Episode 10

FARGO (1996) - Raising Fargo Part Two

RAISING FARGO: A Screenwriter's Insight into Fargo (1996)

This episode continues their exploration of the Coen Brothers' film 'Fargo' (1996) from a screenwriter's perspective. Jerome analyzes the film's unique storytelling, character arcs, thematic elements, and plot structure. In addition, they compare Jerry and Marge's roles, discuss casting choices, and reveal interesting trivia. The hosts also share personal anecdotes and engage in a six-degrees of separation game. Despite technical difficulties, Chris and Jerome provide insightful and entertaining commentary throughout the episode.

00:00 A Horrified Family Movie Night

00:22 Welcome to Silver Screen Happy Hour

00:39 Drinks and Double Features

01:30 Diving into Fargo

02:01 Fargo's Specs and Success

05:15 Thanksgiving Memories and Fargo

09:28 Breaking Down Fargo's Characters

17:50 Jerry's Motivations and Missteps

33:04 Marge's Investigation Begins

39:51 Wade's Sin and the Greed Theme

41:00 Marge's Midpoint Scene

41:57 Jerry's False Defeat

43:15 Marge's Investigation and Personal Struggles

48:10 Jerry's All is Lost Moment

50:58 Marge's Epiphany and Final Confrontation

57:50 What Went Wrong: Analyzing the Mistakes

01:06:06 Trivia and Final Thoughts

*

The Wiegand brothers, Jerome & Chris, love movies, and they are fascinated by human nature and the art of great storytelling. Have you ever wondered how great stories connect? Listen to the Silver Screen Happy Hour - a podcast for screenwriters and movie lovers!

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ABOUT US

Transcript
Chris:

She was horrified at our family for watching this movie.

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And we're all laughing.

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And we're laughing!

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And she's horrified.

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I can't overstate how horrified she was.

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That we're, she's like, what kind of

monstrous family did I marry into?

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Jerome: Yeah, we were laughing the whole

time all these murders were happening.

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Chris: You are listening to

the Silver Screen Happy Hour.

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I'm Chris Wiegand, along

with my brother Jerome.

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Jerome: I'm still here,

but feeling better.

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Chris: Yes, we are probably an hour

into a two part episode, Raising Fargo.

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so that means we're already

at least a beer in, so,

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Jerome: I am a glass of larceny

in and the strong larceny.

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Chris: So you shared on the last episode

that you're drinking larceny as a

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tribute to the outlaws in the, in the

movies for what we're talking about.

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126 proof larceny.

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So hopefully you can hold it together

with all that, that high octane.

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Cause you're, you're doing

the heavy lifting here.

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I'm just here for the ride.

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Jerome: I'm gonna transition now

into my lightsabers because I

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don't want to keep drinking that.

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I do have a family I do

have to talk to later.

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Yeah.

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So I am going to transition now

into my lightsabers, if you will.

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Listen to this.

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Chris: Yep, and I'm still on my light

beers as a tribute to the light beers

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that were being drank in the movies.

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It's my Mic Ultra.

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Nice.

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Mhmm.

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Alright.

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Alright, so we just

tackled Raising Arizona.

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Doing a Coen Brothers double feature here.

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Jerome: We are.

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So what's the next film?

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Fargo.

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Oh, beautiful.

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Fucking beautiful.

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I love it.

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I gotta tell you before we start,

this is, this was, is one of my

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favorite films in the nineties.

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Yeah.

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It, let's just get into it.

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Chris: Can I start with like my, like,

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Jerome: Well, wait, we

don't, we're not there yet.

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We're not there yet, let's,

we'll, we'll get to that part.

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So let me give, let me give

the audience first the specs.

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Yeah.

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I always start with the

specs of each movie.

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Sure.

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1996, we're directed by Joel Cohen,

written by Joel and Ethan Cohen.

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Running time, one hour,

thirty eight minutes.

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Another short one.

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It had a budget of 7 million.

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It was released on April 5th, 1996, and

it made 24 million at the box office.

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Are you seeing the similarities

with raising Arizona?

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Yeah.

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Raising Arizona had a 6 million

budget and made 22 million.

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This one had a 7 million

budget and made 24 million.

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Chris: Did you say it was

released in April of 96

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Jerome: both released in April.

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The other one was released in April of 87.

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This one, I remember the first one.

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Landed at, what did I say?

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Like the 52nd spot?

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Yeah.

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For domestic.

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This one was good for 75th

place on the domestic list.

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It got beat out by only 164,000

by the 74th place holder scream.

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Oh, wow.

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Which.

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It's weird because I remember Scream

being a much bigger hit than that.

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So I'm not sure how a box office

mojo got their numbers or if

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they only included certain months

or whatever, but I don't know.

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This one, however, in contrast to

Raising Arizona, Fargo garnered seven

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Oscar nominations and won two of them.

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Best Actress, Frances McDormand, and

Best Original Screenplay for The Coens.

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Chris: Yeah, that was

her first, wasn't it?

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Jerome: That was their first, yes.

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Side note, the top 10 films of that

year, we talked about the top 10 films

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the year The Risen in Arizona came out.

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Here's the top 10 films of 1996.

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Independence Day was number one

at 817 million dollars worldwide.

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Chris: Love that movie.

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Jerome: Followed by Twister, Mission

Impossible, that's Mission Impossible

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1, The Rock, The Hunchback of

Notre Dame, 101 Dalmatians, Ransom.

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The Nutty Professor, Jerry

Maguire, and Space Jam.

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So, already we're seeing that switch.

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Remember when I told you when, when

we did the Raising Arizona episode,

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we named the top 10 films that year,

only two of them were action films, the

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rest were like these Oscar type movies?

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Already, which 87 and 96, not even 10

years later, these are all action films.

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Chris: Yeah.

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Jerome: With the exception of Ransom.

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Which actually has a lot of action in it.

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I'd say the only straight drama

on this list is Jerry Maguire.

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And that was up for Best Picture.

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You know what I mean?

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See how the pendulum swung

within just ten years?

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Where action films were back in the

80s and particularly the 70s and

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the 60s and the 50s if you go back

that far The top grossing films

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are all the ice oscar films, right?

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It's all the really good movies Somewhere

along the line it switched to where

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your popcorn film was the one that

made all the money But the oscars went

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to the lower films the smaller films,

right far fargo was one of them and

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that's our it stars francis mcdormand

as marge gunderson You William H.

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Macy as Jerry Lundegaard.

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Every time I say his

name, I have to say it.

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Jerry Lundegaard.

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Lundegaard.

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Steve Buscemi as Karl Showalter.

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Piers Stormare as Gare Grimsrud.

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And Harv Presnell as Wade Gustafson.

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Alright, tell me.

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What is your history with this movie?

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Chris: So, the thing I remember

ost was Thanksgiving weekend,:

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Jerome: Yes!

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That's oddly enough, mine too.

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Chris: We were at our aunt's house.

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Now, I thought I had seen it already

because I knew what we were about to see.

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Jerome: I did see it already.

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In fact, I think I was

the one that brought it.

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Chris: Yeah.

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Because I

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Jerome: do have an additional story

with mine, but go ahead and tell yours.

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Chris: So this was what, November of 96.

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I was married October 12th, 96.

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And so, you know, Jessie's, my wife comes

to Thanksgiving with my family and we sit

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down as a family to watch a family movie.

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Was this

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Jerome: Jessie's first

Thanksgiving at Aunt Denice's?

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Chris: Well, I think she came the

year before when we were dating,

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but I, that's not as memorable.

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Jerome: So we, first we have

to set up the scene, right?

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This is a, a total like cabin in the

woods, horror story that we do every year.

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We would leave the Detroit area and

go to Kalamazoo, which for anyone

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doesn't know is about good two and a

half, three hours drive from Detroit.

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Yeah.

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And my aunt Denise's house in

the middle of was it Schoolcraft?

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Was the town?

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Portage.

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Portage, Portage, and and they, we would

be there all weekend and we would start

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it like Tuesday, right, and we would go

and we would smoke cigars and we would

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Chris: play Risk.

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Yeah, once we got older, I mean, we

were going there for years, so it

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started when we were little kids.

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Yeah, when we were little

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Jerome: kids, we would just like

build forts and shit and play video

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games, but as we got older, 96,

I was 21 years old by that point.

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We were drinking and we were smoking

cigars and we would play Risk of the

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Game of World Domination and poor

Jessie got introduced in this Cabin

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in the Woods sort of mentality where

we all become savages for the weekend

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and she got introduced to this.

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Chris: Well, it's, it's how

I knew she was a keeper.

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She survived that weekend and, but

she was horrified at our family

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for watching this movie and we're

all laughing and we're laughing.

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She's Horrified.

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I can't overstate how horrified she was.

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That we're, she's like, what kind of

monstrous family did I marry into?

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Jerome: Yeah, we were laughing the whole

time all these murders were happening.

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In fact, I think we laughed harder

with every murder that happened.

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Yeah.

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Yeah, it's sadistic.

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Now my tack on my story

is the same as yours.

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All of that is the same for me.

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I loved it.

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I loved the going to Kalamazoo for

Thanksgiving weekend and the cigars and

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the risk and the always watching a movie.

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And Fargo was that movie that introduced.

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Poor Jessie's to our family, but I had

a little, a little precursor to that.

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It had just hit video earlier

and I was still in Chicago.

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I was going to school at Columbia

college, Chicago, and me and my

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roommates at the time, Hughs was my

buddy, hughs who I often talk about.

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He was one of my roommates.

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We rented it when it hit video

and we couldn't stop laughing.

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Like it was such, like even the

little things, like, like the guy

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that he's trying to swindle during

the car deal with the true coat,

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the guy's like, you lied to me, Mr.

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Lundegaard, you're a bold faced liar.

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And he goes, you're up.

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Fucking liar!

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Like, even like, seeing a guy struggle

to get the word fucking out, cause

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he obviously doesn't swear often,

like, even little things like that

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were hilarious, and we would just,

it was one of those scenes where

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we'd rewind it and watch it again.

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Chris: Ah, it was gold.

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Jerome: It was so great, so then

when it was come time to go home to

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Thanksgiving, now again, I was in

Chicago at the time, so for me, I used

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to take the train from Chicago's Union

Station to the Kalamazoo Station.

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I took the train and mom and dad would

pick me up from the train station.

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Or Aunt Denise would.

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Because I would usually go early.

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I'd go on like Monday night

or Tuesday to get Thanksgiving

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weekend started on Tuesday.

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That's how sick and demented I was.

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And I brought it home with me and

that's, that's where your story picks up.

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So, so I had a little bit of a precursor.

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I was the, I was the catalyst.

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I was the problem.

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I brought the crashing into the old world.

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I brought the movie

that terrified Jessie's.

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So it's great.

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That's great.

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All right, log me.

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Chris: All right.

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Minnesota car salesman Jerry

Lundergard's inept crime falls apart

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due to his and his henchman's bungling

and the persistent police work of

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the quite pregnant Marge Gunderson.

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That was written roughly.

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Jerome: I like how they

say quite pregnant.

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Chris: Yeah, quite pregnant.

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Jerome: Now, by the way, there are a

few elements that I didn't actually

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write down as part of my notes, but

they do they do have to be said.

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What a great choice to make the hero of

the story a seven month pregnant woman.

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Chris: Yeah.

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Jerome: Right?

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Like God, when you think about crime

dramas or crime films, the hard

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nosed cop, you know, it's always

like a cop on the edge, right?

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Like an alcoholic cop on the edge.

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And, you know, he's just, he's

just one step from being a criminal

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himself and, but they make it easy.

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pregnant Marge Gunderson, but we are

going to get to, and I am going to

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blow your doors off that Marge is not

so as innocent as we think she is.

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Um, All right.

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Side notes on the beats.

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Of course I have to do side notes

on this one because the Coen's

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always throw me for a loop.

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You can't just do a simple Blake Snyder

beat sheet with the Coen brothers.

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Um, All right.

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So let's just start with

who the fuck's story is it?

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Based on the logline, we're

assuming it's Jerry's story.

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Right?

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Yeah.

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Based on how the entire first

act is all on Jerry and Marge

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doesn't even show up until act two.

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Chris: Yeah, Jerry's the

one with the problem.

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Jerome: Right, so proper storytelling

and script structure would insist

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that Jerry is the protagonist.

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Albeit a flawed one,

but he's still the lead.

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However, once Marge is introduced,

It's pretty clear at that point

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that she's the main character, and

Jerry sort of drifts away into the

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background until the climax of the film.

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Actually, I'm sorry, THROUGH the

climax of the film, only to re

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emerge kind of at the ending, right?

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Having never learned a lesson.

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He doesn't learn anything.

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We're going to break down the

beats for both Jerry and Marge.

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That's my surprise for you.

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That's my gift for you today, sir.

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And all of you listeners, we're

going to break down the beats

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for both Jerry and Marge and see

how they intersect each other.

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Perfect example of know the

rules before you break them.

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Nobody does it fucking better

than the Coen's, right?

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I mean, they follow the rules.

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They follow the tools,

they follow the beats.

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They just do it in an

unconventional and unique way.

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And it's hard to really dig in.

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But before we do that, I have to

discuss first the flat art character.

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Okay.

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For you, beginning writers, a flat

art character is where the lead

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doesn't really learn a lesson on

the journey we do as an audience and

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maybe the world around them changes.

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Or at least the world is somehow

viewed differently by them.

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Mm hmm, but they themselves

generally stay the same.

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The best example of this has

always been Superman, right?

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Superman's always the same in every movie,

every comic, every TV show, everything.

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Whatever it is, he's righteous.

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He's good.

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He never lies.

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He doesn't change the stories

around him that, you know, create

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all these characters and, and

the world and evil and bad guys.

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His view of the world might

change, but he himself doesn't.

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He has the same concepts at the

beginning that he has at the end.

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Right, right.

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He'll go on adventures to

save humanity from evil.

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By and large, he doesn't

change on a darker scale.

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I know I've talked about this

on previous podcasts as well.

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Paul Schrader characters often

have the flat arc, but not so

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much in a righteous or good way.

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Travis Bickle in Taxi Driver, Jake

LaMotta in Raging Bull, Ali Fox

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in The Mosquito Coast particularly

Wade Whitehouse in Affliction.

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These are all Paul Schrader scripts.

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They certainly change

the people around them.

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Uh, Just knowing these guys is the journey

and everybody around them learns their

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goals, but they themselves stay the same.

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They never really learn the lesson.

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All four of those characters

I just mentioned have the same

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belief system at the end of the

film as they had at the beginning.

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The audience and the supporting

characters, on the other hand, are the

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ones who actually learn the lesson.

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You know, about them.

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They actually learned something.

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And the reason I mentioned this is

because investigation stories, the

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cops and robbers, the cop trying to

investigate the criminal thing, what

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Blake Snyder calls the why done it in

his story patterns, those very often

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have a flat arc protagonist because

their tactics of investigation, their

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belief system that never changes.

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The interesting thing about

Fargo is that Marge, if we

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treat her, that she is the lead.

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Even though she's introduced late,

she is the investigating officer.

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She seems to have a flat arc

as far as her investigating.

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She's the same cop at the end

as she is at the beginning.

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But ultimately she does learn a very

valuable lesson that we set up with the

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theme and oddly enough, it will bring.

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Immeasurable worth to a scene later in

the film that everyone I've ever talked

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to always says that this one scene, quote

unquote, has nothing to do with the movie.

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Chris: Hmm.

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Jerome: You know what scene

I'm talking about, right?

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The scene with Mike and Nikita, where

she goes to have a drink at the hotel.

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At the hotel bar with the Asian guy.

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Chris: Yeah.

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Talk about that.

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Jerome: We will get to that.

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Everybody always, everybody always says

that has nothing to do with the movie.

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But it does.

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Because, it, it, well, I'll

explain it when we get there.

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Jerry, in his list of beats,

certainly has a flat arc.

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Because he doesn't learn a goddamn thing.

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He has the same mentality of choices at

the end that he has at the beginning.

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The ending is him getting arrested.

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Now, if you, if you wanted to extend

this film, Say another half hour since

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it's only an hour and a half movie.

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If you were to make this two hour

film and it ends with Jerry's sort

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of like incarceration and trial.

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Yeah, maybe he breaks down on

the stand and realizes, Oh, I

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should never have done this.

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I love my wife.

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I was too blinded by money,

whatever, blah, blah, blah.

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You could come up with a

spiritual goal for Jerry.

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But in the film that we are

presented, he has a flat arc.

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Chris: Yeah.

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Jerome: Jerry doesn't

learn a fucking thing.

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Alright, now that I got all

that off my chest and out of the

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way, we have the double beats!

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Opening image!

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This is just Jerry's right now.

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Car drives in the daylight, but kicks

up snow and shows a mist of uncertainty.

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Theme stated, intro to Jerry Lundegaard

in his first meeting with Carl

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Schoelwalter and Greer Grimsrud,

who he's hired to kidnap his wife.

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The theme is brief, but And barely

noticeable with a single line of

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dialogue, but the concept of appreciating

what you have is at play here.

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If any dialogue supports this, it's

mostly six minutes in, when upon, upon

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hearing about the plan that they've

been hired for, even the bad guys

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are trying to talk Jerry out of it.

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Chris: Right.

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Jerome: Like, after Jerry admits that

he's doing this for money, Carl says,

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and he says his father in law is

very well off, Carl says, quote, Why

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don't you just ask him for the money?

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And Grimmshirt goes in,

Or your fuckin wife.

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And he's like, yeah, or

your fuckin wife, Jerry.

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Like, they're even they are

trying to talk him out of it.

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Like, you don't need to do this.

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If you need money, and your

fuckin father in law is rich,

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Just ask him for the money!

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Like, you know what I mean?

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Like, they are even sa But but Jerry?

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doesn't appreciate what he has.

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Yeah.

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He is more greedy than anything.

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Ironically Marge is not in this scene.

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But her theme is the same

and I'll get to that after.

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All right, set up.

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In this section, we learn more about

Jerry But the interesting thing is that

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the Coens, what the Coens do here They

break, they understand, yet they break

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yet another fundamental rule, particularly

in cop case movies We don't really

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know what Jerry needs the money for.

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Like in most movies, there's

a motivation For the criminal

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Chris: right

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Jerome: and we know what they're

after but this one's never really

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explained Like it's clear that

he's defrauding the gmac, right?

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He's defrauding them by taking

insurance money He's taking insurance

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loan money for cars that don't exist.

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Why

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Chris: yeah,

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Jerome: like like the the kidnapping

plan Is that to pay back the

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gmac because they realized?

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He got, you know, he got found out.

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He got caught.

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So is the kidnapping

plan to pay them back?

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:

Or does he want the GMAC money

on top of the kidnapping money?

381

:

And let's not forget about the

deal he comes up with to tell his

382

:

father in law about the parking

lot that he wants to invest in.

383

:

So like what, because when he

thinks that's in play, he wants

384

:

to call off the kidnapping.

385

:

So really, which, what money is he after

and why, why does he need the money?

386

:

Chris: Right.

387

:

Jerome: It's never explained.

388

:

Right.

389

:

Chris: It's wild.

390

:

Yeah,

391

:

Jerome: it is wild because every

other movie, that's a major

392

:

part that will sink a film.

393

:

If you don't have a clear motivation

of the bad guy, we don't buy into it.

394

:

Chris: Right.

395

:

Jerome: But the Coen's sort of

like, Eh, you'll buy into it.

396

:

Chris: Well, you almost buy into

it because he's such a doof.

397

:

Jerome: Right, he's such a fucking doofus!

398

:

So, I don't know But what is

clear is that Jerry is obviously

399

:

greedy for the money, right?

400

:

It's just not clear what he needs it for.

401

:

And and in a Cohen brothers kind of

way, it doesn't even matter, right?

402

:

The story, the story works without it.

403

:

The, the, they take that structure.

404

:

It's like, yes, we

understand script structure.

405

:

We understand the rules and here's

where we break it over our knee,

406

:

you know, like they just don't care.

407

:

Oddly enough though, in a Blake Snyder,

save the cat kind of way, we are drawn to

408

:

actually root for Jerry at the beginning

because when he gets home, he gets

409

:

pushed around by his father in law, Wade

Gustafson in his own house, old man,

410

:

Wade, the rich owner of the dealership of

which Jerry is executive sales manager.

411

:

By the way, whenever I hear that.

412

:

I have to say it the way Jerry says it.

413

:

I'm executive sales manager, you know?

414

:

Anyway, so whenever I, I've

had people come into my store.

415

:

And say, yes, I am the district

sales manager of whatever, whatever

416

:

they're trying to push on me.

417

:

And I always hear Jerry

Lundegaard in my head.

418

:

I would know I'm executive sales manager.

419

:

Anyway,

420

:

Chris: I got to ask.

421

:

So at some point you quit going by Jerry

and started using your birth name, Jerome.

422

:

Jerome: No, no, no, it wasn't.

423

:

Um, That's a funny story in and of itself.

424

:

I'll tell you real quick.

425

:

I was Jerry up until I

started working for Target.

426

:

So at Target, everybody that's in an ETL

executive team leader has a radio, right?

427

:

It has like a headset and a radio.

428

:

And there was another

guy there named Terry.

429

:

At the first store I worked

at, and every time they called

430

:

for Terry, I fucking answered!

431

:

And they're like, no, not you, the

other one, the other guy, or whatever.

432

:

And I was like, you know what, fuck

it, from here on out, call me Jerome.

433

:

So I just, I changed my name

to Jerome, roughly around:

434

:

No, I don't want to say changed

my name, my name's always been

435

:

Jerome, I just never went by

Jerome, I always just went by Jerry.

436

:

In 2005, I switched it.

437

:

So I was still Jerry long after Fargo.

438

:

Chris: Yeah.

439

:

Okay.

440

:

Jerome: In fact, I think our cousin

Tom used to call me Jerry Lundegaard.

441

:

Just to be a dick in a fun way.

442

:

Chris: Since we're on the topic

of your name, can we continue off

443

:

this rabbit trail for a minute?

444

:

Can you tell the story about

the three guys that came to

445

:

set up a display at your store?

446

:

And none of them believed

your name was Jerome?

447

:

Jerome: Well, that's not one story.

448

:

Chris: Well, you told it

as one story to me once.

449

:

Or you put it on Facebook, I think.

450

:

It was great.

451

:

Jerome: Is this where they thought

I was the black guy, right?

452

:

Chris: There's three african Americans

and they What were their names?

453

:

Jerome: Yeah.

454

:

So, I don't remember their names.

455

:

I don't remember their names anymore.

456

:

I'd have to go back.

457

:

Chris: I

458

:

Jerome: actually have it.

459

:

I think i, I know how to look it up

on Facebook because I've told this

460

:

story to so many people and they

all laugh, so let me look it up.

461

:

Chris: I'll cut this dead air out.

462

:

Here it is for the audience.

463

:

I'll just read your

Facebook post from:

464

:

Jerome: Okay.

465

:

Chris: Jerome Michael Wiegand posted,

They said three vendors would come

466

:

into my store for re merchandising.

467

:

Rodriguez, Sanchez, and Lopez.

468

:

The three guys showed up and

they were all African American.

469

:

They refused to believe

my name was Jerome.

470

:

Jerome: That is so old, I've

forgotten about that story.

471

:

Chris: It's so funny because I used

to be on this team at, at at my work.

472

:

And I worked with two Jerome's

and they were both black and

473

:

I told them both that story.

474

:

I read it to them.

475

:

They both died.

476

:

Jerome: And the funny thing about that

is that, And the funny thing about

477

:

that is that, that has become almost

an amalgam over my life in California.

478

:

Where I've had a hundred of

those stories since then is

479

:

what year did you say that was

480

:

Chris: 2011?

481

:

Yeah

482

:

Jerome: Since then I cannot tell

you how many people have heard that

483

:

I'm you're gonna meet a Jerome.

484

:

He's from Detroit And I am the last

person they expect to see walking

485

:

through that door Seriously walking

I'm like, yeah, I'm Jerome and

486

:

they're like no really where's Jerome?

487

:

Where, where's the guy at?

488

:

Like, no, I'm the guy like, are you sure?

489

:

I'm pretty sure

490

:

they never, they're always expecting

like, you know, some, some big,

491

:

you know, muscular black dude.

492

:

Like, yeah, I'm a lions fan.

493

:

Chris: I can see why you disappoint them.

494

:

Jerome: Well, I'm very disappointing.

495

:

I'm, I'm, I'm a, a fat, short, white guy.

496

:

Oh my God.

497

:

Chris: From Detroit.

498

:

Jerome: Right from Detroit.

499

:

Well, I'm like

500

:

Chris: the least from south

from east side of, you know,

501

:

Jerome: Detroit suburbs, whatever.

502

:

I'm still a lions fan though, but

people see, that's the funny thing.

503

:

People see my Detroit.

504

:

I have the big old English D Tigers

logo on my forearm and people see that

505

:

and they're like, you're from Detroit.

506

:

And I'm like, yeah.

507

:

And they're like, yeah.

508

:

You're Jerome from Detroit.

509

:

And they'll just pause.

510

:

And I'm like, yeah, and it

reminds me of that commercial.

511

:

I don't know if you

remember that commercial.

512

:

I think it was a Nike commercial

or maybe it was a beer commercial.

513

:

I don't know where the guy's name is

Michael Jordan, but every time he goes

514

:

somewhere, they think it's the Michael

Jordan and they're always so disappointed.

515

:

Right.

516

:

He goes to the restaurant.

517

:

He's like, yeah, I have

reservations for Michael Jordan.

518

:

And they're all like.

519

:

Aw, man.

520

:

Chris: Yeah, I remember that.

521

:

Jerome: That's kind of what I get.

522

:

People are disappointed when they see me.

523

:

It's very disheartening,

I have to tell you.

524

:

But anyway.

525

:

Chris: That was a good rabbit trail.

526

:

Jerome: Yeah, I don't know.

527

:

We fucking went off on a way, way

different tangent for that one.

528

:

It's alright.

529

:

I don't even know where we left off.

530

:

Chris: Oh my God.

531

:

Jerome: So we left off on the

fact that we never really know

532

:

what Jerry Lundegaard's plan is.

533

:

We, we just know that

he's, he wants money.

534

:

Oh, and then we, we did go into

the save the cat aspect to where

535

:

the father in law Wade, it kind of

emasculates him in his own home, right?

536

:

So that's a rooting uh, resume thing.

537

:

I want to say it was.

538

:

Again, we keep talking about

Jamie Nash and Jimmy George

539

:

and their, and their podcast.

540

:

I think they came up with

the term rooting resume.

541

:

I want to say Jamie did sorry,

Jimmy, if I, if I got that

542

:

wrong, don't, don't persecute me.

543

:

But, but the idea is that these save the

cat elements from Blake Snyder, right?

544

:

They're the things that you would root

for the character for, and he has one.

545

:

It's where, and it's where he's

kind of like the underdog, right?

546

:

And the old man's emasculating him.

547

:

So that makes us want to

root for Jerry, right?

548

:

So obviously Wade is the

alpha in this relationship.

549

:

Right?

550

:

He's, and when he's trying to convince

Wade of this parking lot deal, he says

551

:

this could really, he says, this is

a quote, This could really work out

552

:

for, well for me, Gene and Scotty.

553

:

The old man sort of looks at him and

says, Gene and Scotty never have to worry.

554

:

Yeah.

555

:

What a fucking dick, dude.

556

:

So the old man's basically saying,

My, my daughter, And my grandson

557

:

will always be set for life.

558

:

You, on the other hand, you fuckwad,

you're lucky I even allowed you

559

:

to marry my daughter, right?

560

:

Like, so, so obviously we root for

Jerry on that aspect alone, which

561

:

again argues the point that he's

the main character, but he's not!

562

:

Well, at least he doesn't

become one, he is now.

563

:

But anyway, all right, so that's how the

Coens keep fucking juggling that act.

564

:

Also, the Coens use what's known

as in media res, which in Latin

565

:

is into the middle of things.

566

:

That's what that means in Latin.

567

:

And it's a screenwriting term,

it's a screenwriting technique,

568

:

where when you start a story,

you're already in the middle of it.

569

:

Like, again, when this movie

opens, He's already meeting

570

:

with Carl and Grimsrud, right?

571

:

So he's already contacted Shep.

572

:

He's already got the plan.

573

:

He already has the car

he's going to give them.

574

:

He, you know, all that

already happened off screen.

575

:

We didn't even see any of that happen.

576

:

So we started when this movie's

already began, you could argue that

577

:

Star Wars episode four, a new hope in

and of itself is in media res, right?

578

:

Because we're starting in the

middle of the Skywalker saga, right?

579

:

Right, so, okay, so Fargo, Fargo starts

in Media Res, the car delivery, this

580

:

is where the opening is kind of shady,

because the car delivery could be

581

:

considered the inciting incident, or in

a completely different movie it could

582

:

be the fun and game sequence of Act 2,

if we had shown, if Fargo started with

583

:

him coming up with this plan, and he's

thinking about it, and he's concocting

584

:

it, and he contacts Shep and everything,

the second he arrives at the bar, That

585

:

might be the beginning of act two, right?

586

:

But in this movie, it

starts the movie, right?

587

:

So for our purposes, Since we're trying

to use Blake Snyder's beat sheet we're

588

:

gonna put it as act one set up and

let's see if Jerry can push himself into

589

:

act two despite starting in media res.

590

:

So the best place to figure this out

might be, hello, my four point push.

591

:

Alright, ready?

592

:

Inciting incident, 17 minutes

in, Gene is kidnapped.

593

:

This is the first hint to

everyone other than Jerry.

594

:

is happening, right?

595

:

Because let's just assume for

a second you don't know Jerry

596

:

Lundegaard's in on it, right?

597

:

Her getting kidnapped.

598

:

That's the first crashing in

that something has happened

599

:

to this family, right?

600

:

That's the inciting incident.

601

:

We don't, you know, again, if you're

a neighbor or a family member, you

602

:

don't know Jerry's in on it yet.

603

:

Right.

604

:

Right?

605

:

So inciting incident.

606

:

Catalyst, 24 minutes in, Jerry comes

home and sees that Gene is gone.

607

:

Here's why this is different

from the inciting incident.

608

:

It's real now, right?

609

:

Up until this moment, he didn't know

if those guys would ever show up,

610

:

right?

611

:

It could be he delivered them a

brand new car in Fargo, North Dakota,

612

:

and they just stole it, right?

613

:

They just took it and left and

said, this guy's fucking nuts.

614

:

We're not listening to this guy's plan.

615

:

We're leaving.

616

:

We're taking this car he brought

us and we're just leaving.

617

:

He doesn't know that it's ever, that

they're ever going to show when,

618

:

where, how he doesn't know any of that.

619

:

When he comes in and sees that Jean was

gone and the house was toward a shit,

620

:

he knows now that it's real, right?

621

:

That's your catalyst.

622

:

Debate begins.

623

:

He has time to consider his next move.

624

:

He could truly chicken out.

625

:

He could, he could be like a fuck.

626

:

I didn't mean for this to happen.

627

:

I don't want anything to happen to Jean.

628

:

Okay.

629

:

Ah, fuck it, the deal's off.

630

:

I'm gonna call the cops, or I'll call

Carl, or I'll call whoever and say

631

:

forget it, forget it, the deal's off.

632

:

Right?

633

:

Like, he could, but he doesn't.

634

:

He then plans to make this official

by calling his father in law, Wade, to

635

:

get him involved on getting the ball

rolling and the bail money, which, by

636

:

the way, Is a great phone sequence.

637

:

I mentioned on the silence

of the lamb episode.

638

:

Yeah.

639

:

Remember when Hector takes off

his flesh mask, the very next

640

:

scene is the payphone dropping.

641

:

Yeah.

642

:

Yeah.

643

:

Yeah.

644

:

You don't even hear the conversation.

645

:

You don't

646

:

need to hear the conversation.

647

:

You just see the phone dropping and our

dealer running down the hallway to tell

648

:

Jody Foster that Lecter has escaped.

649

:

Right.

650

:

Same concept here.

651

:

We don't need to see the phone call.

652

:

We just need to see Jerry's

preparation for the phone call.

653

:

Where he's, oh, oh, Wade, oh, it's so

bad, oh, Gene, oh, my wife, like he's

654

:

coming up with all kinds of things,

he's preparing for the phone call.

655

:

I'll tell you what, there's another one

here that I forgot to make a note of.

656

:

It happens in Terms of Endearment.

657

:

I don't know how well you remember

that movie, but you know that in

658

:

that movie at some point Deborah

Winger gets cancer, right?

659

:

There's a scene where she's in the

hospital, she was just in there for

660

:

tests, and their doctor comes in.

661

:

And she, and he goes I'm

sorry, but it's a malignancy.

662

:

And she says it at the same time,

it's almost like a jinx moment,

663

:

like they both say malignancy.

664

:

And then she goes, say it

again, and he goes, malignancy.

665

:

The very next shot is Shirley MacLaine's

character hanging the phone up.

666

:

And she's freaking out and

she grabs the housekeeper and

667

:

she's like, we got a problem.

668

:

Our daughter was sick and she's got a

cyst and it's, you know what I mean?

669

:

Like they, it's that, that shot

starts with her hanging up the phone.

670

:

We don't need to see the phone call

of Debra Winger calling her mother.

671

:

Chris: Right.

672

:

Jerome: Right.

673

:

We know already what

she's going to tell her.

674

:

Right.

675

:

So the concept for, for new writers

out there, when you're thinking

676

:

about phone calls are boring.

677

:

Generally phone calls are boring.

678

:

Find an intriguing and interesting way

to get that, the, the, the, exposition

679

:

across without having to show it.

680

:

And Fargo is a perfect example.

681

:

Where he's preparing to tell

Wade what happened, but we

682

:

don't ever see the phone call.

683

:

In fact, the scene ends where he's all

riled up, ready, he's got the story he

684

:

wants to tell, and he's ready to let

it go after he dials the number, and

685

:

then he goes, Oh Wade Gufsuson, please.

686

:

He forgot that he has to deal

with the secretary first.

687

:

So the secretary has to pass him

through before he can begin his story.

688

:

And that's where that scene ends.

689

:

So, okay.

690

:

That was my debate.

691

:

Break into two at the 29 minute

mark, Grimsrud kills three people in

692

:

Brainerd, including a state trooper.

693

:

Why is this the final push?

694

:

Why is this the break

into two that is needed?

695

:

It's because without it,

Marge never gets involved.

696

:

Right?

697

:

If there's no murders, there's

no telling if the cops would

698

:

ever get involved with this case.

699

:

The plan was perfect.

700

:

Without cops, right?

701

:

Without cops, it's perfect.

702

:

Without killing, it's perfect.

703

:

But Grimsred kills three people,

including a state trooper.

704

:

Now it's a problem.

705

:

Now we're in act two, right?

706

:

That's the propelling moment.

707

:

Chris: Well, and you realize this

woman's life is really in danger.

708

:

Jerome: You mean Jean?

709

:

Jean Lundegaard?

710

:

Chris: Yeah.

711

:

Jerome: Yeah.

712

:

Chris: I mean, yeah.

713

:

Looking at the husband at first,

you're like, you know, they're

714

:

probably not going to really hurt her.

715

:

Jerome: Well, he even says this is a

no rough stuff type of deal, right?

716

:

This is supposed to be cleaning cut.

717

:

You know, it is what it is.

718

:

It should, it should be smooth sailing,

but Grimsrud's kind of a psychopath.

719

:

So in any sign of danger, he not

only kills the cop, but then he kills

720

:

the onlookers that are driving by.

721

:

Chris: Yeah.

722

:

I love that these two guys

Peter what's his name?

723

:

Jerome: Peter Stormare.

724

:

Chris: Stormare and Steve

Buscemi are both in Armageddon.

725

:

Yeah.

726

:

A couple years after this film came out.

727

:

Jerome: Yeah.

728

:

Well, Peter Stormare was

also in a Seinfeld episode.

729

:

Yeah, he's the guy with the holes.

730

:

Where you mean the holes where you

plug stuff in, he doesn't know the

731

:

word outlet, so he just says, you mean

the holes anyway, anyway, I don't want

732

:

to get off tangent again, but anyway.

733

:

All right.

734

:

So B story once again, when

does the B story come in?

735

:

Chris midpoint.

736

:

No, you say that every time.

737

:

30 minutes in.

738

:

Oh, yeah, right, right.

739

:

Chris: You always ask me after

I've had a couple of beers.

740

:

I know I was

741

:

Jerome: gonna say the second

episode of these are always

742

:

we're always like way off.

743

:

Okay, so the B story 32 minute mark.

744

:

So it's usually a half hour and according

to Blake Snyder at the 32 minute mark,

745

:

that's when we're introduced to Marge.

746

:

In Jerry's beat sheet, Marge represents

the B story, because she's the person

747

:

that's gonna lead him to his climax.

748

:

Not really a spiritual goal, but she's

gonna lead him to the end of his journey.

749

:

That's, I paused before saying spiritual

goal, because we know Jerry's flat arc,

750

:

he's not going to learn a goddamn thing.

751

:

Marge is about seven months pregnant

and gets the call that wakes her

752

:

up from her sleeping with Norm,

her husband, laying next to her.

753

:

This is important.

754

:

I wanna.

755

:

really nail this.

756

:

And to do that, I need another beer.

757

:

Hang on, hang on.

758

:

Yes.

759

:

For those of you that listened to

the raising Arizona episode, you know

760

:

I started with a very hard whiskey.

761

:

I'm now taking it easy and taking

it easy to me is drinking beer.

762

:

All right.

763

:

Okay.

764

:

If we beat sheet Marge

at this point, Right?

765

:

As perhaps the new lead.

766

:

Chris: When you beat sheet merge,

it sounds like domestic violence.

767

:

Jerome: When I Blake Snyder beat

sheet merge, is that better or worse?

768

:

I don't know.

769

:

It just sounds like Blake

Snyder is beating merge.

770

:

Alright, I don't know.

771

:

Alright, this is her opening image.

772

:

Right?

773

:

Here's her opening image.

774

:

Norm puts his arm around her while

sleeping while she's on the phone and

775

:

he's not wearing his wedding ring.

776

:

Hmm This is an interesting touch

because this phone call is work.

777

:

It's business It's work related and thus

it's non threatening to their marriage

778

:

So the need quote unquote need of showing

his wedding ring I make this point

779

:

because it will come counterpoint later.

780

:

In any case, this strengthens the

theme of appreciating what you have.

781

:

This was Jerry Lundegaard's original

theme and it's now carrying over to Marge.

782

:

Especially since Norm wakes up.

783

:

He's willing to get up for his

pregnant wife and make her breakfast.

784

:

And she's like, babe, you can sleep.

785

:

I got to get up.

786

:

I got to go.

787

:

I got to go to work.

788

:

You can stay sleeping.

789

:

It's early.

790

:

And he's like, you got to

eat a breakfast, Margie.

791

:

You know, it clears the throat.

792

:

Great norm moment.

793

:

By the way, I love norm in this movie.

794

:

We're going to get the norm later, but.

795

:

That's his opening.

796

:

That's her opening image with

him is that he's willing to

797

:

get up and make her breakfast.

798

:

Appreciate what you have.

799

:

Fun and games.

800

:

Now we're in Jerry's act

2 mirror flip of act 1.

801

:

And ironically, Jerry's fun and games?

802

:

Is the four point push for Marge in

her beat sheet the inciting incident

803

:

for her is getting the call The

catalyst is she sees the dead bodies

804

:

and realized the magnitude of what

just hit this peaceful town of Brainerd

805

:

The debate is questioning her partner

on his course of investigating.

806

:

I don't think I agree with your

police work there loop, right?

807

:

And the break into two is getting

The lead at the lakeside club where

808

:

the two guys checked in and left

the license plate blank, where

809

:

she says, Oh, that's a good lead.

810

:

You know, that's her break into two.

811

:

Why is all this necessary?

812

:

It doesn't necessarily have to be Marge.

813

:

She could easily call the FBI and

say, I realize, you know, obviously

814

:

murder's a state charge, but she doesn't

know where these people are from.

815

:

Yeah.

816

:

Right.

817

:

She's like, I might

need some help on this.

818

:

This is a small little peaceful

town and we've got three murders.

819

:

And one of them is a state trooper.

820

:

At the very least, if you

don't want to call the FBI, you

821

:

would call the state, right?

822

:

You would call the state federal marshal.

823

:

Chris: Yeah.

824

:

Jerome: And say we got a problem here.

825

:

We're not used to murders

in this town of ours.

826

:

And now I got three,

including a state trooper.

827

:

She could, but she doesn't do any of that.

828

:

She's gonna take it upon herself.

829

:

That's her debate.

830

:

And her break into two is where

she gets that, that that clue.

831

:

About the Lakeside Club.

832

:

It's her case now.

833

:

This is her backyard.

834

:

If she turns up no clues, she likely

calls the FBI or the state, like I said.

835

:

But, but now she's invested.

836

:

She's got a clue.

837

:

And now she's invested.

838

:

This is her act two.

839

:

And now we're going to see where

Jerry and Marge sort of catch up

840

:

to each other on their beat sheets.

841

:

Wade's not happy about the

arrangement where Jerry's in charge.

842

:

And here's where we have a

little bit more sin here.

843

:

We always talk about, you know

there's sin with these characters,

844

:

particularly in this film.

845

:

We already know Jerry's sin.

846

:

Wade's is about to come out.

847

:

You know, that he hates

parting with money.

848

:

He, he, in fact, even when his own

daughter is kidnapped, he wants to

849

:

offer half the ransom when they're

sitting there at the coffee.

850

:

I said, well, maybe we should offer half.

851

:

Well, what?

852

:

This is your daughter.

853

:

He wants to offer half.

854

:

So that's his sin.

855

:

He doesn't like parting with money either.

856

:

He's just as greedy as fucking Jerry.

857

:

It appears that almost everyone in

this story carries their own sin.

858

:

Whether it's Jerry, or Shep, or

Carl, or Grimsrud, or Wade, even

859

:

his side piece, Stan, his accountant

guy, even Marge has her sin, and

860

:

we'll get to that in a minute.

861

:

But before we get to that, I figure,

after watching this movie several times,

862

:

particularly for this podcast, the only

innocent people in this film are Gene and

863

:

Scotty, oddly enough, the two people Wade

said at the beginning were the only two

864

:

that would quote, Never have to worry.

865

:

And Norm.

866

:

That's it.

867

:

Gene, Scotty, and Norm are the only

innocent people in this entire story.

868

:

Everybody else has their sin,

including Marge, and we're going

869

:

to get to that in a moment.

870

:

At the 47 minute mark, Marge

hits her midpoint scene.

871

:

Remember, she didn't start

her beats until 32 minutes in.

872

:

So naturally her story is going to be a

little bit shorter, but at the 47 minutes.

873

:

She has descriptions of the perpetrators

from eyewitness contacts, the two

874

:

girls that were having sex with Carl

in Grimsrud at the Lakeside Club.

875

:

This is her false victory because she

finds she finds out that she has to go to

876

:

the Twin Cities that takes her out of her

jurisdiction and yet she doesn't involve

877

:

the state and she doesn't involve the FBI.

878

:

Now again, the FBI,

that's a bit of a stretch.

879

:

You're not really going to contact the

FBI unless it's out of state, right?

880

:

She doesn't know yet.

881

:

That this all started in North Dakota.

882

:

As far as she knows, this is all

Minnesota, but from Brainerd down to the

883

:

Twin Cities, she's a Brainerd Sheriff.

884

:

You know what I mean?

885

:

Like at this point, at least

contact the state, right?

886

:

This is out of my jurisdiction now.

887

:

Nope.

888

:

He doesn't care.

889

:

She's going midpoint scene in Jerry's

timeline at the 50 minute mark.

890

:

Carl now wants the full 80, 000.

891

:

If Jerry had plans to get his hands on

the full million, this shouldn't be a

892

:

problem for anyone that is listening,

but doesn't, hasn't seen the movie.

893

:

Jerry Jerry's con is.

894

:

At least for the kidnappers,

he said, I kidnapped my wife.

895

:

Are you guys kidnapped my wife, my

father in law who's real well off.

896

:

I'm going to say the ransom is 80, 000.

897

:

I give you guys 40 and

I keep the other 40.

898

:

That's the plan.

899

:

But in reality, he's telling his father in

law that the ransom is a million dollars.

900

:

So he gives 40 to the criminals and

he's keeping all the rest for himself.

901

:

So when Carl calls and says I want

the full 80, Jerry freaks out!

902

:

He's like, oh no, come on,

that's not the deal here.

903

:

Dude, if your plan was to get a million

dollars out of this, who gives a fuck?

904

:

Like, who cares about another four now

I get he's probably putting on a show,

905

:

but still, it shouldn't be a problem.

906

:

But the greed is the main

aspect that's at play here.

907

:

The greed is everywhere.

908

:

Killing him, right?

909

:

So he protests, he argues also in the same

scene, he gets another call from the GMAC.

910

:

They want their fucking money.

911

:

So he's pissed now, right?

912

:

Like, like, God, even they are onto me.

913

:

And by the way, it's, it's so funny that,

that there's this mentality about people

914

:

in Minnesota that they're nice people.

915

:

They're so nice, right?

916

:

They're so nice.

917

:

And they are, they are.

918

:

It's not just a stereotype.

919

:

I've been to Minnesota several times,

mostly for football games, Viking fans.

920

:

People like I was walking down

the street and a Carl and a Kelvin

921

:

Johnson jersey when I went to a

mission, a Lions Vikings game, right?

922

:

They were the nicest people.

923

:

Oh, excuse me.

924

:

Oh, pardon me.

925

:

You know, as you're walking through,

like cutting through the crowd, they,

926

:

they are, it's not just stereotype.

927

:

They're very, very nice people.

928

:

The point of that is,

is like, This GMAC guy?

929

:

And the nicest way possible,

he tells him that he's fucked.

930

:

Right?

931

:

If you don't give me those VIN numbers

by noon tomorrow, I'm gonna have to

932

:

turn this over to our legal department.

933

:

My, my patience is at an end.

934

:

Like, is that the nicest way possible

to tell somebody you're going to fucking

935

:

put them up for life if they don't

fucking reduce these VIN vehicles,

936

:

these VIN numbers on these cars.

937

:

Anyway.

938

:

All right.

939

:

So normally the midpoint scene is a false

victory where the protagonist achieves

940

:

a tangible goal and the flip side after

that is, you know, the bad guy's closing

941

:

in, which culminates in the all is lost,

but the flip if you were to do this.

942

:

False victory at the midpoint.

943

:

If you were to do a false defeat

instead, then the all is lost

944

:

is a false victory, right?

945

:

Like they're opposites, right?

946

:

Usually the midpoint is a false victory

and the all is lost is a false defeat.

947

:

Chris: Yeah.

948

:

Jerome: Sometimes you can flip them where

the midpoint scene is the false defeat and

949

:

then the all is lost is the false victory.

950

:

Here they're flipped.

951

:

They must they go in opposites.

952

:

And, and Jerry's all is lost

would be a false victory.

953

:

But we'll get to that.

954

:

Currently his false defeat is

at the midpoint scene where

955

:

Carl is reneging on that plan.

956

:

That's where he wants the full

80, 000 and the GMAC calls.

957

:

Like you see like that's a,

that's a bad time, right?

958

:

For Jerry.

959

:

So that's the midpoint scene

of his story and it's a defeat.

960

:

It's a false defeat, but it's a defeat.

961

:

Bad guys closing in.

962

:

For Marge, this starts right

after the midpoint scene.

963

:

So, at the 49 minute mark, she gets a

late night call from Mike and Akita.

964

:

It's 11pm at night.

965

:

An old high school friend calls.

966

:

This represents possible

danger to a relationship.

967

:

Which is why this time, if you notice,

Norm, still asleep, rolls over again

968

:

and puts his arm around Marge, and this

time he's wearing his wedding ring.

969

:

It's a stark contrast from the

earlier time that they were

970

:

woken up from a phone call.

971

:

For Jerry, the bad guy's closing

in is now Wade wants to take over.

972

:

At the 54 minute mark, Damn it Jerry,

you're not selling me a damn car!

973

:

Right?

974

:

If Wade takes over, there's

no way Jerry gets his money.

975

:

Right?

976

:

No way.

977

:

At the 59 minute mark, the A and

B stories collide as Marge and

978

:

Jerry meet for the first time.

979

:

She crashes into his world

with a little Q& A, for.

980

:

He stumbles on his answers.

981

:

He comes off as not believable yet.

982

:

Marge is none the wiser at this point.

983

:

She's just simply doing her due diligence.

984

:

She's asking him questions.

985

:

He's giving shady answers,

but she's just like, okay.

986

:

One hour, one minute in Marge

has a drink with Mike and Akita.

987

:

This is the scene that everybody I've

ever talked to says, yeah, it's so good.

988

:

That scene has nothing

to do with the movie.

989

:

Like, why did they even put it in?

990

:

Like, they should have cut that out.

991

:

Right?

992

:

It's the scene that

gets the most criticism.

993

:

However, I believe it's the most

important scene of the film.

994

:

This directly relates to the

theme of appreciate what you have.

995

:

It's a very subtle sin for Marge.

996

:

But it's there.

997

:

There's no evidence that Marge

even told Norm about this drink.

998

:

She's all dressed up.

999

:

It's at a fucking hotel.

:

00:47:30,678 --> 00:47:31,258

Right?

:

00:47:31,348 --> 00:47:34,868

There's certainly some

curiosity of impropriety.

:

00:47:35,558 --> 00:47:38,838

Mike turns her off quick because he

turns out to be a psychopath and he

:

00:47:39,018 --> 00:47:43,548

kind of pressures her a little bit

too much and But she still showed up.

:

00:47:44,408 --> 00:47:44,708

Right?

:

00:47:44,718 --> 00:47:49,578

She still showed up, she went, hair

done up, makeup done up, in a dress,

:

00:47:49,798 --> 00:47:51,158

and she never told Norm about it.

:

00:47:52,318 --> 00:47:53,138

That's her sin.

:

00:47:53,748 --> 00:47:59,198

She was thinking for a moment, I'm a seven

month pregnant woman, and what do all, and

:

00:47:59,198 --> 00:48:00,578

my wife went through the same thing too.

:

00:48:00,688 --> 00:48:02,288

What do most pregnant women tell you?

:

00:48:02,498 --> 00:48:04,478

It's the time they feel most unattractive.

:

00:48:04,748 --> 00:48:05,018

Right?

:

00:48:05,413 --> 00:48:08,943

This is her feeling

wanted by somebody else.

:

00:48:09,013 --> 00:48:09,413

Okay.

:

00:48:10,713 --> 00:48:12,513

All is lost for Jerry.

:

00:48:12,533 --> 00:48:14,363

Remember this is the

reverse of the midpoint.

:

00:48:14,583 --> 00:48:17,023

So his midpoint was a false defeat.

:

00:48:17,033 --> 00:48:18,453

This one would be a false victory.

:

00:48:18,873 --> 00:48:20,493

Wade takes off with the money though.

:

00:48:20,493 --> 00:48:21,513

Jerry follows.

:

00:48:21,543 --> 00:48:25,083

And when he gets there, he sees that Wade

is killed at the one hour, 12 minute mark.

:

00:48:25,263 --> 00:48:28,523

This is a false victory because for him,

he's like the one guy that stood in the

:

00:48:28,523 --> 00:48:30,583

way of him getting his money is dead.

:

00:48:31,153 --> 00:48:32,733

All he has to do is pop

the trunk, throw him in it.

:

00:48:34,073 --> 00:48:38,673

However, it's false because he

doesn't know how he's going to

:

00:48:38,673 --> 00:48:40,743

get the money from Carl, right?

:

00:48:40,803 --> 00:48:43,553

Like, he's like, well,

one guy's out of the way.

:

00:48:43,753 --> 00:48:44,353

That's good.

:

00:48:44,753 --> 00:48:46,283

But how do I get the cash?

:

00:48:46,293 --> 00:48:47,793

I don't know how to get the cash now.

:

00:48:48,343 --> 00:48:51,113

For Marge, her all is

lost is a false defeat.

:

00:48:51,473 --> 00:48:54,153

That's why she's preparing to leave

the Twin Cities the next morning.

:

00:48:54,273 --> 00:48:55,853

She has no answers on her case.

:

00:48:55,863 --> 00:48:57,833

She got nowhere with her investigating.

:

00:48:58,403 --> 00:48:59,563

She met with Shep.

:

00:48:59,833 --> 00:49:01,113

She met with Jerry.

:

00:49:01,463 --> 00:49:03,003

Both interviews got nowhere.

:

00:49:03,053 --> 00:49:04,143

Her case is cold.

:

00:49:05,213 --> 00:49:08,423

She also talks to an old girlfriend on

the phone who tells her that that Mike

:

00:49:08,433 --> 00:49:10,863

Enigita guy is a stalker and he's crazy.

:

00:49:11,663 --> 00:49:15,073

She dodged a bullet there, but

that strengthened the theme.

:

00:49:15,593 --> 00:49:17,103

Appreciate what you have.

:

00:49:18,938 --> 00:49:22,708

Dark Night of the Soul, Jerry

decides to go to bed and try to

:

00:49:22,708 --> 00:49:24,198

forget everything that happened.

:

00:49:24,468 --> 00:49:28,908

Meanwhile, as part of Marge's Dark Night

of the Soul, a trooper questions another

:

00:49:28,908 --> 00:49:33,848

witness in a driveway about a possible

location of the little guy, which is Carl.

:

00:49:33,998 --> 00:49:38,358

And by the way, that driveway says, Might

be dad's favorite scene of the whole movie

:

00:49:40,538 --> 00:49:45,328

Dad Fucking loves when the trooper

goes to that guy's driveway, and he

:

00:49:45,328 --> 00:49:50,838

doesn't have a shovel he's sweeping

The slush off his driveway with a broom

:

00:49:51,613 --> 00:49:55,873

And then he tells him, and the way he

describes Steve Buscemi's character,

:

00:49:56,193 --> 00:49:57,873

Oh, he was kind of funny looking.

:

00:49:58,123 --> 00:49:59,973

You know, in kind of

a general kind of way.

:

00:49:59,973 --> 00:50:03,473

And, and, and the way he just

describes how he talked, like, I'm

:

00:50:03,473 --> 00:50:05,243

going crazy out there at the lake.

:

00:50:05,343 --> 00:50:06,713

And then he calls me a jerk.

:

00:50:06,893 --> 00:50:09,163

And he doesn't use the word

jerk, you know what I mean?

:

00:50:09,563 --> 00:50:13,193

And it's like, the whole, the

whole scene is dad's fault.

:

00:50:14,003 --> 00:50:16,423

He laughs the entire time

that scene is happening.

:

00:50:16,583 --> 00:50:19,643

And then at the end, they're like,

Yep, looks like it's gonna snow again!

:

00:50:19,643 --> 00:50:21,983

And they both put their

heads up and look at the sky.

:

00:50:23,423 --> 00:50:23,903

Anyway.

:

00:50:24,163 --> 00:50:25,193

Fuck it, dad loves it.

:

00:50:25,843 --> 00:50:27,643

Anyway, so, alright, break into three.

:

00:50:27,653 --> 00:50:32,273

For Jerry, knowing he has no

money, He retries the GMAC

:

00:50:32,273 --> 00:50:34,863

smudging the VIN numbers again.

:

00:50:35,013 --> 00:50:37,883

You see him like wearing the

lead down on that pencil.

:

00:50:38,443 --> 00:50:41,963

And he's still trying to rub

fudge numbers on the VIN number.

:

00:50:41,973 --> 00:50:43,143

Like he's going back to that.

:

00:50:43,153 --> 00:50:43,823

He's like, fuck.

:

00:50:44,333 --> 00:50:46,923

I don't know what's going

on with the kidnapping.

:

00:50:47,583 --> 00:50:52,003

My father in law is in

my trunk as we speak.

:

00:50:52,543 --> 00:50:53,973

A dead rotting corpse.

:

00:50:55,953 --> 00:50:56,413

I don't know.

:

00:50:56,413 --> 00:50:58,043

I'm gonna try the GMAC thing again.

:

00:50:58,253 --> 00:51:04,193

So he's he's redoing the VIN numbers Marge

her break into three is that she has an

:

00:51:04,193 --> 00:51:08,823

epiphany when she's driving and she's

like I'm gonna go ask Jerry one more time

:

00:51:09,103 --> 00:51:12,643

And I'm gonna go see Jerry Lundegaard

one more time and see if I can ask him,

:

00:51:13,173 --> 00:51:14,443

you know A couple things about her case.

:

00:51:14,453 --> 00:51:17,553

She's taking one last dis effort right

now She's leaving the Twin Cities

:

00:51:17,553 --> 00:51:19,593

with no with nothing a cold case.

:

00:51:19,593 --> 00:51:20,193

No answers.

:

00:51:20,323 --> 00:51:22,423

She thought well, I'll go ask

Jerry I'll go talk to Jerry one

:

00:51:22,423 --> 00:51:25,073

more time Alright, here we go.

:

00:51:25,293 --> 00:51:25,703

Ready?

:

00:51:26,093 --> 00:51:28,263

Jerry jumps into his five point finale.

:

00:51:28,453 --> 00:51:29,723

Number one, gathering the team.

:

00:51:29,723 --> 00:51:31,163

Jerry is interrupted by Marge.

:

00:51:31,173 --> 00:51:32,333

She wants answers.

:

00:51:32,733 --> 00:51:33,853

Execution of the plan.

:

00:51:33,863 --> 00:51:37,283

Jerry stonewalls her and becomes

noticeably uncooperative.

:

00:51:37,593 --> 00:51:38,783

High tower surprise.

:

00:51:38,813 --> 00:51:40,463

Marge says, Mr.

:

00:51:40,463 --> 00:51:41,823

Lundegaard, can I speak with Mr.

:

00:51:41,823 --> 00:51:42,463

Gustafson?

:

00:51:43,293 --> 00:51:45,103

That's a big bad one, right?

:

00:51:45,103 --> 00:51:46,553

Cause he knows that Mr.

:

00:51:46,553 --> 00:51:48,903

Gustafson is currently

rotting in this trunk.

:

00:51:49,983 --> 00:51:51,923

So they dig down deep as he says, Mr.

:

00:51:52,398 --> 00:51:54,908

Ah, well, hell, I'll do a

lot counting for you then.

:

00:51:54,908 --> 00:51:57,238

You know, that's his way

of trying to stave her off.

:

00:51:58,413 --> 00:51:59,673

She's like, what, right now?

:

00:51:59,673 --> 00:52:01,083

He's like, Ah, what the Christ!

:

00:52:01,243 --> 00:52:02,773

Is that damned important to ya?

:

00:52:02,793 --> 00:52:05,003

You know, he's gonna go do

a lot count of the cars.

:

00:52:05,283 --> 00:52:08,133

Execution of the new plan, he flees.

:

00:52:08,163 --> 00:52:08,943

He just takes off.

:

00:52:09,163 --> 00:52:09,673

He leaves.

:

00:52:09,993 --> 00:52:10,843

He knows he's fucked.

:

00:52:10,933 --> 00:52:11,463

He's gone.

:

00:52:12,753 --> 00:52:18,763

Between Jerry and Marge's finales, Carl

has a finale of his own, where he finds

:

00:52:18,793 --> 00:52:22,473

that Gene was killed, he comes home, sees

that Gene's laying on the floor dead,

:

00:52:22,643 --> 00:52:30,548

which, by the way, to Jessie's point,

When that scene came about, we laughed.

:

00:52:32,378 --> 00:52:35,088

Here's poor Jean, one of the

innocent people that filmed.

:

00:52:35,088 --> 00:52:36,638

She's laying dead on the floor.

:

00:52:37,058 --> 00:52:41,578

She's laying dead on the floor and

Carl goes, what happened to her?

:

00:52:41,578 --> 00:52:46,338

And, and, and Grimsrud goes, ah,

she was streaking about or whatever,

:

00:52:46,358 --> 00:52:48,028

you know, like she was making noise.

:

00:52:48,058 --> 00:52:48,428

Yeah.

:

00:52:49,228 --> 00:52:52,078

She started making noise so he killed her.

:

00:52:52,528 --> 00:52:53,838

And we're laughing.

:

00:52:54,088 --> 00:52:57,398

We're all like laughing at his response.

:

00:52:57,708 --> 00:53:02,268

And poor Jessie's is like,

oh my god, these people.

:

00:53:03,208 --> 00:53:07,708

So, so then Carl tries to

square up with the Grimsrud.

:

00:53:08,398 --> 00:53:12,248

You know, here, I got the full

80, 000, 40 for you, 40 for me.

:

00:53:12,388 --> 00:53:14,678

They argue about who's

going to get the car.

:

00:53:14,988 --> 00:53:18,118

And because of it, as he leaves Grimmsrud.

:

00:53:18,543 --> 00:53:19,623

Kills him with an axe.

:

00:53:20,933 --> 00:53:23,223

Which is another point where we

started laughing, I might add.

:

00:53:24,973 --> 00:53:26,023

Marge's five point finale.

:

00:53:26,253 --> 00:53:27,253

Gathering the team.

:

00:53:27,263 --> 00:53:29,783

She's, she interviews Jerry who flees off.

:

00:53:29,793 --> 00:53:31,973

Stan rats out the plan to the cops.

:

00:53:31,973 --> 00:53:34,163

Remember when she's in the car

and they're like, Oh, this is

:

00:53:34,163 --> 00:53:36,033

Gustafson's accountant, Stan.

:

00:53:36,283 --> 00:53:37,788

He's finally gone to the cops.

:

00:53:37,788 --> 00:53:40,313

He's saying Gustafson is

missing and so is Gene.

:

00:53:40,473 --> 00:53:42,023

So he finally rats out the whole plan.

:

00:53:42,033 --> 00:53:42,933

He wasn't supposed to.

:

00:53:44,168 --> 00:53:48,368

Execution of the plan, Marge drives

around Moose Lake with the latest info.

:

00:53:48,578 --> 00:53:52,688

High tower surprise, Marge sees the Tan

Sierra parked outside the lake house.

:

00:53:53,138 --> 00:53:57,148

Dig down deep, instead of waiting for

backup or calling more cops, Marge

:

00:53:57,148 --> 00:54:00,458

decides to take matters into her

own hands and deal with it herself.

:

00:54:01,158 --> 00:54:07,508

Execution of the new plan, Marge sees the

wood chipper incident and steps in again.

:

00:54:07,708 --> 00:54:11,018

Another incident where we are

all in the living room laughing.

:

00:54:11,018 --> 00:54:12,128

Chris: I was screaming.

:

00:54:12,128 --> 00:54:13,168

I was laughing so hard

:

00:54:13,188 --> 00:54:19,458

Jerome: and poor Jessie's is watching

Gare Grimsrud use a log, a fire

:

00:54:19,458 --> 00:54:24,858

log to push Carl show Walter's

leg into the wood chipper with

:

00:54:24,858 --> 00:54:29,538

his foot hanging out and we're all

laughing and she's poorly terrified.

:

00:54:29,738 --> 00:54:30,658

Chris: Yeah, rightfully.

:

00:54:30,658 --> 00:54:30,948

So.

:

00:54:31,328 --> 00:54:31,638

Jerome: Yeah.

:

00:54:32,178 --> 00:54:32,808

Resolution.

:

00:54:32,818 --> 00:54:36,568

For Jerry, he's arrested at

the motel trying to flee.

:

00:54:36,738 --> 00:54:40,874

For Marge, she gives the

impassioned speech to Grimsrud.

:

00:54:40,874 --> 00:54:43,848

There's more to life than

a little money, you know.

:

00:54:44,138 --> 00:54:45,168

Don't you know that?

:

00:54:45,798 --> 00:54:48,378

Talk about the time of

appreciate what you have.

:

00:54:48,738 --> 00:54:52,178

She even throws in and this

is a quote, and here you are,

:

00:54:52,758 --> 00:54:53,968

and it's a beautiful day.

:

00:54:55,278 --> 00:54:56,498

I just don't understand.

:

00:54:56,998 --> 00:55:00,903

Like, that's, that's, that's, That's

so perfect, how that part ends.

:

00:55:01,873 --> 00:55:03,623

By the way, this is also in the script.

:

00:55:03,633 --> 00:55:07,573

In the screenplay, which isn't in the

film at all, but in the actual screenplay

:

00:55:07,573 --> 00:55:13,903

when Jerry Lundegaard first shows up

at the bar, It's a hotel bar, I think.

:

00:55:13,913 --> 00:55:16,873

Or he checks into a motel as Mr.

:

00:55:16,873 --> 00:55:17,453

Anderson.

:

00:55:18,613 --> 00:55:19,033

Right?

:

00:55:19,413 --> 00:55:21,493

And, and she's like, okay, Mr.

:

00:55:21,493 --> 00:55:21,913

Anderson.

:

00:55:21,913 --> 00:55:23,283

And then he goes to the bar.

:

00:55:23,558 --> 00:55:26,638

To meet the two guys at the

end when he's being arrested in

:

00:55:26,638 --> 00:55:28,708

that motel, they're like, Mr.

:

00:55:28,708 --> 00:55:29,358

Anderson.

:

00:55:30,048 --> 00:55:30,958

And he's all who?

:

00:55:31,228 --> 00:55:33,648

So he checked into that motel also as Mr.

:

00:55:33,648 --> 00:55:34,088

Anderson.

:

00:55:34,088 --> 00:55:34,328

Yeah.

:

00:55:34,898 --> 00:55:35,868

Okay, closing image.

:

00:55:35,868 --> 00:55:39,578

A flip to the opening image is that,

again, this snowy cold mist drives up

:

00:55:39,578 --> 00:55:44,628

from the cars, only this time it's driven

up not from a car toting the TN Sierra.

:

00:55:44,788 --> 00:55:46,778

Now it's a bunch of cop

cars and an ambulance.

:

00:55:47,678 --> 00:55:52,068

Then he immediately cuts to Marge

and Norm comfortably in a warm bed.

:

00:55:52,388 --> 00:55:54,688

He announces that he got

the three cent stamp.

:

00:55:55,018 --> 00:55:56,228

He didn't win the big one.

:

00:55:56,443 --> 00:55:57,903

The Hauptmann's won the big one.

:

00:55:57,903 --> 00:55:59,373

Their, their what was it?

:

00:55:59,373 --> 00:56:03,103

Their their, whatever painting

they made won the, the 29 cent.

:

00:56:03,113 --> 00:56:04,353

He just got the three cent.

:

00:56:04,443 --> 00:56:04,733

Right.

:

00:56:05,853 --> 00:56:07,353

But she is appreciative of him.

:

00:56:07,733 --> 00:56:09,253

She encourages him.

:

00:56:09,263 --> 00:56:12,253

Norm, that's fantastic, right?

:

00:56:12,273 --> 00:56:15,533

She tells him, like, people need the

three cent stamp whenever they're

:

00:56:15,533 --> 00:56:17,193

stuck with the old ones, right?

:

00:56:17,243 --> 00:56:20,803

And then she says, and this closes

out the move, movie, talking about

:

00:56:20,803 --> 00:56:22,513

the theme of appreciate what you have.

:

00:56:22,803 --> 00:56:24,563

Heck Norm, you know,

we're doing pretty good.

:

00:56:25,858 --> 00:56:28,858

And he says seven more months,

or no, he goes two more months

:

00:56:28,858 --> 00:56:29,718

because she's seven months pregnant.

:

00:56:30,088 --> 00:56:33,488

He puts his hand on her belly and he

goes two more months, two more months.

:

00:56:34,118 --> 00:56:35,128

And that's how it ends.

:

00:56:35,468 --> 00:56:38,488

Happy, content, appreciative.

:

00:56:38,818 --> 00:56:41,378

Marge has gone through her little sin.

:

00:56:42,443 --> 00:56:45,703

And has appreciated her spiritual goal.

:

00:56:45,973 --> 00:56:46,913

Chris: She learned her lesson.

:

00:56:47,353 --> 00:56:48,163

Jerome: Learned her lesson.

:

00:56:48,353 --> 00:56:54,003

So for a flat arc, which most cop

movies are, she does, they do throw

:

00:56:54,003 --> 00:56:55,783

in a little bit of learning for her.

:

00:56:56,368 --> 00:57:02,068

Right a frustrated probably and again

most pregnant women can speak to this V

:

00:57:02,148 --> 00:57:03,558

went through it when she was pregnant.

:

00:57:03,878 --> 00:57:07,798

It's at their time of where they feel

the most unattractive and the most

:

00:57:07,848 --> 00:57:10,988

unwanted We know that's not true.

:

00:57:10,998 --> 00:57:16,953

You know, we love our pregnant wives

Right, but they feel Sort of like,

:

00:57:17,153 --> 00:57:18,883

I don't look as good as I used to.

:

00:57:18,903 --> 00:57:20,343

Nobody wants me.

:

00:57:20,343 --> 00:57:21,463

I'm unattractive.

:

00:57:22,023 --> 00:57:24,713

The Coen's played on that, right?

:

00:57:24,713 --> 00:57:26,953

They played on that for just a little bit.

:

00:57:26,953 --> 00:57:30,513

Like what if an old high school friend

called and wants to have a drink?

:

00:57:31,423 --> 00:57:32,083

You know what I mean?

:

00:57:32,083 --> 00:57:32,983

She gets dressed up.

:

00:57:33,003 --> 00:57:35,083

She gets dialed up all that stuff.

:

00:57:35,643 --> 00:57:38,453

Everybody that says that that scene

has nothing to do with the movie.

:

00:57:38,563 --> 00:57:39,673

They need to watch it again.

:

00:57:39,913 --> 00:57:41,143

Chris: Yeah, that was a good point.

:

00:57:41,203 --> 00:57:44,873

I never really gave it that much thought,

but yeah, that's totally a theme.

:

00:57:45,868 --> 00:57:47,328

Jerome: So we have

another fun exercise here.

:

00:57:47,848 --> 00:57:49,728

You know me, I love my

little fun exercises.

:

00:57:50,878 --> 00:57:52,188

So what went wrong?

:

00:57:52,198 --> 00:57:54,618

That's my, that's my title

of this next segment.

:

00:57:55,078 --> 00:58:02,398

Let's pretend for a moment that we are

the perpetrators and hindsight is 20 20.

:

00:58:02,398 --> 00:58:07,108

I have one, two, three, four, I

have seven things that went wrong

:

00:58:07,428 --> 00:58:08,958

that they didn't have to go wrong.

:

00:58:09,688 --> 00:58:14,943

Number one, The fact that Greed

enticed Carl and Grimsrud to want

:

00:58:15,023 --> 00:58:16,953

a brand new car out of the deal.

:

00:58:18,243 --> 00:58:19,293

That's the first problem.

:

00:58:20,103 --> 00:58:22,753

What if they just said,

Alright, we'll do this deal.

:

00:58:22,783 --> 00:58:24,543

You pay us 40, you keep 40.

:

00:58:25,593 --> 00:58:26,703

And I'll just use my truck.

:

00:58:27,773 --> 00:58:28,093

Right?

:

00:58:29,003 --> 00:58:32,303

If they don't want a brand new

car out of it, there's never any

:

00:58:32,303 --> 00:58:33,563

connection to Jerry Lundegaard.

:

00:58:34,433 --> 00:58:38,583

It never gets back to the fact that

the, they were driving a stolen brand

:

00:58:38,583 --> 00:58:43,753

new car in a dealership with a guy

where the phone call was made, right?

:

00:58:43,773 --> 00:58:44,803

Like, that's what she says.

:

00:58:45,313 --> 00:58:48,453

The perpetrators were driving a stolen car

and they called somebody who works here.

:

00:58:48,633 --> 00:58:50,383

So that's a coincidence, right?

:

00:58:50,573 --> 00:58:50,893

Right.

:

00:58:50,943 --> 00:58:53,783

If they never said, give us a new

car, they just said, well, we'll do

:

00:58:53,783 --> 00:58:55,123

it for 40 grand, we'll take my truck.

:

00:58:55,443 --> 00:58:56,283

Nobody ever said that.

:

00:58:56,753 --> 00:58:58,063

It has any connection to Jerry.

:

00:58:58,383 --> 00:59:03,073

Number two, why not decide ahead of

time who's gonna get the fucking car?

:

00:59:04,203 --> 00:59:04,573

Right?

:

00:59:04,573 --> 00:59:08,743

Like at the end, it becomes an argument

which leads Grimmsrd to kill Carl with

:

00:59:08,743 --> 00:59:11,103

an axe and stick him in a wood chipper.

:

00:59:11,653 --> 00:59:14,113

Why wouldn't they decide at the

head of time and say, okay, we're

:

00:59:14,113 --> 00:59:16,383

getting a brand new car out of

this, which one of us is getting it?

:

00:59:16,963 --> 00:59:17,513

You know what I mean?

:

00:59:17,663 --> 00:59:21,463

And they could say right then, well,

you know, if he pays us the 40, 000,

:

00:59:21,543 --> 00:59:23,373

one of us pays the other one for half.

:

00:59:23,673 --> 00:59:28,223

So, one of us will get 40, 000,

or 20, 000, the other one will

:

00:59:28,223 --> 00:59:32,383

get, or 30, 000, the other one

gets, say, the car and 10, 000.

:

00:59:32,383 --> 00:59:35,313

I'm talking:

:

00:59:35,473 --> 00:59:39,263

000, I don't know how much a car

cost back then, but whatever.

:

00:59:39,943 --> 00:59:42,818

You know, and if Carl can

get his hands on all 80, 000.

:

00:59:43,628 --> 00:59:49,158

Then one of us will get 40, 000 or, you

know, I don't know, 70 The other one

:

00:59:49,158 --> 00:59:51,008

will get 10 or 20 thousand with a car.

:

00:59:51,418 --> 00:59:52,508

Like, why didn't they make that?

:

00:59:52,518 --> 00:59:54,708

My point is, why didn't they make

that arrangement ahead of time?

:

00:59:54,728 --> 00:59:55,088

Chris: Right.

:

00:59:55,178 --> 00:59:55,568

Jerome: Right?

:

00:59:56,088 --> 00:59:59,658

Instead of it being a moment of

contention and argument that leads

:

00:59:59,658 --> 01:00:00,798

to one of them getting killed.

:

01:00:02,068 --> 01:00:02,478

3.

:

01:00:02,948 --> 01:00:06,268

Not sure the ins and outs

of this GMAC scandal.

:

01:00:06,288 --> 01:00:11,668

Again, we don't really know all of it,

but what if, and again, I might sound

:

01:00:11,668 --> 01:00:16,578

ignorant here, to anyone that really

knows how to scam the GMAC, what if

:

01:00:16,578 --> 01:00:22,338

instead of fake VINs for cars that didn't

exist, why didn't he just give them real

:

01:00:22,348 --> 01:00:25,178

VIN numbers for cars that did exist?

:

01:00:26,128 --> 01:00:31,118

As executive sales manager, couldn't he

have set 10 cards aside and tell his sales

:

01:00:31,118 --> 01:00:33,458

people, don't sell these, these 10 cars.

:

01:00:33,678 --> 01:00:35,068

I'm putting them in the back of the lot.

:

01:00:35,268 --> 01:00:36,128

They're defective.

:

01:00:36,208 --> 01:00:36,858

Don't sell them.

:

01:00:37,368 --> 01:00:40,748

Why didn't he just tell the GMAC

the VIN numbers of those 10 cars?

:

01:00:41,438 --> 01:00:42,728

Why did he have to make them up?

:

01:00:43,078 --> 01:00:44,128

Again, I don't know.

:

01:00:44,488 --> 01:00:44,898

I don't know.

:

01:00:46,698 --> 01:00:52,098

Again, I might be ignorant of great

schemes and scams, but I, I always

:

01:00:52,098 --> 01:00:55,998

thought like, why, why if you

don't, my thing is, if you don't

:

01:00:55,998 --> 01:00:57,258

have to lie, why are you lying?

:

01:00:57,368 --> 01:00:57,728

Chris: Right.

:

01:00:58,558 --> 01:00:59,378

Jerome: But anyway, okay.

:

01:01:00,038 --> 01:01:04,698

Number four, why bother, why bother

clearing the cop off the road?

:

01:01:05,568 --> 01:01:05,918

Right?

:

01:01:06,578 --> 01:01:07,498

Just leave him there.

:

01:01:08,038 --> 01:01:10,098

Leave him, you shot the cop, take off!

:

01:01:10,328 --> 01:01:14,378

Or at the very least, go to his car,

turn the lights off and grab his

:

01:01:14,388 --> 01:01:16,488

citation book, and then take off.

:

01:01:17,008 --> 01:01:20,798

The fact that they spend the time

trying to clear the cop off the road

:

01:01:20,818 --> 01:01:23,528

and then the drive by witnesses see it,

:

01:01:23,958 --> 01:01:24,318

Chris: that's

:

01:01:24,318 --> 01:01:28,158

Jerome: what starts the whole act too, and

that's what starts Marge getting involved.

:

01:01:28,948 --> 01:01:32,168

If the cops never get involved,

like if they clear that cop, if they

:

01:01:32,168 --> 01:01:33,338

don't clear the cop off the road.

:

01:01:34,478 --> 01:01:37,558

If they shoot him, and they grab

a citation book, and they leave,

:

01:01:38,508 --> 01:01:41,858

there is no telling how long it

would have taken Marge to ever solve

:

01:01:41,858 --> 01:01:44,618

Chris: It remains a cold case.

:

01:01:44,738 --> 01:01:47,038

Jerome: It would be a cold

case for Oh, literally.

:

01:01:47,068 --> 01:01:47,848

Nice job there.

:

01:01:47,908 --> 01:01:48,258

I like that.

:

01:01:49,758 --> 01:01:50,198

Fargo.

:

01:01:50,208 --> 01:01:52,568

Quite literally, an icy cold case.

:

01:01:53,278 --> 01:01:54,778

It would have stayed like that forever.

:

01:01:54,778 --> 01:01:56,448

They never would have found Lundegaard.

:

01:01:56,448 --> 01:02:00,058

They never would have, you know, they

never would have had any of these clues.

:

01:02:00,108 --> 01:02:00,378

Chris: Right.

:

01:02:00,808 --> 01:02:03,783

Jerome: And, by the way, If you

just take the citation book and

:

01:02:03,783 --> 01:02:05,873

drive off, you save two lives.

:

01:02:05,883 --> 01:02:08,643

You don't kill those two

people that are driving by.

:

01:02:08,813 --> 01:02:09,213

Chris: Right.

:

01:02:09,253 --> 01:02:10,423

Jerome: So, you know what I mean?

:

01:02:10,833 --> 01:02:11,743

All right, number five.

:

01:02:11,743 --> 01:02:15,933

Once Carl saw that the, the that

there was a million dollars in that

:

01:02:15,933 --> 01:02:19,923

satchel, why haggle with Crimsroad

over who's going to get the car?

:

01:02:21,208 --> 01:02:21,708

Really?

:

01:02:22,248 --> 01:02:23,618

I got 80, 000?

:

01:02:23,628 --> 01:02:25,768

Look, I got all 80, 000.

:

01:02:25,768 --> 01:02:28,408

40 for you, 40 for me, I'm taking the car.

:

01:02:28,648 --> 01:02:33,068

Grimsrud says we split that, one

of us pays the other for half.

:

01:02:33,508 --> 01:02:35,148

Why did Carl lose his shit?

:

01:02:36,248 --> 01:02:37,478

Why not just say, You know what?

:

01:02:37,508 --> 01:02:37,968

You're right.

:

01:02:38,488 --> 01:02:40,778

The car's worth 20 grand, here's 10 grand.

:

01:02:41,468 --> 01:02:44,948

You get 50, 000, I'll

take 30, 000 and the car.

:

01:02:45,683 --> 01:02:48,713

Knowing he's about to go pick up a

satchel of a million bucks in it.

:

01:02:49,233 --> 01:02:49,613

Right?

:

01:02:49,643 --> 01:02:52,023

Like, why would you argue with him?

:

01:02:52,033 --> 01:02:55,883

It's a fucking million dollars out

there and you're arguing over ten grand.

:

01:02:56,013 --> 01:02:56,253

Yep.

:

01:02:56,783 --> 01:02:58,893

Ugh, that part bothers me so much.

:

01:02:58,893 --> 01:03:00,763

Just let him have the fucking thing.

:

01:03:01,343 --> 01:03:02,523

Alright, number six.

:

01:03:02,533 --> 01:03:08,073

When Wade wants to offer half, if

you're a jury, why not just accept that?

:

01:03:08,673 --> 01:03:10,423

And say, yeah, you know what?

:

01:03:10,423 --> 01:03:11,493

I'll get back to them and try.

:

01:03:11,673 --> 01:03:16,933

The fact that he stonewalls them is

what makes Wade want to take over.

:

01:03:17,073 --> 01:03:17,453

Chris: Yeah.

:

01:03:17,883 --> 01:03:18,253

Jerome: Right?

:

01:03:18,293 --> 01:03:20,593

And say, you're not selling

me a damn car, Jerry.

:

01:03:20,593 --> 01:03:21,853

I want to handle this myself.

:

01:03:21,933 --> 01:03:22,783

It's my money.

:

01:03:22,783 --> 01:03:23,933

It's my million dollars.

:

01:03:24,173 --> 01:03:27,153

But if he was to say, well,

why don't we offer half?

:

01:03:27,343 --> 01:03:29,908

And Jerry says, Okay,

I'll go back to them.

:

01:03:30,138 --> 01:03:32,028

I'll go back to them and see

if they, if they'll take half.

:

01:03:32,538 --> 01:03:36,278

He still knows he's gonna get that

money anyway, so why not do that?

:

01:03:36,278 --> 01:03:38,028

You, you keep yourself in charge.

:

01:03:38,608 --> 01:03:41,928

By stonewalling the old man,

he now wants to be in charge.

:

01:03:41,928 --> 01:03:45,828

Chris: You're trying to correct

the mistakes, but without the

:

01:03:45,828 --> 01:03:47,468

mistakes, you don't have the movie.

:

01:03:49,328 --> 01:03:51,678

Jerome: Of course, that's why

this is titled What Went Wrong.

:

01:03:53,398 --> 01:03:55,238

You know, what's another

good movie for this exercise?

:

01:03:55,608 --> 01:04:00,798

A simple plan for that movie with

Bill Paxton and Billy Bob Thornton.

:

01:04:00,828 --> 01:04:02,008

Oh, we got to do that.

:

01:04:02,008 --> 01:04:03,328

But I don't remember if I've seen that.

:

01:04:03,698 --> 01:04:04,938

We got to do that movie sometime.

:

01:04:04,948 --> 01:04:08,988

That's, that's the most you'll

ever get to a Hitchcock film.

:

01:04:08,988 --> 01:04:10,518

That's not directed by Alfred Hitchcock.

:

01:04:11,628 --> 01:04:11,948

All right.

:

01:04:11,988 --> 01:04:13,288

Anyway, one more point.

:

01:04:13,328 --> 01:04:13,908

Number seven.

:

01:04:14,438 --> 01:04:19,908

Why didn't Jerry star six, nine, the

phone as soon as Wade and Carl hung up.

:

01:04:21,298 --> 01:04:21,818

So.

:

01:04:22,713 --> 01:04:24,013

They're both on the phone, right?

:

01:04:24,113 --> 01:04:28,353

He, he's talking to Carl and Carl's

like, all right, enough fucking around.

:

01:04:28,383 --> 01:04:30,553

I want you to meet me at the

top of this parking garage,

:

01:04:30,553 --> 01:04:31,343

whatever, blah, blah, blah.

:

01:04:31,343 --> 01:04:33,903

He named it and Wade's

listening in, right?

:

01:04:34,603 --> 01:04:37,363

And then Wade hangs up before

the phone calls even over.

:

01:04:38,023 --> 01:04:40,803

And he heads out the door with

the money and Jerry's all pissed.

:

01:04:41,053 --> 01:04:43,463

What if Jerry just picked up the

phone and hit star six, nine,

:

01:04:43,673 --> 01:04:46,213

Carl couldn't have been more than

five feet away from that phone.

:

01:04:46,893 --> 01:04:50,093

If the payphone starts ringing, he's

likely to go back and answer it.

:

01:04:50,808 --> 01:04:54,068

And if it's Jerry, Jerry could

say, Look, change of plans.

:

01:04:55,628 --> 01:04:56,918

We're gonna do it in two hours.

:

01:04:56,938 --> 01:04:57,698

Not one hour.

:

01:04:57,948 --> 01:04:58,588

Two hours.

:

01:04:58,588 --> 01:05:00,218

And we're gonna do it

at some other location.

:

01:05:01,868 --> 01:05:03,898

Carl might be pissed, but

he'd be like, Alright, fine.

:

01:05:04,258 --> 01:05:04,618

Okay.

:

01:05:05,118 --> 01:05:07,518

Then, he waits for his dad to come back.

:

01:05:07,528 --> 01:05:08,868

He waits for Wade to come back.

:

01:05:09,148 --> 01:05:10,508

Or, he meets Wade there.

:

01:05:11,188 --> 01:05:12,338

At the first location.

:

01:05:13,318 --> 01:05:15,188

And says, Hey, they were watching.

:

01:05:15,968 --> 01:05:17,158

They were watching this whole time.

:

01:05:17,158 --> 01:05:19,828

They knew it was you instead

of me and they kept gene.

:

01:05:19,828 --> 01:05:20,558

They're not coming.

:

01:05:20,908 --> 01:05:22,188

You got to give me the money.

:

01:05:22,188 --> 01:05:23,328

You got to let me do it.

:

01:05:23,368 --> 01:05:24,978

If I don't do it, they're

not going to show.

:

01:05:25,098 --> 01:05:25,468

Right.

:

01:05:25,518 --> 01:05:26,698

Chris: So you'd make a better criminal.

:

01:05:26,698 --> 01:05:32,378

Jerome: Am I implicating myself right now?

:

01:05:32,378 --> 01:05:32,668

Is that what?

:

01:05:34,798 --> 01:05:36,348

Chris: Yeah, you got

this figured out, man.

:

01:05:36,348 --> 01:05:39,218

Jerome: Yeah, I mean, he could have said

they were pissed, they were watching,

:

01:05:39,218 --> 01:05:40,538

and they saw it was you and not me.

:

01:05:40,558 --> 01:05:43,098

They're gonna hurt Gene, give me

the fucking money so I can do this

:

01:05:43,098 --> 01:05:46,508

drop, quit involving yourself where

I told you not to get involved.

:

01:05:46,678 --> 01:05:50,808

It would also speak to, you know,

standing up to the old man, right?

:

01:05:51,118 --> 01:05:51,218

Yeah.

:

01:05:51,348 --> 01:05:51,858

But anyway.

:

01:05:52,763 --> 01:05:53,673

None of that happened.

:

01:05:54,693 --> 01:05:56,713

So anyway, so that's what went wrong.

:

01:05:56,713 --> 01:05:58,563

And of course, if any of

those things happen, like you

:

01:05:58,563 --> 01:05:59,913

said, we don't have a movie.

:

01:06:01,303 --> 01:06:04,033

That's of course why, why

those things didn't happen is

:

01:06:04,033 --> 01:06:05,493

to make the movie far better.

:

01:06:05,753 --> 01:06:06,043

All right.

:

01:06:06,043 --> 01:06:08,173

I got some trivia here

to end out this episode.

:

01:06:08,693 --> 01:06:12,373

The role of Carl Showalter was written

specifically for Steve Buscemi.

:

01:06:13,483 --> 01:06:18,963

Grimsrud, who played, who's played by

Peter Stormare has 18 lines of dialogue.

:

01:06:19,293 --> 01:06:19,593

18.

:

01:06:20,743 --> 01:06:21,863

Carl Showalter.

:

01:06:22,348 --> 01:06:26,788

Who plays Buscemi, who's played by

Buscemi has 150 lines of dialogue.

:

01:06:27,498 --> 01:06:28,988

Chris: And they're all in the same scenes.

:

01:06:29,028 --> 01:06:31,358

Jerome: And they're in the same

scenes, except for the part

:

01:06:31,358 --> 01:06:32,488

where he's with the hooker.

:

01:06:32,608 --> 01:06:34,398

That's the only added stuff he has.

:

01:06:34,768 --> 01:06:38,278

The wood chipper used in the

film is now on display at the

:

01:06:38,278 --> 01:06:40,228

Fargo Moorhead Visitor Center.

:

01:06:42,628 --> 01:06:43,468

Chris: That's amazing.

:

01:06:44,228 --> 01:06:44,818

Jerome: Um,

:

01:06:44,878 --> 01:06:47,808

The money that Carl stashes in the snow.

:

01:06:48,378 --> 01:06:54,048

Is later found apparently in season one

of the show Fargo, which I've never seen,

:

01:06:54,388 --> 01:06:58,738

but apparently there's a character named

Stavros who's played by Oliver Platt who

:

01:06:58,848 --> 01:07:02,488

finds the money in the snow and then he

moves to Duluth and starts a new life.

:

01:07:02,498 --> 01:07:03,288

Chris: Oh, that's amazing.

:

01:07:03,288 --> 01:07:04,048

I didn't know that either.

:

01:07:06,398 --> 01:07:10,598

Jerome: Uh, My last point is finally

the clearing the cop off the road

:

01:07:10,598 --> 01:07:12,548

before we're seen by an upcoming car.

:

01:07:12,868 --> 01:07:15,728

That's actually an

homage that Cohen's paid.

:

01:07:16,108 --> 01:07:22,358

To themselves a very similar situation

happens in the Coen's first movie blood

:

01:07:22,358 --> 01:07:28,198

simple in:

a shot dude off the ground in the middle

:

01:07:28,198 --> 01:07:33,808

of the freeway in the dead of night and

Drag him to his car and lo and behold

:

01:07:33,958 --> 01:07:38,963

here come the headlights of an oncoming

car a potential witness The dramatic

:

01:07:38,983 --> 01:07:42,173

elements of, oh my god, is he gonna make

it in time, oh my god, is he gonna get

:

01:07:42,173 --> 01:07:46,163

the car, is he gonna get the body out

of the way before the, the witnesses

:

01:07:46,163 --> 01:07:48,523

come, all that is the exact same.

:

01:07:48,533 --> 01:07:51,338

It's almost shot the exact

same, the way they pick up

:

01:07:51,338 --> 01:07:52,608

the body and he's pulling him.

:

01:07:52,843 --> 01:07:53,613

Like he's dragging him.

:

01:07:53,843 --> 01:07:54,043

Yeah.

:

01:07:54,053 --> 01:07:55,303

It's almost identical.

:

01:07:55,453 --> 01:07:59,243

When I watched Blood Simple, I was like,

my God, that scene is straight from Fargo.

:

01:07:59,323 --> 01:08:00,963

But then I was like, wait a

minute, this one came out first.

:

01:08:01,173 --> 01:08:02,783

So the Fargo scene is straight from this.

:

01:08:04,203 --> 01:08:04,463

Wow.

:

01:08:04,683 --> 01:08:06,723

I had to get my timelines set up.

:

01:08:07,768 --> 01:08:08,808

That's all I got.

:

01:08:08,808 --> 01:08:10,038

What do you got for Fargo?

:

01:08:11,408 --> 01:08:11,828

Chris: I don't know.

:

01:08:11,838 --> 01:08:12,098

I just

:

01:08:12,098 --> 01:08:13,408

Jerome: Other than the Jessie story.

:

01:08:13,418 --> 01:08:14,648

Chris: Yeah, that's it, man.

:

01:08:14,668 --> 01:08:16,666

I just, it's great though.

:

01:08:16,666 --> 01:08:22,122

It's so great because it's

cemented a memory in our family

:

01:08:22,122 --> 01:08:26,148

history from the, the, I mean

the month after we got married.

:

01:08:27,837 --> 01:08:30,758

So it's been a running story for years.

:

01:08:31,898 --> 01:08:36,108

Jerome: From a writing standpoint

though, isn't it intriguing, isn't it

:

01:08:36,167 --> 01:08:41,768

intriguing from a writing standpoint

how There is no clear protagonist.

:

01:08:41,858 --> 01:08:42,127

Yeah.

:

01:08:42,127 --> 01:08:47,048

It is wild movies where it's like the,

the, the, the lead, the, the lady who wins

:

01:08:47,077 --> 01:08:52,508

best actress for the lead in Fargo doesn't

show up until 30 minutes into the film.

:

01:08:52,558 --> 01:08:52,848

Chris: Yeah.

:

01:08:52,858 --> 01:08:53,648

That's pretty wild.

:

01:08:53,667 --> 01:08:55,198

Jerome: Like, but they make it work.

:

01:08:55,238 --> 01:08:57,388

Anybody else that tries

that it's a failure.

:

01:08:57,417 --> 01:08:57,778

Chris: Oh yeah.

:

01:08:57,778 --> 01:08:58,658

There's no way.

:

01:08:58,747 --> 01:08:59,077

Jerome: Right.

:

01:08:59,118 --> 01:09:00,468

But the Coen's make it work.

:

01:09:00,568 --> 01:09:04,808

They, the, the kind of knowing the rules,

bending them, but don't breaking them.

:

01:09:05,728 --> 01:09:06,658

Knowing the beats.

:

01:09:06,658 --> 01:09:06,877

Yeah.

:

01:09:07,198 --> 01:09:10,308

They did it with Raising Arizona

and they did it with Fargo.

:

01:09:11,158 --> 01:09:15,087

And they, I mean, I, I think, like

I said, as you, as we just laid out,

:

01:09:15,358 --> 01:09:19,587

you could argue a beat sheet for both

Jerry and Marge, which one is the lead?

:

01:09:19,818 --> 01:09:20,438

You know what I mean?

:

01:09:20,438 --> 01:09:23,448

Like, you know, when we did fat man.

:

01:09:23,988 --> 01:09:25,558

We couldn't tell who the lead was.

:

01:09:25,627 --> 01:09:27,818

We couldn't tell any of

them had a beat sheet.

:

01:09:27,818 --> 01:09:30,008

We couldn't tell any of

them's goals or anything.

:

01:09:30,198 --> 01:09:32,198

That's how poorly it can be done.

:

01:09:32,827 --> 01:09:36,448

The Coens do it to where your leads,

you might not be able to figure out

:

01:09:36,448 --> 01:09:39,658

who the damn lead is, but they all

have their own stories going on.

:

01:09:39,658 --> 01:09:42,228

They all have their own beat

sheets and it all works.

:

01:09:42,698 --> 01:09:44,178

And it makes for a great film.

:

01:09:44,178 --> 01:09:46,837

I mean, obviously this film

won best original screenplay.

:

01:09:46,988 --> 01:09:47,957

Chris: Yeah, that says a lot.

:

01:09:47,957 --> 01:09:48,198

I don't know.

:

01:09:48,198 --> 01:09:49,497

Jerome: Anything else to add for Fargo?

:

01:09:49,818 --> 01:09:50,978

Should we get the 60 degrees?

:

01:09:51,028 --> 01:09:53,497

Chris: Yeah, that, I was just gonna

say, it says a lot because that,

:

01:09:53,568 --> 01:09:57,827

I mean, they got best screenplay

for something that really is, I

:

01:09:57,827 --> 01:09:58,978

don't know if it's ever been done.

:

01:10:00,038 --> 01:10:03,577

Jerome: I don't think you could

teach Fargo in a screenwriting class.

:

01:10:04,077 --> 01:10:04,588

You know what I mean?

:

01:10:04,588 --> 01:10:10,288

Like, it's just so, it's uniquely breaking

of rules that it would be hard for a

:

01:10:10,288 --> 01:10:12,168

screenwriting teacher to teach Fargo.

:

01:10:12,228 --> 01:10:12,658

Chris: Yeah.

:

01:10:13,178 --> 01:10:13,948

Jerome: But anyway, okay,

:

01:10:14,077 --> 01:10:14,628

6 degrees.

:

01:10:14,638 --> 01:10:17,738

Chris: So I know we

chose Randall Tex Cobb.

:

01:10:19,133 --> 01:10:21,383

Right from from raising Arizona,

:

01:10:21,443 --> 01:10:22,413

Jerome: from raising Arizona.

:

01:10:22,463 --> 01:10:26,603

And then is it Tony

Denim Denman from Fargo?

:

01:10:26,683 --> 01:10:27,233

Yeah, yeah.

:

01:10:27,233 --> 01:10:28,253

He was Scotty.

:

01:10:29,193 --> 01:10:30,223

Well, I just threw it out there.

:

01:10:30,223 --> 01:10:32,823

I was like, you know, we were kind

of hard pressed Denman Denman.

:

01:10:33,923 --> 01:10:34,193

Okay.

:

01:10:34,193 --> 01:10:37,103

So we were, we were hard

pressed for some six degrees.

:

01:10:37,423 --> 01:10:40,283

And usually we pick the kids that

have never been in anything else.

:

01:10:40,663 --> 01:10:44,073

So we thought Scotty and then

Nathan jr, but then Nathan

:

01:10:44,073 --> 01:10:45,233

jr hadn't been in anything.

:

01:10:45,233 --> 01:10:46,273

So we went with Scotty.

:

01:10:46,702 --> 01:10:50,233

And then we went Randall Tex

Cobb from Raising Arizona.

:

01:10:50,653 --> 01:10:52,503

Chris: All right, so how'd you do?

:

01:10:52,503 --> 01:10:54,543

Jerome: So, it's actually fairly easy.

:

01:10:57,253 --> 01:11:01,952

So Randall Tex Cobb in Raising

Arizona, he played Leonard Smalls.

:

01:11:03,003 --> 01:11:06,273

He was in the Golden Child, where

he played a character named Till.

:

01:11:06,433 --> 01:11:06,823

Chris: Oh yeah.

:

01:11:06,873 --> 01:11:08,373

Jerome: Golden Child with Eddie Murphy.

:

01:11:08,383 --> 01:11:08,733

Yeah.

:

01:11:09,158 --> 01:11:11,827

Eddie Murphy, of course, was

in Beverly Hills Cop with John

:

01:11:11,848 --> 01:11:14,218

Ashton, who plays one of the cops.

:

01:11:14,268 --> 01:11:16,488

Oh God, what are the cops

names in Beverly Hills Cop?

:

01:11:16,618 --> 01:11:19,588

The Rosewood uh, Taggart

and Rosewood, right?

:

01:11:19,588 --> 01:11:21,378

So he played Taggart.

:

01:11:21,378 --> 01:11:23,098

John Ashton played Taggart.

:

01:11:23,638 --> 01:11:29,238

But John Ashton was in Little Big League

with Tony Denman, who was playing Scottie.

:

01:11:29,248 --> 01:11:30,558

Chris: Wow, that was a

:

01:11:30,678 --> 01:11:31,488

Jerome: That's only three.

:

01:11:31,498 --> 01:11:32,298

Chris: Three, wow.

:

01:11:32,308 --> 01:11:36,468

Jerome: Yeah, Little Big League,

Beverly Hills Cop, and Golden Child.

:

01:11:36,498 --> 01:11:36,908

Chris: Yeah.

:

01:11:36,958 --> 01:11:41,178

Jerome: Now again, we could have made

this way harder for ourselves if we

:

01:11:41,178 --> 01:11:42,978

had picked Nathan Jr., but Nathan Jr.

:

01:11:42,998 --> 01:11:44,577

was literally in nothing else.

:

01:11:44,608 --> 01:11:44,958

Right.

:

01:11:45,408 --> 01:11:48,088

So, but you said he's coming

up in a documentary, right?

:

01:11:48,463 --> 01:11:51,683

Chris: I don't know how legit that is,

because it's just, when you go to the

:

01:11:51,683 --> 01:11:56,113

kid's IMDb, it said he has one upcoming

project, and I forgot, what was it called?

:

01:11:56,183 --> 01:12:00,713

Jerome: Wasn't it like Raised Arizona, or

We Raised Arizona, or something like that?

:

01:12:00,923 --> 01:12:02,603

Chris: Yeah, I don't remember.

:

01:12:02,763 --> 01:12:05,423

Jerome: Arizona Raised or something,

it's about the kid anyway.

:

01:12:05,433 --> 01:12:09,013

Chris: It's funny, his IMDb page

is, is him in the car seat as a

:

01:12:09,023 --> 01:12:10,623

baby in the middle of the road.

:

01:12:13,558 --> 01:12:15,068

Jerome: That's his IMDB page.

:

01:12:15,998 --> 01:12:18,628

I am the fucking baby

from Raising Arizona.

:

01:12:18,628 --> 01:12:19,698

That's, that's, yeah.

:

01:12:19,758 --> 01:12:20,638

Chris: Arizona Raised.

:

01:12:20,638 --> 01:12:21,278

Jerome: Hey man.

:

01:12:21,548 --> 01:12:22,388

Chris: That's the name of it.

:

01:12:23,258 --> 01:12:23,918

Jerome: Oh, that's what it is.

:

01:12:24,008 --> 01:12:25,428

Arizona Raised.

:

01:12:26,358 --> 01:12:30,648

Chris: Whatever happened to the babies

cast in the Coen's Comedy Cult Classic?

:

01:12:31,008 --> 01:12:32,077

Raising Arizona.

:

01:12:32,688 --> 01:12:33,808

I don't know what this is.

:

01:12:33,827 --> 01:12:35,708

It's in post production right now.

:

01:12:36,077 --> 01:12:39,808

Jerome: Oh, so it might be all about

the 15 babies that were cast, I guess.

:

01:12:40,288 --> 01:12:42,998

Maybe they'll interview the one that

was fired for learning how to walk.

:

01:12:43,088 --> 01:12:43,518

Chris: Yeah.

:

01:12:45,788 --> 01:12:46,028

Jerome: All right.

:

01:12:46,028 --> 01:12:49,308

Anything, anything else on these

before we, before we land the plane?

:

01:12:49,348 --> 01:12:52,478

Chris: No, before we lose this

feed one more time, we should just

:

01:12:52,478 --> 01:12:54,648

say go support your local cinema.

:

01:12:57,983 --> 01:12:59,223

And we lose you?

:

01:12:59,483 --> 01:13:00,273

We lost him.

:

01:13:00,273 --> 01:13:01,813

That's a great way to end the show.

:

01:13:01,873 --> 01:13:03,033

We lost Jerome.

:

01:13:03,573 --> 01:13:04,303

Again.

:

01:13:04,793 --> 01:13:06,663

I'm gonna take a picture

of it when it drops.

:

01:13:06,673 --> 01:13:07,443

There it goes.

:

01:13:08,653 --> 01:13:10,193

Jerome has gone away.

:

01:13:11,363 --> 01:13:12,003

Damn it.

:

01:13:13,633 --> 01:13:14,973

I'm keeping this part in.

:

01:13:15,593 --> 01:13:19,683

So, just for the, for the

listeners, his internet sucks.

:

01:13:19,733 --> 01:13:21,853

So this new studio, he's

gotta fix something.

:

01:13:21,853 --> 01:13:23,223

I think it's Xfinity's fault.

:

01:13:23,233 --> 01:13:25,193

They are not getting the speeds they need.

:

01:13:26,023 --> 01:13:30,393

And uh, we, the last five minutes

of this show dropped Jerome.

:

01:13:30,413 --> 01:13:31,543

Jerome has lost us.

:

01:13:31,543 --> 01:13:31,783

Hold on.

:

01:13:31,943 --> 01:13:34,643

I'm telling the audience what's going

on because I'm keeping this part in.

:

01:13:35,143 --> 01:13:36,793

Jerome: No, I'm fucking here.

:

01:13:36,873 --> 01:13:37,778

God damn it.

:

01:13:38,058 --> 01:13:41,088

This is like, this is like we're,

we're at a bar and you turn to

:

01:13:41,088 --> 01:13:43,948

tell me something and I've gone

to like go You fell on the floor.

:

01:13:44,358 --> 01:13:48,698

Yeah, or pass out, or flirt with

somebody, or go get another drink, and

:

01:13:48,698 --> 01:13:50,128

you're like where the fuck did he go?

:

01:13:50,348 --> 01:13:52,558

That's, that's the equivalent

of what's going on here.

:

01:13:53,338 --> 01:13:54,988

Chris: Well, happy hour's wrapping up, so.

:

01:13:57,918 --> 01:13:59,658

Jerome: Technical

difficulties in our new room.

:

01:13:59,668 --> 01:14:04,148

Chris: Yeah, I was telling them your

Xfinity is on the fritz, I think uh, yeah.

:

01:14:04,588 --> 01:14:06,938

Jerome: This is not a very

good endorsement for Xfinity.

:

01:14:06,948 --> 01:14:09,448

Chris: No, Xfinity can bite my ankle.

:

01:14:10,698 --> 01:14:11,688

Jerome: Your ankle?

:

01:14:11,688 --> 01:14:13,678

Chris: Yeah, being kind.

:

01:14:14,818 --> 01:14:15,638

For the kids.

:

01:14:17,748 --> 01:14:21,577

Jerome: For the many kids that listen

to our two hour screenwriting podcast.

:

01:14:23,327 --> 01:14:24,538

Chris: Alright, did you hear what I said?

:

01:14:24,538 --> 01:14:25,948

So before we cut out again,

:

01:14:26,888 --> 01:14:28,478

Go support your local cinema.

:

01:14:28,618 --> 01:14:28,998

Jerome: Yes.

:

01:14:29,018 --> 01:14:29,768

Wait, wait, wait.

:

01:14:29,768 --> 01:14:31,878

Before we close out, did

you have anything to pitch?

:

01:14:31,918 --> 01:14:33,448

Are we, are we pitching anything?

:

01:14:33,448 --> 01:14:34,827

Are we giving any shout outs?

:

01:14:35,058 --> 01:14:37,077

You already shout out

Scott Winkleman's dad.

:

01:14:37,993 --> 01:14:39,683

I shout out Dave Asalo.

:

01:14:40,723 --> 01:14:41,813

Uh, Anything else?

:

01:14:43,952 --> 01:14:46,163

Chris: Shout out to my wife for

sticking with us for this long.

:

01:14:46,243 --> 01:14:47,733

Jerome: Oh god, thank you Jessie's.

:

01:14:47,753 --> 01:14:48,843

Since:

:

01:14:48,893 --> 01:14:49,023

For

:

01:14:49,023 --> 01:14:50,952

not, for not blaming us for this movie.

:

01:14:50,952 --> 01:14:52,933

Chris: Yeah, I think it's

28 years this year, right?

:

01:14:53,013 --> 01:14:54,243

Wow, oh my god.

:

01:14:54,253 --> 01:14:54,583

I'm getting old.

:

01:14:55,633 --> 01:14:56,033

Jerome: You are old.

:

01:14:56,433 --> 01:14:57,113

What do you mean, getting?

:

01:14:58,363 --> 01:15:00,003

Alright let's land the plane.

:

01:15:00,023 --> 01:15:02,783

Alright folks, thanks for

joining in and listening to

:

01:15:02,783 --> 01:15:05,273

our, our drinking and ranting.

:

01:15:05,273 --> 01:15:05,343

Thanks for listening.

:

01:15:05,343 --> 01:15:07,563

Stay drinking and stay watching.

:

01:15:08,202 --> 01:15:09,893

And go support your local cinema.

:

01:15:15,023 --> 01:15:15,933

We did it.

:

01:15:16,623 --> 01:15:18,943

My god, it took three hours, dude.

:

01:15:20,263 --> 01:15:21,607

Three hours.

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About the Podcast

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Silver Screen Happy Hour
With the Wiegand Brothers

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About your hosts

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Jerome Wiegand

Born and raised in Metro Detroit, Michigan. Graduate of Columbia College Chicago with a degree in Film/Screenwriting. Have lived in California since 2001. I enjoy screenwriting, script consulting and film analysis.
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Chris Wiegand