, it has to get expanded upon more. Like, where's he driving? Because I didn't know he was driving through this small town.
Speaker: He's driving through a long, empty stretch of road. Yeah, because it says empty stretch of road. So. You know, it's just the desert. Empty desert. There's, you know. Yeah, but. It's like driving home down Bear Valley. But, like, I mean. Well, there you go. Like.
Speaker: you know Is it truly empty like it is out here so at some points? Or is there a city in the distance? Is he getting just into town? Like where's he at in all of this? Yeah.
Speaker: Right? so I don't know. Well, that's what I'm saying. This is the stuff we got to figure out. yeah um So I think this scene can be expanded upon more. Oh, there's a lot more. Oh, shit. I thought that was the end of… No, that's the end of scene one.
Speaker: Yeah. So… I think that would that scene would be really good for that. And then, you know, you said you weren't sure if we were going to work on every single scene on the podcast one by one.
Speaker: um But maybe we would just focus like a ah big scene to focus on and really get down pat. I think that could be scene one. Yeah. That we can work on on the podcast and kind of break down and really expand upon it. Yeah, no, I think the opening is like the weakest. Yeah.
Speaker: Well, I mean, it just has so much potential to fit everything in that we need to, yeah right, for this world. Because also I was thinking, too, like later on, you get to the, I just call them the cult.
Speaker: I imagine they're a cult of some sort. And... and i know I think you made up one that was called the New Dawn or something like that. You know you could see like the New Dawn cult posters maybe on our yeah spray painted on an abandoned building. yeah, yeah. The Children of Lucy.
Speaker: Is that what it's called? Yeah. Did I get to that part yet? I don't know. Oh, shit. I read it. I did, honest. But yeah, it could just say say that name and start you know establishing all that. So I think scene one can really… we can really pack it.
Speaker: No, yeah. You know what? I kind of do like adding that maybe like it's more the scenes not just like because my idea was it it's just the introduction to like only a comedy nerd would listen to like the same tape over and over and over again. And while this should still be in it, there could be a lot like you said just to add like the i idea is we got an error. Are we okay? Yeah.
Speaker: so What does that say? The destination drive is running out of disk space. Oh. Oh, shit. right, so we just erased dickhead to get make some room for funny man. or i mean, sorry, the closer. um Yeah, so we need to add, you know like ah essentially, i think it would be a great thing would be him driving through. Because i obviously, if it's not obvious, I'm picturing Victorville. But like old town Victorville.
Speaker: um Right? Like down by, um not in the school, like Route 66, Victorville. Yeah. Right? It's like so like how everything's like shuttered and boarded up now. Like that's the town that he lives in.
Speaker: Yeah. um like Maybe he we have scenes of showing that town to as well to make it the counter character. Yeah, it's its own character, Because that that's an important aspect.
Speaker: The town? Yeah. Okay. Scene two, exterior, Larry's driveway, night. Larry's car pulls into a modest, sun-bleached house in a neighborhood that used to mean something. And then I wrote, what does that mean?
Speaker: it's like when you It's like a thing where you can kind of tell that things are like kind of there's weeds. yeah um it's kind of like the I was trying to be artful. a ghost town?
Speaker: Not necessarily a ghost town, but you could tell like they used to have manicured lawns and shit, and now it's just dirt patches and dirt. you know, with the basketball hoop don't got a net anymore. Yeah. Shit like that. Like, right. Like maybe the, the fucking streetlight doesn't work. Like one of the streetlights is blinking. Yeah.
Speaker: It's a town that used like, right. That it's not like 7th street. Yeah. It used to be cared for. It used to be a place where there were a thousand potholes. The city would fix them. But now in the city, you're lucky if they pick up trash every week, you know, but,
Speaker: but That's what I'm trying to mean. It's a small town that's on the brink of becoming a ghost town. Okay. Maybe I should have wrote that.
Speaker: Well, I mean, you put what used to be something, right? But it's like well, but what does that mean? If you weren't so dumb. Sorry, buddy. i was trying to be artistic. No, it was very artiful.
Speaker: all right. He parks, doesn't move. Larry cracks open a beer, downs it, crushes a can with dry fingers. He looks out. Across the street, Debbie sits on her porch, already drunk, crying into a plastic bottle.
Speaker: Oh, that was the other thing. ah Because who's the lady with the kid? Carol. I think Carol and Debbie should just be the same person. I didn't want that to be the same person only because I, so there was a scene that I've thought about recently that he replaces her empty bottle. Like he like brings her a bottle. Cause the thing is like Larry takes care of his neighbors.
Speaker: Yeah. And this is something i had, I thought about more while writing. I didn't actually write it into the story more. His backstory is like his, he was pretty much raised by his older elderly neighbors. Yeah.
Speaker: Okay. And that's why he's trying to take care of them. ah But at the same time, I'm like, I don't know how to fit that in. It's like, he's Larry's like not a great.
Speaker: he's like like He's a nice guy He just... He wants to do right by his neighbors because they've taken care of him. You know, honestly, I don't think you've got to explain it. Yeah, that's why I was like, do I? Like yeah im like you like you said, show, don't tell. Yeah. But you know i guess what I just like the idea of this like just oh late this drunk old lady. likes that's its like All these people just sit on their porch getting drunk because there's literally nothing else to do because the town's drying up.
Speaker: The town's dying. Yeah. Yeah, I mean, that's why, but i i think there was more that I was thinking we could even add to scene three. There's a lot more to add to everything, buddy. That's what we're here to do.
Speaker: Well, like I said, just a lot of preliminary stuff because then I can sit down once I finish in front of the computer and... Well, we absolutely could. um You know, and then start like... We could eliminate the Debbie character. It could be Carol.
Speaker: Actually, it might make more sense if there's not two characters. Just economically. Well, also, I haven't finished it, so I don't know how how much it matters or not. You know, I'm just kind of going up to where I got to, so...
Speaker: It does. there Debbie does have an interesting little piece. But it's just. She's just. ah
Speaker: ah Carol could be that play that role. You make a good point. Well. Okay. I'll finish reading the scene. and then Because I wrote a bunch of notes for that. Sure. And then I kind of will go back. Yeah. He looks out.
Speaker: Across the street. Debbie sits on her porch. Already drunk. Crying into a plastic bottle. This is normal. Larry raises his beer in a mocking cheer before guzzling the can dry.
Speaker: Larry opens the car door, then notices the headlights are still on. He sighs, gets out, leaves the door open, walks three steps, stops, turns, rushes back, trips.
Speaker: Beer can't spill across the driveway. Larry dives halfway back into the car through the open window, fumbles for the keys and turns them off. The headlights die. Darkness.
Speaker: Larry lies there for a beat, half in, half out of the car. He exhales. So um one of the things how funny is this? This is a comedy, right?
Speaker: Yeah. How funny do you want it to be? It's okay. cause i Hold on. Can I put on my super pretentiousness for a second? Yes. This is my Big Lebowski.
Speaker: Okay. Does that does that ah help at all? Okay, because when I was reading it, I imagined a tinge of like drama and sadness, a bit like a Who Framed Roger Rabbit. Yeah.
Speaker: You know, with ah ah Bob Hoskins' character where that's like noir. Because there's definitely like a moment where like the character is like completely defeated. Because The Big Lebowski doesn't really have those moments, right? Coen brothers never kind of go there in any of their films.
Speaker: Yeah. Yeah. So do you want it to be like serious in that nature? Because The Big Lebowski is always kind of just a joke within a joke. you know My thing was it's always a joke until it's not, I guess.
Speaker: um Because there are some scenes in this. does it kind of drift between serious and more comedic then? It does. Okay. like Yeah, it does. Okay. um I will say it's it's definitely a dramedy.
Speaker: Well, that's what I was thinking it was, is a dramedy. Yeah, but absolutely. and So then how funny do you want it to be? Like, should it have just... Should it be like, a I don't know, was like ah When Harry Met Sally?
Speaker: Bad example, but you know that kind of humor versus like ah airplane humor? Not airplane. Okay. No. Never airplane. No. Okay, so that's way too much. Yeah.
Speaker: right. So where is that spectrum? um I want to say... Big Lebowski kind of humor? So it's got to be smart? yeah i don I don't know how smart I am here, but I want to say...
Speaker: It's going to be 60% drama, 40% comedy. That's serious? Yeah. Okay. Because... um Well, you haven't gotten to the end.
Speaker: No. So, yeah. I will say... And then maybe we we can adjust those ratios as you interject interject your writing. um But right right now, i'm that's where I would say I'm sitting. 60-40 on the drama. Because...
Speaker: yeah it that it's kind of a joke that it's you know it's called the funny i I was calling the funny man the closer but it's like it's not a comedy it's actually like just a sad drama about drama a guy that's pathetic and he wants to do the right thing but he doesn't know how to do the right thing and okay and even and by trying it's like you know the path to hell is paved with good intentions essentially is like the moral of the story um yeah okay Yeah, ah interior house.
Speaker: Okay. No, no, no i'm This is a scene two. So um when he gets out of the car, and he'll notice that the... Okay. Okay.
Speaker: Okay, never mind. Sorry. I'm like i'm reading my notes poorly. He sighs, gets out, leaves the door open, walks three steps, stops, turns, rushes back, trips.
Speaker: ah he He realizes the headlights are on. yeah Yeah, essentially he didn't turn the car off when he got out of the car. He just got out of the car.
Speaker: I thought it was like a... It's kind of like he's tired and a little drunk and... yeah. And then he... Oh, he dives halfway back into the car through the open window, fumbles for the keys, and turns them off.
Speaker: Yeah. The headlights die. Okay. I kind of got a little confused what the hell was going on there. Sorry, i probably wrote that obtusely. But then... ah
Speaker: i i was thinking for the... Trying to be artsy. Well, I was thinking maybe like a little thing we could do too here is Was I high when I was reading this?
Speaker: Hold on, sorry. Okay, never mind. Scratch some of these notes. I got to reread this shit. But i was thinking maybe we're doing right now I was thinking maybe during this ah portion, he could be doing um maybe it's like some sort of slapstick kind of routine, trying to cheer up Debbie.
Speaker: Oh, you think? Yeah, he's trying to like, da-da-da. I mean, he's a comedian. Slapstick's funny. I feel like Larry's too much of a sad fuck. And it's like... Well, I mean, if he's so sacrosanct about comedy, he's not.
Speaker: He's not that. He's not... No, he probably would. He probably would, I guess. But he also... It's like she does this every night kind of thing. Well, I also imagine that Larry wants to get laid every night.
Speaker: So he's like, hey, baby. Look, I tried to treat you up. Let me show you what other tricks I can do. Larry would never do such a thing. He's a comedian purist. Well, see, there's the disconnect of this character.
Speaker: ah That I have so far. But I was thinking maybe you could do that just to kind of also interject more comedy and lightness. You know, because I think it should kind of have those elements.
Speaker: But I don't want it to be light. It's like the end of the world. No, no, no no'm I'm kind of saying I want to have a whole range. Yeah. You know, of like just cute, fun moments. Kind of like when Harry met Sally. Like you might not be laughing at every scene, but there's like a level of charm, comedic charm and presence within those scenes that, you know, it wass like you smile. This shit's dark, buddy. What? It's dark comedy. This? Yeah.
Speaker: There's no lightness. Well, I don't i don't know. you haven't got to the end. Yeah. it doesn't get It gets so much darker.
Speaker: Yeah. Okay, well... me, buddy. It's gonna get bleak and dark. This is like... Okay, Big Lebowski was a bad thing. This is a black comedy, dude. It's like fucking... ah I mean, Big Lebowski, it's pretty dark. I don't know. I think there's nice to have the lightness too, especially at the start.
Speaker: Because then you get an arc within that. I don't know how dark it gets. I don't know the characters yet. But that was just an idea for that. Let's just say, hold hold off on on that until you read it. It's not, I don't know if there's necessarily, if there's not, the story's not supposed to have any lightness.
Speaker: The town is failing and it's dying. And literally, he's failing. He can't get work anywhere else. He just works at the fucking gas station. Everyone's just drinking themselves to death. yeah but then That's the story.
Speaker: But I also think that defeats the idea of the comedian. right Because the comedian is the gesture that brings yeah comedy to to these difficult things. And if he was good, he would probably bring some light. But he's not good.
Speaker: He's not a good comedian. He sucks. Yeah, but I don't think that matters for him within his character of who he is. Because I think it's also his...
Speaker: his sincerity for comedy and the way he holds it up so highly. Let me say this. Like he understands good comedy, right? Yes. He loves comedy. He understands comedy. He is actually a source you know of reference for if you want to know great comedy.
Speaker: He's just not funny. Yeah. But I think he understands good comedy and reveres it. He's not just like, oh, you know, let's put on Bo Burnham again. no but- Hit repeat.
Speaker: But let me say, it's like, Larry's a character that missed his calling and his calling wasn't comedy. like But he wanted it to be. And he wants it to be. But he's it's just not it what is What is Larry? Is he like some cool guy or is he some slick guy?
Speaker: Neither. Does he ever try to be slick? No. What is he? wants what is he Larry is a middle-aged man working at a gas station that is ah that likes stand-up comedy. drew Wishing and dreaming that he's going figure it out and make it big as a comedian or die trying.
Speaker: He's in it to win it. That's the only thing that will he'll ever do is do stand-up. So he has ambition. Yeah, but he's going to work at the gas station until he dies. That's the reality. Does he know this reality? Kind of, yes. And he's very depressed about it and but slightly suicidal in a sense. Did he just discover it? Is this something he's been feeling a while? Yeah.
Speaker: He's been feeling it for a while. And literally, Jocko's is the only place where he can go up. like Everywhere else has banned him in town. Is he feeling it to the point where it's like, um this is the end kind of thing?
Speaker: I feel like he has to be a little hopeful. Well, what I guess what I would say is this is— Because there's a line later Like, if he'll always be at the gas station, always trying to get into Jocko's, or maybe behind the dumpster at Jocko's.
Speaker: But, like, is he hopeful and in that way where— Well, I'll still keep on doing it. Or is it like, damn, this is my life. he has a line later where, because the the girl asks him, like she's like, you're terrible. like Why didn't you just quit? And he's like, making people laugh is the the only thing i I know I love.
Speaker: Yeah. And it's like, if then that's the tragic sadness is that he sucks and he isn't good at making people laugh. Well, he's still going to keep trying because it's worth trying. But that's my point too. It's my allegory for filmmaking, okay? Don't you get it? We suck.
Speaker: But that's my point. But we're going to keep trying either way. wig We're always going to go up at Jocko's. Yeah, that's true. Look, buddy. there's no This is not a comedy. This is a drama. This is a dark piece of of work. Yeah, but then there's also that hope, which is inherent within comedy. That's what I'm saying, right? Yeah. Like the comedian provides lightness, right?
Speaker: Yeah. kind of that And that's the tragedy he sucks. Yeah. Yeah. but That's the nihilism. you remember who wrote this? Yeah, but within the scope of what we're talking about. the ah little but My thing is like the brightness and and the hope also comes from other characters in the film. And the other thing too is it's him like actually like giving a damn and trying to help.
Speaker: So has he become a nihilist at some point? Because you haven't got to the end. Yeah. where Hey, like I said, I'm trying to understand, man. I'm providing notes that might not even be anywhere near all what I should be in the direction I should going. You should have read it all the way through before you did the notes. But I like to do the notes as I go.
Speaker: I know. You're lazy. Because that means you got to read it again. I'm going to read it again. I'm fucking with you, buddy. um I love you. obviously I'm serious. I'm fucking with you. Okay.
Speaker: Look, he has – that lightness is at the end. There's light at the end of the tunnel. Okay. Because this – it's like – imagine – it's like ah this this film is an allegory for us as filmmakers and for depression. Yeah.
Speaker: because They go hand in hand with me, at least. yeah And then this is where maybe you will bring in the light, essentially. You could be the lanterns in the tunnel until we get to the end. Well, then this is what I'm trying to do. Because then, I mean, within respect to us, then you have to admit like... How about this?
Speaker: i have what li What if we just read the whole thing right now?
Speaker: We don't do any notes. We just read it. You're like, shut the fuck up. What do you think? Just read my fucking What do you think? Well, how long is it going to take to read? we could probably go pretty quick.
Speaker: Okay. If you want. Yes. Okay. Then I won't say anything else. And then you can. If that's the case, then you're definitely doing the a action now. Okay.
Speaker: And you can be Larry. Oh, shit. That's only fair. If I'm doing action, you do the most dialogue. Describe Larry to me. as he like What's he sound like? I don't imagine Larry sounds like me.
Speaker: Or does he? Am Larry, buddy? No. You're not Larry. Benny is Larry.
Speaker: No. um
Speaker: Tired. Larry's tired. um What's his wit? He's smart. He's too smart. He's smart. Okay.
Speaker: Yeah. What's he do for a living? He works at the gas station. But he's smart. Yeah. Because he... But he works at the gas station. Like I'm saying, Larry could have done great things, but he wants to be a stand-up comedian. Yeah. And that's the only thing he wants to be.
Speaker: Despite the great things he could have done. Mm-hmm. Larry cures cancer if he's not a stand-up comedian, but he's a stand-up comedian, so he wasted his life. But then...
Speaker: Is it a waste? Because at that point, he's choosing to his life. And there's some victory in that. i' I'm just trying to understand Larry more. Sorry. Okay. That's Larry. Okay. All right. I'll just read. Okay. Interior.
Speaker: Larry's house. Night. Larry leans his shoulder against the door to push it open. Enters and immediately starts undressing. Peeling off his clothes as if they're burning him. Shoes kick off. Shirt gone. Pants. He ends up in white underwear and a white tank top.
Speaker: Standing in the middle of his living room. The room is small, sparsely decorated. A folding chair, a sagging couch, and a pile of comedy books stacked neatly on the coffee table.
Speaker: Larry stares at them. He checks his wrist. No watch. Still, he nods. It's a joke. I don't know why I thought it was so funny that he constantly is like, and that's the time. Well, look at the time. Exactly.
Speaker: That's the kind of joke. That's the kind of comedy that Larry thinks is funny. Oh, you read the line. That's your I'm dumb. he yeah Well, that's what Steven said. Okay. He sits in the folding chair, stares a long beat.
Speaker: Better get going. Larry rocks the chair backward. Too far, it tips. He flails, catches himself, and lands upright on his feet as if he planned it. A small, private victory. I like this idea that Larry is constantly funny when no one's around.
Speaker: that's what i was thinking That's what I was thinking, too. Yeah, he it's like he's like the Invisible Man from Mystery Men. He can only be invisible when no one's looking. Or I think he could be funny like on a one-to-one basis, but when it's on the stage to be funny, he just can't do it. Yeah.
Speaker: So he grabs it he grabs a black sports coat hanging off a chair. Exterior street, Larry's car night. Larry walks back outside, now wearing his funny suit. Black jacket, black tie, black pants, white tank top underneath.
Speaker: Okay, this is... so Oh, yeah. No, no you can stop. go Go for Go, go, quick. go Okay, well, the suit. Because if he doesn't know funny or how to be funny, i was thinking maybe the suit should be like a tie-dyed one.
Speaker: I just thought it was... Like one of those suits. Remember like in the 90s where they wear these outrageous suits? like Yeah, but my thing was like he's Lenny... but he wants it like Lenny Bruce wore the suit, right? Okay, I'm glad you mentioned that because in scene one I wrote maybe he should be hearing Pryor or Lenny Bruce.
Speaker: Yeah. no no And I was thinking Lenny Bruce yeah because maybe the copyright too. Exactly. We can discuss the wardrobe later. ah He unlocks it. he Okay, he locks his car. and He gives up.
Speaker: Oh, and what's up with this? He locks the car, wiggles the handle on the driver's door, unlocks it, locks it again. So he's got some ticks? i Or is that superstition? His car's like a piece of shit. So he's trying to make sure it actually locked.
Speaker: Okay. That's what I was thinking. Okay. His whole life, my whole thinking is like, this is the end of the world. And maybe that doesn't come across as much, but it's like everyone's just like in despair. So it's dystopian like that. Yes. So it's futuristic. In a sense, yeah.
Speaker: Or alternate reality or our reality. our reality So it's date it.
Speaker: hey maybe we could date it I mean, that my thing was… I hate when I see futuristic movies and they say like, 2026. I'm here now it ain't like that. yeah But you could just do the actual year be like, this is how it was 2026, kids. felt.
Speaker: this is how felt Well, because my thing is like, because I just love this idea of the small town, the cult in the small town. Yeah, you really like cults a lot.
Speaker: Yeah. Okay. Halfway to the house, he turns back, checks the headlights were off, satisfied. He weakly salutes the car. Wish me. Oh, wait, that's your line. Sorry. You want to be Larry? No, you're Larry. Thank you, dude. Wish me luck. Interior, Jocko's Pub, night. The door swings open.
Speaker: Jocko's Pub, dim, brown, sticky. A place that smells like spilled beer and stalled lives. At the bar, Mike, 40s, wipes a glass. He looks up, sees Larry.
Speaker: His face falls. Jesus Christ. Larry grins. Hey, Mike. How's the crowd? Mike gestures around. The bar is half full. Middle-aged men, one lonely woman, a guy asleep upright.
Speaker: Alive for now. Larry slides into a bar stool. Dewar's double. Oh, shit. I need a Dewar's double. I think you need a refill. It's Tuesday.
Speaker: I know. He's been playing Mugenics. Yeah, I've been ah watching. i watched him for a little bit too. I was like, damn, um I fucking missed Taco. All right.
Speaker: Alive for now. Larry slides onto a bar stool. Dwarves double. Neat. You know how I like it. It's Tuesday. Larry checks his invisible watch. Wow.
Speaker: Already. Mike stares. Larry leans in. like I like that fucking everyone hates him too. i don't know why I write characters that people hate. Maybe I'm self-reflecting a little too much. Make it two doubles. A beat. Mike pours one double and slides it over. You're here to drink or ruin my night.
Speaker: Larry takes a sip. Winces.
Speaker: Both ideally. Mike shakes his head. You going up tonight? Larry's face lights up. I got new stuff. No.
Speaker: oh yeah, that's me. Come on. I've been working on it. I got a joke about an answering machine. You work on everything, Larry. Larry drums his fingers on the bar too. like Don't.
Speaker: Larry stops. I won't yell at anyone. You always yell. I project. Mike sighs and pours another splash into Larry's glass to spite himself.
Speaker: Five minutes. But after Cody...
Speaker: Larry mary groans. Cody steals jokes. Yeah, but people laugh, and when they laugh, they drink more. You do realize I'm running a business here, not the goddamn church of comedy.
Speaker: Larry drinks. He glances toward the small stage where Cody, 20s, handsome, smug, is laughing with friends. One day it'll matter.
Speaker: One day, sure, but not tonight. The MC taps the mic on stage, feedback squeals. You want to do MC? All right, folks, settle in. Let's get this over with.
Speaker: Larry smiles to himself. He's home. Interior, Jocko's Pub Night. Larry sits at the bar, drink in hand. Across the room, Cody, late 20s, stretches casually near the stage, confident, relaxed, like he belongs everywhere. A small group of 20-somethings orbit him, laughing too hard at nothing. Larry watches. Cody catches Larry staring. Smiles. Gives him a light, friendly nod. Effortless.
Speaker: Larry looks away. You definitely gotta be Cody. Yeah, okay. Have you ever noticed how confidence smells better than soap? Drink your drink. Larry does. He watches Cody adjust the mic.
Speaker: Stand like it's a second nature. adjusts the mic stand like it's second nature. Larry grips his glass tighter. Interior, Jocko's Pub Night. The MC steps up, tapping the mic. Feedback squeals.
Speaker: Oh, that doesn't make sense. That's fuck up. it's just Yeah, okay. Cody shouldn't be on stage yet. Yeah, because I wrote, is it Cody already at the mic stand? Drugs, remember? Yeah, hey, completely understand right now.
Speaker: All right, all right. You guys ready to laugh or what? A few claps. Someone whistles. Good enough. Coming up first, Cody. Applaud. Woo! Real applause. Cody jogs up like he's late for something important. He takes the mic, smiles, and waits. Yeah, that makes no sense. I fucked up big time. Yeah, okay. Thank God. The room quiets for him. See, I'm not perfect. i Just almost.
Speaker: us So my therapist says I'm afraid of commitment. Why does it sound like that? ah That's not how Cody sounds. So my therapist.
Speaker: Oh wait, ah he sounds like Mitch Hepburn and Mitch Hepburn sounds like, how does Mitch Hepburn sound? Give me a beat. Well, he's he's kind like Kenny, man, you know? And he kind of has those long pauses in his- Oh yeah, so- You know what, escalator's never broken. it It's only become stairs, so my therapist says, I'm afraid of a commitment, which is weird because I've only been married to anxiety for 15 years. You know who you sound like?
Speaker: You sound like the one fucker for bar fly. Hey, man. He's in a cold cage, man. That's all I got, man. Laughter.
Speaker: Larry Stephens. I hate dreaming because i just want to sleep. Dreams take energy. Dreams at work. Sleeping is supposed to be relaxing. I'm fast asleep. Next thing you know, i have to build a go-kart with my ex-landlord.
Speaker: sir Bigger laughter. Larry's jaw tightens. Man, I can't wait until this set is over. i got a rock ah i got a roll of lifesavers in my pocket and pineapple is next.
Speaker: The room eats it up. Mike smirts despite himself. Cody continues. Polished, rhythmic, effortless. Punchlines land clean. Larry recognizes the joke. Another joke. Then another. And another.
Speaker: That's Mitch Hedberg. That's just Mitch Hedberg. Cody finishes strong. Applause swells. A woo from the back. Cody bows slightly, soaking it in. As he steps upstage, he passes Larry.
Speaker: head Break a leg, man. Larry forces a smile. Thanks, Mitch. Cody eyes Larry with another menacing smirk. Interior, Jocko's Pub, night. MC takes the stage.
Speaker: All right. Round of applause for Cody. Everybody clap, please. Oh, thank you, thank you. What a crowd. I think this crowd is ready for more. Looks to Mike, who slants his head towards Larry's direction.
Speaker: I'd say our next guest will make you laugh, but my mama always told me not to lie in public. The small crowd roars with laughter. Ah! Ah!
Speaker: All right, Larry, Jess, Jess, get up here. Larry jogs up on stage. The applaud dies fast. Too fast. Silence rushes in.
Speaker: Larry adjusts the mic stand. Too much. He taps the mic.
Speaker: All right, okay. Settle down, everybody. Nothing. Wow, tough room. Someone coughs. Larry clears his throat. So, I'm a janitor. A drunk grunt. No, no, no, it's fine, I get it. You wanted a magician.
Speaker: A beat. Well, i I clean up messes for people who pretend they didn't make them, which, honestly, is most relationships. A scattered chuckle, one.
Speaker: ah ah Larry lightens up. Thank you. Yes, this guy gets it. The chuckler immediately regrets it. You know, I used to think I'd be famous.
Speaker: Turns out I'm just familiar. ah Nothing. A heckler pipes up. You done yet? Laughter. Not friendly. Larry freezes, breathes, tries again.
Speaker: ah so Sir, please. I'm trying to build something here. Well, build it faster. The room laughs harder. Larry snaps. Oh, yeah? Well, at least I don't spend my nights heckling strangers because... Mike sends a desk there so powerful that Larry stops talking.
Speaker: Larry? Larry turns. I'm almost through the setup. You're done. Boo! Someone claps sarcastically. Larry looks around desperate.
Speaker: You don't even like comedy. That seals it. Interior. Jocko's pub night. A larger than life bouncer calmly strolls up the stage and grabs Larry by the arms.
Speaker: Okay, okay, I'm going. He tries to bow. Bouncer, 40s, named George, pulls Larry off the stage. As he's pulled toward the back, you'll miss me when I'm dead. No one reacts.
Speaker: Mike won't meet Larry's eyes. The door swings open. Easy way or the hard way. Larry struggles against George's gorilla strength. You know I like it hard.
Speaker: George cracks a smile. That might be the only smile you get all night, funny man. He said it. He said the word. I'm smart, aren't I, Daddy?
Speaker: All right. Exterior. Jocko's Pub. Back alley. Night. George shoves Larry forward. He stumbles. There's a dumpster behind him. Larry turns, but too late. George literally tosses George inside. That's what say Larry crash.
Speaker: The lid slams shut. Silence. A beat from inside the trash can. Same time next week. Thank God for empty ketchup packets that break your fall.
Speaker: See, that's kind of funny. Okay. yeah Hey. Don't worry. That was pretty good. That was pretty good. hey Trash. ah Trash jukes.
Speaker: Trash jukes. Trash juice. Trash juice leaks slowly onto the pavement. fade out exterior dumpster dawn the dumpster lid creaks open light spills in after a beat larry crawls out slowly like he's being born wrong he's covered in garbage food wrappers stuck to his jacket something unidentifiable on his shoulder He sits on the pavement back against the dumpster.
Speaker: The alley is quiet, too quiet. Birch chirps something far away. Larry looks up at the sky, purple fading to pale blue. He squints.
Speaker: Okay, so quick question here. I got to ask. Larry spent all night in the dumpster? Yeah. why He wasn't drunk. No, but he just gave up. just I mean, dumpsters are pretty gross, man. I'd at least get up at some point. what do you you know It's funnier though, right?
Speaker: He just laid there? Yeah, just passed out. No, what do you think though? No? ah that What about a few hours? Give me a few hours. I mean, he definitely hangs out in the dumpster.
Speaker: I just don't know if he just passes out and like... You don't think that's funny? well You don't think that's a striking image? I think it's a striking... It just doesn't make sense. He ain't that drunk.
Speaker: Dumpsters are gross, dude. if we make him more drunk? Yeah, if he's like shit drunk, sure. But he won't get too drunk because he's professional. Are you saying I have to kill my darling and not let him sleep in the dumpster all night because for some reason I'm obsessed with us sleeping in the dumpster behind Jocko's, which is next to Del Taco? See, I think the issue is he's leaning too much in too many different directions. He's like this Buddhist of comedy.
Speaker: But he's not. Or he's like this monk of comedy. That's what i would say. But yet he's also kind of this slubby loser who's a loser.
Speaker: He's got to be a little bit, right? but But they stand up opposed. For instance, the slubby loser might just spend all night in the dumpster because he's given up so much. But the Buddhist monk, he's like, here I am in the dumpster, but it's time to get out.
Speaker: I'm going to walk home covered in trash. but you know what' say But what are you thinking? like What's your gut telling you? like My thought was that it would this was just the funnier bit. Well, yeah. Well, mine is that he's not that far gone.
Speaker: There's a lot of hope in him and self-respect. Oh, you okay. Let's let's continue. Let's just leave it with there.
Speaker: Trash juice leaks slowly onto the pavement. there's that Where's that hope at again? ah The dumpster lid creaks open. yeah but Here's your hope, buddy. Light spills in. Look, ah I'll tell you this. If you don't spend all night in the trash can, it's not as bad as spending all night in the trash can.
Speaker: yeah That's true. After a beat, Larry crawls out slowly like he's being born wrong. He's covered in garbage. Oh, yeah. We got to my line. Oh, yeah.
Speaker: Nailed it. A raccoon stands a few feet away, watching him still, judging. Larry notices it. They lock eyes. Now, I will say, you i won't say any words about notes, buddy.
Speaker: No, you can. you can't But i I would say, this could be, this is me, but where I would start interjecting some of those airplane moments.
Speaker: that make no sense when he's facing off with the raccoon yeah like the raccoon's like what you fucking suck you know i earn the you like that's my trash right like he's doing slightly wizards or some shit just I don't know or even like he fights the raccoon and it's just like some doll you think i took myself too seriously um well you know i always like to un-serious and then kind of weave our way back
Speaker: I mean, I thought the thought that a squirrel's mocking him or raccoon's mocking him, I thought that was kind of funny. No, it is funny. That's why say just lean even harder into that bit, but to the point where it's absurd. How about it will come back?
Speaker: The squirrel will come back. Well, it's a raccoon. The raccoon you don't even know what kind of fucking animal it is, bro. I'm fucked up. You saw nothing.
Speaker: The raccoon doesn't move. Larry sighs, struggles to his feet, and shuffles away. My thought is he is wasted, by the way. I think he maybe is wasted. then that's What can I say with the... We got to put ourselves in here, and we're drunk. I mean, we're ah we're a sophisticated ah gentleman. Well, can I say this? Because I kind of saw... There's 98 more pages to go I'm just saying.
Speaker: But please. I saw Cody as Matt Reif. I'm not sure who that is. You should look him up. Okay. And he's this super handsome dude that does comedy.
Speaker: And he's kind of funny, but people also hate him because he's good looking. But then he's kind of like ah a shit comic in a sense. I don't know. He's a very interesting comic.
Speaker: um And that's kind of how I saw Cody. like He's there to get the chicks. Yes. The comedy chicks. Yeah. He's some good looking. Cody doesn't want to be be a comedian, but he's watched YouTube videos of Mitch Hedberg and yeah George Costanza or whatever. um Or, ah you know, like George Fowler, not George Fowler. What's that guy's name?
Speaker: Larry Sanders. um Shit like that. Okay. ah Exterior street morning. Larry walks home through his neighborhood. My thinking is, I wrote this thinking Larry lives in my house.
Speaker: yeah Literally in my house. Yeah, no, I could tell by the ah Ultima. He literally walks home to, like right he lives as close as I live to Jocko's. This is like dreams I've had.
Speaker: Still for me to chuck still pride let you still as in his funny suit. Still dirty. Garbage truck wars past him, missing him by inches. Larry doesn't react.
Speaker: Across the street, Debbie is still passed out on her porch. Bottle tipped over. The light shines against her face. Her breathing slow. She doesn't wake up. Larry stops, watches for a moment.
Speaker: My thinking is like I'm trying to set the mood that like literally everyone is just at their end. Because I was ah too probably too depressed when I wrote this. And i was yeah it it's a dark movie. I'm sorry. that's I can't tell say anything different. you You're trying to find the funny, but it's dark.
Speaker: Considering this is going to be 60% drama and 40% funny. That's right. Maybe 70, 30. And by that, I mean the funny comes on page 40. i say Just wait.
Speaker: No, don't wait. There's no funny coming. it's not I'm not very clever. Considers helping. Doesn't. He keeps walking. The sun is fully up now. That I don't see Larry doing.
Speaker: You don't? You see him helping? Always. Always. Okay. I'm fine with that. don't see Larry. That's why he was doing... i was thinking he could do that slapstick bit. Sure. I'm fine with that. Because just strictly to help this person who's sad and the only way he thinks he knows... His calling is the comedy. So that's how he's going to cheer you up.
Speaker: So what if he intentionally like didn't it turn his car off? And he's like... Oh no, my car's rolling away. Well, cur I thought with that he could do like a funny bit then realizes it's on because he's still a loser who fucks up sure everything. And so he runs back, jumps in there, does what you say. And then I was thinking a cool angle would just be of his ass hanging out the window and his legs just limp.
Speaker: Just there for like a good period. Yeah. I'm fine with that. That sounds funny. like That sounds great. like He's just dead there. you know like there is I guess like he is playing it up for the actual audience. And it makes sense because essentially when the whole world... because the the world the The world for the town kind of ends later in the script.
Speaker: like The whole town is like just dissolving into Armageddon by the end of the movie. yeah I guess I really haven't read that. And because of that, Larry's like, he's just trying to keep it together to get this girl home. Okay.
Speaker: And it ends up being like, she has to end up being like, I'm the adult now. Like, Larry, you're fucking way too God, bro. But we'll get there. Okay. All I'll say is you're adding you're you're adding value and I love you.
Speaker: All right. The sun is fully up. Everything looks worse in the daylight. So like I said, like there's this just feeling that the good times are gone for everybody. This town is like, right? it's Like I said, maybe I was too pessimistic and too depressed when I was writing this. guess my question is why why are you saying that?
Speaker: Because that's how I feel about the world. that we're at We don't know we're in the dystopia, but we are. and And that's how I feel. And this is the world that Larry lives in.
Speaker: Because that's what the cult of Lucy is rallying against. They're trying to like realize. Their whole thing is waking people up to the fact that they're in a dystopia. They don't even realize it. Most people don't know that they're living in a dystopia. And that's how I feel about right now. Well, then I would say maybe one way. And this is kind of where we can meet in the middle, I think, is that.
Speaker: We show that, but we show it in a really true way. Because it is a dystopia now. i mean... Yes. We're fucking... That's what I'm saying. What we're doing to Iran, you know? We don't even have to...
Speaker: We don't have to do anything to make it up like 1984. No. You know, with Big Brother. He's like, no, yeah, that that's kind of what's going on right now. which That's what I'm saying, dude. That's what I'm saying is like the well-manikered lawns, are but they don't live it they don't exist anymore. The trash cans don't get picked up like they used to like Things are that were that should be happening are breaking down. But this is where I think I can drive at my point of wanting this as we read is that there are no Well, hold on. You grew up poor.
Speaker: Yeah. You fucking struggles. my I mean, I had it rough, but I didn't have it rough like you. And my mom had it really rough. And then her parents had it extremely rough. like It's certainly gotten better for us.
Speaker: But within that, when you're fucking poor and awful at that, like you still there's a lot of hope and and joy, I think. No? you don' No. There's no hope. You're happy when you when you can afford the cherry Pepsi at the gas station. You're like, that's the treat. I don't know, man. My grandfather grew up in like a mud hut.
Speaker: And we still had good times. you know I guess is what I'm saying. you know like despite One thing of the poor I think that we find in life is how to survive it and find the happiness in it.
Speaker: And it's rough. You're not wrong. You have a lot of people who, you know, suffer the harshness of it. So let's just keep reading. and you're yeah i get i think i I think I touch a little bit on that. I guess I'm saying like, I'm speaking in terms that are more generalized. and For instance, within tone.
Speaker: I'm just saying that I'm trying to establish the setting. I'm trying to fetch establish the setting because i'm just what happens later. I'm just trying to understand the tone of what's, and like you said, read it first. yeah But that's where I'm at. i've like I've already tried to figure out the tone of where where we're at within this.
Speaker: And I feel like, give me a little credit. i'm going to get you I'm going to take you there. I'm not trying not to.
Speaker: Larry, okay. Exterior, Carol's porch. Carol is Larry's neighbor. Page 10. Larry approaches his house. We'll get there. On the neighboring porch sits Carol in her 40s.
Speaker: She's wrapped in a robe, chain smoking, eyes red and empty. She stares straight ahead. Larry slows when he sees her. He tries to quietly slip past.
Speaker: Mourning, Larry. Wait, that's a the more No, I like that for Carol. Morning, Larry. Wait, what? She turned into a serial killer. What the fuck?
Speaker: Morning, Larry. I don't know. Morning, Larry. Morning, Larry. I can't find Carol's voice. Go with your first instinct, buddy. Morning, Larry. Larry freezes. Turns.
Speaker: Hey, Carol. A beat. Carol takes a drag. Pfft.
Speaker: I'm not sure how, but you look worse than you smell. Take it. Your set went well. Yeah.
Speaker: Until they asked me to leave. Carol nods, not surprised. Silence stretches. Carol's hand shakes slightly as she lights another cigarette.
Speaker: Ch-ch!
Speaker: She didn't come home. She wasn't at Jocko's, was she? that lands. Larry blinks. See... Kids do that.
Speaker: i didn't see her. Sorry, Carol. Carol finally looks at him. She... ate left her phone. Larry opens his mouth, closes it.
Speaker: Okay. Yeah, that's not normal. Carol stares at the street. i I've stayed up all night. I thought maybe I missed her knocking, but I didn't even lock the door. Larry shifts his way.
Speaker: Did you call the police? You know, they asked what she was wearing and then they asked if she's like this. Larry winces.
Speaker: And is she? And this is where I think I need to rewrite this a little bit. I feel like Larry should be a little more familiar with them, but whatever. What do you think? We'll talk about it later. Carol exhales smoke and laughs bitterly.
Speaker: i don't know anymore. i I don't know her A long silence. A car passes. A lawnmower starts somewhere.
Speaker: Life goes on. Oh, he's being artistic, ladies and gentlemen. Hold on. Can I... Because you were you asked a question earlier of like him being familiar.
Speaker: i kind of see this a bit like brick. h Right? Because it's this kid in high school with his connections to everyone and it's completely contrary to what you're seeing, right? Within this world. Cause it's essentially just a new Right. But it's high school kids. Yeah.
Speaker: But it plays like a new And that's kind of how I see this in the sense that like, it's playing like a new are And so there's deeper elements that aren't necessarily touched on, but he's like, Hey Susie, what you doing here?
Speaker: told you never come around here again. Or like, you owe me. You owe me Larry. God, damage Yeah, I guess I do owe you a kid you know But we don't actually go back into it. but you Good. you know i know I felt that way too because my backstory is that he Carol has been there. like They've been neighbors forever. are Well, he actually feels like he owes Carol. yeah you know like She's calling in that favor and he's paying it back. Exactly. You caught up. You got that. So that's you're you're right on target. I think we're good there. So then I do see it like that. Yes, you're right. Yes. Yes.
Speaker: That's interesting with the tones and everything. they Okay, got back back to the tones. Not heavy enough. Mr. Steven likes to see the rainbows. Okay, Carol's porch continuous.
Speaker: Larry rubs his face. He looks exhausted, broken. I'm not good at helping. Carol doesn't respond.
Speaker: I forget things. I say the wrong stuff. I get distracted. Carol stares ahead. But I'm already up. And I'm already out.
Speaker: He gestures vaguely to himself. So if you want, I can look around at some people. Not officially. Carol finally turns to him. Really looks at him.
Speaker: Why would you do that? Larry shrugs. I don't know.
Speaker: Phil's worse not to. That's pretty nice, right? I'm good, right? Okay, he's getting started stroking in front of me again. Sorry, buddy. Sorry, buddy. I won't masturbate too hard on you. that is cut but No, kidding. But I feel like I'm pretty little proud of myself. I wrote good there. Yeah. We just need to write more. Write better. No, more.
Speaker: I think so, too. I think we lean into the richness. I think so, too. Carol nods slowly. She flicks her cigarette into the driveway, crushes it with her foot.
Speaker: If you hear anything, anything at all, you'll call. What happened to her voice? I don't know. Oh, shit. You made me into a young woman. She's, uh... I'll give you everything you desire, Larry. You don't like that? you're getting too hard? Yeah, I'm like, Larry likey. Larry likey. Larry likey. You still have my number? Uh...
Speaker: What the fuck? I'll tell you. Oh, I'll tell you. I shouldn't. I messed up the spacing. A pause. Larry hesitates. She'll come back. Carol doesn't answer.
Speaker: Larry turns towards his house, stops, and looks back. I mean, we'll find her. Carol nods. Larry heads inside. Carol sits alone on the porch, staring at the street.
Speaker: The sun climbs higher. Interior, Larry's house. Stay. Larry sits at his small kitchen table. A cold cup of coffee, still untouched, still dirty.
Speaker: He opens his old laptop. It whirs loudly, like it's upset about being awake. The screen flickers to life. Larry hesitates, then types and clicks. A list of social media profiles pop up. one clicks He clicks one.
Speaker: Judy's page loads. Photos of Judy at different ages, smiling, then less smiling, then not smiling at all. Larry scrolls. His captions captions appear. Feels like I'm already... I'm yelling underwater.
Speaker: Some people are asleep on purpose. No wonder why Judy's so fucking weird. You're like, This is one of the weird teenagers. God damn it. Lucy says everything. Larry frowns.
Speaker: Lucy, who? He strolls further. Photos of symbols. A star with a teardrop. A candle. A hand held open. Larry leans closer. The laptop screen reflects in his eyes. For a moment, the reflection seems to linger even after he moves.
Speaker: Larry shakes his head. all right. Let's focus. Focus.
Speaker: he looks at the computer on he He looks at the time on his computer. He looks at the time on his computer. Shit! Wait, what? Wait, that... that wrong Yeah, that's... I fucked up. He looks at the time on his computer. Shit!
Speaker: I'm so late! He screenshots everything, misspells the folder, name, Judy, S-T-U-F. Stuff. I mean, that's how we do it, right? I felt i was so proud of myself. That's like real life. I thought about it. Larry closes the laptop and rushes out late for work. Interior, gas station, late morning. The gas station is quiet in that depressing. youth so I think I need a little bit more doers. to express I think you need a little more doers.
Speaker: You want to take a ah little break? Yeah, and we'll stop at the... Even we'll pee. We will be kind of... but i'll say I'll talk a little bit. I guess I could talk while he's going pee. So I hope you guys are enjoying this. It's something we've never really done before. I mean, if we read the whole script, that'd be great. um and I'm having a good time. It's actually pretty fun.
Speaker: i had a lot of fun writing this. I hope you are having fun hearing the story. I would be curious to know. me We really need to get back on that social media thing. I guess it's ah
Speaker: part of what it takes to do all of this stuff, right? We have to dig deep and figure things out and reach out to the people out there and grow our audience. people i mean i don't know.
Speaker: Do you like us? Should you? i mean, to be wholesome.
Speaker: To some degree.
Speaker: Just try to be a true and honest.
Speaker: Try to tell a story. See, this is what's interesting. Steven's gone, so I guess he'll have to wait until he listens to this part, but... You know, if you even go back to when we were writing Dickhead, this is where you can also see where some of that came about as well. And this is interesting because, right, because Stephen's pulling from, like he wants, like he kept saying airplane. Like I would never, i wasn't thinking of that at all. I wasn't thinking of of jokes like that, visual gags, practicality of that Yeah.
Speaker: i was a My story is more, it's like extremely dark. Dark to, maybe too dark.
Speaker: All right. Oh, thank you. Interior gas station, late morning. The gas station is quiet in that depressing, fluorescent way only the gas stations can be.
Speaker: Larry stands behind the counter, tapping a pen against a stack of scratch-off tickets, like he's practicing drum solos no one asks for. He clears his throat, rehearsing to himself.
Speaker: Okay, Larry. Today's the day. new jokes, fresh material. You're basically the Picasso of puns. The pun-caso. That's good. That's something.
Speaker: He straightens his shirt, which somehow still looks wrinkled. A customer enters, a tired-lurking woman holding a coffee and a pack of gum. Larry brightens like a lamp. Someone forgot to turn off.
Speaker: Good morning. Did you hear about the gas pump that went to therapy? The woman freezes mid-reach for her wallet. Now... Yeah.
Speaker: It said it was feeling drained. A long, painful silence. The woman slowly pace places a five on the counter.
Speaker: Keep the change. She leaves without waiting for a seat. Larry nods to himself, trying to spin it as a win. What?
Speaker: Lucy, who?
Speaker: None of these pages got fucking numbers. I'm sorry. Where's the numbers? yeah Sorry, I'm sorry. Okay, not a laugh. But she didn't cry. Improvement. He scribbles something into his notebook.
Speaker: Joke number one. Train pump. Needs work. He flips to another page labeled, Find Judy Plan. It's a chaotic mess of arrows, doodles, and the words, Not Creepy, circled aggressively.
Speaker: Judy, where do people even go when they disappear? Do they just evaporate like spilled soda? Like my dignity?
Speaker: The door chimes. A teenager enters, earbuds in, carrying a giant energy drink. Larry perks up again. Hey, fun fact. That drink has more caffeine than my entire personality.
Speaker: The teen doesn't react. He just stares. Okay, okay. How about this one? Why did the gas station attendant get promoted?
Speaker: The teen size. Dude, just want to pay. Because he was fuel of great ideas. The teen closes his eyes like he's in physical pain.
Speaker: um That's like awful, man. too He taps his card and leaves. Larry writes in his notebook. He flips back to the Judy page.
Speaker: Maybe i should check the diner again or the library. Ask the kids at her bus stop. That's not a terrible idea. The door chimes again.
Speaker: businessman enters, talking loudly, wearing earbuds. No, Carl, now listen to me. Call the police. Hundreds of gallons of material were stolen. We could lose everything.
Speaker: They received an opening, a terrible misguided opening. Sir, quick question. What do you call a gas station with excellent customer service? The businessman doesn't even look at all.
Speaker: I'm on a call. a fuel service establishment. The business then stops, stares at Larry like he's a glitch in the simulation, then walks out without buying anything.
Speaker: Larry winces. Okay, that one hurt me too. He slumps onto the counter, flipping through his notebook again. what time does the bus let out?
Speaker: Shit, it's been so long. I'll just ask the next kid I see. the next kid i see Another customer walks in.
Speaker: a regular. ah pump six isn't working. Larry straightens, determined to redeem himself. Maybe it's because it's... Cut off. Don't.
Speaker: Just don't. Larry deflates. Right. Sorry. I'll reset it. The regular leaves. Larry stares at the door. and need a sign. Something... I mean,
Speaker: Judy? Oh, God. If you're out there, send me a cosmic clue. I hit. The door chimes. A little kid walks in holding a dollar. Larry Brighton's. Hey there, champ.
Speaker: Want to hear a joke? No. Great. So, why did the gas station get good, group good good, great, good, great, good, great? Please stop. up Because it had high octane performance. The kid stares at him with the cold, ancient eyes of someone that's seen too much.
Speaker: I'm gonna go now. what Please. What time do kids get out of school? What the hell is wrong with you, dude? This car's gonna fuck people.
Speaker: Kid runs out screaming. Not a kid. Larry spies a school bus driving out the windows. I guess it's right now. i need to catch that bus.
Speaker: Larry leaps over the counter and rushes out, locks the door to the station, and sprints to his car. Scene 16, exterior bus stop. Later that day. A sun bleach. I wrote sun bleached a lot, didn't i I was kind of stuck on that idea of sun bleached.
Speaker: I had this, I kept thinking like, you know, like in the summer in Victorville, I was just like, got everything just oppressively hot. Yeah. That's where, like, imagine that.
Speaker: Did I mention I was on drugs when I wrote this? Yeah. That good old morphine. Three teenagers lean against the bench, staring at their phones. Larry approaches, trying to look casual. He fails.
Speaker: Hey, you guys know Judy? The teens look at him. One pulls an earbud out. oh which one? Larry blinks. ah Brown hair, sad online?
Speaker: The teens exchange looks. You just described my entire graduating class. My entire generation, man. Larry nods. Right, yeah. Stupid question, huh? He gestures vaguely. How about Lucy? Do you know her?
Speaker: The teens stiffen, just slightly. Why, dude? I'm her. Well, I'm not anything. I'm just looking for a friend.
Speaker: A long pause. They said, Lucy helps you wake up. Larry tries to smile. Cool. That sounds healthy.
Speaker: The teen grabs their stuff and start walking away. Teen number two stops, spins around, addressing Larry. why don't you ah check the old strip mall on Marrow?
Speaker: Sometimes they meet there.
Speaker: Larry Stands Alone processes. Thank you, Meryl. I haven't been that way in a very long time.
Speaker: Cut to interior high school bathroom afternoon. Fluorescent lights buzz. The lights. A stall door is locked. Click. Inside Judy, 16. I think she's actually 17. Maybe she's 16. I can't remember now. I'm fucking... I can't remember. Yeah. She sits on the toilet. Maybe 16 is good. She's 16. I wrote that. Six on the toilet lid. Knees pulled to her chest.
Speaker: Breathing fast. Hyperventilating. Outside girls laugh at something stupid. The laughter echoes wrong. Judy covers her ears. Stop, stop, stop.
Speaker: Stop it. Wait, you can't be Judy because they have a long... You're going to do a lot of Judy. Okay, then you're Judy.
Speaker: What the hell is Judy doing in there? The bathroom door creaks open. Footsteps calm, unhurried. A soft knock on the stall door. A man's voice cuts through the noise.
Speaker: You don't have to come out. Just breathe slower than you think you can. Judy freezes. you Okay, I will, but you're not crazy.
Speaker: Silence. Judy breathing. Slows slightly.
Speaker: Panic feels like you're dying. It isn't.
Speaker: It's your brain trying to protect you from something that isn't happening. a long beat. How do you know?
Speaker: Because
Speaker: mine used to do the same thing. The lock clicks. Judy opens the stall slightly. Stam stands there.
Speaker: Not smiling too much. Not intense. Just steady. He offers her a paper towel. Cool. I need a drink. ah i i need drink
Speaker: The weed. He offers her paper towel. You feel like everyone else got a manual and you didn't. Judy stares at him.
Speaker: Yeah. we We meet sometimes. times People who feel like that. Like therapy? No. No.
Speaker: God, no. No. No. Therapy teaches you how to survive. We talk about how to wake up. That lands. Judy studies him.
Speaker: No pressure. You don't owe anyone your pain. He leaves. Judy watches him go. Cut two diner day. hey Larry, you got to relax for a bit. You aren't happy? Fuck you.
Speaker: Larry sits in a booth across from a waitress in her 30s. She pours coffee. He slides Judy's photo across the table.
Speaker: Have you seen her? The waitress barely glances. Lots of kids come through. Larry nods, already defeated. Yeah, that tracks. Larry slams his forehead against the table, ready to give up.
Speaker: A piece of lettuce falls out of his hair. The waitress pours more coffee. Uh, mister, I, uh, I don't want to get involved, but if she's in some kind of trouble, I have seen her.
Speaker: She comes in late sometimes. I have seen her, mister. With some people who talk really calmly. Larry looks up.
Speaker: Calm how? The waitress shrugs like they already know how everything ends. That unsettles him. How cryptus cryptic was this last night?
Speaker: How did she look? The waitress considers. Yeah, last night. Well, she looked pretty relieved. That hits harder than expected. Larry swallows.
Speaker: Thanks. The waitress walks off. Larry stares at hit the coffee. It trembles slightly as the truck... As a truck passes outside...
Speaker: Okay, so I would say this. See, like even this interaction, like that establishment of he's been going to this diner for years and she's she knows him as a regular, right? Yeah. So she'd be willing to give up that information.
Speaker: But he kind of knows like, hey, let me hit up the diner because old June, she's seen and everybody that comes through this portion of town. yes.
Speaker: That new R element, right? Trying to just find or even make crumb trails to lead. Yes. You like that or? No, yeah, yeah, yeah. No, I'm saying like.
Speaker: There's a lot we got to expand upon. Yes. Dialogue-wise. I think so, too. Like, all the dialogue scenes so far seem like... Too little. Yeah, just more expansion. Especially also with the jokes. I think that could be good opportunities to throw in jokes. Oh, this is why it should be called the funny man. Because Mr. Funny Man's in the cross for me. No, but you're right. 100% you're right. The waitress walks off.
Speaker: Larry he stares at the coffee. It trembles slightly as a truck passes outside. Cool.
Speaker: Exterior. Strip mall. Late afternoon. A dying strip mall. Boarded windows. Faded signs. Larry walks past. Slowly past storefronts. He stops.
Speaker: Spray painted on a wall. The star with a teardrop. Larry stares. He touches the c symbol. The paint is still tacky. Fresh. Larry steps back. He looks around. No one.
Speaker: The wind picks up. A loose shopping cart rolls past him on its own. Larry exhales.
Speaker: Okay. Okay. He takes a photo with his phone. Holy shit. Actually getting somewhere. See, this is where I kind of want to maybe i yeah interject.
Speaker: I feel like the there's not enough gumshoeing. But I don't know if it's like, maybe he, but he's not a gumshoe. He's not a private dick. Hold on. One the dogs peed. Oh, okay. So he's still surprised by who he is.
Speaker: Like what he's accomplishing. Yeah, like this was too easy. This is the dick's first Is it too easy? No? I think it's not too easy if Larry knows to go hit up these spots to start connecting dots. Okay. Like there's a method to this trail he's on. He's on a trail. Yes. You know, he's the hunter following the rabbit's paws in the snow.
Speaker: So you're okay with essentially the gumshoeing so far? Well, yeah, he should, right? Even if it's his first case or whatever, right? Yeah, it's his first case. Because he said Larry's not an idiot. Yes. Even if he's an idiot.
Speaker: He's not an idiot. He's not a dumb idiot. He's just an idiot. Yeah. He's a stubborn jackass. As he lowers it, he notices something else.
Speaker: A piece of paper taped to the door. Handwritten. Children of Lucy. Open meeting. Tonight. Tonight.
Speaker: Larry stares at it for a long time. He doesn't tear it down. He doesn't smile. He folds the paper carefully and puts it in his pocket.
Speaker: The sun drips behind the buildings. Larry turns and walks away.
Speaker: Interior, Larry's house. Night. Larry sits at the kitchen table.
Speaker: The folded Children of Lucy flyer sits in front of him. He stares at it. Across the table, his laptop is open to Judy's page.
Speaker: The star with teardrop symbol fills the screen. Larry rubs his eyes.
Speaker: This is how people get murdered. This is how I get murdered. He folds the flyer again, puts it in his jacket pocket, grabs his keys, stops, looks at himself in the dark microwave reflection.
Speaker: He straightens his tie. No confidence. Just have it. Larry heads out. Well, buddy, I'll say it seems like everyone's ready for us to stop. Well, we're getting through. We're getting close.
Speaker: Where do you want to get to? You don't want to read? i guess we have a lot of pages, don't we? Yeah. It will go faster. Okay. Okay. You think we could get through it quick? because Yeah. Okay. I think so.
Speaker: A flickering fluorescent light hums above a boarded up strip mall unit. A paper sign taped crookedly to the door. Children of Lucy, open meeting. Larry approaches cautiously. Muted voices inside. fuck ah Calm. Almost cheerful.
Speaker: He hesitates, then opens the door. 21, interior. Children of Lucy meeting room, night. Warm candlelight. A mismatched group of people sit in a loose circle on folding chairs. Normal.
Speaker: Too normal. A woman pours tea into paper cups. Someone smiles at Larry as if they were expecting him. You're right on time. Larry blinks. He looks at his wrist. No watch.
Speaker: Oh, fuck. Here's the watch joke again. Ugh.
Speaker: I didn't know there was a time. Time is all around us, within us. She hands him a cup. Larry takes it, doesn't drink. A man at the front of the circle speaks softly. Wait, was that the LSD?
Speaker: Yes. Oh, okay. Damn, that quick, huh? we're just here to listen no pressure no awakenings required a few people chuckled gently larry shifts uncomfortably he scans the room then he sees judy seated across the circle calm focused alive in a way he hasn't seen before larry freezes judy doesn't notice him someone touches larry's shoulder Larry turns. It's Sam.
Speaker: Clean, well-spoken, in his mid-30s, centered. They stare at each other. Recognition hits both. At them at once seeing them, Larry. Sam squints.
Speaker: Now that probably has to be expanded upon a little bit more, too. Yeah. Like that background. Yeah. No way. Sam? beat. They laugh. Not big. Just surprised.
Speaker: i I thought you moved. L.A. something? i did. Emotionally. Sam smiles warmly. Come sit. I'm so happy to see you. Larry hesitates.
Speaker: I'm just, I'm actually just passing through reality. Sam gently guides him towards the chair. That's how most people arrive. They sit. The meeting continues around them.
Speaker: You always hated silence. Always needed. no craving to hear the laughter. i still do. Sam nods genuinely. You look tired, my friend.
Speaker: i am, but I'm funny about it. Sam smiles softly. i remember. Interior. Children of Lucy meeting room later.
Speaker: the meeting disperses into quiet conversation. People hugging lightly. Exchanges smiles. Judy stands. Walks with two women. Larry watches her. Sam notices. She's been coming for a while.
Speaker: Larry stiffens. She's a kid. Sam, what's going on here? She's awake. More than most adults.
Speaker: larry small Larry swallows. Her mother's worried. Sam nods sympathetically. Fear is loud. We hear people. We help people. here Oh, yeah, we help people. You're past it.
Speaker: Larry glances around. And the candles, do they help with it? Sam chuckles softly. People relax when they feel chosen.
Speaker: Please stay and join us. Larry slowly nods following Sam. Chosen and Lucy meeting later. Warm candlelight flickers against cracked beige walls, folding chairs in a loose circle. A kettle whistles faintly and somewhere in the back.
Speaker: ah About 12 people sit in the room, normal looking, too normal. Larry sits stiffly, holding an untouched coffee. Around him, Judy, calm, focused. At the center of the table stands Sam, centered, relaxed.
Speaker: Welcome back, everyone. A murmur of soft greetings. And welcome to anyone who's here for the first time. His eyes flicker bleakily to Larry.
Speaker: Larry gives an awkward half wave. I'm mostly here by accident. Soft laughter from the group, not mocking. ah Encouraging. There are no accidents.
Speaker: Larry winces. Tonight, I thought we could talk about filters. A woman in her fifty lean forward leans forward. You want to be the 50-year-old woman?
Speaker: You old fuck.
Speaker: Like social theaters? That's one kind. He stepped into the circle. When you wake up in the morning, how much of what you feel is actually yours?
Speaker: Silence. How much is inherited from your parents, from television, from fear? A man in his 30s speaks. You want to do him? I don't know the difference anymore. Exactly. Exactly.
Speaker: He kneels, so he's eye level with him. We are taught what to love, what to fear, what to desire, what to ignore. He looks around the room.
Speaker: Lucy isn't a person. Larry shifts.
Speaker: Good start.
Speaker: Yeah, Sam smiles. Lucy is the first moment you realize something didn't add up. He turns towards Judy. Judy, when did you first notice?
Speaker: All eyes moved to her Judy doesn't flinch. Third grade. A beat. We had to say the Pledge of Allegiance each and every morning.
Speaker: i didn't understand why. i asked my teacher what indivisible meant. She told me not to ask questions like that. Sam nods.
Speaker: And how did that feel? Like I had done something wrong for wanting to know what I was saying.
Speaker: Soft murmurs of aggrievement. Larry watches her carefully. Judy breathes steadily. Larry raises a hand. Okay.
Speaker: I'm going to be that guy. Please. You're talking about Alice D, right? Acid Lucy in the sky with diamonds. Yes.
Speaker: Larry nods triumphantly. Great. So we're done here. Small laughter. Sam remains calm. We all require tools to build.
Speaker: we are simply building upon ourselves, awakening our minds to the possibilities. Silence. When you ask a question and someone says, stop,
Speaker: Don't. That's inappropriate. That's not how it works. He lets that sit. Eventually, you stop asking. A long beat. That's when the filter hardens.
Speaker: He stands again. The world awakens. a the Jesus. The world rewards obedience and calls it stability. The ah world awakens. Oh, shit, he's a part of the Trump elite. The world rewards obedience and calls it stability. a woman, a younger woman speaks.
Speaker: My therapist told me my anger was misplaced. Was it She shakes her head. no What? Would that be chaos?
Speaker: Is there another page? There is. No, right? Yes, younger woman. No, I just wasn't. No, I just wasn't allowed to show it where it belonged. You opened my eyes. Sam nods. Larry leans towards the person next to him.
Speaker: I once got angry at a vending machine. It did not awaken me. The person beside him doesn't laugh. Larry shrinks slightly. Sam looks at him gently. What were you really angry at?
Speaker: Larry freezes a long beat. I don't know. That's the filter. Larry looks away. Sam slowly circles the room.
Speaker: What would happen if we removed them? He gestures to his own face. If we felt everything honestly, without performance.
Speaker: Larry stiffens out that word. No pretending, no smiling when you want to scream, no laughing when you want to cry. The room grows very still.
Speaker: Would that be chaos? He looks around. Or would that be the truth? Amber speaks softly. Truth is love, baby.
Speaker: Only at first. He turns back to Judy. Judy, when you first when you came here the first time, what did you expect?
Speaker: a I thought it was going to be weird. A few smiles. I thought you'd try to sell something. And did we?
Speaker: No. What did we do? You you let me talk. Sam nods. That's it. That's the whole thing. He faces the group.
Speaker: We don't add ideas. We subtract shame. That shame bubbles deep inside you. You have to release it. And just like you need a wrench to open a valve, we need a tool to open ourselves.
Speaker: Larry watches the group absorb this. He glances at Judy. She looks lighter. That unsettles him. Let's try something.
Speaker: He lowers the lights lightly. Candles grow brighter. Close your eyes. Some hesitate. Most comply. Larry keeps his eyes open.
Speaker: Think of the last time you lied. a shift in the room.
Speaker: Breathing changes. Not a big lie, a small one. Beat. I'm fine. I'm happy.
Speaker: i don't care. Larry slowly closes his eyes. Notice how it felt in your body. Silence.
Speaker: Where does the lie live? Woman begins to quiet cry quietly.
Speaker: Does it live in your chest? Your throat? Your stomach? Larry's jaw tightens. Now imagine not having to lie.
Speaker: Imagine the truth as your always present thought. A long silence. The room feels suspended. Imagine saying exactly what you feel.
Speaker: Larry's eyes snap open. The room is still. I'm not talking about violence. He makes eye contact with Larry. I'm talking about exposure.
Speaker: He steps back. Truth is not cruelty. Truth is sunlight. Judy opens her eyes. She looks steady.
Speaker: We've been dim. For too long, a man in the back raises his hand. you want to be the man? ah a man in the back raises his hand.
Speaker: What if people can't handle it? Sam pauses. This matters. Why did I write that? Jesus Christ. So the reader would know.
Speaker: Then we hold them through it. A beat. We don't keep them asleep because we're afraid of their reaction. The kettle whistles again in the back.
Speaker: No one moves to stop it. It just keeps screaming softly. But Larry notices. Lucy isn't a savior. He steps into the center of the circle.
Speaker: Lucy is the moment before you speak the truth. The kettle stops. Silence floods the room. And we are done being silent.
Speaker: A charged beat. The group slowly exhales together, almost virtuistically. Sam claps softly. The light returns to no brightness.
Speaker: People begin murmuring gently. Some hug, some wipe tears. Judy stands. She looks different from when she arrived. Not brainwashed.
Speaker: Empowered. Larry stands too. Sam approaches him. So, what did you feel? Larry swallows.
Speaker: Like you're very good at this. At what?
Speaker: making people believe they're the first person to think something. Sam smiles faintly. Aren't they? Larry looks at Judy, laughing quietly with Amber.
Speaker: He hesitates. They're playing with fire. Fire reveals. Fire burns. Sam weams closer. Only what's dry.
Speaker: ha ha. Larry doesn't like that answer. Across the room, Jerry meets luy's up Larry's eyes. Not defensive, not ashamed, certain.
Speaker: Larry realizes something unsettling. She doesn't look trapped. She looks chosen. Sam watches Larry's processes.
Speaker: You're welcome. Anytime. Anytime. A long beat. Sam forces a smile. I prefer rooms where people boo me, honestly.
Speaker: Boo.
Speaker: Larry heads towards the door. As he exits, he glances back. The group has formed a loose circle again, hands almost touching, not quite.
Speaker: Sam's voice carries softly across. Now time for the orgy. Women on the left. Men on the right. because The first step is an awakening.
Speaker: It's permission. Let the orgy commence. Larry steps outside. the door closes. The candlelight flickers behind the frosted glass. I think you should add that.
Speaker: Just write it down. Mass orgies from the occult. For just a second, the shadow inside looks like they're moving in perfect synchronization.
Speaker: Exterior, storefront, night. Larry stands outside, breathing hard. Stam sets out behind him. the night hear The night air hums.
Speaker: You came looking for her. And you found her. Yeah. Favor. For her mom. She's helping me out. Now I'm trying to pay that back somehow.
Speaker: You won't understand this. If you try to stop it. Judy is, well...
Speaker: Let's say she can have a new home here. Larry laughs. Sharp. Nervous. I don't understand most things.
Speaker: I just react late. Sam looks at him kindly.
Speaker: We're doing something beautiful. Larry studies Sam's face. The year is having kind to Sam and not so kind to Larry. You always wanted people to listen to you.
Speaker: Sam doesn't deny it. He smiles. You always wanted them to laugh. Are they laughing, Larry? a pause. You and i we found different ways.
Speaker: Larry shakes his head. Don't hurt her. Sam meets his eyes. We're freeing
Speaker: Sam head backs inside. Larry stares where he is. Interior. Children of Lucy. Back hallway night. Larry moves quietly down a hallway. Voices drift from a particularly open door. He stops. Inside, Sam speaks to a small group. Sam, off screen.
Speaker: Once the filters are gone, people will finally feel connected. No more pretending. A follower laughs softly.
Speaker: we can What if some people freak out? That's the fear leaving the body. Another voice. The water reaches everyone.
Speaker: Larry's stomach drops. He leans closer.
Speaker: You can't wake people one at a time. It has to be shared. We are a community. We are all connected within our spirits, within ourselves.
Speaker: Those chains, those links, those bonds have shattered. And we will be the glue that binds them back.
Speaker: Larry backs away slowly. His breath is shallow. The calm voices continue behind the door as Larry slips out the back exit.
Speaker: The night feels different now. He doesn't look back. Interior, strip mall night. Larry sits in the car. An old stand-up set plays quietly. Let's say it's brandny loose ah breny but breny Lenny Bruce.
Speaker: Lenny Bruce. An old Lenny Bruce stand-up set plays quietly on the radio. As his single headlight illuminates the once darkened hallway.
Speaker: Larry opens his phone. He pulls up Carol's number. beat. A beat. The laughter strikes deep into Larry's heart and he turns off his phone.
Speaker: Resting his head against the steering wheel, he puts the gear under reverse and backs out, leaving Sam and Judy.
Speaker: Exterior Carol's porch. Day. Carol paces, smoking faster than she should. Larry stands a few feet away.
Speaker: hands in his pockets. You saw her. You... You found her. nods.
Speaker: Carol stops pacing.
Speaker: The ash trails slowly up the cigarette.
Speaker: And... There he hesitates. She's... She's okay. Physically.
Speaker: That's it. Okay. Did you talk to her? No, she's just a kid. Larry. Larry.
Speaker: She's 16. She's 16 years old. I didn't say it was good. Carol steps closer. You don't get to drip feed me information, Larry.
Speaker: She's my fucking daughter. She's my kid. Do you understand, Larry? She's my fucking kid. Do you know what that's going to do to me? Right? But no. Am I wrong?
Speaker: That's good.
Speaker: I know. I just... I don't know how to say this without making it worse. Kara exhales. Smoke straight into the air.
Speaker: Then don't they don't say it. Just bring her home.
Speaker: ah Please. but but but but Please. Larry nods. He doesn't argue. Carol watches him, eyes wet but hard. It's... if something happened to her because you thought you were helping... So help me God, Larry Chaniski.
Speaker: Chanaski. Chanaski. I will haunt you until you join me in hell, you fucking cocksucker, you fuck.
Speaker: Larry meets her gaze. Then I'll carry that. I'm already carrying stuff.
Speaker: Carol turns away. Stubbing out what remains of her butt on the door. Just go see Mike.
Speaker: You need help
Speaker: Carol closes the door, shutting away the world. Ontario, Jocko's bar day. a slow day. Half-lit neon beer signs buzz faintly. Zzzzzz.
Speaker: Couple of regular sits scattered quiet. Larry stands at the bar scribbling notes on a cocktail napkin. Fuck that. Larry's drinking doers.
Speaker: Mike wipes down the counter harder than necessarily too hard. Gonna sand the varnish off. No response.
Speaker: If this is about the set last night, i already apologized about that. Still nothing. Larry looks up. Mike isn't just annoyed. He's wrecked.
Speaker: Okay. What happened? Mike tosses down the rag. You saw her there. At that place.
Speaker: With those freaks. Larry stiffens. Carol asked if I would look in on her. So I did. And... what is Carol to you?
Speaker: You fuck!
Speaker: My neighbor and friend. I've known her my all my life. And you too, Mike. I'm not blind. Everyone in town can spot your rusted pickup hell. I can smell it a mile away.
Speaker: So...
Speaker: You know? Everyone knows Mike. But what was I supposed to do, Mike? I was just making sure she wasn't dead somewhere, alright? Mike stiffens at that.
Speaker: He pours himself a shot.
Speaker: And finish it. is ah Like a professional. two e
Speaker: She's in trouble. Mike, Larry exhales. I didn't drag her there. You don't have to drag someone who's already walking off a cliff.
Speaker: Oh, Mike. Where are you from? Where are you from, buddy? That hits. Larry softens. She's just confused.
Speaker: Mike laughs once. hol ah Shake 16. 16 is when you think the first person who listens to you is gone.
Speaker: It's when you think you have all the answers. theres Larry s shifts. It's not a cold, cold. Max slimme slams the glass. Max slams. Mike slams the glass down.
Speaker: it. The regulars glance over. Mike lowers his voice. Don't minimize this. Because it makes you uncomfortable.
Speaker: She might just be your neighbor. but she's more than that to me. Larry Smiles. I solved the pamphlets. Remove the filter.
Speaker: a Radical honesty. Wiken. He spits the last word. You know who talks like that? Larry doesn't answer.
Speaker: People who think they've known better than everyone else.
Speaker: She skipped school. There he looks up. She told her teacher the whole system was a lie. set grades were obedience training. Lawrence winces slightly.
Speaker: She's not wrong. That's what terrifies him. His voice cracks.
Speaker: That's the worst part. Larry sweaties him. She barely knows i exist. a beat. He grabs another glass just to have something to hold.
Speaker: You know how many times she tried to talk to me this year? Mary says nothing. I'd say not now. Later. I'm tired.
Speaker: happened. Can it wait? He laughs bitterly. ha It doesn't wait. The neon sighs buzzes louder than the silence.
Speaker: She used to sit at that exact booth, he points. After her mom left me, Larry's face softened. She'd draw little monsters.
Speaker: Said they'd live in her head.
Speaker: I told you to draw something pretty, something girly. God.
Speaker: That's what I do. i smooth things over.
Speaker: You make jokes. I pour drinks. And now,
Speaker: some guy in a folding chair tells her the monsters are real.
Speaker: He's getting into it. Larry grips the bar. He listens to her. and know the guy. isn't all bad. i know.
Speaker: that a mission destroys him.
Speaker: I know. and know, son. He leans forward. She's been drowning in this.
Speaker: existential crap for months. I told her to focus on math. His eyes well up. He wipes them angrily. that i thought, I thought, I thought structure, thought structure would fix it.
Speaker: Larry speaks gently. Structure helps. Not, not when it's the thing crushing you.
Speaker: You don't wake up one day and go, well, I failed. You wake up and realize you weren't paying attention.
Speaker: I look up to them. I look up to that the group.
Speaker: They're planning something. You don't know that, Mike. You don't know either. But I know this. If I don't act now, she's gone. Have you ever argued with someone who thinks they found the truth?
Speaker: Larry almost laughs, stops himself. You can't compete with revelation. i need to pull her out. Force won't work.
Speaker: Neither does pretending. This is fine.
Speaker: I'm going to find that building. I'm going to get her back. Larry stiffens. Don't. Why?
Speaker: Because they'll use that. Use what? Your anger, Mike. They'll call it suppression.
Speaker: Proof the world doesn't listen
Speaker: So what? I just sit here. Pretend to not be her father again. Don't do that. Just don't be so rash.
Speaker: Then what? Larry struggles. For once, he doesn't have a cling answer. Talk to her. I tried.
Speaker: as a parent.
Speaker: As a person.
Speaker: Mike studies him. You think I don't know that? Barry struggles weekly. Shrugs.
Speaker: I know I screwed up.
Speaker: ah A tear slips down Mike before... He can't stop it.
Speaker: I know I wasn't there enough. The every softens.
Speaker: perhaps I'm still her father.
Speaker: can't give up. The bar feels smaller now. He stands straighter. need to act before she thinks that they're they're her family.
Speaker: You don't understand what it's like watching a kid drift towards fucking something you can't fight. I watch people drift every night.
Speaker: It's not the same.
Speaker: Feels the same.
Speaker: why why are you trying to help?
Speaker: Tell me, Larry. is he saying closing a room is the same as a daughter being kidnapped? Yeah. so What a dick. Tell me, Larry.
Speaker: why Why are you involved in all of this?
Speaker: I don't. You You do. you do Beat. Silence.
Speaker: I won't lose her because I was too polite.
Speaker: And I won't have my bar used as recruiting overflow for that shit. Larry pauses, caught off guard by Mike's accusation. didn't recruit anyone.
Speaker: You said you fucking knew the guy. How else am I supposed to feel? Knew him. Quotation marks. Knew.
Speaker: Don't be an ass. I'm trying to help. You're joking about it. That's what I do, you know. Not here. Not now. Not anymore.
Speaker: mike I mean it. I'm trying to help. no You're done here. What?
Speaker: You can't perform here. The regulars pretend not to listen. This is my only steady room, Mike. I don't give a shit. Then maybe you'll understand what it feels like to almost lose something. That line's hard.
Speaker: Larry stands.
Speaker: I lose something every time I'm here. You're blaming me because you feel guilty? I am guilty.
Speaker: She doesn't make you innocent.
Speaker: A long stare.
Speaker: You think banning me fixes this? No, it doesn't fix anything.
Speaker: But it's something i can control. Me.
Speaker: Silence stretches. Larry grabs his jacket.
Speaker: Larry heads towards the door. He stops. He heads back. He turns around. One final plea. You're not a failure.
Speaker: Mike doesn't respond. Cut to It should be a Larry's house. don't know why it's at our apartment. I think... I think we gotta... to in the cut?
Speaker: think so.
Speaker: Well, we're almost at the end, but we're cutting. We're almost at the end? Yeah. How many more scenes? There's only like 20 pages left. That's 20 pages?
Speaker: little quick. A little quick. You think you get it done quick? Yeah. Okay, read fast. Now read fast. Cut to interior layers of forming dusk. Dark, not moody.
Speaker: Dark, but neglected dark. The blinds are half open. Tree light flickers through. Larry sits on the floor, back against the couch. Still. In yesterday's clothing, he figured his phone lies face down on the coffee table.
Speaker: Empty ten containers everywhere. The TV plays something loud and stupid. He's not watching it. He rewinds a voice memo on his phone. It's him doing stand-up.
Speaker: Have you ever noticed how self-awareness is just anxiety with a college degree? Larry scraps it. He deletes the file. Silence.
Speaker: He starts the link screen. Another file. He plays it. Ever see a goat fart?
Speaker: Big laugh. Larry listens longer this time. The laughter echoes in the empty room. He stops it again. Deletes.
Speaker: Deletes. Each one like we're racing. Proof he mattered. He tosses his phone aside.
Speaker: it hits the carpet. Softly. He doesn't even make a satisfying sound.
Speaker: Interior. Larry's bathroom. Later. The light hums overhead.
Speaker: He stares at himself.
Speaker: In the mirror. Unshaven. Eyes hollow. Hugh Paktus is smiling. It looks wrong.
Speaker: He drops it. were going to speed it up again. Come on. Tries again. Too big.
Speaker: Drops it. He processes. He presses? He presses his fingers into his cheeks. Come on He forces the grin. It trembles. He stops.
Speaker: The silence of the bathroom feels un-suffocating. He leans forward until his forehead touches the mirror. Breathing solo. You're fine. Beat! He laughs once hey you're not The left turns into something closer to a choke.
Speaker: He grips the sink. He wants to cry. Nothing comes. That's worse. The TV is off now. Larry scrolls his phone. No messages. No new gigs.
Speaker: He opens Jocko's social media page. They posted. can't.
Speaker: Faster, huh? Oh, shit. You only pour your drink fast. That's the only thing.
Speaker: Open mic tonight. Come support local talent. He talks to the phone again. Harder this time. It skids across the floor. He he lids back.
Speaker: Lies back. Stares at the ceiling. The quiet grows louder.
Speaker: You're exhausted from performing Sanity. Larry squeezes his eyes shut. Squeeze, squeeze, squeeze, squeeze, squeeze. Maybe he'll understand what it feels like to almost love something.
Speaker: It feels like...
Speaker: it feels good. It feels good to say something... To say it out loud. Don't please say it. Shut up. He says abruptly.
Speaker: Breathing faster. Stop. He paces. The room feels small. He opens the fridge. Nothing. pillie.
Speaker: Clothes it. Opens it again. Steal. Nothing. Interior. Bedroom later. Curtains are drawn. He lies in bed fully clothed. Staring at nothing.
Speaker: The depression is no longer dramatic. It's heavy static.
Speaker: The kind that feels like
Speaker: makes giving up feel theoretical.
Speaker: His eyes grow significantly.
Speaker: Finally.
Speaker: sure escapes.
Speaker: He doesn't wipe it away. The thought hangs there.
Speaker: He rolls onto his side.
Speaker: Curls just slightly.
Speaker: He looks smaller.
Speaker: He forces himself up.
Speaker: Grabs his phone. On the best.
Speaker: Significate. His dresser. It's next to him. On the best. There's a mixed text message. It's from Sam.
Speaker: And Sam says. When you're ready to stop circling, come talk.
Speaker: Tonight, 8 p.m., you know where. There's stairs at it. His jaw tightens. His anger flickers.
Speaker: You don't get to. He stops because the text isn't aggressive. It's calm, it's confident.
Speaker: Like Sam knew another notification. closer than you think.
Speaker: Larry throws the phone onto the couch. He paces.
Speaker: yeah I'm waiting for you, buddy. he paces. Oh, yeah. That's you. He doesn't know me. That's your line. He doesn't. Oh.
Speaker: He doesn't know me. But Sam does.
Speaker: At least the part Larry avoids. Empty. No job tonight.
Speaker: No stage. No structure.
Speaker: Just space.
Speaker: It's dull.
Speaker: You dulled it. You dulled it.
Speaker: I slowed it. He walks through the window. Looks out of the street. People moving.
Speaker: Purposefully. This isn't the abandoned ghost town, right? you feel yeah Yeah, it is. He feels outside of it. So it's the drug addicts, right? That are the homeless? Mm-hmm. Attached.
Speaker: He grips window frame.
Speaker: Breathing faster. I'm not joining a cult.
Speaker: I'm just talking. Rationalization.
Speaker: Grabs his jacket.
Speaker: Stops.
Speaker: Drops it. Sits down again.
Speaker: Head in his hands. The depression pulls him back down. Minutes pass. Then he sees Judy's name in his contacts.
Speaker: He hovers. He covers it. He doesn't call. Instead, he opens the text from Sam again, he reads it all out. When you're ready, stop circling.
Speaker: He exhales sharply. I'm circling. That realization sharp sings.
Speaker: He looks at himself in the black reflection of the cracked screen. No audience. No laugh track. Just him.
Speaker: Just 7.42 p.m.
Speaker: He hesitates at the door. Hand on the knob.
Speaker: His house behind him feels like a cave. Stagnant.
Speaker: Larry opens and closes his eyes.
Speaker: He steps out.
Speaker: The strip mall that night. The building glows softly.
Speaker: Warm light inside. Not sinister. Inviting. Larry parks across the street. Engine still running.
Speaker: He grips the steering wheel. Breathing even. Uneven.
Speaker: How's your line, buddy? Uneven? Yeah. What? You to say, just talk. Oh, Jesus Christ. The formatting really dropped off there. Okay. Just talk.
Speaker: Turns off the engine. Silence. Stares at the door. The same door he once walked into casually.
Speaker: How it feels like a threshold. He walks towards it, stops inches away. Hands hovering, a flicker of fear, ah flicker of relief.
Speaker: Larry approaches, slowly cracking open the door, revealing the children of Lucy Colts.
Speaker: Working away.
Speaker: Filling large drums, each with the funnel sticking out of the top. Sam notices Larry and drops what he's doing.
Speaker: in group of three surrounds him.
Speaker: Getting into the oil business.
Speaker: Some business, as always. Friend, look around to you.
Speaker: I'm not alone. you just have the same. just have the name. you poke phone at. You can't help us yourself. You will know your kids. i think we're done.
Speaker: I can't do more. Let's go.
Speaker: What's up, buddy? Hey, buddy. How you doing? We just hit the pause. Need a pause? Oh, yeah, we're done. You're not getting sick, are you? No, not sick, but I'm done. oh Okay.
Speaker: Well, we made it like to the two quarters mark, halfway mark. That's good. How you feeling, buddy?
Speaker: Tom is fucked up. So that concludes today's episode of Twitch House Podcast. Thank you all for hanging out. We made it far. And some will say we made it too far.
Speaker: But here you are with us. So that it has to say something about something. Joe Bob Rip.
