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Henry: Portrait of a Serial Killer part 2 · Cuff’s Basement

• 0:00
  Speaker 1: All right. This podcast is brought to you by soon
• 0:04
  Speaker 1: to be another hit single, the second track off my album.
• 0:07
  Speaker 1: This is also a cover. I don't know the original artist,
• 0:11
  Speaker 1: but it was made famous to me by lamb chops
• 0:14
  Speaker 1: play along.
• 0:15
  Speaker 2: Okay, Sherry Lewis.
• 0:17
  Speaker 1: Sherry Lewis, what eight fox Sherry Lewis? How's she doing?
• 0:23
  Speaker 1: So I liked. I tacked in Sherry Lewis, and the
• 0:25
  Speaker 1: Google recommended church was Scharia Along and I was like, no,
• 0:29
  Speaker 1: very different. Cherry Lewis. She is dead. She died ninety eight.
• 0:35
  Speaker 2: Damn she died in ninety eight. Yeah, okay, I thought
• 0:38
  Speaker 2: she was ninety.
• 0:39
  Speaker 1: I was like, wow, no, she's Oh she has a
• 0:43
  Speaker 1: she has a daughter who's continuing the tradition of limb
• 0:47
  Speaker 1: chops play along. Anyway, Sorry, back to the song. So
• 0:50
  Speaker 1: here is the second song off of my new album
• 0:56
  Speaker 1: in store soon title TBD online vote, Okay, here we out,
• 1:00
  Speaker 1: I will press play. This is the song that doesn't
• 1:06
  Speaker 1: and yes it goes on and on. My friend, some
• 1:10
  Speaker 1: people started singing and not knowing what it was, and
• 1:14
  Speaker 1: they'll continue singing it forever just because this is the
• 1:18
  Speaker 1: song that does. And yes it goes on and on.
• 1:23
  Speaker 1: My friend, some people started singing and not knowing what
• 1:27
  Speaker 1: it was, and they'll continue singing it forever, just because
• 1:31
  Speaker 1: this is the song that does. And yes it goes
• 1:35
  Speaker 1: on and on.
• 1:36
  Speaker 2: My friend the album Man, it's gonna be great.
• 1:38
  Speaker 1: We'll start Hey, please don't talk over the track. It
• 1:41
  Speaker 1: was done singing and not knowing what it was, and
• 1:44
  Speaker 1: they'll continue singing it forever, just because this is the
• 1:48
  Speaker 1: song that.
• 1:57
  Speaker 3: Always like a fast room read culture chaos and you
• 2:01
  Speaker 3: say leg crashing on like a lost.
• 2:04
  Speaker 1: Christ stream it forever, just because this is the song
• 2:08
  Speaker 1: that doesn't. And yes it goes.
• 2:11
  Speaker 3: On and the bucket glass tails up with that's built
• 2:15
  Speaker 3: the last hit in glises in the Free Stay Fast podcast,
• 2:20
  Speaker 3: Tad Shape Rushing.
• 2:21
  Speaker 1: Fast does in and yes it goes on and on.
• 2:26
  Speaker 1: My friend, some people started singing it, not knowing what
• 2:31
  Speaker 1: it was, and they'll continue singing it.
• 2:33
  Speaker 3: For its food tales in so it's so creasy pop lyrics.
• 2:42
  Speaker 3: I get everything easy, So what's just blending also freely
• 2:46
  Speaker 3: behind the license, really creasy from movie plots to vinyl
• 2:56
  Speaker 3: spins every session.
• 2:58
  Speaker 1: For ever, and yes it goes on and on. My friend,
• 3:03
  Speaker 1: some people started singing and I knowing what it was.
• 3:08
  Speaker 1: They'll continue singing it forever just because this is the
• 3:11
  Speaker 1: song song. Welcome back to cous Basement. I am your
• 3:33
  Speaker 1: co host, Timothy Cuff and I'm with my co host
• 3:37
  Speaker 1: Ryan mcdee.
• 3:38
  Speaker 2: Hey, everybody, what's going on?
• 3:40
  Speaker 1: You put the D in mcdee You know what I mean?
• 3:42
  Speaker 2: My brother, deal?
• 3:45
  Speaker 1: Deal? What do I mean? All right? And we are
• 3:49
  Speaker 1: continuing with what is just a laugh riot? Uh, it's
• 3:54
  Speaker 1: a sexual romp to crazy kids. What they think. We
• 4:01
  Speaker 1: are back with Henry Portrait of a serial Killer?
• 4:06
  Speaker 2: Question? You watch this on Amazon?
• 4:08
  Speaker 1: Yes?
• 4:09
  Speaker 2: Was it quote unquote free on Amazon and you have
• 4:12
  Speaker 2: to pay for it?
• 4:13
  Speaker 1: It was free on Amazon?
• 4:14
  Speaker 2: It's okay, Yeah, it was on Prime.
• 4:17
  Speaker 1: Don't know who Amazon made that decision, but they should
• 4:19
  Speaker 1: be fired because, like.
• 4:22
  Speaker 2: We need to get in as much hands as possible
• 4:25
  Speaker 2: Henry ports are of a serial killer.
• 4:26
  Speaker 1: Because people I agree that, Like I hate streaming services
• 4:30
  Speaker 1: because corporations decide what movies are allowed to be watched.
• 4:34
  Speaker 1: Yea where you know, back in the day, it wasn't
• 4:38
  Speaker 1: like that you could just buy any movie you wanted. Well,
• 4:41
  Speaker 1: I guess way back in the day when there was
• 4:42
  Speaker 1: no home video. That's not true, but Anyways, my point is,
• 4:48
  Speaker 1: you know, people are mad that the John Waters film
• 4:50
  Speaker 1: Pig Flamingos is not available streaming anywhere, and I see
• 4:54
  Speaker 1: posts like what where's been? And I'm like, really, you
• 4:57
  Speaker 1: really think this should be streaming somewhere. I think it
• 4:59
  Speaker 1: should be, but really you're surprised.
• 5:01
  Speaker 2: I mean, I wonder because it's it's to be come on.
• 5:05
  Speaker 2: Actually it's a kind of a great call actually totally unedited,
• 5:09
  Speaker 2: like to be corporate right now. It's just like it's
• 5:11
  Speaker 2: just like fuck, they're right, Like why they listening.
• 5:14
  Speaker 1: They are the only ones that listen.
• 5:18
  Speaker 2: I think it's a similar boat where like that movie
• 5:20
  Speaker 2: was financed by him, I think by John, by John Carpenter,
• 5:23
  Speaker 2: by John Waters. So like I think like it doesn't
• 5:27
  Speaker 2: have a parent that can like sell it to something,
• 5:29
  Speaker 2: because most of his stuff he could. But I wonder too,
• 5:33
  Speaker 2: like Criterion has been doing a lot of his stuff
• 5:36
  Speaker 2: and then they pretty much put everything out. I could
• 5:39
  Speaker 2: be wrong maybe if it has a few, but a
• 5:40
  Speaker 2: lot of his movies they've been on the street on
• 5:42
  Speaker 2: the network and they've released them and four K and
• 5:45
  Speaker 2: blue ray and stuff.
• 5:47
  Speaker 1: Interesting.
• 5:47
  Speaker 2: I'm a surprise because like what gets me about the
• 5:51
  Speaker 2: prime stuff, And that's what I was curious about. This
• 5:53
  Speaker 2: movie was the same deal where Like, like typically if
• 5:56
  Speaker 2: I own the movie, especially if it's like a DVD
• 6:00
  Speaker 2: and the quality might be questionable, I sometimes will just
• 6:02
  Speaker 2: still watch the streaming version of it. I won't pay
• 6:04
  Speaker 2: for it, but I will watch it.
• 6:05
  Speaker 1: Yeah.
• 6:06
  Speaker 2: But what kills me on Amazon is like I'm like, oh, great,
• 6:08
  Speaker 2: they have this movie. Then I go and it's like
• 6:11
  Speaker 2: the fucking VHS quality. I'm like, you're fucking Amazon, what
• 6:15
  Speaker 2: is this?
• 6:16
  Speaker 1: Oh? For the for the real intense nerves out there,
• 6:19
  Speaker 1: like Andy Jo, this is an example of a film
• 6:23
  Speaker 1: that is in the box aspect ratio, the television aspect ratio,
• 6:28
  Speaker 1: and I have no problem with it.
• 6:30
  Speaker 2: They I think, is the how they shot it. They
• 6:33
  Speaker 2: had to do it that way.
• 6:34
  Speaker 1: Yeah, I have no problem with works with this movie.
• 6:36
  Speaker 2: It's to sound this is this is pretty deranged. Specially
• 6:38
  Speaker 2: as we get into more of the movie. I gotta
• 6:41
  Speaker 2: say the DVD of it like looks the restoration of
• 6:45
  Speaker 2: it is pretty amazing. Okay, believe it or not. For
• 6:48
  Speaker 2: like a low budget movie, it looks really good.
• 6:51
  Speaker 1: It does look really good, and the aspect ratio works
• 6:53
  Speaker 1: because of the whole cam quarter aspect that we'll get into.
• 6:56
  Speaker 2: Oh so you think it was intentional that way?
• 6:59
  Speaker 1: Maybe maybe not, But I think it just kind of
• 7:01
  Speaker 1: inadvertently works, if not intentionally. So getting back into this film,
• 7:10
  Speaker 1: speaking of TVs, Yes, so they Henry, Henry, who just
• 7:16
  Speaker 1: murdered two prostitutes, is disgusted that Otis got carried away
• 7:22
  Speaker 1: and broke the TV. Yes, because Otis was trying to
• 7:24
  Speaker 1: fix the reception and he ended up hitting it too
• 7:27
  Speaker 1: hard and broke the TV. Henry walks in is like,
• 7:29
  Speaker 1: are you serious, Otis? He says, I got carried away,
• 7:32
  Speaker 1: and Henry's like, get a grip.
• 7:34
  Speaker 2: Yeah. So they go to let's go shopping.
• 7:39
  Speaker 1: Henry says, let's go shopping, and they go to Best to.
• 7:41
  Speaker 2: The montage they kind of do in awhere.
• 7:45
  Speaker 1: So they go to a fence. Are you familiar with
• 7:48
  Speaker 1: that term? No offence to someone who buys and sells
• 7:52
  Speaker 1: stolen goods?
• 7:53
  Speaker 2: Where is that? Nick? Just like, why do they call
• 7:55
  Speaker 2: them the fence?
• 7:55
  Speaker 1: I have no idea. It's it's a It's a term
• 7:57
  Speaker 1: that's hundreds of years old. And the reason I know
• 7:59
  Speaker 1: it is because of red dead redemption, Because you can
• 8:02
  Speaker 1: go to a fence in Red Dead Redemption. I'm actually
• 8:05
  Speaker 1: I'm gonna google this really quick. Fence stolen goods. Okay,
• 8:12
  Speaker 1: fencing is the act of knowingly purchasing stolen goods to
• 8:16
  Speaker 1: resell them for profit.
• 8:19
  Speaker 2: It is.
• 8:21
  Speaker 1: What is the history of the term fencing? Fence is
• 8:26
  Speaker 1: a criminal? Oh, there's a Wikipedia page for a fence?
• 8:30
  Speaker 1: What history of receiving the fence or receiver? Is an
• 8:34
  Speaker 1: old kind of criminal? I don't know, I don't I'm
• 8:40
  Speaker 1: but it's called offense anyway. So they go to a
• 8:42
  Speaker 1: fence and this is probably the most important scene in
• 8:47
  Speaker 1: the movie because it sets up later on.
• 8:50
  Speaker 2: Okay.
• 8:50
  Speaker 1: So the purpose of this movie, and I know this
• 8:54
  Speaker 1: because John mcnonton has said it, is this came out
• 8:57
  Speaker 1: in a time where like every movie was like Death
• 9:03
  Speaker 1: Wish or Dirty Harry or Rambo or Commando. What yard
• 9:08
  Speaker 1: Commando come out'd be eighty eighty seven, Schwartzenegger eighty five five? Okay,
• 9:16
  Speaker 1: so Cando Commando.
• 9:17
  Speaker 2: One year after Terminator No Way came out.
• 9:20
  Speaker 1: In eighty five. And John McNaughton, I believe specifically references
• 9:24
  Speaker 1: Commando Schwarzenegger kills legitimately like five.
• 9:27
  Speaker 2: Kills the entire country people, five hundred people.
• 9:29
  Speaker 1: In commando and he's blowing them away. He's like cracking
• 9:32
  Speaker 1: one liners as he kills them.
• 9:33
  Speaker 2: He's also getting more creative. He literally is becoming a
• 9:36
  Speaker 2: slashir because like he used like a bandsaw. Like he's
• 9:38
  Speaker 2: getting more creative as he goes insane.
• 9:41
  Speaker 1: Yeah. Yeah, And and movies are just more and more
• 9:45
  Speaker 1: like this, and violence is so casual and so cool,
• 9:48
  Speaker 1: Like men were going to the movies and thinking, oh,
• 9:51
  Speaker 1: this is so cool to just like kill five hundred
• 9:53
  Speaker 1: people and pull them up and use a bandsaw. So
• 9:55
  Speaker 1: John McNaughton was like, I fucking hate this. Yeah, I'm
• 9:59
  Speaker 1: gonna make a movie that's real that's about how violence
• 10:03
  Speaker 1: is not cool. Violence in real life is not cool.
• 10:06
  Speaker 1: It's not glamorous, it's not fun. It's disgusting and horrible. Yeah,
• 10:10
  Speaker 1: and I'm gonna show everybody that with this movie. And
• 10:12
  Speaker 1: he did a goddamn great job.
• 10:14
  Speaker 2: God crushed it. Unfortunately.
• 10:16
  Speaker 1: Yes, So this scene is so important because they go
• 10:18
  Speaker 1: to a fence. He's fat, he's ugly, he's rude, he's
• 10:23
  Speaker 1: unnecessarily rude, and a lot of the time in these
• 10:27
  Speaker 1: action movies there's I hate, I hate these scenes it's
• 10:30
  Speaker 1: so cringe to me now where it's like the kung
• 10:32
  Speaker 1: Fu Master or like weapons master, fighting master who is
• 10:38
  Speaker 1: pushed to the edge, pushed to the edge, and he
• 10:39
  Speaker 1: keeps giving them every chance to get out of it,
• 10:42
  Speaker 1: like Denzel Washington does this in every Equalizer movie. Jason
• 10:45
  Speaker 1: Stathan does this and every Jason Stathan movie. And then
• 10:48
  Speaker 1: these dickheads that are like like in con Air, there's
• 10:52
  Speaker 1: a drunk redneck that goes up to a marine in
• 10:55
  Speaker 1: uniform and the marine says, excuse me, sir, I'm dancing
• 10:59
  Speaker 1: with my wife. I just got back from deployment. Can
• 11:02
  Speaker 1: you please just let me dance with my wife? And
• 11:03
  Speaker 1: the marine and the Rednecks like, fuck you. Buddy wants
• 11:07
  Speaker 1: to fight him. So like those guys are always the
• 11:10
  Speaker 1: person that forces the hero into violence. Yes, so that's
• 11:13
  Speaker 1: how this scene plays out. There's this unlikable dickhead who's
• 11:17
  Speaker 1: being unnecessarily rude and he doesn't know who's messing with
• 11:21
  Speaker 1: not at all, and so yeah, so describe what happens
• 11:24
  Speaker 1: in the scene.
• 11:24
  Speaker 2: So they go there to buy a new TV. They
• 11:27
  Speaker 2: have fifty bucks, and he's like, I can give you
• 11:31
  Speaker 2: the nineteen inch black and white TV that's so I
• 11:34
  Speaker 2: can give you. And he's like, if you want everything else?
• 11:36
  Speaker 2: And then he's like, oh yeah, can I get Oh
• 11:37
  Speaker 2: what do you have for this? And they keep like
• 11:39
  Speaker 2: they keep Henry keeps asking for more stuff, and the
• 11:42
  Speaker 2: guy's like, oh, yeah, I have this, I have that,
• 11:43
  Speaker 2: I have everything that's gonna cost you X amount of
• 11:45
  Speaker 2: dollars and Henry's like, well, I only have this, so
• 11:48
  Speaker 2: I can't do this. So the guy's like, why the
• 11:49
  Speaker 2: fuck are you asking me about this? Then if you
• 11:51
  Speaker 2: don't have the money to buy it, like what the
• 11:52
  Speaker 2: fuck are you guys doing here? And he's getting like
• 11:55
  Speaker 2: mad that they're wasting his time, and they Henry I think,
• 12:01
  Speaker 2: makes a comment about how like he's like, get the
• 12:03
  Speaker 2: fuck out of here. I'm gonna lose it.
• 12:04
  Speaker 1: Henry actually says, okay, otis he's being rude, like let's
• 12:08
  Speaker 1: let's leave and we won't buy anything. And the guy
• 12:10
  Speaker 1: goes like, fuck you, you can't leave. You wasted my time.
• 12:13
  Speaker 1: You owe me fifty bucks, yeah, which is totally unreasonable.
• 12:16
  Speaker 2: Exactly. So the response, the response to this request is Henry.
• 12:25
  Speaker 1: Sir, I am calling the Better Business Bureau on you.
• 12:29
  Speaker 2: I'll be right back here. With the police to find
• 12:30
  Speaker 2: out where you got all these stolen guys.
• 12:33
  Speaker 1: I don't think so.
• 12:34
  Speaker 2: So he pretty much eggs Otis on and the guy
• 12:39
  Speaker 2: he what does that think he has? It's like called
• 12:41
  Speaker 2: it's called etcher or something like that. It's like engraving
• 12:45
  Speaker 2: towards something.
• 12:45
  Speaker 1: Yeah, it's like like a welding engraving, but it's like
• 12:48
  Speaker 1: a very like ghetto like the like if you're doing
• 12:51
  Speaker 1: arts and crafts as a kid. Yeah, kind of like
• 12:53
  Speaker 1: welder engraver. Maybe if you're like working on like circuit
• 12:56
  Speaker 1: boards or something, that's a great way to put that
• 12:58
  Speaker 1: kind of thing.
• 12:58
  Speaker 2: Yeah. Yeah, So he has one of those on his
• 13:01
  Speaker 2: on his table. Yeah. That's actually we're gonna make perfect
• 13:03
  Speaker 2: sense for what he's doing because he's fixing this stuff
• 13:05
  Speaker 2: up the point. Yeah, so he I think, does Henry
• 13:11
  Speaker 2: stab him with that first? Or is it that Otis
• 13:13
  Speaker 2: comes behind him with the wire I think, or they
• 13:17
  Speaker 2: punch him firstus something. I think.
• 13:19
  Speaker 1: I think Otis is trying to strangle him with the
• 13:21
  Speaker 1: wire unsuccessfully. So then Henry just starts to engage.
• 13:23
  Speaker 2: Okay, so one of them, like Otis, gets behind him,
• 13:26
  Speaker 2: strangles him with the wire. Then Henry stabs him, ends
• 13:30
  Speaker 2: ut stabbing him multiple times, pretty horribly multiple times, and
• 13:36
  Speaker 2: then when they finally have him somewhat subdued, Otis takes
• 13:40
  Speaker 2: one of the TVs and just drops.
• 13:42
  Speaker 1: It on the guy's head in the perfect like irony
• 13:45
  Speaker 1: of exactly you want to make us buy this TV?
• 13:48
  Speaker 1: Here you go, fuck you exactly, And John McNaughton said,
• 13:50
  Speaker 1: I included the scene because you like it as the viewer,
• 13:54
  Speaker 1: you identify with them and you're like, fuck this fat,
• 13:57
  Speaker 1: ugly jerky and he got what was coming to him,
• 14:00
  Speaker 1: much like all the Villains and the Arnod Schurzeninggger movies,
• 14:03
  Speaker 1: which is to be juxtaposed with something we'll get.
• 14:05
  Speaker 2: To later, exactly. And it's like that idea of like
• 14:08
  Speaker 2: they're turning on its head then literally like commando style,
• 14:13
  Speaker 2: Henry's like Otis plug it in and he plugs in
• 14:17
  Speaker 2: the TV and like it burns and like electriccutes or whatever.
• 14:20
  Speaker 2: But the guy's already dead. Even though this one is
• 14:23
  Speaker 2: much more like you said, like sensational and like almost
• 14:27
  Speaker 2: like comedic, it's still pretty. It's not great, it's pretty haring.
• 14:32
  Speaker 2: It's just a comedic. It's a bad way to put it.
• 14:34
  Speaker 2: But like it's because of the escalating situation. It's still
• 14:38
  Speaker 2: really harrowing, and I'm so glad you pointed out back
• 14:42
  Speaker 2: that I didn't think about it that way, where like
• 14:43
  Speaker 2: it's being presented as like fuck this guy, so they
• 14:46
  Speaker 2: should destroy him, because I feel like, did you ever
• 14:49
  Speaker 2: watch Escape at Dana Mora? No?
• 14:51
  Speaker 1: My parents love that with is Epony Sealed Toro.
• 14:55
  Speaker 2: It was, It's excellent. But I think the quest, yeah,
• 15:00
  Speaker 2: let's escape demn Memoora the guards like I heard you,
• 15:06
  Speaker 2: We're gonna separate you guys now. But the brilliant thing
• 15:11
  Speaker 2: of it is as you go through the show, you're
• 15:14
  Speaker 2: kind of like, you know, they're in jail for a reason,
• 15:17
  Speaker 2: and like as you go through the show, you're kind
• 15:19
  Speaker 2: of like Mandy, they're figuring this out, They're getting like
• 15:22
  Speaker 2: they're gonna get out of this. This is like exciting.
• 15:24
  Speaker 2: And then the second last episode is we're just gonna
• 15:27
  Speaker 2: take you to two parts of this episode are just
• 15:30
  Speaker 2: gonna be his point of view and his point of
• 15:32
  Speaker 2: view why they're in jail, and you realize these two
• 15:34
  Speaker 2: people are fucking monsters and they shouldn't be on in public.
• 15:38
  Speaker 2: And then the last episode is like, Okay, let's let's say,
• 15:42
  Speaker 2: but the brilliant thing is they get you on the
• 15:44
  Speaker 2: ride the whole time of like how's this gonna go?
• 15:46
  Speaker 2: And then like there's other prisoners who are threatening them.
• 15:49
  Speaker 2: They're like, oh god, we we can. I hope they
• 15:50
  Speaker 2: get safe. I hope I hope Daniel doesn't get sent
• 15:52
  Speaker 2: to this part of the jail because he'll be screwed.
• 15:54
  Speaker 2: And then the brilliance of it, just that last episode,
• 15:57
  Speaker 2: the second episode is just Okay, these why these two
• 16:00
  Speaker 2: monsters are in this thing right now, and it's like
• 16:02
  Speaker 2: these two people should not be outside.
• 16:05
  Speaker 1: Yeah, it's kind it's kind of like that just made
• 16:07
  Speaker 1: me think of it. In Game of Thrones, the Knight's Watch,
• 16:10
  Speaker 1: which is the for the it's like a police force.
• 16:14
  Speaker 1: So when you get arrested in the Seven Kingdoms, you
• 16:17
  Speaker 1: can either go to jail or be executed or whatever,
• 16:21
  Speaker 1: or join the Knight's Watch. You always have the option
• 16:23
  Speaker 1: to join the knights Watch. So John goes there voluntarily
• 16:26
  Speaker 1: because it's like his duty, and he thinks that it's
• 16:29
  Speaker 1: filled with these like admirable heroes like his uncle who
• 16:32
  Speaker 1: also joined the Knight's Watch. And there's this character named
• 16:35
  Speaker 1: Rast and it's like why is why did rast join
• 16:38
  Speaker 1: the Night's Watch? And they're like, oh, he's a rapist.
• 16:42
  Speaker 1: So it's like, oh, so he can either get cast
• 16:45
  Speaker 1: rated or join the Knight's Watch. So he's just your
• 16:48
  Speaker 1: your co worker is a rapist.
• 16:49
  Speaker 2: Yeah, it's just like okay, and it's like this honorable
• 16:51
  Speaker 2: position quote unquote.
• 16:53
  Speaker 1: But yeah, So Henry comes home and he's like, hey, Becky,
• 16:57
  Speaker 1: cool news bought a cam quarter and she's like, great,
• 17:01
  Speaker 1: you must be so good at your job. They gave
• 17:03
  Speaker 1: you a bonus.
• 17:04
  Speaker 2: The bug spray company gave you a uh yeah, yeah,
• 17:08
  Speaker 2: And I.
• 17:09
  Speaker 1: Wrote, oh no, don't give Henry a camp quorder. Oh no, no,
• 17:13
  Speaker 1: I mean otis you can trust with the camp quarder. Uh.
• 17:17
  Speaker 1: I honestly like I would if I had, if I
• 17:20
  Speaker 1: had to choose, I would slam dunk pick Henry to
• 17:25
  Speaker 1: babysit cc over otis.
• 17:28
  Speaker 2: Yes easily. Yeah.
• 17:30
  Speaker 1: No, she's probably dead either way to.
• 17:33
  Speaker 2: Two different types of monsters. Yes, yes, yeah, So uh.
• 17:42
  Speaker 1: Didn't didn't Beckon Henry win Best Kiss at the nineteen
• 17:45
  Speaker 1: eighty six m TV Movie Awards.
• 17:49
  Speaker 2: Imagine? I mean it wouldn't.
• 17:51
  Speaker 1: I mean, yeah, who dangles on a string like Swill
• 17:55
  Speaker 1: spinning or dam but what dashboard? Yeah, go ahead.
• 18:00
  Speaker 2: So the next part is they bring the TV home
• 18:04
  Speaker 2: and they're like, oh, they're playing around the camp quarter
• 18:06
  Speaker 2: and the TV. Yeah, they're doing like a little and
• 18:08
  Speaker 2: then Otis is getting more and more handsy with Becky.
• 18:12
  Speaker 2: Yeah that's yeah, well sorry, that's just yeah, that was
• 18:16
  Speaker 2: just kind of like and they're showing Henry, and Henry's
• 18:20
  Speaker 2: getting frustrated.
• 18:21
  Speaker 1: They're showing him, yes that He's like, I don't we
• 18:24
  Speaker 1: rout on this camp quarder, But I don't like that,
• 18:27
  Speaker 1: you know. It's uh, but back in the day, that
• 18:29
  Speaker 1: was the thing my dad at a camp quarder. He
• 18:32
  Speaker 1: used to videotape British gymnastics meets like we were gonna
• 18:35
  Speaker 1: watch them later, hours and hours of just nonsense being recorded.
• 18:41
  Speaker 1: He was so obnoxious with it. There's a like, I
• 18:43
  Speaker 1: don't know. There's so many moments where Shannon's like, I
• 18:46
  Speaker 1: don't understand how your parents stayed to out there and
• 18:48
  Speaker 1: your mom didn't leave your dad. But there's a home
• 18:51
  Speaker 1: video of my dad with a camp quorder following my
• 18:54
  Speaker 1: mom around the house as she's crying on my first
• 18:56
  Speaker 1: day of kindergarten. Like I was at school and he's
• 19:00
  Speaker 1: following her and was like, oh, you're crying because too
• 19:02
  Speaker 1: much to school and she's like, why are you videotaping me?
• 19:04
  Speaker 1: Stop it? And he just keeps doing it.
• 19:07
  Speaker 2: Bill Portrait of Insurance.
• 19:10
  Speaker 1: Portrait of whatever he is. I don't know, like it's
• 19:13
  Speaker 1: it's its own unique creature. So Otis goes to meet
• 19:19
  Speaker 1: up with that teen that he's selling drugs too, and
• 19:22
  Speaker 1: you know, during a drug deal sometimes you try to
• 19:27
  Speaker 1: hook up. So he puts his hand on the kid's leg.
• 19:31
  Speaker 1: Kid doesn't appreciate it and punches into the face. And
• 19:36
  Speaker 1: I thought this was a brilliant scene because Otis is like,
• 19:40
  Speaker 1: even though I just said I'd rather have Henry babysit,
• 19:43
  Speaker 1: cci Otis is more of a human than Henry because
• 19:47
  Speaker 1: Otis like has emotions. Yeah, Like Henry is more of
• 19:52
  Speaker 1: like a killing. So Otis is like Henry, like, we're
• 19:58
  Speaker 1: killing all these people. We're awful, Like, let us kill
• 20:00
  Speaker 1: that high school boy that punched me in the face.
• 20:02
  Speaker 1: And Henry just is confused and he goes, no, Otis,
• 20:05
  Speaker 1: you do a great Henry. Can you do it? Like
• 20:07
  Speaker 1: he says, don't kill He's like, don't kill the high
• 20:09
  Speaker 1: school boy. It's too high profile. You've been seen together. Yeah,
• 20:13
  Speaker 1: like think about it. You know, you kill a random stranger.
• 20:17
  Speaker 2: And this is done through like a voiceover almost, it's
• 20:21
  Speaker 2: like it's like Henry's mo o of like how he
• 20:23
  Speaker 2: does things like and you do it different people. So
• 20:26
  Speaker 2: they please don't catch a trail.
• 20:29
  Speaker 1: I love I love well this said. This is slightly later,
• 20:31
  Speaker 1: but well you're right, welcome back to this in a second.
• 20:33
  Speaker 1: But he's like, you gotta you gotta keep control of yourself.
• 20:37
  Speaker 1: And then Otis says, oh, you're one to talk. And
• 20:39
  Speaker 1: then Henry's like watch it, Otis, and I wrote, wouldn't
• 20:43
  Speaker 1: back talk Henry.
• 20:44
  Speaker 2: I wouldn't.
• 20:45
  Speaker 1: I wouldn't give him any attitude. So he's like, Otis,
• 20:49
  Speaker 1: let me let me show you what we should be
• 20:52
  Speaker 1: doing here, and to say what explain what happens next
• 20:56
  Speaker 1: when they find.
• 20:57
  Speaker 2: So they pull were like driving at night. They pull
• 21:01
  Speaker 2: over on the side of the road and pretend to
• 21:03
  Speaker 2: have car trouble.
• 21:04
  Speaker 1: I wanted to ask you a question here. Sorry to
• 21:06
  Speaker 1: interrupt you. I keep doing that, but I genuinely so
• 21:09
  Speaker 1: like not to be homophobic or like stereotype typical, but
• 21:16
  Speaker 1: they're in this tunnel, and there's this like side alley
• 21:20
  Speaker 1: in the tunnel that's filled with park cars, so it's
• 21:23
  Speaker 1: not like it's empty. It's filled with park cars. And
• 21:26
  Speaker 1: then they pull in the tunnel and they pop their
• 21:27
  Speaker 1: hood like they have car trouble. And then this man
• 21:30
  Speaker 1: who was like approaches them and I thought he seemed gay,
• 21:34
  Speaker 1: And I thought, is this I know they're pretending to
• 21:36
  Speaker 1: have car trouble, but is this like a cruising spot?
• 21:39
  Speaker 1: I didn't.
• 21:40
  Speaker 2: I didn't pick up on that that it was. I
• 21:45
  Speaker 2: didn't interpret it that way. It was definitely like a
• 21:46
  Speaker 2: shitty part of town.
• 21:48
  Speaker 1: Wasn't a great part of town.
• 21:49
  Speaker 2: I just thought because like both of them were standing there,
• 21:52
  Speaker 2: he felt he could approach them and be like, what's
• 21:54
  Speaker 2: the Is there a problem guys or whatever?
• 21:55
  Speaker 1: Like do you know the gay cruising spot in my town? No?
• 21:58
  Speaker 1: I never told you this. I told marcol about this.
• 22:01
  Speaker 1: So there's a road in my town called Chickatawba and
• 22:04
  Speaker 1: it goes through the woods. Okay, and my wife grew
• 22:07
  Speaker 1: up here, so like I didn't know this, but my
• 22:09
  Speaker 1: wife is like, do you know it's a gay cruising spot?
• 22:11
  Speaker 1: And I was like no, really, So it's but multiple
• 22:15
  Speaker 1: people have referenced this to me, and what confirmed in
• 22:18
  Speaker 1: in my head is it's just it's two main There's
• 22:20
  Speaker 1: two main roads, and then in between them is this
• 22:23
  Speaker 1: road that goes completely through the woods with no lights
• 22:26
  Speaker 1: called Chickatawbat. And I was like, oh, this is definitely
• 22:29
  Speaker 1: a gay cruising spot because my town closes the road
• 22:33
  Speaker 1: every night. Oh, this is a real paved road that's
• 22:36
  Speaker 1: super busy all day. It's how I take Cecie of
• 22:38
  Speaker 1: the doctors, go down this road at night. Each end
• 22:41
  Speaker 1: of the road the police gate and lock weird. So
• 22:46
  Speaker 1: I'm like, there's no other reason that they'd be doing that.
• 22:50
  Speaker 1: It's just through It's just through the Blue Hills.
• 22:52
  Speaker 2: And it's like it's it's not like a like a
• 22:54
  Speaker 2: loan road, is it like? Is it like is it
• 22:57
  Speaker 2: a like it's accessible?
• 22:59
  Speaker 1: So like how it's like there's two very busy roads
• 23:03
  Speaker 1: and in between them is the Blue Hills just woods,
• 23:06
  Speaker 1: like just woods, and there's this winding road that goes
• 23:09
  Speaker 1: through the Blue Hills in between these two busy streets.
• 23:14
  Speaker 1: And that's how I take cec to the doctor. And
• 23:16
  Speaker 1: it's a paved, two lane road that's filled with traffic
• 23:19
  Speaker 1: during the day, but there's no street lights and it's
• 23:22
  Speaker 1: legit through the woods. There's like hiking trails, and at
• 23:24
  Speaker 1: night on each of the busy roads they gate off
• 23:28
  Speaker 1: Chickatawbat because it's a gate cruising spot.
• 23:32
  Speaker 2: Interesting. Wow.
• 23:33
  Speaker 1: Yeah, And then like I think I told Mark this
• 23:36
  Speaker 1: and Mark knew about. It's like a website where you
• 23:41
  Speaker 1: can look up wherever you are on Earth, you can
• 23:43
  Speaker 1: look up like, is there a gay cruising spot near me?
• 23:46
  Speaker 1: And he looked it up and found it. This is
• 23:48
  Speaker 1: years ago.
• 23:48
  Speaker 2: Really, yeah, it's not like, isn't there one in Boston.
• 23:51
  Speaker 2: It's called back Bay Fence.
• 23:52
  Speaker 1: I bet there's more than one in Boston.
• 23:55
  Speaker 2: That was in the radio. I forgot that was from Yeah, yeah, yeah,
• 23:58
  Speaker 2: I'm sure, so sorry, go ahead. So they this guy
• 24:02
  Speaker 2: pulls over essentially asked if they need help whatever they're doing,
• 24:07
  Speaker 2: and Otis just shoots them, just like out in the
• 24:13
  Speaker 2: open in the tunnel, just shoots and kills him.
• 24:16
  Speaker 1: Anybody could be driving by. So I wrote here Chicago
• 24:18
  Speaker 1: was fun back in the day. She went shy, shy, Sorry,
• 24:24
  Speaker 1: that's why Livy went.
• 24:27
  Speaker 2: He just shoots him and then shoots him several times
• 24:31
  Speaker 2: after and Henry's just like yeap, that's like how you
• 24:34
  Speaker 2: do it, and this is how you need to do it,
• 24:37
  Speaker 2: and like just very like, see that wasn't that hard.
• 24:39
  Speaker 2: Like he's kind of just like pulling him down with him,
• 24:42
  Speaker 2: even though I think Otis has already been there.
• 24:44
  Speaker 1: But so this is, this is, this quote is genius.
• 24:47
  Speaker 1: Henry says to Otis, just don't use the same m O.
• 24:50
  Speaker 1: Strangle one, stab another, cut up one, shoot one. They'll
• 24:54
  Speaker 1: think you're four different people. Don't ever use the same
• 24:57
  Speaker 1: gun twice. Keep moving and they never could up to you.
• 25:01
  Speaker 1: And that's seriously true. I mean back in the day,
• 25:03
  Speaker 1: in like the eighteen hundreds, let's say you always killed
• 25:06
  Speaker 1: somebody by an acts to their forehead. You could go
• 25:11
  Speaker 1: from town to town and the town police are not
• 25:13
  Speaker 1: speaking with each other. But now, but back in the
• 25:16
  Speaker 1: eighties and nineties, you and even now probably if you
• 25:19
  Speaker 1: didn't have an MO, if you shot a guy, then
• 25:21
  Speaker 1: strangled a guy, then you know, kissed a guy to death,
• 25:26
  Speaker 1: then they would think you're for different people and like
• 25:28
  Speaker 1: nothing would happen to you. So and Henry's like, why
• 25:34
  Speaker 1: don't we leave town for a month, go on to
• 25:37
  Speaker 1: killing spree, and then we'll come back before we have
• 25:39
  Speaker 1: to visit your parole officer again, and then Otis says, well,
• 25:42
  Speaker 1: sometimes pos do random checkups on you, like at work,
• 25:46
  Speaker 1: and randomly they're required to do that, so what if
• 25:49
  Speaker 1: that happens? And then Hendry's response says, no plan is perfect.
• 25:56
  Speaker 1: Oh man, yikes. So they decide to.
• 26:05
  Speaker 2: Act on that.
• 26:06
  Speaker 1: They say like, yeah, let's go do whatever we want
• 26:09
  Speaker 1: to do. And here's the scene where if you thought
• 26:12
  Speaker 1: killing the fence who was rude, that was kind of
• 26:17
  Speaker 1: like okay, like Henry noticed, are kind of cool. Violence
• 26:21
  Speaker 1: is cool. This scene is to show you that it's not.
• 26:25
  Speaker 1: And this scene is up there. I wrote Deliverance Solow
• 26:33
  Speaker 1: what else is bad?
• 26:34
  Speaker 2: It's bad content obviously, but like it's just not.
• 26:38
  Speaker 1: It's literally it's I was watching this and I was like,
• 26:41
  Speaker 1: this might be might be the worst scene I've ever seen.
• 26:46
  Speaker 2: And it's not there And it's not gore, it's not no,
• 26:52
  Speaker 2: it's not even like not even tension. I think it's
• 26:57
  Speaker 2: just the idea of like you've been set up this
• 27:00
  Speaker 2: whole movie, that they have shown you all this awful stuff.
• 27:03
  Speaker 2: So when this happens, you're kind of like, I'm gonna
• 27:06
  Speaker 2: see all this and you're again your witness, your part
• 27:09
  Speaker 2: of it, and it's just like the whole the content
• 27:14
  Speaker 2: of it is so again, it's not it is graphic,
• 27:17
  Speaker 2: but I don't know how to describe it. It's like,
• 27:18
  Speaker 2: it's not graphic, but it is. So it's not like
• 27:21
  Speaker 2: super gory, super sexual, but what's going on is just
• 27:25
  Speaker 2: so awful.
• 27:25
  Speaker 1: Yeah, it's not like like cutting somebody's face in half
• 27:28
  Speaker 1: and seeing their brains. Yeah, that's disgusting. This is this
• 27:33
  Speaker 1: is not discussing at all, but it's worse.
• 27:37
  Speaker 2: It's just it's absolutely terror, to be honest.
• 27:39
  Speaker 1: It disturbing. Yeah, it's very Yeah, and obviously I'm gonna
• 27:44
  Speaker 1: have try and describe whatever I couldn't weigh a row.
• 27:47
  Speaker 1: I teed this suff for you. I'm gonna grab an
• 27:50
  Speaker 1: you know what, this is the perfect time for commercial break.
• 27:53
  Speaker 1: Let's hear from the sponsors.
• 27:54
  Speaker 2: Let's play one of Timsby tracks.
• 28:10
  Speaker 1: Because I had a sum you for a second before
• 28:12
  Speaker 1: you begin, I was reminded that my description for the
• 28:14
  Speaker 1: Deliverance podcast was Ryan described as his favorite scene in
• 28:18
  Speaker 1: film history. But I'll hand it to you this is
• 28:22
  Speaker 1: your second favorite.
• 28:23
  Speaker 2: Yeah, yeah, yeah, yeah, So this is again, like you mentioned, earlier,
• 28:29
  Speaker 2: the idea of like throwing in your face. You're watching
• 28:34
  Speaker 2: video footage of Henry and Otis watching a crime they commit.
• 28:40
  Speaker 2: The video is otis dragging this woman in. She's like
• 28:45
  Speaker 2: her arms tied behind her, and then she's got I
• 28:49
  Speaker 2: don't think so this or is it something is like
• 28:51
  Speaker 2: around her head?
• 28:52
  Speaker 1: I think yeah, I think she might be gagged.
• 28:54
  Speaker 2: Gagged, Yes, she's gagged. And the husband, husband's signed up
• 28:57
  Speaker 2: on the ground. He has a bag over his head.
• 28:58
  Speaker 1: He's a bag over his head. That's he's alive with
• 29:01
  Speaker 1: the bag is soaked in. Bulls beat him.
• 29:03
  Speaker 2: So you see Otis walking into the room with the wife.
• 29:08
  Speaker 2: He is pulling her in. All you're hearing, by the way,
• 29:10
  Speaker 2: folks in the background is this couple's panic and screaming.
• 29:14
  Speaker 2: It's awful, And it's Henry is behind the camera kind
• 29:18
  Speaker 2: of like somewhat egging on Otis. Otis is sexually assaulting
• 29:24
  Speaker 2: the woman while he's on a couch with her graphically graphically,
• 29:29
  Speaker 2: and she clearly has been beaten before this, And it's
• 29:35
  Speaker 2: just video footage of you just watching this happen, and like, what's.
• 29:39
  Speaker 1: So awful to me is that he's not only doing
• 29:43
  Speaker 1: this like ripping her clothes off, but he's angling her
• 29:47
  Speaker 1: towards the camera to make sure the camera.
• 29:49
  Speaker 2: Sees and sees himself.
• 29:50
  Speaker 1: And I think that that's John McNaughton being like, oh,
• 29:53
  Speaker 1: is this what you want? Like, yeah, you know this
• 29:55
  Speaker 1: is cool.
• 29:56
  Speaker 2: Yeah.
• 29:56
  Speaker 1: And then when he's like mocking her by like waving
• 29:59
  Speaker 1: her hand and so goes smile to the camera.
• 30:01
  Speaker 2: Yeah, and he's like he's trying to make his face
• 30:04
  Speaker 2: viewable in the video too, and it's just very yeah,
• 30:09
  Speaker 2: like he's trying to do that. So that's happening. They
• 30:12
  Speaker 2: keep cutting to the not panting or like because this
• 30:14
  Speaker 2: home video footage, they're showing the husband on the ground,
• 30:17
  Speaker 2: Like we said earlier, he's tied up and he has
• 30:19
  Speaker 2: a bag over his head. He's screaming for help.
• 30:22
  Speaker 1: He knows his wife is being raped in front of him.
• 30:25
  Speaker 2: So that they hear something at the door and the
• 30:29
  Speaker 2: parents extra freak out because it's their kid is coming home,
• 30:33
  Speaker 2: their son.
• 30:34
  Speaker 1: He's like a fifteen year old son with a teenage
• 30:36
  Speaker 1: kid coming home from out with friends.
• 30:39
  Speaker 2: Yeah, and the parents screaming is so unbearable because it's
• 30:44
  Speaker 2: not a case of them screaming like to warn the sun.
• 30:47
  Speaker 2: They're screaming because holy shit, he's walking into this trap essentially.
• 30:51
  Speaker 1: And Henry goes up to the like rushes the sun,
• 30:56
  Speaker 1: and you know, like this kid, he can't handle him.
• 31:00
  Speaker 2: Henry's way too intense. So Henry beats the shirt out
• 31:05
  Speaker 2: of the sun, snaps his neck, and kills the son
• 31:08
  Speaker 2: in front of in front of the mother mother. Then
• 31:12
  Speaker 2: Otis snaps her neck and it's just so awful because
• 31:15
  Speaker 2: Otis is like, look, I finally did it, like I
• 31:18
  Speaker 2: was able to do what you can do, and it's
• 31:20
  Speaker 2: just horrendous to even look at lit alone here and.
• 31:23
  Speaker 1: From the husband's perspective, he's just hearing all this. You
• 31:26
  Speaker 1: hear your son come in, and then you hear your
• 31:28
  Speaker 1: wife screaming bloody murder, and then you hear silence, and
• 31:33
  Speaker 1: that's gotta be you know, you know.
• 31:36
  Speaker 2: So then Henry puts the camera down. That's you're scene
• 31:41
  Speaker 2: is all from the floor point of view. Then you
• 31:43
  Speaker 2: see Henry open his knife, and then you hear Henry
• 31:46
  Speaker 2: stabbing the husband to death, and then again then the
• 31:49
  Speaker 2: video then the movie itself pans out and shows you
• 31:54
  Speaker 2: just Henry and Otis just watching on TV, like just
• 31:58
  Speaker 2: watching all this stuff.
• 31:59
  Speaker 1: They did, and they're like playing with the wife's nude corpse.
• 32:05
  Speaker 2: It sounds it's pretty awful. It's pretty it's not pretty off.
• 32:08
  Speaker 1: Did you know that fran Dresser in like the eighties
• 32:11
  Speaker 1: was she was with her husband and people broke into
• 32:16
  Speaker 1: her apartment and then raped her in front of her husband. No,
• 32:19
  Speaker 1: I did not know this. Holy shit now, and then
• 32:23
  Speaker 1: fran Dresser and her husband stayed together for like years
• 32:26
  Speaker 1: after that and then divorced. In our husband I'm not saying,
• 32:30
  Speaker 1: I'm not at all saying that it's correlated, but their
• 32:32
  Speaker 1: husband is now openly gay. But I was just like,
• 32:36
  Speaker 1: I don't know how you move on from that?
• 32:42
  Speaker 2: How do you? I mean any of it?
• 32:46
  Speaker 1: Honestly, if I was like in that scenario, if you're
• 32:51
  Speaker 1: the husband, I would just rather die.
• 32:54
  Speaker 2: Of like the Henry situation. Yeah, I mean, because like
• 32:57
  Speaker 2: I mean, it's like you, you know you you will
• 32:59
  Speaker 2: not be the same, Your life will always be in
• 33:02
  Speaker 2: this and it's just gonna be You'll think about this
• 33:04
  Speaker 2: all the time. It's like, you're not gonna go. My
• 33:17
  Speaker 2: only note here was literally I just wrote my only note.
• 33:20
  Speaker 2: It just says this video is awful. That's just what
• 33:23
  Speaker 2: an understatement. But as you mentioned earlier, which is a
• 33:27
  Speaker 2: great thing to call out, that is the important part
• 33:30
  Speaker 2: is that the movie does a great job of typically
• 33:34
  Speaker 2: when like when you're watching stuff that's scary or watching
• 33:39
  Speaker 2: stuff that's horrific, or is showing you things that you
• 33:44
  Speaker 2: would never want to see, especially with like true crime,
• 33:47
  Speaker 2: where like a lot of true crime documentaries or a
• 33:51
  Speaker 2: lot of the more in depth ones are gonna show
• 33:55
  Speaker 2: you crime scene footage, are gonna show you photos of
• 33:59
  Speaker 2: things you can't un see, and you have this distance
• 34:03
  Speaker 2: from it where you're watching it. But like this movie,
• 34:08
  Speaker 2: to its credit, is like we're not even gonna show
• 34:12
  Speaker 2: you this in like the movie World, We're gonna show
• 34:15
  Speaker 2: you them watching video of them doing it. And it's
• 34:18
  Speaker 2: still horrible, and it's just tripling down the point of
• 34:21
  Speaker 2: being like, Okay, when it's through a lens of entertainment,
• 34:26
  Speaker 2: you think it's a blast and a fun ride, but
• 34:29
  Speaker 2: look at this now they're doing what you're doing all
• 34:32
  Speaker 2: the time. Yeah.
• 34:36
  Speaker 1: And also this is in like a not that it
• 34:38
  Speaker 1: would make a difference because this isn't like a nice
• 34:41
  Speaker 1: suburban neighborhood, so it seems like, oh, this isn't happening
• 34:45
  Speaker 1: in an inner city slum.
• 34:47
  Speaker 2: They are though though Henry is, as we saw in
• 34:51
  Speaker 2: the beginning, strategic, it is very random. They are not. Yeah,
• 34:55
  Speaker 2: they're not a lot of Like they mentioned that his
• 34:57
  Speaker 2: whole m there's no real plan for this. It's just
• 35:00
  Speaker 2: go with it.
• 35:01
  Speaker 1: And they're watching it in the VHS, in the VCR
• 35:04
  Speaker 1: via SloMo, and I remember.
• 35:07
  Speaker 2: This noise where you're doing the frame by frame.
• 35:09
  Speaker 1: But I remember the noise growing up for nude scenes
• 35:14
  Speaker 1: obviously in movies, where you pause it and then you
• 35:16
  Speaker 1: press SloMo and it goes like pause pausea pause, pause pause. Uh.
• 35:22
  Speaker 1: And I wrote my next note is Becky move out
• 35:25
  Speaker 1: about Becky?
• 35:26
  Speaker 2: Well, the crazy thing what's interesting about it is when
• 35:28
  Speaker 2: he starts. When Otis does that, Henry gets mad. Henry's like,
• 35:33
  Speaker 2: why are you doing this?
• 35:34
  Speaker 1: Like this is too gratuitous. Otis like, have some class.
• 35:37
  Speaker 2: Even though this is like Henry shooting this in real life. Yes,
• 35:40
  Speaker 2: but the whole thing is that's the interesting thing where.
• 35:45
  Speaker 1: I am.
• 35:47
  Speaker 2: He is into this to a point, and like we
• 35:51
  Speaker 2: showed earlier, he did not want them to videotape them. Also,
• 35:56
  Speaker 2: I thought it was interesting and maybe I have this wrong.
• 35:58
  Speaker 2: When you see the it's obviously hard to not look
• 36:01
  Speaker 2: at what's happening. I think there's a mirror or something
• 36:05
  Speaker 2: reflection behind Otis where he's sitting, and you actually can't
• 36:10
  Speaker 2: see Henry recording, but when they're doing the frame by frame,
• 36:14
  Speaker 2: you can see Henry with the camera and this mirror.
• 36:17
  Speaker 2: I could be wrong. I always thought it was that
• 36:20
  Speaker 2: that's what Henry is getting mad about. It is because
• 36:22
  Speaker 2: he's seeing himself do it. That's what I was kind
• 36:25
  Speaker 2: of curious about. But maybe I'm wrong.
• 36:27
  Speaker 1: I didn't notice that. You could very well be right.
• 36:30
  Speaker 2: Because the way it looked, it looked like there was
• 36:32
  Speaker 2: like a camquarder a light. But it's this weird thing
• 36:35
  Speaker 2: of like they don't go into which is another fascining
• 36:38
  Speaker 2: about this movie is they really don't try to psycho analyze,
• 36:42
  Speaker 2: similar to American Cycle, like you mentioned earlier, like there
• 36:46
  Speaker 2: is no attempt to be like, let's get into why
• 36:49
  Speaker 2: Henry is the way he is. They're just telling you
• 36:51
  Speaker 2: from what you're seeing.
• 36:52
  Speaker 1: And when he explains his past like killing his mom, yeah,
• 36:55
  Speaker 1: you don't even know it's true because he says he
• 36:56
  Speaker 1: stabs her and then he says he shoots.
• 36:58
  Speaker 2: Her yeah, and you're just you're again, You're a witness.
• 37:02
  Speaker 1: Then the next moment is Becky has a daughter.
• 37:07
  Speaker 2: I was like when they whoa no, you said, Becky
• 37:11
  Speaker 2: move out? After the video scene, they cut to Becky
• 37:14
  Speaker 2: working in the in the store and I just go,
• 37:16
  Speaker 2: oh my god, what is gonna happen? I'm like, what
• 37:20
  Speaker 2: is going to happen to this woman? This is gonna
• 37:21
  Speaker 2: be horrendous.
• 37:23
  Speaker 1: So Becky calls her daughter Laeurleine and it's like, oh,
• 37:26
  Speaker 1: I miss you, baby, but I can't come back right now.
• 37:29
  Speaker 2: So what was her husband's name? Leroy and Laurleine? Interesting?
• 37:33
  Speaker 1: Yeah, And Henry and Otis get into a bit of
• 37:37
  Speaker 1: a quarrel really over Otis, who's faulty? Think the camp
• 37:43
  Speaker 1: quarter breaks? Do you think Henry did it on purpose
• 37:47
  Speaker 1: because he disliked Otis's enjoyment of the camera.
• 37:51
  Speaker 2: Because he kept like he would find him watching it.
• 37:54
  Speaker 1: And so Otis is hanging out the window just videotaping
• 37:57
  Speaker 1: people in the street. Yes, And Henry's driving and they
• 38:00
  Speaker 1: arrived by another car and it breaks the camcorder because
• 38:02
  Speaker 1: it clips it.
• 38:03
  Speaker 2: Plus the interesting thing is, I don't know if ever
• 38:05
  Speaker 2: Henry was thinking this way, but it is also proof essentially.
• 38:09
  Speaker 2: Mm hmm yeah, so like, yeah, but he ends up
• 38:12
  Speaker 2: getting him intentionally. I think he intentionally smashed it to me.
• 38:17
  Speaker 1: Yeah yeah, yeah, Okay. So they get into a fight
• 38:22
  Speaker 1: and argument, and Otis is like I want to get
• 38:25
  Speaker 1: out of the car, and Hendry's like, go get out,
• 38:28
  Speaker 1: like you think I care about you, like our friendship,
• 38:31
  Speaker 1: Get the fuck out of the car. So Otis leaves,
• 38:34
  Speaker 1: Henry goes back and Becky's talking to Henry like he's
• 38:37
  Speaker 1: a human. She says, oh, Henry, you would love my
• 38:40
  Speaker 1: daughter Lurline, And I thought, what are you basing that on?
• 38:43
  Speaker 1: What are you basing that on? Becky asked Henry, why
• 38:48
  Speaker 1: don't you go back home with me, like let's just
• 38:51
  Speaker 1: run away. Yes, there's nothing keeping us here? And she says, oh,
• 38:56
  Speaker 1: where's Otis? And do you remember what? He says? Yeah,
• 39:00
  Speaker 1: oh he had a dinner date. And Becky said really, oh,
• 39:04
  Speaker 1: this says a dinner date. Who uh? So Becky is
• 39:12
  Speaker 1: taking my advice and thinking of leaving, but she's like
• 39:15
  Speaker 1: fallen for Henry, yes, and she's like, Henry, come with me,
• 39:19
  Speaker 1: and Henry says, let me think about it. Terrible terrible plan.
• 39:23
  Speaker 2: Yeah.
• 39:25
  Speaker 1: And then out of nowhere, what does Henry say, were
• 39:30
  Speaker 1: let's go get a steak dinner? Says I have a
• 39:34
  Speaker 1: new visa card. I've been trying. Becky's naivete here like
• 39:38
  Speaker 1: the guitar, the cam quarter. She goes, oh, you got
• 39:42
  Speaker 1: a visa card.
• 39:43
  Speaker 2: It's like I want to try out.
• 39:46
  Speaker 1: Yeah, I want to try out, lady. Have you seen
• 39:47
  Speaker 1: the apartment you live in? You think he has a
• 39:49
  Speaker 1: visa card? And this is back in like the early
• 39:52
  Speaker 1: like mid eighties, when people didn't just have credit cards.
• 39:55
  Speaker 2: Yeah, the bug spring business, movement.
• 39:58
  Speaker 1: Door to door, bull spread, thisn't it? Oh man, it's
• 40:01
  Speaker 1: like taking off and uh So they come back and
• 40:08
  Speaker 1: Otis has fallen asleep watching the tape in slow motion.
• 40:11
  Speaker 2: That's I think, that's what.
• 40:15
  Speaker 1: And Becky, as a nice lady does Becky wants to
• 40:20
  Speaker 1: thank Henry for the steak dinner. They start getting a
• 40:24
  Speaker 1: little this is the MTV movie Award Best kiss and
• 40:27
  Speaker 1: then they get interrupted by their roommate, Otis and sibling
• 40:32
  Speaker 1: for one of them, yes and yes and sibling and
• 40:39
  Speaker 1: this is it predicted American psycho Henry. So they like Henry,
• 40:44
  Speaker 1: I just think doesn't know how to have normal sex
• 40:47
  Speaker 1: with a woman that he actually kind of likes. I
• 40:51
  Speaker 1: don't think he's capable of really liking a woman, but
• 40:54
  Speaker 1: he's as close as you could get to that with Becky.
• 40:57
  Speaker 1: And she's like, let's have sex, and he's like, I don't.
• 40:59
  Speaker 1: I'm only know like hatred and violence. So he says,
• 41:04
  Speaker 1: I have to go get some cigarettes and then just
• 41:06
  Speaker 1: leaves yes, and I wrote, I have to return some videotapes.
• 41:11
  Speaker 1: So this is this is the title of my paper.
• 41:13
  Speaker 1: He goes into the convenience store. This takes place in Chicago.
• 41:15
  Speaker 1: This is nineteen eighty six. The Chicago Bears had the
• 41:18
  Speaker 1: most dominant defense in NFL history. They won the Super Bowl.
• 41:21
  Speaker 1: They kicked the shit out of our Patriots. It was
• 41:24
  Speaker 1: like forty two to ten. I think Tony Easton was
• 41:26
  Speaker 1: the quarterback. And Henry buys cigarettes and the clerk says,
• 41:31
  Speaker 1: how about those Bears, And Henry says, fuck the Bears.
• 41:36
  Speaker 2: The guy's response, Okay, I love it. I love it.
• 41:40
  Speaker 2: I died.
• 41:41
  Speaker 1: I think I remember reading. I could totally be making
• 41:43
  Speaker 1: this out that the clerk was like the some of
• 41:45
  Speaker 1: one of the producers or somebody that worked on the
• 41:49
  Speaker 1: But it's just like the quintessential eighties team was the Bears,
• 41:54
  Speaker 1: and Henry's saying fuck the Bears. So like, that's why
• 41:58
  Speaker 1: I titled my paper fuck the Bears. It's like, fuck
• 42:00
  Speaker 1: the eighties, Fuck eighties cinema, Fuck what you think is popular.
• 42:04
  Speaker 1: This is all so awful and stupid. Our society's fucked.
• 42:07
  Speaker 1: Fuck the Bears. Uh. And then Henry's like kind comments
• 42:13
  Speaker 1: to strangers.
• 42:13
  Speaker 2: I love this whole montage was so weird.
• 42:16
  Speaker 1: It's so weird. It says to a random lady, that's
• 42:19
  Speaker 1: a nice looking dog you got.
• 42:20
  Speaker 2: He's so, oh my god, like it's I'm like, like,
• 42:23
  Speaker 2: I'm not gonna do. I was like so scared. I
• 42:25
  Speaker 2: was just like, oh my god, this poor woman. I'm like,
• 42:27
  Speaker 2: where is this gonna go?
• 42:28
  Speaker 1: And he says, what kind of dog you have? And
• 42:30
  Speaker 1: I love, I've never heard this before.
• 42:31
  Speaker 2: I loved what fifty seven varieties? Yeah it's a mutt.
• 42:37
  Speaker 2: Yeah it's a mutt. She's also love how everyone is
• 42:40
  Speaker 2: immediately like sarcastic and mean to them. But I think
• 42:44
  Speaker 2: it's really funny.
• 42:45
  Speaker 1: I don't know why, but yeah, do you think that
• 42:47
  Speaker 1: so it doesn't show him killing her? Do you think
• 42:50
  Speaker 1: that he does?
• 42:53
  Speaker 2: Here's what la dog I mean, Yeah, here's what I think.
• 42:56
  Speaker 2: I don't think he is. I think the circumstances are random.
• 43:02
  Speaker 2: I don't think he randomly picks people, meaning like people
• 43:06
  Speaker 2: he comes across, like the opening the montage when he
• 43:09
  Speaker 2: talks to the waitress diner, the waitress at the diner,
• 43:13
  Speaker 2: at the waitress at the diner, Jesus. And then they
• 43:17
  Speaker 2: cut to the liquor store, people dead while he's talking
• 43:21
  Speaker 2: to her, and they don't show her being killed at all.
• 43:25
  Speaker 2: It's some other woman another store. Yes, So I think
• 43:28
  Speaker 2: they're kind of just being like, you never know if
• 43:30
  Speaker 2: he killed them or not. So I always think when
• 43:31
  Speaker 2: they cut away, you have no clue. I just think
• 43:34
  Speaker 2: she's so out in public. But then again, the guy
• 43:37
  Speaker 2: with the car couldn't have been more public, might as
• 43:39
  Speaker 2: well have been in front of fucking city Hall, and
• 43:41
  Speaker 2: it was just like okay, So I just never know.
• 43:43
  Speaker 2: And I think that's also kind of the point too,
• 43:45
  Speaker 2: to be like, like he says, they'll never know, so
• 43:47
  Speaker 2: we'll never know.
• 43:48
  Speaker 1: But and so Henry goes back after buying a cigarettes
• 43:52
  Speaker 1: and apparently the whole like Becky trying to hook up
• 43:57
  Speaker 1: with Henry got otis riled up. So when Henry comes back,
• 44:00
  Speaker 1: what is going on?
• 44:01
  Speaker 2: So Otis is raping Becky? Yes, so it's pretty. Since
• 44:08
  Speaker 2: it's pretty, it is awful to.
• 44:10
  Speaker 1: Rape your sister. Yes, well, just like you know, my
• 44:13
  Speaker 1: boss at my old job is like, I love Jamie
• 44:15
  Speaker 1: in Game of Thrones and I said, he literally rapes
• 44:19
  Speaker 1: his sister in a scene in the show. But that's
• 44:21
  Speaker 1: how great that show was. You did like Jamie, but
• 44:24
  Speaker 1: he literally rapes his sister.
• 44:28
  Speaker 2: It's it's a it's really again, like because again you
• 44:35
  Speaker 2: had that weird safety net. As as that sounds with
• 44:38
  Speaker 2: the scene before with the videotape, Otis is doing this
• 44:43
  Speaker 2: and again the movie has been building to this coming,
• 44:46
  Speaker 2: if you will. With Otis acting on his emotions here, it's.
• 44:50
  Speaker 1: Almost like Henry, It's hard for me to explain, but
• 44:55
  Speaker 1: Henry is like, let me teach you how to be
• 44:58
  Speaker 1: a cold psycho path and Otis is like, oh, Henry's
• 45:03
  Speaker 1: teaching me how to just act in my emotions and
• 45:05
  Speaker 1: do whatever I want. And Henry's like, no, that's not
• 45:08
  Speaker 1: what I'm teaching you. That's why Otis is a moron
• 45:10
  Speaker 1: for trying to kill the kid that he sells drugs.
• 45:13
  Speaker 2: Too, So that's happening. It's horrific.
• 45:21
  Speaker 1: A man's got to have a code, Henry. Uh, this breaks,
• 45:25
  Speaker 1: This violates Henry's.
• 45:26
  Speaker 2: Rules, Henry's rules of life, eight simple rules to be Henry,
• 45:33
  Speaker 2: Henry Lee Lucas. So Henry comes in, he pushes Otis
• 45:38
  Speaker 2: off of her. He Otis, Otis hit him first something.
• 45:44
  Speaker 1: So Henry's basically beating the ship out of Otis. And
• 45:46
  Speaker 1: then Otis kicks him in the ball, yes, and then
• 45:49
  Speaker 1: gets the upper hand for a second and then pulls
• 45:51
  Speaker 1: out a gun.
• 45:52
  Speaker 2: Yes, that's right, he's able. Henry's able to thwart him
• 45:58
  Speaker 2: with the gun.
• 46:00
  Speaker 1: Well, no, Otis is about to pull the trigger and
• 46:02
  Speaker 1: kill Henry.
• 46:03
  Speaker 2: And then she stabs him.
• 46:05
  Speaker 1: Becky stabs him in the eye with a metal comb,
• 46:08
  Speaker 1: with a metal comb, and it's only for a split second.
• 46:10
  Speaker 1: They show it going to Otis's eye looks terrible.
• 46:13
  Speaker 2: It's a pretty rough dummy there.
• 46:15
  Speaker 1: It's a really bad special effects like Friday the Thirteenth
• 46:17
  Speaker 1: Part one.
• 46:17
  Speaker 2: Probably White's quick, probably whit it's a quick shot.
• 46:20
  Speaker 1: But that's probably the most violent scene in the movie,
• 46:22
  Speaker 1: the most very very true stabs out Otis's eye, which
• 46:25
  Speaker 1: is ironic because in real life, the lovely Henry le
• 46:29
  Speaker 1: Lucas is missing an eye and not Otis.
• 46:32
  Speaker 2: Wow.
• 46:33
  Speaker 1: Also in real life, Otis was not killed by Henry
• 46:37
  Speaker 1: or so he.
• 46:42
  Speaker 2: Starts to obviously panic and freak out because of the eye,
• 46:46
  Speaker 2: and then Henry kills him.
• 46:51
  Speaker 1: Yeah, Henry kills Otis, finishes him off.
• 46:54
  Speaker 2: Yeah, And.
• 46:56
  Speaker 1: Becky is like freaking out and screaming because she's never
• 46:58
  Speaker 1: been part of a murder. Yeah, And Henry turns her
• 47:01
  Speaker 1: and says, shut up, let me think, which is the
• 47:04
  Speaker 1: first time Becky has like really met Henry. And then
• 47:07
  Speaker 1: Henry's like, oh, I got a great idea and accuts
• 47:09
  Speaker 1: to him sawing off Otis's head in the bathtub. Then
• 47:14
  Speaker 1: they decide, let's just let's just take the dismembered body.
• 47:18
  Speaker 1: Let's leave town. They dump Otis's body into the Chicago
• 47:23
  Speaker 1: River as they leave town and they're driving down the
• 47:26
  Speaker 1: highway and Henry another nobody laughs but me moment. So
• 47:31
  Speaker 1: they're just dismembered Otis's body, her brother after a sexual assault,
• 47:37
  Speaker 1: dump his body in the Chicago river, driving down the highway.
• 47:40
  Speaker 1: It's dead silence. Henry says, you want to listen to
• 47:43
  Speaker 1: the radio. Oh so, I wrote oh no, Becky thinks
• 47:50
  Speaker 1: they're in it now like Bonnie and Clyde. She is
• 47:52
  Speaker 1: very wrong. Henry suggests, my sister lives in San Bernardino.
• 47:57
  Speaker 1: Does even have a sister, We don't know. Let's go
• 48:01
  Speaker 1: to San Bernardino. And she says what about Laurleine though,
• 48:04
  Speaker 1: And he goes, oh, we'll send for Laurreleine. I promise.
• 48:10
  Speaker 1: Becky says, I love you. I wrote this line, and yeah,
• 48:15
  Speaker 1: it's his response. I know, Han solo. No, that's not
• 48:19
  Speaker 1: what he says.
• 48:20
  Speaker 2: It's actually ready more romantic, it's actually worse. Yeah, I
• 48:23
  Speaker 2: guess I love you too. It's so I like what
• 48:26
  Speaker 2: he did, and I was just like, I'm not kidna you.
• 48:28
  Speaker 2: Becky's had ninety six red flags and when he did that,
• 48:32
  Speaker 2: I just said, roll out of the car right now
• 48:35
  Speaker 2: and just take whatever's coming behind you. Yeah, like, just
• 48:38
  Speaker 2: do not bother with you.
• 48:39
  Speaker 1: You get run over by mac truck. It's better than this,
• 48:41
  Speaker 1: better than this.
• 48:42
  Speaker 2: Yeah.
• 48:43
  Speaker 1: Uh. So they're now in a motel and Becky is
• 48:45
  Speaker 1: I love how Henry brought the guitar from the Hitchhiker
• 48:48
  Speaker 1: and Becky's playing it and I'm like, bad sign, bad sign,
• 48:53
  Speaker 1: and uh. It now cuts to after that she's playing
• 48:57
  Speaker 1: guitar in the room. Henry and get married, and Lerline
• 49:02
  Speaker 1: is the flower girl.
• 49:04
  Speaker 2: It's such a nice ceremony too, dude.
• 49:07
  Speaker 1: Such a beautiful ceremony. It's in a church. No, so
• 49:11
  Speaker 1: what do they cut to after Becky's playing the guitar?
• 49:16
  Speaker 2: When does this? Is when he says, what did he say?
• 49:19
  Speaker 1: I don't remember.
• 49:19
  Speaker 2: We we better go to bed. That's that's what he says.
• 49:22
  Speaker 2: It's just like, okay, yes, I just wouldn't sleep with
• 49:25
  Speaker 2: him being awake near me. And they just cut to daytime.
• 49:31
  Speaker 2: Henry walks out of the motel and just drives down
• 49:35
  Speaker 2: the road. Becky, No, Becky, I rode here. He must
• 49:39
  Speaker 2: be running errands for them. But the cool thing is
• 49:44
  Speaker 2: when they shoot it's the cool thing. But like they
• 49:46
  Speaker 2: don't show you what's in his car, so that she
• 49:49
  Speaker 2: could be in the car for.
• 49:50
  Speaker 1: All you know. But then driving alone, but you don't know.
• 49:53
  Speaker 2: He throw he throws his bag into the front seat,
• 49:55
  Speaker 2: and I'm like, well, that isn't that isn't good.
• 49:57
  Speaker 1: And that's a big heavy bag.
• 49:59
  Speaker 2: Yep. He then just drives down the road. You see
• 50:03
  Speaker 2: him pull over the side of the road and it's
• 50:04
  Speaker 2: just shot from the ground and you just see him
• 50:07
  Speaker 2: open the trunk and this gigantic suitcase and he just
• 50:11
  Speaker 2: huzzes it onto the side of the road and they
• 50:14
  Speaker 2: just stay there with the bag.
• 50:16
  Speaker 1: In the movie, the bag is the bag is Becky.
• 50:20
  Speaker 1: There's like blood coming out of the bag.
• 50:21
  Speaker 2: There is no this person does not care about.
• 50:24
  Speaker 1: You is Becky. And I believe the real life eleven
• 50:29
  Speaker 1: year old Becky was also murdered by Henry le Lucas.
• 50:33
  Speaker 1: So yeah, now, if if you are reading the mind
• 50:43
  Speaker 1: of other Hollywood producers right now, if you're like minded
• 50:46
  Speaker 1: to them, I know in this moment you're thinking sequel,
• 50:50
  Speaker 1: and you're in luck. They did make a sequel to this,
• 50:52
  Speaker 1: you know what.
• 50:54
  Speaker 2: You know what the sad thing is because you mentioned
• 50:56
  Speaker 2: earlier the poster was He's not Friday, He's not Jason,
• 50:59
  Speaker 2: he's real. I am not kidding you because it was
• 51:02
  Speaker 2: the eighties, even though it came out in the nineties.
• 51:04
  Speaker 2: I guarantee you the sequel is probably like a very
• 51:08
  Speaker 2: slashery shit movie because it was like, we might as
• 51:12
  Speaker 2: well make this real thing corny yourself.
• 51:16
  Speaker 1: So, yeah, Henry did kill Becky in real life. He
• 51:21
  Speaker 1: stabbed her in the chest, which killed her. Then he
• 51:23
  Speaker 1: carved an upside on cross on her chest, and then
• 51:27
  Speaker 1: had sex with her corpse before stuffing her body into
• 51:30
  Speaker 1: a drangerge pipe. Once again, how is it possible? But
• 51:35
  Speaker 1: real life was worse than this movie.
• 51:39
  Speaker 2: I'm mispicturing. So two guys wrote this movie, John mcnont
• 51:43
  Speaker 2: and a guy named Richard Fire. By the way, what
• 51:47
  Speaker 2: a fire, what a name?
• 51:48
  Speaker 1: Fantastic?
• 51:50
  Speaker 2: Hey man, I read this crazy article. Maybe we could
• 51:54
  Speaker 2: like clean it up a little bit like Hollywood it.
• 51:57
  Speaker 1: Yeah, like she's eleven, let's maybe make her like twenty.
• 52:01
  Speaker 2: Let's hollywood it, and like it'll probably do really well.
• 52:05
  Speaker 2: Like it's like the Hollywood version of the story is this,
• 52:09
  Speaker 2: and it's still awful, And.
• 52:10
  Speaker 1: I'm glad this movie was made because it.
• 52:13
  Speaker 2: Is extraordinarily well done.
• 52:15
  Speaker 1: A unicorns, Like, there's no movies that are nothing like this.
• 52:17
  Speaker 1: And that's why I liked.
• 52:20
  Speaker 2: What's the.
• 52:23
  Speaker 1: Zendai Robert Pattinson.
• 52:24
  Speaker 2: Movie, The Drama.
• 52:25
  Speaker 1: I've seen it the Drama, so I really liked it,
• 52:28
  Speaker 1: and a lot of people didn't. And I thought, there's
• 52:30
  Speaker 1: just I don't know another movie that's like the Drama.
• 52:32
  Speaker 1: I don't and that that makes it special in my opinion.
• 52:36
  Speaker 1: But at the same time, how is this made?
• 52:38
  Speaker 2: How is this I think because it was independently made
• 52:41
  Speaker 2: and because it didn't like what I am so darkly
• 52:50
  Speaker 2: not fascinated by but almost would want to know more about.
• 52:53
  Speaker 2: Is when you are casting an independent movie in the eighties,
• 52:59
  Speaker 2: Like maybe the time period was different, I don't know,
• 53:02
  Speaker 2: Like if you're the couple and the kid in the
• 53:05
  Speaker 2: home video and being like, hey, we're making this movie.
• 53:08
  Speaker 2: Here's what it's about, and you're like, I need you
• 53:10
  Speaker 2: to be sexually assaulted on camera, and you're like and
• 53:15
  Speaker 2: you're nude, and it's what compared me fifty bucks for
• 53:17
  Speaker 2: the day, and you're just like like like like, how
• 53:21
  Speaker 2: do you have that conversation?
• 53:23
  Speaker 1: Like out there? Man?
• 53:25
  Speaker 2: But it's like it's like it's one thing. If it
• 53:27
  Speaker 2: was like, hey, this is being made by a company
• 53:29
  Speaker 2: or like a respected group, it's like this is an
• 53:32
  Speaker 2: independent movie. Then again, back in the eighties seventies, this
• 53:36
  Speaker 2: was much more comments. Maybe people just didn't care. But
• 53:39
  Speaker 2: what what I think is really harrowing about.
• 53:43
  Speaker 1: It is.
• 53:45
  Speaker 2: Eighties I think are a bit of a very corny
• 53:48
  Speaker 2: time period in terms of movies. Yeah, which there's a
• 53:50
  Speaker 2: lot of great ones, don't get me wrong. Yeah, the
• 53:54
  Speaker 2: people who are playing the victims are like this sounds awful,
• 54:02
  Speaker 2: but like phenomenally acting, where like you think this is real,
• 54:07
  Speaker 2: Like this looks real for like nineteen eighty six. Like
• 54:09
  Speaker 2: it's not like there's not like an over dramatic, corny
• 54:12
  Speaker 2: thing about it. It's very disturbingly real for I think
• 54:18
  Speaker 2: a movie that's probably way ahead of its own time.
• 54:22
  Speaker 2: And I know obviously we've been talking about this in
• 54:24
  Speaker 2: pretty dark detail because that's what this is, what this
• 54:26
  Speaker 2: movie contains. I think people should weirdly see this movie.
• 54:32
  Speaker 1: Because everybody listening is like, Nope.
• 54:34
  Speaker 2: Absolutely not, which I'm not surprised at all. To me,
• 54:37
  Speaker 2: it's almost like a movie I respect a lot, and
• 54:41
  Speaker 2: I had a very hard time seeing the first time
• 54:43
  Speaker 2: was United ninety three. I never saw that, Yeah, which
• 54:46
  Speaker 2: is it's I put this in the same in the
• 54:50
  Speaker 2: same category because the people who made this.
• 54:53
  Speaker 1: I don't believe nine to eleven ever happened personally.
• 54:56
  Speaker 2: Okay, so yeah, I'm going to back out of this immediately.
• 55:00
  Speaker 2: But how's your album coming? Along? Another rabbit hole we
• 55:04
  Speaker 2: don't want to go down. But this thing of like
• 55:10
  Speaker 2: this is what this probably is in terms of like
• 55:13
  Speaker 2: what happens with these situations? Yes, how how much do
• 55:17
  Speaker 2: you want to blow the line of reality and fiction?
• 55:20
  Speaker 2: We're like especially like United ninety three, where like in
• 55:23
  Speaker 2: this movie does the similar thing where like you're sitting
• 55:25
  Speaker 2: in a movie theater, you're in aisles, you're kind of
• 55:28
  Speaker 2: like you're sitting in a plane. You're all looking the
• 55:30
  Speaker 2: same way, and that movie is like you're in the plane.
• 55:33
  Speaker 2: You're in the plane. They never cut back, they never
• 55:36
  Speaker 2: you once you're in there. You're inside that plane and
• 55:40
  Speaker 2: everything that happens while attention, you're part of it.
• 55:42
  Speaker 1: What's the deal with airplane venus?
• 55:45
  Speaker 2: So that's what Jerry comes on before. But the idea
• 55:48
  Speaker 2: is like this movie is like you are no longer
• 55:51
  Speaker 2: going to be like you're a witness and a participant.
• 55:55
  Speaker 2: You're not a safe at home viewer. That blurring the
• 55:58
  Speaker 2: lines really hard and as insane as the content of
• 56:01
  Speaker 2: this movie is, it is really well done. I almost
• 56:05
  Speaker 2: think like I'm kind of glad this movie's reputation is
• 56:08
  Speaker 2: not horrory kind of like the like kind of like
• 56:13
  Speaker 2: the misinterpretation of American Psycho, because when American Psycho was
• 56:16
  Speaker 2: coming out in two thousand. It was very much sold
• 56:19
  Speaker 2: as like a psycho horror movie. That's that's very much
• 56:21
  Speaker 2: what was sold. Like in my opinion at least, I
• 56:25
  Speaker 2: don't know how you sell this movie. But like, it's
• 56:28
  Speaker 2: interesting to me how this has not a lot of reputation,
• 56:34
  Speaker 2: and maybe because of its content that's probably why. But
• 56:38
  Speaker 2: also it's weirdly respectful. I don't know how that sounds insane,
• 56:45
  Speaker 2: but like what they're showing you is horrifying and disturbing,
• 56:48
  Speaker 2: because this is horrifying and disturbing and there's just no
• 56:52
  Speaker 2: pulling a punch on it, which I respect.
• 56:55
  Speaker 1: I agree. I think that leads into my advice, which
• 56:58
  Speaker 1: is like, also, this equal really does exist. It came
• 57:01
  Speaker 1: out in nineteen ninety six, and its stars the guy
• 57:05
  Speaker 1: who played the bootlegger in Seinfeld. He's Henry. Okay, anyways,
• 57:12
  Speaker 1: it doesn't matter.
• 57:13
  Speaker 2: Yeah, my advice wasn't a big hit.
• 57:16
  Speaker 1: It was not a big hit.
• 57:17
  Speaker 2: Unfortunately, it came out the same weekend as Independence Day,
• 57:19
  Speaker 2: so it just didn't do as well as they expected.
• 57:22
  Speaker 1: Eighty four minutes music by Robert McNaughton. So oh no,
• 57:28
  Speaker 1: but oh she has a who's Kate Kate Walsh Kate
• 57:35
  Speaker 1: Walsh from Gray's Anatomy was in the sequel.
• 57:37
  Speaker 2: Really yes would, She's the.
• 57:40
  Speaker 1: Female lead cricket. I know that means. But my advice is,
• 57:45
  Speaker 1: like we all men, we all have these fantasies that, like,
• 57:49
  Speaker 1: you know, we would in this situation if somebody broken
• 57:53
  Speaker 1: in my home, I would do this. And like the
• 57:55
  Speaker 1: East Area rapists who are the Golden State killer, same
• 57:59
  Speaker 1: person there was. They had like a community meeting about
• 58:03
  Speaker 1: the Sai rapists and some guy stood up and said, like,
• 58:06
  Speaker 1: if you broke into my home, like this wouldn't happen.
• 58:09
  Speaker 1: He would be dead. And then that guy was like
• 58:13
  Speaker 1: somebody broke into his home and like raped his wife
• 58:16
  Speaker 1: and people think that they rapist was at the meeting
• 58:18
  Speaker 1: and was like, oh, we'll see buddy, And yeah, I
• 58:22
  Speaker 1: think that luck is luck is just like gambling. Most
• 58:28
  Speaker 1: of the time, the house wins. I think in a
• 58:31
  Speaker 1: violent situation, most of the time, it's just a random happenstance.
• 58:36
  Speaker 1: And you could be like a UFC fighter, but if
• 58:39
  Speaker 1: somebody had a knife or a gun or they you
• 58:42
  Speaker 1: weren't paying attention, they stabbed you in the back. I
• 58:44
  Speaker 1: don't care if you're a billy badass. Like violence is
• 58:48
  Speaker 1: not cool. Violence usually goes down like how it went
• 58:52
  Speaker 1: down to that house. Violence is it's a bad time.
• 58:58
  Speaker 1: It's a bad, bad time. So yeah, we all like
• 59:03
  Speaker 1: to think, oh, well, if I was in this situation,
• 59:07
  Speaker 1: but no, you're dead. If you're in this situation, you're
• 59:10
  Speaker 1: dead and your wife's dead and your son's dead. And sorry,
• 59:15
  Speaker 1: that's my advice.
• 59:18
  Speaker 2: Don't ask someone about their their dad. Don't ask. That's
• 59:23
  Speaker 2: my advice. In that room, here's my If you're suspicious,
• 59:33
  Speaker 2: it's time to go.
• 59:34
  Speaker 1: Yeah, move, don't you just don't? If you no, just know,
• 59:40
  Speaker 1: if you're blacky, just know, leave, don't. I mean, honestly,
• 59:45
  Speaker 1: I don't want to say stay with Leroy. But better
• 59:48
  Speaker 1: than this, Leroy is better than Henry Nottics.
• 59:51
  Speaker 2: You can probably find a job shampooing hair where you
• 59:54
  Speaker 2: were from originally, Like you don't need to, Like, she's
• 59:58
  Speaker 2: just moving there for the sake of finding new What
• 1:00:00
  Speaker 2: was her daughter's name, Laureline Laurlene.
• 1:00:02
  Speaker 1: Yeah, Like I'm glad she didn't bring her to Otis
• 1:00:05
  Speaker 1: and Henry's apartment. She knew better than that. If there
• 1:00:08
  Speaker 1: was my god, But abandoning lareline. I'm not crazy about either.
• 1:00:14
  Speaker 2: I I got the impression that obviously no one in
• 1:00:20
  Speaker 2: this movie is okay in any way, shape or form.
• 1:00:23
  Speaker 2: It's just not no. So I always thought like Becky's
• 1:00:27
  Speaker 2: situation was kind of like were they eventually going to
• 1:00:30
  Speaker 2: be like something was up with her? Where Like her
• 1:00:34
  Speaker 2: situation was so bad because judge of character is one thing.
• 1:00:37
  Speaker 1: Right, she clearly is an awful judge of character. Nobody's
• 1:00:40
  Speaker 1: going to grow up as I mean, it could be worse.
• 1:00:43
  Speaker 1: You could be Otis or Henry, but nobody's going to
• 1:00:45
  Speaker 1: grow up with Becky's upbringing based on what she said
• 1:00:48
  Speaker 1: and be like okay.
• 1:00:50
  Speaker 2: Yeah, I mean with And I wonder is the movie
• 1:00:54
  Speaker 2: trying to sort of put that in perspective, where like
• 1:00:56
  Speaker 2: she has a horrible upbringing and she seemed to be
• 1:01:00
  Speaker 2: doing okay and wants to make a change and wants
• 1:01:03
  Speaker 2: to do something positive. And Henry's if It's real, was
• 1:01:09
  Speaker 2: also pretty awful, and Henry's Henry's doing this thing quote unquote.
• 1:01:17
  Speaker 1: We've talked about like the myth of a self made
• 1:01:19
  Speaker 1: man and how life is just all luck and happenstance.
• 1:01:22
  Speaker 1: But you know, sometimes you could say if I'm like
• 1:01:26
  Speaker 1: Joe Boomer racist. You know, well, black person A and
• 1:01:31
  Speaker 1: black person B grew up on the same street next
• 1:01:34
  Speaker 1: to each other, and A was a criminal and B
• 1:01:37
  Speaker 1: went to Harvard, So like, why can't A pull himself
• 1:01:40
  Speaker 1: up by his bootstraps and just be go to Harvard too?
• 1:01:43
  Speaker 1: Because B did. But like, there's so much luck involved
• 1:01:46
  Speaker 1: in that. It's like you had one good parent or
• 1:01:49
  Speaker 1: foster parent or brother or sister who taught you to
• 1:01:53
  Speaker 1: try in a class, and then you try in the class,
• 1:01:55
  Speaker 1: and then the teacher takes notice and it happens to
• 1:01:58
  Speaker 1: randomly be a good teacher, and he takes an interest
• 1:02:00
  Speaker 1: in you and encourages you, and then you're somehow protected
• 1:02:03
  Speaker 1: or insulated from violence or drugs or whatever. Like there's
• 1:02:08
  Speaker 1: like a thousand things have to go right if you're
• 1:02:10
  Speaker 1: born into a shit situation for you to get out
• 1:02:13
  Speaker 1: of it successfully. And when you're born into a situation
• 1:02:18
  Speaker 1: like mine, you know, things can still go very wrong.
• 1:02:21
  Speaker 1: I could have turned out to be a school shooter,
• 1:02:23
  Speaker 1: but you know, it's a lot of things can go
• 1:02:25
  Speaker 1: right too. So I think that Henry and Becky and Otis,
• 1:02:31
  Speaker 1: with their backgrounds and upbringing, we're never going to be okay.
• 1:02:36
  Speaker 1: And that doesn't mean that we should have empathy for
• 1:02:39
  Speaker 1: somebody like Henry. You just have to understand that everyone
• 1:02:49
  Speaker 1: has some level of trauma. I think every human being
• 1:02:55
  Speaker 1: is fucked up to some degree and needs therapy. It's
• 1:02:58
  Speaker 1: just a measure of how bad it is.
• 1:03:01
  Speaker 2: I think. Also on the other side of that too,
• 1:03:04
  Speaker 2: is also like your own choices too, right, Like a
• 1:03:09
  Speaker 2: lot of it is like you can have luck, an opportunity,
• 1:03:12
  Speaker 2: or you can have chances to change, do you take
• 1:03:15
  Speaker 2: them do you not?
• 1:03:16
  Speaker 1: And I think that's a lot of what it is too,
• 1:03:18
  Speaker 1: even that I don't think that you necessarily I don't
• 1:03:20
  Speaker 1: think it's necessarily a choice.
• 1:03:22
  Speaker 2: Again, I think it's all choice, but I think choice
• 1:03:24
  Speaker 2: is part of it. Yeah.
• 1:03:26
  Speaker 1: Yeah, if like, let's say that you have an opportunity
• 1:03:28
  Speaker 1: to change, because this is the whole argument, just free
• 1:03:30
  Speaker 1: will exist. Yeah, if you have an opportunity to change
• 1:03:33
  Speaker 1: and you take it, maybe it's because there was something
• 1:03:35
  Speaker 1: in your background that built you in a way to
• 1:03:38
  Speaker 1: make the right choice, whereas there's somebody else who never
• 1:03:41
  Speaker 1: had that built into their background. And again, that doesn't
• 1:03:44
  Speaker 1: mean that we have to have empathy for people who
• 1:03:46
  Speaker 1: make their wrown choices. They should still be put away. Like,
• 1:03:51
  Speaker 1: if somebody commits horrible crimes.
• 1:03:52
  Speaker 2: They should responsibility has to be helped.
• 1:03:54
  Speaker 1: They should be put in jail forever. But I'm just
• 1:03:56
  Speaker 1: saying that, Like, you know, I've talked about this before.
• 1:04:00
  Speaker 1: Bundy had a traumatic brain injury. Yeah, you know, would
• 1:04:02
  Speaker 1: he have if he had the miss the random misfortune
• 1:04:06
  Speaker 1: of having a traumatic brain injury? If he didn't, would
• 1:04:09
  Speaker 1: he have been a serial killer? Like maybe not? So
• 1:04:14
  Speaker 1: should he be executed and put in prison? Like yeah, fine,
• 1:04:17
  Speaker 1: I'm fine with that, But like I don't know, maybe
• 1:04:21
  Speaker 1: if he just didn't have a traumatic brain injury, he
• 1:04:23
  Speaker 1: would have been an okay guy. We just don't know.
• 1:04:26
  Speaker 1: We need we need we need him money being okay,
• 1:04:29
  Speaker 1: but could be an okay guy.
• 1:04:30
  Speaker 2: We need person to like clip audio clips and just
• 1:04:34
  Speaker 2: like edit this stuff together. I think some of the
• 1:04:37
  Speaker 2: clips today.
• 1:04:38
  Speaker 1: Have been Hey, at least I didn't walk in I'm
• 1:04:40
  Speaker 1: a little bit on Otis's side here. At least I
• 1:04:42
  Speaker 1: didn't walk into a toddler going to the bathroom today.
• 1:04:44
  Speaker 2: I did not do that. That's not what happened at all.
• 1:04:46
  Speaker 2: Here we go, Here we go.
• 1:04:48
  Speaker 1: You don'vices the moose is loose.