No Country For Old JB Part II

The exciting conclusion to the epic conversation JB and I had about No Country For Old Men!

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SPEAKER_02 0:00

Hey hey, everyone Promethe Eric here coming at you guys with part two of No Country for Old JB. This uh not as long as the first half. Uh glad to have it up there. Thanks for awaiting everybody. And uh catch you guys in the next one. Hope you guys enjoy, and thank you for your patience. Mexico because of their and if he's in El Paso, he's in the border basically, and so he's going across and he's all fucked up, but he's trying to limp back into Mexico real quick, which I think is a great thing.

SPEAKER_03 0:27

And then Yeah, even the way he gets into Mexico where he um He runs into like party boys coming into Mexico. He has a he buys the jacket off of them and he takes the beer, and it's like so that way he can look like a drunk guy, like that they pay him the money. Yeah, and it works because he gets too much. And it works, yeah, because that dude is just the patrol or the Border Patrol is just like he's like sleeping, basically standing up, and he gives him a look and then goes back, buys the money, he's on bed.

SPEAKER_02 0:52

And then I love too that the way he wakes up and makes it go with Mariachi band singing. Yes! Dude, it's like I want to look up whatever that song is because what if it's like a whole fucking metaphor? Like it's a thing. And then I love too where he's he's like, oh fuck, okay, I'm up, and then he's like, he does like he re lifts his shirt and he's like a lot more blood is during the night, and then mariachi's like, oh fuck, like they stop playing, like the way the music dies down, like, oh, this motherfucker is shot and bleeding in front of us, and then he's just like, give me like what is me I don't know. He says like medicine in Spanish, and he's giving out like a hundred dog bill. Yeah, medical. And then I guess they get him to the hospital, so then that's when he's in the hospital. But like, well, it ends after medico, medico, and then it cuts to Antoine Shigari's recuperation scene, right? And what he does to get help.

SPEAKER_03 1:35

I said, tosses a suitcase into the field. Oh yeah, he does get rid of the money. So and then he wakes up to mariachi band singing to to him. They stop after they see all the blood, and then Anton raids the pharmacy. Okay, and so then then it's Antoine's recuperation, and he fucking pulls up a gas tank real quick. Yeah, he lights a clock on fire and then puts it in the gas can uh gas tank thing, and then it explodes, and so the windows crash, and it's just walks until he can raid the pharmacy.

SPEAKER_02 2:03

Yeah. It's like a regular ass pharmacy that's already open and stuff. Like it's just broad daylight type shit. He he just blows it up to cause distraction, just walks in and grabs like the few things he needs. Yeah, and so he's in a hotel room and sells himself up.

SPEAKER_03 2:15

So as he's doing the cert, like the I don't know, like the medical his own first aid. Is he doing some first aid on them stuff? You want to talk about how he's like no reaction to when he's putting it? He does have a little bit. He's he sighs. But yeah, you're right, like it's very little reaction to it. But he has the TV on.

SPEAKER_02 2:33

And what's the show, motherfucker? Is it the same thing? It's about diet.

SPEAKER_03 2:35

It's about a diet. I don't know. But I mean it's about a diet. It's a it's a guy talking about dieting. Oh, okay. Um But I did but I did put that in my notes. And so he's in the uh he's in the tub splashing water around the wound, and uh I put very little emotion, but he is sighing and he's looking up. So as he's splashing water, he's like looking upwards and he's kind of just like uh sorry, I was talking away from the mic, but um he is sighing a little bit, he is looking up. So there is some like to me it's like he is in pain. He is feeling pain. Yeah, he still feels. And then cleans his wound with like an alcohol mixture or something. Yeah. And then he uh injects lidocaine into himself. And then lidocaine is a little bit more. It's a pain reliever. Yeah. And so after he's done cleaning himself, he's wrapped up in a towel and he shuts off the TV to sit in silence. That's why the TV, I noticed it, because he had the TV on for when he's doing his.

SPEAKER_02 3:29

But did you see him turn on the TV or we just cut to him in the right?

SPEAKER_03 3:32

I think the TV's just on. I don't know, I don't remember. But he does turn off the TV. And then just sit in silence. And then he just sits in silence. I think he looks at himself in the mirror. I don't I'm not sure.

SPEAKER_02 3:42

Maybe. And then at the end That's just another callback to what he does at the Wellow's house. He just likes to sit down. Yeah, he's weird. He's weird.

SPEAKER_03 3:48

He's a fucking alien.

SPEAKER_02 3:49

If you've seen what I've seen, it made an impression on me.

SPEAKER_03 3:52

Yeah. Made an impression on me too. Mm-hmm. So then that's when silence, and then next Sheriff Bell and his receptionists talk about the owners of the car. Okay. And then they're registered to pee the to people that are dead. And then Bell pulls over a dude that's driving with some stuff in his truck bed. Um No, not Bell. There's an Antoine. Antoine pulls over the person in the Bell Bell pulls over the dude that has the dead bodies of the drug, of the drug of the thing. Oh, yeah.

SPEAKER_02 4:22

He's like the corner office, basically, and he's like, Yeah, are you in the down?

SPEAKER_03 4:25

Um write me up for managing a missload manage or whatever. That's right, that's right. And so, 'cause he says um you could you couldn't take a van out there. So the there's dead bodies from the truck. So um and the next scene, Moss meets uh Moss and Wells meet in the hospital.

SPEAKER_02 4:43

Yes.

SPEAKER_03 4:43

So then Moss asks how you would describe him, and Wells says, I guess I'd say he doesn't have a sense of humor. Right? Yeah. Woody Harrelson didn't. Moss is Brolin. George Brolin. Wells is Woody Harlesson. Yep. Uh so Woody Harlton says, I guess he'd say I guess I'd say he doesn't have a sense of humor. Which is just like factual. It's very factual. Yes and no. Because he does kind of have a sense of humor, right? When he says, Oh no, black well, I don't know. When he says, like, married into it. Yeah, and then he also says, don't put it in your pocket.

unknown 5:14

Don't put it in your pocket.

SPEAKER_03 5:14

No, that's not a sense of humor. I think he's being serious about that. Because I think it's kind of a sense of humor. But um I think that's just such an interesting way to describe it. Would you carlson describe it, yeah? Because you're gonna talk about his sense of humor about this this guy.

SPEAKER_02 5:28

Or just that his sense of humor's so fucking dark. Yeah. I could see that. And but then he also just like, even if you gave him the money back, it's not gonna save you, like it's stuff like that.

SPEAKER_03 5:38

Yeah, and that's when he's he's talking like uh he would kill you for just for inconveniencing him. He's got like a a set of rules. Yep. So and rules do go back into it. Um so they have a talk, I guess I didn't put anything else in my notes, so nothing really stood out to me.

SPEAKER_02 5:52

For their talk?

SPEAKER_03 5:53

Yeah.

SPEAKER_02 5:54

Yeah, I mean I mean he's like, I'm a wilder, I can weld it. Yeah, okay. The only thing that was significant is that he was kind of convinced or that's when they were like, I'll give you my card and like maybe we can make a deal, and then that's that's like Lloyd and Moss kind of starting to get to the city.

SPEAKER_03 6:07

I even let you keep some of the money.

SPEAKER_02 6:08

Yeah, he was just like, I can get out of this now. Like, there's a way out now. Maybe if I deal with this guy, they call the dogs off, so to speak.

SPEAKER_03 6:14

Basically, yeah.

SPEAKER_02 6:15

Even though he already killed one dog.

SPEAKER_03 6:17

And then he also says to to go back to it, he's um how do you know he's not over in Odessa or El Paso?

SPEAKER_02 6:23

No, Odessa. It is Odessa, where his mother-in-law is and stuff. Oh, okay. And that's when he's like, Why would you do it? Kill your wife, kill your yeah, kill your wife. And then he's like, What? And then that's when he I think that's when he also kind of scared him in real life. I don't know, that's when he scared Llewellyn a little bit. But Lowell also was basically.

SPEAKER_03 6:43

I'm gonna I'm gonna make him a special project.

SPEAKER_02 6:45

Yes, which I was like, oh shit, it's gonna go ramble on him. That's what I used to think, like before I re-watched it, I was because I really didn't remember how this ended when I gave that rewatch a couple years ago with that ex-girlfriend. I did not remember how it ended. And I was just like, oh fuck, like here we go. Like I think I I think I remembered he dies, but I was like, I don't remember how. I remember seeing how or whatever. You're talking about Moss? Yes. Like I just kind of remembered that.

SPEAKER_03 7:09

I think there's I don't even think I remembered it. Because it's so anticlimactic you wouldn't remember, but like here's we'll get into that later.

SPEAKER_02 7:14

Exactly, yeah. Yeah, that's why. And then that's why when he's just like, oh, make him a special project to me with someone now. Like, I'm just like, oh fuck, here we go, like ramble status. Like we saw him soft the fucking shotgun. Like, let's go, he's gonna soft more guns and he's gonna have more shit to do. And then not that kind of movie. Not that kind of movie at all, bro. That's not that kind of country. No for these old men. Yeah. That's all the old men would have done it. Yep. And then and so that's when they have that's uh he goes back to America and he gets the monies after that. But then he's got that's when he has the what the border patrol agents like serve.

SPEAKER_03 7:43

Uh Carly Jean meets with uh Sheriff Bell. And then that Wait, no, that's isn't that right before, bro? That's no, that's how it goes? Yes, sir. Okay, alright. So Carly Jean meets with Bell. Yep. Belle tells Carly Jean about how livestock is killed. I don't know if you remember that.

SPEAKER_02 7:59

Yes, because she tells he tells a story about the guy, and then later on she's gonna be like, was that a story you told me about? And he's like, who's strange?

SPEAKER_03 8:06

Yes, as true as it is a story. Yep. Uh and then uh so I put it all as one note, so it must have been fast for me. But Belle tells Carly Jean about how livestock is killed, and then Wells sees where the money where Moss threw the money. Yes, because he tells him in the bush, basically, right?

SPEAKER_02 8:23

Or he doesn't tell him?

SPEAKER_03 8:24

No, he says uh I spent it on booze and hookers and uh the rest is blew away. So he's looking and then he sees him. Uh and then Wells walks to the motel room and Anton is waiting for him.

SPEAKER_02 8:37

Is there something that's no no, Antoine comes up behind him up the stairs?

SPEAKER_03 8:40

Yeah. Yeah.

SPEAKER_02 8:41

And that's where it was.

SPEAKER_03 8:42

So yeah, so Moss uh Wells is walking up the stairs and and Moss po or uh follows him up, pops up, and yeah, he's following, he says, Let's go to your room.

SPEAKER_02 8:51

Yep. See, I don't even have much of uh of their scene and interaction together, because it is just it's Wells just being like, oh come on, like the bargaining that he always does, but even Anton's like, no, no, no, no, no, no, no. Like I you know how this is gonna play out no matter what.

SPEAKER_03 9:04

Like You really? You don't like that scene, huh?

SPEAKER_02 9:06

It's not that I don't like it, it's just that I don't have anything to say about it right now. I'm hoping you do.

SPEAKER_03 9:10

So I do because they so they're sitting down, right, and they're talking and so Wells says, You don't have to do this. I'm a day trader. And so to me, it's like look at how much compared to compare how he's dealing with Anton versus how he dealt with uh Moss and how he dealt with the managerial guy. He's like he was playing it so cool, but then now he's confronted with it. Now he's being a little bit for her, he's fucking scared.

SPEAKER_02 9:38

But it's because he knew who Shugur is and what he did to it.

SPEAKER_03 9:41

But yeah, so it's like he pretended that he can handle the situation. That's true. But now that he's in this situation, he's Well now that Sugar got a fucking drop on him. Yeah, Shagur got the drop on him. That's that's true. But um yeah, there's a lot of I think there's it's it's a good scene. There's um Well what did you put on your notes? Uh I'm gonna reap them if you gave me a second to find it. He says, uh Wells um Wells says you don't have to do this. And to me, I I think that's very interesting because it pops up again later. But um It does. He says, I can make it worth your while. Like take you to an ATM with 14 grand in it.

SPEAKER_02 10:15

That's right.

SPEAKER_03 10:15

And then Anton just I don't I don't know him. That's not even I don't know what his response is, but he's smiling and he says an ATM. And to me, that's kind of just like you think this is about money?

SPEAKER_02 10:26

Yeah, I think that's why he's smiling because he's kind of laughing at him like you you don't know. But just just the way he says it's a lot of people.

SPEAKER_03 10:32

Or do you also think he's smiling because he's sadistic and he's all like, I love that you're trying to get your way out of this, but maybe but I think it's you think uh to me it's like he's laughing at the fact like it this isn't about money. Yeah, this is about the m this isn't about cash or giving me cash. This isn't about me getting money, it's about me getting the money stolen.

SPEAKER_02 10:53

Yeah. Me returning a thing that has been hired to do it.

SPEAKER_03 10:56

So I I I love that.

SPEAKER_02 10:57

And then on top of all that is just all the extra killing and not killing things.

SPEAKER_03 11:01

And so they do have a conversation.

SPEAKER_02 11:03

Oh, and it's also after okay, it's right after he kills, after he shoots Woody as well.

SPEAKER_03 11:08

Okay. So Anton asks him if the rule you followed brought you to this of what use was the rule. And to me, that's kind of just like him toying with with uh with Wells. Because Wells then responds with like uh I forgot how he words it, but it's like uh like this you know how weird this situation is or whatever, or what and he's like the situation like this situation, he's like the situation of you. Yeah.

SPEAKER_02 11:38

And so I also think what he means by that is if like if common rule brought you here or whatever, there's rule to follow. I think that shows that's a line that shows his uh us his whole mentality about why he's so alienating and why he's not so into social norms or even small talk or just I think he means to say, like, look at what normal society or being normal brought to you, doing all the normal right things. It brought you to this. Like, me and I am not like that. Like, that's why he's also acknowledging that he's outside of it, so to speak. Even though he's a part of some type of criminal organizational system where he's hired out for stuff. But I think that's just one little insight to his fucking mind about yeah, modus operandism. He's just like, if all if you followed everything you're supposed to and it brought you here, Woody, then what good was it? And then wherever Antoine, who is uh has the power and who has the shotgun in this, he's like, I didn't follow any rules and I'm coming here now. And also, like he does follow rules, he's following his own rules, not the normal rule, but also doing the right things. Because look at because technically Woody Harrelson is also employed by the same people that employed him, like they could be working together, even though Woody Harrelson kind of got hired to take out Antoine. Yeah, I think he got it. But that's also why like Antoine's like, I'm not following the rules, like I'm gonna take out this motherfucker who's hired to take me out then, like which I guess is that's what you do, so that in a sense is its own universal rule. Like you take out somebody who's trying to take out you. But that's why he's just like, I'm not normal, and that's why I'm also here, and I'm the one with the gun and the power, so to speak. That's what I'm getting into with with him, with Sugar. Which also ties into the fact that he's not a special coin, it's just a coin. He's just it's just another tool or whatever, which is why the coin's not so special, because it is just a coin. And that's why he's not special. It's just not the only thing special about him is that he's not following the normal rules, I guess. I think that's what he's trying to get.

SPEAKER_03 13:22

Okay.

SPEAKER_02 13:22

But that's like the no one.

SPEAKER_03 13:23

But I don't even think he would compare himself to the normal rules. I don't think he even thinks of it that way. Like I think. To me, like what you just said, it kind of feels like he's like looking down on normal society in a different day. He does because.

SPEAKER_02 13:36

But that's why he laughed at the guy who married into it. And that's why it's I don't know. You know, like that's why he's that's why he's so focused on his rules. Because he's he doesn't care. It's like the normal rule. And that's why again, it's a that's why he's challenging Woody Harrelson with this, who maybe at some point Woody Harrelson, because I guess what were they doing last November 28?

SPEAKER_03 13:54

Yeah, they interacted with each other. However they went and how apparently was. Apparently he knows them a bunch of people. He knows him by sight. Yeah.

SPEAKER_02 14:01

Yeah, all the sentence, I guess. Um now I'm thinking about the pre-quel. They were lovers also. They broke up. The rom com the rom com of them. And then it's like the while that movie's happening, it's Llewellyn and Carla May, like meeting what's her name? Carla and May. Carla Jean. Carla Jean meeting.

SPEAKER_03 14:20

But but no, but to get back to your point, I think that's interesting about yeah, how he's he is for once giving us some insight.

SPEAKER_02 14:27

Yes, and and he is being a little hoity-toity in his own way towards Woody, who he probably is a little or maybe it's also like a looking down kind of way. I think it's contempt he's looking at him contemptibly because it's also like, oh, they thought I couldn't do the job, like they're gonna bring in Woody Harrelson, I think also. Which is also why he's willing to go after Woody Harrelson too. Because at that point he knew Woody Harrelson is you're trying to bring in a different tool. Like that's why and then that's what makes him so mad to go off and kill Bill Dodge Delafaine. And that's when he goes back. You know, because why else and that's also that's also when he knows they gave the Mexicans a receiver to that's at that's when he kills a manager guy.

SPEAKER_03 15:07

Not that's not right now.

SPEAKER_02 15:08

No, that's what I'm saying. But that he's gonna go from Woody Harrelson to kill the manager, right?

SPEAKER_03 15:12

Are we uh Well, there's also skipping? Well, there's some there's some there's a There's the phone call part too, right? Yeah, so during that scene, there's the phone rings and it's very loud. But I want to say uh Woody Harlesson's performance is really good in this. Because it's somebody who knows he's about to die and he's trying to get out of here. Yes, yes. And there's a part where uh he's talking, he tea uh Wells tells m uh Anton, I know where it is, and then he's like he said by the river or whatever, he goes, and then Anton goes, I know where it's going to be. And there's a little subtle, subtle-ish uh Woody Harlson, sorry, I got I got Woody Harlson's character, he's he wipes a tear from his eye and he laughs, kind of like a fake laugh because he's about to freaking cry. He's like breaking down right now, and he goes, Where's that? Like, but he's like laughing it off, and he's trying to hide the fact that he's crying. Yeah. And I just think that's amazing. He's so nervous. Because he's scared, yeah, because he knows he's about to die. So, and then um and then they have the the talk about the role or whatever, and then just like the sit just how the weirdness of you or whatever.

SPEAKER_02 16:17

Doesn't he even it's like doesn't he kind of just shoot him like mid-conversation, I'd say?

SPEAKER_03 16:21

Like, no, so the phone rings, okay, and then it's quiet, and then it's like the should I answer it? Shall I answer it?

SPEAKER_02 16:26

It's internally, yeah.

SPEAKER_03 16:27

Kinda, I guess, right? And then you just see you don't even I don't think you see all of Anton, you just see like the shotgun, and then like basically behind uh Woody Harrelson's seat. And then you see him shoot, and then his arm goes up, right? Because he so he killed him. And then he answers the phone and then it's it's Moss. It's Moss calling him. It's Moss calling Wells to make a deal.

SPEAKER_02 16:47

Yeah.

SPEAKER_03 16:48

Because he was gonna give up the money and he was gonna be. Because he was gonna yeah.

SPEAKER_02 16:50

He just wanted it to be over with.

SPEAKER_03 16:52

Which I sorry, I hit the mic. So but um I like to I like that the fact that he calls Wells because like yeah, he's like brave and stuff, but this is this is a scary situation. So he does go to he does go to somebody for help. Yeah. He does try to go to somebody for help, and then it's a resolution. It's Anton, though, that answers the phone, and he's uh um what does he say?

SPEAKER_02 17:15

You gotta I hope you got all the lines for this part, because I know this part is like this was the take and phone call before the take and phone call, kinda. I'm coming for you. I don't have it.

SPEAKER_03 17:25

I don't have it written down whatever whatever part you wanted to say, go ahead and say it.

SPEAKER_02 17:30

It's just their interaction. Doesn't he tell him So he goes, uh he says I'm gonna make you a special product of mine? He tells it to Anton, doesn't he?

SPEAKER_03 17:37

Yeah, maybe. Okay. But um he goes, so he's on the phone with them and he says is Wells there. Yeah. And he goes, not in the sense that you mean dead, yeah. And that's that's not a lion.

SPEAKER_02 17:50

He's just the Antoine. That is the perfect response for Antony. I think Antoine's like, it is. Yes, it is. Like the dead dump thing. Yes, it is. And it's like, he is here, but not in the sense you mean and that's such a good line. And that's also the way he just thinks about it. That's just the way he is. Yeah, like practical too. It's logical.

SPEAKER_03 18:07

Yeah, it's logical. It's like uh because he's asked, oh, he's he knows exactly like he's asking for him, but yeah, he's not here moving. Like he can't tell. And in the book, this this is one thing I want to say in the book. Um in the book it talks about uh this is where he tells this is where Anton tells Wells about that guy he killed at the bar or whatever and why he got arrested in the beginning. That's what I think, anyways. Okay. And then um when he goes to shoot, um, it's written in the book, and I forg forget the exact wording, but it's Wells puts his hand up in the air, and it's like, just the way it's written, it's like he pointlessly, like out of habit, it's not gonna do anything, but he he tries to hide from the bullet. And then it says, um all of his memories or all that he ever was is on the wall behind him running down. And it's like because his brain got exploded, and it's just everything's everything he was, but it's also his life, yeah. And it's like so I just think that was very That's a pretty good line. That's a pretty cool line.

SPEAKER_02 19:09

And I'm butchering it.

SPEAKER_03 19:10

That's alright.

SPEAKER_02 19:11

But it's it's I've heard that Cormac McCarthy is apparently like an American poet, goddamn it.

SPEAKER_03 19:15

Yeah, yeah. I mean, he's like an award-winning guy.

SPEAKER_02 19:17

I've also heard that the Blood Meridian book is good.

SPEAKER_03 19:18

I don't know if you're gonna be able to do it. I've tried reading it. I read like maybe five pages. I don't think I'm smart enough for it. Maybe I'll have to get a better education. Maybe after this. Maybe maybe you just need somebody to talk about it with. Maybe.

SPEAKER_02 19:30

There you go, but um and then okay, but then they have like I said, he has this take him over and he's just like, alright, fucking Antoine Sugar, I'm coming back after you now. Okay, nothing about it, yeah. And then Anton's just like, I don't know, what does he even say? Like, they don't really say badass stuff to each other. Oh, I guess maybe Moss does a little bit, but he's just like, now that I'm finally addressing this this shadow entity that's been chasing me the whole fucking time, and like, yeah, we already had our own first mini shootout together, but like like now, like he does well, there is like a bit of an important conversation they have because Moss is talking to him and uh Oh, and then it's also because he was just I can kill your wife.

SPEAKER_03 20:06

I can't save you. Yeah. That's right. Is he looking at my m at the mic? Is there something wrong? No. Okay. I'm just like I'm looking at him. Um yeah, so he that's when he puts that's when he tells him, like, you can't save yourself.

SPEAKER_02 20:19

Yeah.

SPEAKER_03 20:20

Which she'll be accountable too.

SPEAKER_02 20:22

Yes, but that's because that's his weird mind. Maybe because that's the sanctity of marriage for him.

SPEAKER_03 20:29

Yeah, I guess. Right.

SPEAKER_02 20:30

He married into it. She married into it. She married into it, yeah. Literally. But yeah, and I think that's also just because that's or is that just Antoine Shah's brain? Or he was like, You're gonna follow the normal rule, you're gonna protect your wife. And if that's what if the normal rule brought you here. I think that's a part of it. But that's also about him getting attachments. He doesn't have any attachments. But then there's also that, like He knows that a man would love his wife and want to come and protect her, and if I threaten his wife, he'd have to come here. But what Lowellin doesn't know is that it's not face value. Antoine literally means, no, I'm pledging to kill your wife now because she's into this.

SPEAKER_03 21:04

That's a good point because how alienating Antoine is. Like, and in a sense, it's like I'm telling you how this is gonna go, and you are agreeing with like it's it's not like you're necessarily agreeing with me, but it's like you're accepting terms now that I'm telling you, not even that you're accepting it, but it's like now you know what's happening. Yes. So what you say is I'm taking what you say literally is possible.

SPEAKER_02 21:26

Okay, like this is gonna play out the way it happens. You didn't bring me the money, I'm gonna go kill your wife. Yes, it doesn't matter that he died and that he found it later on, like he's just like, I told you, you didn't bring it to me.

SPEAKER_03 21:38

And so to Anton, it's like I made a promise to this is the way we set up. I made a promise that I'm going to kill your wife now.

SPEAKER_02 21:46

Because you didn't because he failed to bring me the money. And that and that's why also why she was just like, You're leaving it to the coin, it's bullshit 'cause you've already made this promise because you're gonna kill because you want to kill, or 'cause you you just you deemed that you needed to kill. But it is there is

SPEAKER_03 22:00

A little bit where he says we're jumping, we're jumping ahead. But real quick, I'll just say he does say this is the best deal you're gonna get. Or to uh to the moss to Moss.

SPEAKER_02 22:10

Yeah, where just like you won't you are gonna die, but you can save her. Yes. Which is like, but like nobody else has even come after her, and only Antoine's brought well, I guess Wells brought it up that maybe he'll go to Odessa and kill your wife. Because he knows, or maybe he just knows Antoine will go after wife and mother-in-law, yes. Because let's be real, Antoine technically called him mother-in-law pretty early on in the movie. He was already thinking about it.

SPEAKER_03 22:32

Well, because he looked through the ma like he looked through the phone bill, and so there was like a phone call, like a log.

SPEAKER_02 22:37

But then he would have been like, maybe that's where he'll go to Odessa. But then sure enough, she was also like, I hate my steps my son-in-law so much, and I don't talk to him. I'm like, he ain't fucking here, get out of here. Yeah. And so that's what he's like, okay, never mind, dead end. But it's also maybe that's it's like check off Odessa, bro. Like his mother-in-law is coming back, okay? And then that's and I love how that's like I also think now that we're saying this, I think Antoine also, again, because he wanted to kill the Wellen, or he wanted to fight Lwellen, and he got denied that. Kinda. And I think that's why he was also like, I definitely gotta commit to my promise of I'm gonna kill your wife.

SPEAKER_03 23:11

Yeah, there so there is like a part to like that I don't I won't say contradictory to what I think Anton is, but like maybe it is, but just the fact that he is willing to go after his wife, in a sense that like this is just like this is a more of a punishment for m for Moss. Moss is gone. And but so but for that it's like that's not as logical as everything else that Antoine has done, right? Going after the wife is like a punishment for for not giving me the money.

SPEAKER_02 23:47

I think it's also because he shot him and he came like he fought back. I think at this point, because of how predatory Antoine is, he's an alien, he's not used to somebody fighting back or eclipping him back. Just like he's not used to that hotel he'd assassin him back. Like I think at this point, I think for Antoine, Moss became the equivalent of also, like, nobody's really made me bleed my own blood before. Like you still are yes, you know, and so that's why he's just like, like, no, like Moss, you're my own special project too now. Like, that's why I'm committed to killing your fucking wife now at this point.

SPEAKER_03 24:17

Okay. Like, so there is like some way some emotion, some anger. Yeah, well, I guess so. I guess that is what I mean now. Or okay, and that's I mean, this is just how he expresses it. He's not gonna be about you're not gonna see that.

SPEAKER_02 24:28

But I don't think he's not you think he's beyond all human emotions.

SPEAKER_03 24:31

Yes, I want to think. That's how I've always taken him. So for me to look back at it, you're right.

SPEAKER_02 24:37

If he was, he would not have even laughed at you. Married into it, he wouldn't even have laughed at Chuck's. He's more human than all of us.

SPEAKER_03 24:43

Maybe he's just alien and we don't understand him. Maybe, bro. Like that's I wish I've said that before, but I wish I've said, I wish I've the state of the fact that I think he's alien. I I I really think. You never have, you just said he's alienating.

SPEAKER_02 24:59

Yeah. You think he's from a UFO. See? You know, I'm gonna say this for aliens with big old eyes. Emma Stone and Megonian, an alien, and she's also somebody with big eyes. Yeah, she is.

SPEAKER_03 25:13

Yeah.

SPEAKER_01 25:16

Block has big eyes.

SPEAKER_02 25:17

Alright, yeah. Watch, there's gonna we're gonna find out on a Taylor Joy movie. She's an alien. She's an alien in real life. Hey, that's my favorite Vivich. The Vivich? The Vivich, yeah. And okay, and so then after badass phone call. Is that when Because at some point Carla Jean she calls the sheriff again because she tells him where he's gonna be that who Ellen's gonna be at this hotel, right? Or be at Roberto's, because just wherever you're gonna be able to do it. Okay, so we're still talking about the Wells murder, right?

SPEAKER_03 25:56

What happens next? Well while they're on the phone. So there is one real quick scene to set up. Um as he's as uh Anton is talking on the phone with Moss, um Wells' blood starts flowing down to him, and so he picks his feet up to to avoid the blood on his feet. So that that's that's important a little later. But um yeah, so then Anton. It is uh yes, it is. Uh Anton says that if he doesn't give up the money, then his wife is accountable just like him. And then Bell and Wendell talk about this whole mess-up situation. Bell reads a terrible news article. I don't know if you remember that scene, where he's talking about like, um, there's like this old couple who got murdered, and then this guy was like, or s or some people were cashing their checks and they didn't know because or maybe not, it wasn't murdered, but like um I feel like I know we talk about they just cashing social security checks right.

SPEAKER_02 26:45

He's talking to Wendell about that? Yes, that's not him talking to the old the other old cop.

SPEAKER_03 26:50

No, that's later. Okay. Um because I think Wendell is talking about that there's not a bullet, I think.

SPEAKER_02 26:55

Yes, because they kill him with the cattle product.

SPEAKER_03 26:57

Yeah, he's like, there wasn't. And then he's like, Oh, are you saying he dug around with a knife and pulled it out? And he's like, Oh, I don't want to think about that.

SPEAKER_01 27:04

Yeah.

SPEAKER_03 27:04

And then he makes a little joke about the actual news article he read about like it took that it took them to notice that and not like them burying not them digging graves or whatever, and then he chuckles. Uh Wells, uh uh Wendell, sorry, Wendell chuckles, and then Bell's Bell gives him kind of like a look. He's like, uh I left too. Sometimes that's all you can do. Yeah. That's so that's what that scene is. Okay. And then anything you want to say about that? No. No? Uh and then Moss talks to the Border Patrol. Okay. And he comes back in. Gives him a hard time tea and then this is where it's revealed that he did do two tours in Vietnam. Where he's a Vietnam veteran. And then he gets and then he goes back to the clothing store. The same one, yeah. Yeah. Uh and then Moss goes back to the river to get the suitcase. He gets the money. And then she then he talks with Carla Jean.

SPEAKER_01 27:52

Mm-hmm.

SPEAKER_02 27:53

And then that's when he tells her, at least, I'm gonna be at this hotel or whatever.

SPEAKER_03 27:56

Yeah. And then uh But there's a great part, little, a little part where Carla Jean says, You're hurt, ain't ya? Because she could tell on the phone that she that he's talking different. Yeah. And that's just just how close and just how great, strong of a relationship they have.

SPEAKER_02 28:12

I love that you ship them so hard, bro. I do too. You don't? Oh, I think too. I just love that. You're just like because she could tell he's hurt on the phone. I'm also like, yeah, I'm the fuck he got shot like two times already. He is accumulating injuries. Of course he'd be hurt and then talking differently. But I just love that you're right. She's so adorable.

SPEAKER_03 28:27

I just think she's so adorable in this.

SPEAKER_02 28:28

She is so peak in this.

SPEAKER_03 28:29

Yes. And then uh Louis? So then uh talks with Carl Jean and then Anton breaks into the skyscraper. So did you want to say that? Yeah, that's when he goes inside.

SPEAKER_02 28:40

Okay, well, I mean, we've been alerting to it the whole entire time, but that's just like when he says the right tool for the right job line. Again, okay, why do you think he let go? Yeah, so you want to talk about that later.

SPEAKER_03 28:52

So uh he shoots him, and I'll this this is another part of the in the book I want to bring up. Um in the book, he shoots him, and he's describing that he shot him with bird, well, like bird shot, so that way it wouldn't break the window and fall on people on the floor, outside on the floor. And I don't know if you've ever if we've ever discussed this about how Anton is like he's not real, he's like a uh like a law of chaos, or like just he's just like a an alien? An alien, though. I think he's an alien. I think he's alienated. But um but he's just he's like a force of nature in a way, where it's like he's not even necessarily like a an individual. Where some people think that. I'm not necessarily like he's death or whatever. Yes, yeah, it's like a grim reaper or something. Yeah. And so to me We just took physical form. Huh? We just took physical form inside it's a good thing. And so to me, this is like kind of like the one really good example of that because his his reasoning for using the bird shot is so that way it doesn't break the window and fall down on people that are innocent. In a way, right? Okay, is it really about that, or is it because you didn't want to attract attention?

SPEAKER_02 29:58

Does he say it is to protect people downstairs? So that way it doesn't.

SPEAKER_03 30:01

That's what he says. It says it's so that way it doesn't break and fall down on people. Okay. That's what he says. But I mean it could be.

SPEAKER_02 30:06

Are you disinterpreting it that he wants to protect his innocence, or does he just want to be stealth?

SPEAKER_03 30:10

It absolutely could be that he wants to be stealth and he doesn't want to. And to me, when I read that, it was immediately he didn't want more cops getting involved investigating these random like the murder, like if somebody gets hurt or murdered from the from on the floor from the gun, right? From like the glass falling. Yes. That's what I took it as. I don't think he gives a fuck, bro, because he's gonna be able to do it. In the sense, in the sense that he doesn't want to deal with that situation of then he has to deal with all these cops and then I'm not saying that's a true everybody, but that's kind of what I thought. But that's just like just um before we get before we get into what we really want to discuss with this, I just wanted to put that out there that just that his brain operates and he's thinking about these things or he's thinking about it. And in the in the actual original script too, it does talk about how he used bird shot. So, um, but yeah, so he shoots him and he's like gurgling and stuff. Yeah. Peppered with uh some some shit. With the bird with the birdshot. With the bird shot, yeah. Yeah.

SPEAKER_02 31:06

So then uh And then so why does he let the finger kill him?

SPEAKER_03 31:12

I I don't know that he does. I feel you think he kills him? Um then Does he make him flip a coin? I keep thinking there's a time where he makes somebody flip a coin. So he Anton asks why he gave Mexicans a receiver. He says he felt with more people looking, he gets cut off. Anton says, You pick the one right tool.

SPEAKER_01 31:33

Yeah.

SPEAKER_03 31:34

And then he said, and then the accountant says, Are you gonna kill me? Uh and then so Anton turns around to him and says, That depends. Do you see me?

SPEAKER_02 31:45

Yeah. He says no.

SPEAKER_03 31:46

And so, no, he doesn't.

SPEAKER_02 31:48

The accountant says no? The accountant is like, I doesn't he say like no co like I don't see, like no? That does not happen at all. So nothing is said.

SPEAKER_03 31:56

So Well then I'd be like, that's not gonna say. Are you gonna kill me? Yeah. And then he says that depends, do you see me? And then it just pans. Anton is just standing looking at him.

SPEAKER_02 32:08

I think that's him challenging, like, do you see me? Like, are you gonna be a witness? And he's like, No, I don't know who killed you. It was like a bunch of Mexicans busted in here or something. I think that he's being practical, bro.

SPEAKER_03 32:17

I think he's just gonna be like, that's why this one person who doesn't where I go to like does he toy with these people? Because it could because he could be as literal as possible, do you s you see me, don't you? Yes, I'm gonna kill you.

SPEAKER_02 32:32

Okay.

SPEAKER_03 32:33

Or it could be, did I was I here?

SPEAKER_02 32:36

That's why, yeah.

SPEAKER_03 32:37

That's how I think that's how I think a lot of people interpret it. I'm not saying that's wrong, but I'm and I'm not saying I'm right. But I just think he's asking him in a literal sense, like, you see me, don't you? Yes, I'm going to kill you. In the same sense that he's telling Moss, uh, you bring like you can't save your wife like or you can't save yourself. You can only you can save your wife or you can give you the money. Maybe, yeah. Right? It's uh that I think he's being that literal, where he's like, You see me, don't you?

SPEAKER_02 33:03

But that's again, that's him being sassy, man. It could be.

SPEAKER_03 33:06

Yeah. But I would that's that's one of the big things, that's one of my big questions I wanted to get from you is do you think he kills him?

SPEAKER_02 33:13

I don't think so.

SPEAKER_03 33:13

You don't think he does?

SPEAKER_02 33:14

I don't think so. Because I think it also ties into what you said, like, do you see me? Like not as like, do you see me literally, but like, do you see me as in like be a witness or no witness? Because he doesn't want to deal with more death and more people kind of keep saying too. It's just he's like, he's like, I'll just let this fucking kid go, like, we don't have to do this or whatever. But it also ties into then why did he even go back and kill Bill Del de Triu de la Fontaine? Other than that he was just upset with point of pride about like you also gave the Mexicans a receiver and you sent Woody Harrelson after me, you little punk bitch.

SPEAKER_03 33:43

Like you know, like um if you look like the questions he asked the accountant, he's like uh why did he give the Mexicans the transponder?

SPEAKER_02 33:52

Yeah. Because he knew then that they were also hunting it too.

SPEAKER_03 33:54

Yeah, and so to me it's kinda like he's frustrated with what's what do you call him? Bill Dotrive Delafontein. Deltree? I don't know. Um Bill Del King of the Ale, right? Yes. Bill Dotrive Delafontein. So um the businessman. Yep.

SPEAKER_02 34:08

Steven Root is his real name.

SPEAKER_03 34:10

Steven Rutin?

SPEAKER_02 34:10

Root. Root?

SPEAKER_03 34:11

Yeah. Oh, okay. Uh he's in Dodgeball, I know. That's where I know him from.

SPEAKER_02 34:14

And he's also in Balladabuster Scrugs, which is another classic. Yeah. Bay and Sean.

SPEAKER_03 34:20

Damn it, I forgot my.

SPEAKER_02 34:21

Sorry. Uh what does he tell him? The specific questions he asks the guy.

SPEAKER_03 34:25

Okay, so he's yeah, so he's asking him specific questions, and he's, in my opinion, he's frustrated. Yeah.

SPEAKER_02 34:32

He's like, why did you give them the the thing too? Because it ties into him being the right tool for the right job. Yes. And that's why he's like, he's frustrated that like, what, you think I could do it? Like, you give it to Mexicans too, and then it's also like, and then it's also the whole Woody Harrelson thing. I think Woody Harrelson was the last straw. Because once he saw Woody Harrelson was on the case, he knew whatever that maybe since he knew who Woody Harrelson was, yeah, he probably knew the employee by the same people, or at least by the business plan side. So that's why when he saw him, he's like, I'm gonna kill you. And that's why he's like, by then I'm frustrated with this, because I'm gonna go back and I'm gonna kill Bill Thomas.

SPEAKER_03 35:04

So is I okay, I'm gonna do it. I know I said frustration, but I I I think maybe the proof is like it could be or it could just be like you've you talking to Bill or talking to what's his name? Steven Root. Stephen Root, you messed up. You've made the wrong choices.

SPEAKER_01 35:21

Yep.

SPEAKER_03 35:22

Now I now you have to be punished. Now now I have to dish out punishment to you, which is now you're gonna get shot and killed.

SPEAKER_02 35:28

Yeah. But again, it is no coin flip either, so it's not about the coin deciding the choosing. He's him that he went against him, and that's why it's his own personal pride, or his yeah. He broke his rules about why don't you trust me or whatever. That's why it's his own internal clock. Yeah. I also think like, bro, even though he's alienating, he still feels that he felt a little mad that you sent Woody Harrelson out to me and the Mexican slided. Because you could tell this motherfucker, I don't even want to say pride in what he does, but he definitely gets off on what he does, I'd say. And he's like, you want you didn't let me do it.

SPEAKER_03 36:02

That's just what we as humans with emotions project onto him, I feel like.

SPEAKER_02 36:07

I guess. Well then what else would he do? We don't know. Like we're just trying to interpret his code. But clearly that's a code. I think yeah, there you go. That's all. And we're going off the code of what he shows us, of what he has. Yeah. But it's also like, at some point, I think maybe we're also overthinking the sense he is a human motherfucker. Like he's still gonna be mad. Yes, and he's gonna be a good thing.

SPEAKER_03 36:24

And I want to talk about that too, but I want to talk about that a little later as well, that he's human.

SPEAKER_02 36:29

Yeah, yeah. And it's also that's why he's just like that's why he's mad that they fucking it's an act. And that's just the way he expresses his anger, and then it's like and again, he's also crazy enough to think about bird shots so he doesn't break the glass underneath for whatever reasons, you know. For if if it's for to protect innocents who will not come after him and his rules and codes, or again, so he doesn't have to deal with cops, like you said, so it doesn't attract attention. But again, I don't think he gives a fuck. Well, he does use a silence or yada yada, but he doesn't give a fuck about the chaos he leaves behind. So I don't think he's trying to protect innocents or whatever. No. Well, maybe maybe he is, because like he said, and that can be a good thing. Because he's trying not to kill everybody, I guess. Yes. Because he does want to kill everybody, and I think he instituted his own coin system to keep himself at bay. I think it's also just like how many serial killer documentary stuff do you watch the true crime stuff?

SPEAKER_03 37:16

A lot. Well, not necessarily about serial killers. Okay. I'll watch like a lot of like investigation discovery. Okay.

SPEAKER_02 37:22

So that'll that'll be like the serial killer of it all is what you gotta tie into. And it just kind of ties into what he is a little bit. And it's about them making their own rationalizations about why to kill and who to kill. Yeah, okay. Is what it really tiles down to. And it's why like you can call him an alien freak, alienating and stuff, or whatever he is, or he's just not processing things normally, like you said we would. Right. Because we're normal and we're trying to put meaning to what he's doing and stuff.

SPEAKER_03 37:44

Yeah, I think that's that's exactly what I mean when I say he's alienating. It's like he's like in a not in like a Lovecraft way, but he's beyond he's not he's beyond our comprehension, where it's like we can't understand what he's doing and the reasons why he does why he does it. No, it's only gonna make sense to him. Yeah.

SPEAKER_02 38:00

Yeah, and we're trying to make sense to them. But again, it's just because we're going off of one specific example of what he's done. Yeah. Which is the beauty of the filmmaking. But it's just also like in this story of what he's done, yada yada yada. But it's also like even if he's not operating normal, then why would he go back and kill Bill Dotry telephone him? If he's not mad at all. And it really is just professional. Yeah. That's why it's like I think you're he's more he's like, you can write what he's doing to what he's doing. It's just also a little bit.

SPEAKER_03 38:28

I feel like I'm wrong in the sense that I want to him to be on this like pedestal. He's just logical. Like everything he does is logical and has these like business reasons, and I don't think that's necessarily correct anymore. I got you. So I mean it's not saying it's like I'm always married to that.

SPEAKER_02 38:43

No, no, no, no, but it's it's it's logical to what he's doing. It's the possibility is logical to him. So it's logical for him to finally feel frustrated, I guess, to want to go kill the businessman. Because I think again, it's logical to be like, why would you do this? Like you're just complicating things. I'm gonna kill you because you're inconveniencing me now. You're sending Mexicans and Woody Helsin after me, and that's right. You pick the right tool for the job, just let me be the tool for the job. Which I think just points into his logic, his logic.

SPEAKER_03 39:08

Yeah, and I think it's like um kind of like I remember like I was talking on the subreddit of it with some guy one time and we talked about it. Just for like just a couple comments, not not like making it. You were talking to Harvard Bardet himself. Yeah, and he was talking about like the like how he doesn't see Anton Shigar as a villain because of these things. And to me, it's like he wouldn't call himself a villain, but he is he is a fucking bad guy because he does these awful things. He told me.

SPEAKER_02 39:38

He's an antagonist. That's also like antagonist is just who goes against the protagonist. That's all it is. This is somebody who creates the conflict, but that's all it is. Yeah, he's a title.

SPEAKER_03 39:47

But I think um what I'm trying to get at is like just that uh for this he in his mind it's logical, maybe, but like I think you're right where it's like he maybe he is just frustrated that they got Woody Harrelson involved and that they got the Mexicans involved. Yeah. And then he's he's he thinks, maybe he thinks. I'm not saying this is true, but like he thinks that the the the logical conclusion is now I have to kill this guy. But it is actually an emotional response. Maybe so I feel like that's kind of what I'm what you're getting at. Yeah. And what I'm trying to say.

SPEAKER_02 40:19

He still is emotional, is honestly. He is still emotional, and just because he is so weird, the way he expresses is his emotions are weird too, because he's the way he expresses them.

SPEAKER_03 40:28

Yes, yes, there you go.

SPEAKER_02 40:29

Because we all have the same emotions, whether weird or not, it's just how we express them, is what's key. And so he said you're beautiful. And uh, fluck, there was another thing I was gonna make. You're welcome, thank you. That's all I needed you to say. And uh, Fluck, there was gonna say. Oh, oh, no, no. And then he could also just be frustrated at this point because he got shot. He got hit back. He is wounded right now, and when you're a wounded animal, you're cornered, and maybe he's feeling more tense than you. Maybe he is feeling more cornered than ever before. Because he's actually he's never he probably hasn't seen his own blood, and since who knows, you know, whenever. Like he didn't think Moss would put up much of a fight like this, or he didn't expect it, like, because he's just been blasting through everybody and everything. Yeah, and then he is used to being the one that intimidates and scares, and to have your prey fight back is new to him. Yeah, you know, because he is predator. I mean, if you want to call him anything else, it's predator for sure. And that's really and like he fucking so that's also like his prey fought back. He's and that could be unsettling to him in the entire sense, also, where he's just like because he he shoots Woody Helsin after getting in a gunfight with uh fucking Pierce and stuff, yeah, Moss. And so that's why at that point he was just like, okay, I've never been hurt before. Like now I'm gonna start because there's no reason for me to go after my own team, really. Like, even though he's frustrated stuff, just but logically at this point he's probably just like this got affected because he well they didn't even interact by then, but he just that's why it's just like I think at that point he's just operating a little bit like a cornered animal thing, right? He's wounded, and it is that's why he takes initial and he's emotional.

SPEAKER_03 42:01

And this is like an alien situation for him where it's like he's never felt this before. Yeah, he's never kind of felt a loss, or like I don't want to say a whole loss, but he he hasn't been wounded or he's he's never had to deal with fighting back like this. Yeah, as far as maybe not a loss, but like yeah, like he didn't finish his he didn't finish off Moss. He didn't actually finish the job.

SPEAKER_02 42:23

Yep. And he's like, even though I had the drop on him, even though we got an engaged comment.

SPEAKER_03 42:27

Right, and then uh Wells says, right, because he says uh at that when he's in the hospital visiting Moss, he says, Yeah, yeah, I know you're not him, I've seen him. He goes, You've seen him, and you're still alive. So right, so it's like he does like people don't even know who this guy is.

SPEAKER_02 42:40

Yeah, because he's still alive.

SPEAKER_03 42:41

He is an enigma.

SPEAKER_02 42:42

Yeah, and that's probably what also freaks him out. And that's probably also why he wants to go kill Bill Dotry and why he decides to kill Woody Harrelson. I don't know, like Woody Harrelson seen him, knows what he was. That could be too, and then I still don't know the context of what that is. You know, because like I just remember November 28th, he probably scared the shit out of me. Or and I like I probably was looking through a sniper scope a hundred yards, like three hundred yards away, nowhere near Antoine Shigeru, but I saw him fucking murder a whole village type shit, you know? Like, yeah, but like that's that's why it's just like Antoine is fucking scary, and then that's why even Woody Huls and Wells is just like you've seen him, you're still alive. That is pretty I don't even say if he's impressed or not, but he's just like right. I think so too. I I'm coming away with that too. He's just like, wow, you are still alive, and then that's also probably conversely, Antoine Shaker's like, this motherfucker's still alive. Like, I've never had somebody still alive before, and that's why he kind of still goes off a little bit.

SPEAKER_03 43:31

And that could be why he's like, Yeah, you can't save yourself.

SPEAKER_02 43:34

Yeah. Like, that's why you're dead for sure. And I'm I'm so kind of unnerved or unnerved by the side of the side.

SPEAKER_03 43:39

And even your wife's like, I'm so mad at you, I have to like your wife's dead in some blow back. Like, I I might have to punish you even further than just your own life. I might have to punish you by killing your wife as well. Yes. Unless you just end right now, unless you unless you submit to me in a sense, right? Like unless you just give up right now. Otherwise, yeah, I'm gonna have to kill you and also punish you by killing your wife. Wife. Yep. Yeah. Out of frustration, maybe.

SPEAKER_02 44:02

Yes. Which and then or his own logic rule system.

SPEAKER_03 44:05

Logic in his logic.

SPEAKER_02 44:07

Maybe it is emotional.

SPEAKER_03 44:08

Maybe.

SPEAKER_02 44:09

All of the above. And it's just how we that's why. That's also like, God, humans are so fascinating. We're so fucking weird. But yeah. But it's also just like, again, this is just a fictional character's mind we're trying to fucking talk to about. I love that. Like, that's right. That's the point of this. It is. And it's also just what a compelling character he is. Like, it is a good villain, antagonist, whatever you want to call it.

SPEAKER_03 44:30

I definitely. I think uh like I don't know if you want to talk about it right now, since we're already kind of We're getting towards there. But okay. Never mind then. No, what? I was gonna say, because you wanted to talk about who's the antagon or who's the main character. And yes, okay. Because I feel like he's definitely an antagonist, right?

SPEAKER_02 44:50

Yes, he is an antagonist in the sense that. But it is also told through his perspective in a sense as well, sometimes. A little? Kinda, but that doesn't mean a protagonist by definition is somebody who's driving the plot forward. The only person who is driving the plot forward would be uh Moss, right? Kinda Because Moss? See, that's Moss is what drives a plot, but But I think is he just the story? And is he um That's why is he just the story? And uh because that's also like is Tommy Lee Jones the protagonist? Yeah, it's just is he a protagonist that doesn't do a lot? And is he a protagonist that's at the back? Because another famous protagonist where people give him shit for being like he's your main protagonist, Marty McFly from Back to the Future. He technically is somebody who does not influence the world around him. There's just a lot of the world influencing him. He just he happens to have to go back to 1950 and try to not bang his mom. You know, but it's they talk about like he is a character who does not do a lot per se. Like like the way Bear, like everyone of choice, everyone, every choice that Bear makes kind of makes it going forward.

SPEAKER_03 45:57

He's what yeah, Bear is what drives the plot.

SPEAKER_02 46:00

Yeah, that's why it's like I know Josh Brolin does, I know Moss does, but it's also like like to me, the way he's told, it's like I said, it's three different movies. That's almost why it's like it's three different movies where it's almost three different protagonists to me, also. Okay. Because Moss is his own. I mean, to call Anton Shuger his own protagonist is a little challenging. He's the he is the antagonist, I guess we could say. But yeah, like if you want to, in our entire other story, like we just said, murder circop psychopath is trying to get a job done, and he just can't, you know? That's like if you want to make his story, yeah, his own story. Through his and he sees things through, and it's just like, and that's what his motivations are, and that's why he does what he does. Moss is literally a basic ass character because he's just he's the guy there's a term in and movie stuff, and it's from like fucking um it's from Alfred Hitchcock. It's called the McGuffin. And the McGuffin is just the thing that it doesn't really matter, but that's what the movie's about. So it's yes, this is two million dollars that everybody wants is the McGuffin. That's okay. That would be the McGuffin? Yes, but in my head, I'm like, well, Moss is a McGuffin also. Moss would be a McGuffin to at this point and to Antoine, yes, at this point he would, because nobody knows he has the money, and everybody only wants him because he has the money. Yes, and that's why like they don't know he doesn't have like and that's why that's also why I call him the McGuffin because when he dies it's off screen and stuff. Because wow, that's like he's just there in the story, and it's really between Tommy Lee Jones and and Antoine Shigeru at the end. And that's why so god kid. It's it's hard to sell. But it's also like one of the it's also kind of storytelling rules or movie rules that uh who you open with and who you end with kind of usually is your protagonist. It's kind of who you deal with, because it's like we talked about with obsession, it starts on Bearspace. Like we start on Tommy Lee Jones' voice, but we also start on Ataun Shagura technically you know taken away. And then that's why we still we see our Josh Rowland five minutes later, and he's looking through the scope, and he's because he's hunting, and then he's the one that will be hunted throughout the rest of the fucking movie, basically. And it's still just like, yeah, it is cinema. That's why it's so fucking good layers. And that's why it's like Tommy Lee Jones almost is the protagonist because this is a no country for all of them.

SPEAKER_03 48:24

I think he is the protagonist because of what all that you've been saying, and as well as like what's about to happen at the end, like yes, but also the fact that um Moss is driving the story forward in a sense. He is, but it's it's ultimately it's Bell trying to catch up with him. And it's a lot of people.

SPEAKER_02 48:49

He's a protagonist who's chasing his own story almost. That's great. And put amazingly. Thank you. Like that's why I was thinking about it earlier when I wanted to ask you this question. Um it's why he's he's always a step behind. So it's like he's a protagonist who is a step behind in his own story, and he's like he's taking his time getting to his story, because he's fucking talking about his dreams, and he's talking about, you know, I just remember me and my daddy right at the same time, and I'm just like, I don't know what to make about that. Like, I'm telling you I already don't know about this story. Like, this story's fucking weird, but like but we're in it. Like, I gotta put it, uh look it in the eye and say, I'm here for it, you know? And then that's why he He is a protagonist also, because he learns a lesson. Which is it's important for your protagonist to learn the lesson type stuff, you know? What's his lesson? It's not a country for him. Okay, he's he's over it. He learns he needs to retire. I can't keep up with this anymore. And it's and it's something about like I think it's the about facing the dark. Or either it's in his opening monologue or it's in the end of his monologue, in the ending monologue. Uh or no, it's when he's talking to that I think it's his brother, the man in the wheelchair, before his wife stuff. I think it's when he's talking to him when it comes out. I hope you have those words down, because that it will back me up, I think. But he it's when he's just like, I I like I'm tired of it, kinda. And then that's when he just learned that like I want to let go or I want to move on from this. But then he also did he learn it because at the end he's just talking about his dreams and he's just like you know, like, yeah, I don't know, like he's also like an adorable old man who just likes to think out loud and dream and stuff. And then fucking uh he that's what I'm trying to get at. It's just like he he came in aboard one way, and like he said, like, I don't know what to make of this crime either, like the crime you're about to see, I don't know what to make of it either. And that's why he I'm not saying like he he learned a wholehearted lesson, like I gotta really change my life around. It's just the fact that he became changed. The story changed him, and that's also what a protagonist is what I mean by lesson learned. It's just the story has changed you, and that's why it's like you're different from when you started. So he's when he started, he was already like, I don't know about I don't know about this, and like I'm just doing my thing, and then by the end, he's just like, I saw all this, and that's why it turns into when he's about to open the door, and the other is Antoine on the back after the show when he goes back and stuff, and that's when he realizes I don't want to do this anymore. He's like, I don't want to risk that evil, that darkness that's there. He's like, I always knew I had to put my life on the line of his job, but like if I have to come against unbeatable evil that's gonna for sure mop the floor with me, like I do not I don't want to, I don't need to, type of thing.

SPEAKER_03 51:21

And that's when like when him to what you're saying, he says, you have to put your soul at hazard and say, Okay, I'll be a part of this world.

SPEAKER_02 51:28

Yep, and he doesn't I think uh by the end he chooses not to. Uh he chooses not to, and so it's just like that's why he's changed by the end of the story. Him seeing everything that's happened so far. Um it's changed that. And that's why he's just like, I don't want to be a part of that world anymore, but I also don't know what to do with myself because I'm over here having dreams talking to my beautiful horsewife, you know? And then he's just like and so that's why he's just like I'm changed. That's why I'm getting at that. He might be the protagonist who's not the best as a. And it's just like sorry, we've been going for almost four hours. Three hours 51 minutes. I know, but that's okay. And like maybe 40 minutes is still the non-uh in No Country Folding talk, and then we've been on it now. But no, and so um and so fucking uh that's why I think he's a protagonist. I think Antoine again. So it's also ties into just it's like three different movies, because it's also ties when the Lowellin, the whole gun scene is through Lowellin's point of view, we don't see anything about Shagur until after. Uh Tommy Jones Bell is just a sheriff who's following his story. Then he is the type of character who just exists outside his own story, kind of just to be like, wow, like this is bugged up in a little bit. So it's not like he's an amazing protagonist, but he is secretly the protagonist, I feel like. And it's like and it's also another thing to tie into that. It's like if you think Josh Brolin is the protagonist, it's also he doesn't really learn, I guess. Because he he should have got the water first, he should have checked the receiving first. Like he has two moments where he's just laying awake in bed because something kept him up and like because it bothered him, instead of him addressing it early, you know. And he doesn't he lets his wife down, I guess so to speak, because he doesn't take the money back. Like he he doesn't hold, you know, he doesn't follow Anton's words. And uh and so that's why and then and he does die off screen, like he dies, we don't see him die. And so before we get too far into that, I think we kind of did.

SPEAKER_03 53:35

But yeah, I uh we gotta get there, we're close. Yeah, I think maybe maybe we'll go maybe we'll come back to who's the protagonist after everything's done. Okay, after we talk about everything, because I feel like we're getting on things I want to you want to talk about. I want to talk about that's not related to who's the protagonist.

SPEAKER_02 53:49

Okay, okay. Okay.

SPEAKER_03 53:51

So then where did we leave off in the So we're talking about um after their phone call, basically. No, we're talking about he kills the the office guy. Okay, right.

SPEAKER_02 54:01

Um then what happens after that?

SPEAKER_03 54:03

Is that what And then so this is where Carla Jean and the mom are in the are in the taxi? Okay. And then that's where she's like, you know how many people I know in El Paso, Texas, zigzag. That's how many. I love it.

SPEAKER_02 54:12

And then the Mexicans are following them. Yes, they are following them. And then whenever they're stopped at like the bus port or something like that, that's when the Mexicans get in the suits, they're like, let me help you with your bags, man. Yeah, and she kind of like and then he's like, Where are you going? Yeah, and then she's like, find out where he's son-in-law. Yeah, and then that's how they got the information. And then is that when Carla Jean calls Sheriff?

SPEAKER_03 54:34

Carla Jean calls Bell. Calls Sheriff Bell and asks if the story he said was true, and then he's like, Who's Frank is? Or yeah, yeah. As it is a story, and then um he gives her like I guess she's like worried, she's worried about him, right? Like worried about the trouble she's in, and that he's not that she wants to. She knows he's hurt. Yeah, and that she's uh she doesn't want Sheriff Bell to hurt him, right? So he says, I promise you I will not bring I will not harm your man, right? And says something else. He doesn't want to be able to do that. And he knows the one he is going to help him. Yeah, he knows. Maybe there will be repercussions for stealing the money and stuff, maybe. Yeah, but I don't think he's not gonna shot anybody. Yeah, yeah, he's not he's going to be able to do that. Yes, help him first, then I get repercussions of the city.

SPEAKER_02 55:24

So then I feel like literally after that phone call is him in the car going to the No.

SPEAKER_03 55:28

Well, Anton waits on the side of the road for someone to help. Okay, that's when he gets his new car. And I just want to say, I hope he didn't put them the bat the You hope he didn't make the guy. I hope he didn't shock his like put them on his nipples and kill him with the battery. Because you know how he's like he's he's What the He has the he's gonna jump his he's gonna jumpstart his car. Yeah. I hope not at all. I thought he didn't know. I hope he doesn't kill canister again. No, I I hope that's what I'm just saying. I hope he didn't kill him with the battery, bro. I hope he didn't electrocute him. I hope he didn't do that. But I don't know if I don't think I saw the air canister thing.

SPEAKER_02 56:07

No, I he had him. I don't think it was nipple play at all, bro. It's not playing. It's very serious. I think it was nipple death, but I'm just saying, I hope he didn't, I mean, I just tried to want to know, but did he move the chickens himself or did he convince that man to move the chickens? But I just love when you give cut to him fucking just rinsing off all the chicken shit in the back.

SPEAKER_03 56:28

And but there's also two, um, he's he's in a way interrogating that old um the old man in the truck where he's like saying, like, oh, if I'm looking to get out of here, yeah, which airports. And he's like, brother, there's airstrips and there's airports.

SPEAKER_02 56:43

Well, I think that's when he that's when he kind of leads him to El Paso too, right? Because he was like, Yeah, you need to go out fast or somewhere far or international, maybe El Paso.

SPEAKER_03 56:50

Talking airports, it's El Paso. And then he goes, Can you get the chickens out? And he's like, What are you talking about? And then it just nipples. I think he I think he did. I think we're gonna rewatch it now. That's the deleted scene. That's a deleted scene. That's the deleted scene. Deleted scene. So there's a little funny joke that I thought of that maybe he got killed with the battery. Yep. But um, yeah, and then it cuts to him cleaning, washing up the all the feathers. Yep, which is so eerie to me.

SPEAKER_02 57:18

And then is that creepy? It is, because it's like, oh god, we know he probably killed that guy. Is uh and then that one. When we go to Sheriff Bell.

SPEAKER_03 57:25

No. So then this is Moss talks to the girl by the pool. Yes. And so there's kind of like I never really took it because like I said, I shipped them so hard, but I never took it as like, oh, he's going to. Like he might have apparently in the books. I heard of the books too. So it's in this, it's like a she's definitely flirtatious.

SPEAKER_02 57:45

I got beards in my room. And he was like, I'm flirting back.

SPEAKER_03 57:48

He's like, but no, because he's like, I got a wife. Yeah, he's like, I got a wife. And he's like, I know a beard winner too. Yeah, that's and then um actually goes to the body.

SPEAKER_02 57:57

He's like a younger chick was just like picking him up.

SPEAKER_03 58:00

And so a million dollars on me too, kill him. Yeah. And so in the book, it's uh it's like a young hitchhiker, it's like a 14-year-old hitchhiker. And so in the book, it's definitely a little more like uh is he about to do stuff with her? Uh, but it doesn't happen. Um and because as we find out, he gets caught.

SPEAKER_02 58:20

Yeah, basically that after Dynark with the girl, then it cuts to Sheriff's pool.

SPEAKER_03 58:24

So yeah, girl Moss talks to the girl by the pool, fades out, and cuts to Bell in his car on his way to the motel, gunshots and and a car screeching away. Yep. And then he's gonna be a big thing. And so he is right like all this movie. So close. And then when he's when he's finally with Moss, it's too late. Yeah. And he finally catches up to Moss. So you see the girl by the ball. It's literally just too late, because he just got killed. Yeah, dude.

SPEAKER_02 58:49

So crazy to me. Like it's and that's why I was just like, that's why Josh Bowen, even though he's in there a lot, we see him's not the protagonist. He just gets gone.

SPEAKER_03 58:56

And I I think too, like, the choice to not give them not give him a cinematic death, I don't see it. And show and don't tell, they don't. Don't see him on the floor is like there's something so sad about that to me that he got killed off screen, we don't even get to say goodbye to him. Me too. Exactly. You know? No, I agree. I agree. I think that's part of the thing with that. It's really powerful, I feel like.

SPEAKER_02 59:19

That too. Like, and even if even if he is, uh if you want to consider him the protagonist, like that's so like that's flipping a trope, basically. Like, you didn't even give your hero a good death on screen, you killed him off screen, and it's just like just to if you want to talk about what's like s superseding uh expectations, you know, like that's what it is. Like they just totally sideswipe that, and then it's just and then I know now that it's coming back to me, because after he finds him, he's like, call 911, somebody call 911. And then is that when he talks to that other old cop? Is that after this now? Uh because he's just like, Well, your boy, sorry we couldn't save your boy.

SPEAKER_03 59:53

The room next to him, there's a mom and a daughter just staring at him. He says, Call the police because uh call the police. This is your local law enforcement, I'm not on the radio. That's why he's calling for the police, because he's in a different uh county, different jurisdiction. And then um Carla Jean arrives and she tries and knows. She doesn't even see he takes off her hat, he takes off his hat and she knows she breaks down. And then uh Bell at Bell's at the morgue, looks at Moss, and then he talks to the probably the sheriff from this county or whatever detective. They didn't find the money. Uh no control men. They talk about bones and their noses and stuff, you know.

SPEAKER_02 1:00:27

Yeah, and then that's when he's just, yeah.

SPEAKER_03 1:00:29

So do you wanted to talk about that?

SPEAKER_02 1:00:31

A little bit, only just yeah, either that, it's either that conversation or the other conversation with the other old man he talks about where he's saying why he wants to get rid of why he wants to leave. And there's something yeah, the I think there's a line, but even then he's just talking about, or at least it's in this interaction where he's like, Man, I think I'm sorry, but like we couldn't get your crazies the crazy stupid mad dog or whatever, or the mad dog, and it's why he's just like, I don't think he's anything but crazy. Because I know that he's talking about it.

SPEAKER_03 1:00:55

Yeah, they talk about Anton, the other guy, the detective guy, or whatever. Calls him a lunatic. Bell disagrees. Sometimes I think he's a ghost. Oh, he's real.

SPEAKER_02 1:01:02

Yeah.

SPEAKER_03 1:01:03

That's why he also And then uh they say like he talks about killing the desk clerk and then killing Wells the next day, an old colonel the next day. Yeah, and he's like, Yeah, an old colonel, yeah. And just strolls right into a crime scene. How do you defend against it?

SPEAKER_02 1:01:16

No, that's why I think he's a ghost. Like that's yeah, and I think that was just all in that that sense I was talking about. Because I know it's just another thing about that.

SPEAKER_03 1:01:24

Okay, so hold on, uh, real quick, he goes, um, so talks about killing on the desk, um, killing Wells the next day, just strolls right into a crime scene. How do you defend against that? And so to me, when I was watching it right now, I was like, or when last time I watched it, I was like, um, how do you defend against it? Maybe Bell realizes, okay, maybe he maybe Anton will be at the crime scene now. So that's why Bell goes back to the motel at night to go.

SPEAKER_02 1:01:53

No, I think he goes back to look for the money, I think, right?

SPEAKER_03 1:01:56

Or you think he really is going back to try and wants to I think he's trying to catch him and the detective saying, what kind of a like how what kind of a guy just strolls right into a crime scene immediately after?

SPEAKER_01 1:02:08

Yeah.

SPEAKER_03 1:02:08

And so to me, in my head, kind of maybe, to me, Bell's it's clicking in Bell's head like, oh, he's gonna be back there.

SPEAKER_02 1:02:15

Or do you think that it's gonna it's clicking when he goes back there? Because why does he go back there? Or is that why you're saying that's what makes him go there? Is that what makes him go back there? Is that what you're thinking?

SPEAKER_03 1:02:24

Because if you really because the sheriff, because uh they're talking and they didn't find the the the other the other detective guy, he says that they didn't find the money. So in my head. So do you think Tommy Jones is going back for the money? Because he knows no, Bell's going back for Anton because he knows he's going back for the money. That's true. Okay that's um that's my that's my opinion.

SPEAKER_02 1:02:43

No, I agree, but then here is the whole thing where I feel like this is where he is the protagonist is why he's changed. He would follow those steps. He's thinking logically, yeah, to go that he's being a good cop. But when confronted with that, he decides not to, right? Doesn't or is No, he he's there's that good split action, it's the parallel action where it's right when he's about to open the door and Antoine's on the back side of it, right? Is that what we're led to believe?

SPEAKER_03 1:03:07

Yes, but I'm not even sure if that's real or if that's in Bell's head and he's thinking that.

SPEAKER_02 1:03:11

Okay, I think that's what I was getting at. Because it okay, but doesn't that tie into doors?

SPEAKER_03 1:03:20

The door, the No, no, aside from that, because it's already a crime scene.

SPEAKER_02 1:03:23

He's already got crime scene. No, he notices coin and screws on the floor.

SPEAKER_03 1:03:27

Okay, but to go back to um the crime scene?

SPEAKER_02 1:03:30

Yeah.

SPEAKER_03 1:03:30

Anton wasn't there when he Anton wasn't there to kill him. So Anton came back after.

SPEAKER_02 1:03:35

And then that's why the punch is a big thing. That's when he draws his gun, right? That's when he draws his gun. Yes, to go back to To when drawing the gun earlier. When there's no he has no window to hide behind. So that's why he needed to draw his gun.

SPEAKER_03 1:03:48

But also, too, I think it goes back to like at the trailer park, he knew he wasn't there. Here, he doesn't know. He might he might be there still. Yeah, because I think that's a good thing. So that's why I think he pulls out his gun.

SPEAKER_02 1:03:59

Okay, you're right then.

SPEAKER_01 1:04:00

Okay, okay.

SPEAKER_02 1:04:04

And so goddamn.

SPEAKER_03 1:04:06

That's why it's just like And so yeah, it's it's okay.

SPEAKER_02 1:04:08

So then him maybe not knowing if he's there or not, if it's in there or not, that's why I was just like, but that's what made him realize he was like, I don't want to just stand there and put my soul on the line like this anymore. I think that's when he realized too that he was just like the Well and Moss is already dead. Do I care about these drug people's money or whatever? Do I care about the money finding it? Like the money won't be returned to the good right people, anyways. Like I think that's like all this is going through his head too, and then that's why it's just like I don't know, we don't have to see what Antoine does with the money, we don't have to see him return the money. Because you know, like if he even finds it or not, which I feel like maybe he does because he's looking for it, or he found it. Because we whenever Belle goes back, we see a shot of the coin and screws on the floor again, right? Because we know that Antoine still checked the vent. Yeah.

SPEAKER_03 1:04:50

Okay, that's why I'm gonna go. So and and to go back a little bit, like as he he's hesitant, definitely hesitant to go into the to open the door and go inside. And I don't know if it's supposed to be Anton actually right there or if it's in his own head. I think it's I think he's thinking it that that it's not really like Anton is already gone.

SPEAKER_01 1:05:07

Yeah.

SPEAKER_03 1:05:07

Because he goes, he he opens the door and he goes and looks around, goes into the bathroom, he looks at the window, and I I think I don't think it's like broken or anything. Um like there's no sign that he just got away. Right? It's like closed completely. So and then back to what you were saying, he sits on the bed and then he notices the coin and the screws on the vent.

SPEAKER_02 1:05:31

I think you're absolutely right. Then that then it is, he is imagined it. And I think that's when he realizes then that he's not ready for this anymore. Yeah, I didn't know.

SPEAKER_03 1:05:38

This is no country for old men.

SPEAKER_02 1:05:40

Yeah, for me, men. Me, for me for me men. And that's when he realized yeah, like he still did what he needed to do, he still opened the door, you know, so to speak. He still went in there, but then he realized like it's not anymore. Like I don't have to anymore.

SPEAKER_03 1:05:55

Like I yeah.

SPEAKER_02 1:05:56

What's the yeah, he's like, What is the point? Like this is so much easier.

SPEAKER_03 1:06:00

Back to that, like you have to put your soul at hazard and say okay. And I think now he's he put his soul at hazard and he doesn't want to say okay anymore. Yeah, he's not put his soul at anymore. Yeah, he doesn't want to be a part of this world. He doesn't, yeah.

SPEAKER_02 1:06:13

Which it ties into, and I think that's why he leads into like that's why he's gonna retire. So then it goes to him finding the thingies on the thing, right?

SPEAKER_03 1:06:20

You're talking about like the screws?

SPEAKER_02 1:06:22

Yeah, he's inside the hotel room at the end. Yes. Is that when it cuts to him talking to the other old cop, or is that when it's Carla Jean's mom's funeral? Because I feel like it goes Tunneline Jones, then Carla Jean thing, and then Antoine, you know, her and Antoine, and then it goes back to Tommeline Jones talking to his wife.

SPEAKER_03 1:06:40

Okay, so uh, real quick, um when he's investigating the motel room, he steps over the blood stain because he notices like he remembers kind of like um Llewellyn died right there. Yeah. So like just this little neat detail. Um and then Okay, so then Bell visits. I put old friend, I don't know who he is. I don't know if it's the brother or not.

SPEAKER_02 1:07:03

Does it say his brother? I because he was like, remember when daddy did this, daddy did that? Like, oh, okay, okay. Like, I swear it's his brother. Okay. And he's like, You remember how Uncle Rufus died? And then he's got Shiny Ryan right there in front. And Auntie Thea was trying to fucking stop him from bleeding out, and those boys just watched him.

SPEAKER_03 1:07:19

Yeah, and and I I wanted to write this whole thing down, but I was already like it took me like three hours, three, four hours to watch this movie because taking notes. I love this. Um and so I didn't put it all down, but it's like friend, uh he asks why he's quitting, says he's outmatched. You can't stop what's coming. It ain't all waiting on you. That's vanity.

SPEAKER_02 1:07:36

Who says it's all so The Friend says it's that's vanity, or Tommy Lee Jones says that's vanity?

SPEAKER_03 1:07:41

No, so the friend says all this, or the brother. He says, uh well, he's quitting, and then so the friend or brother says you can't stop what's coming, it ain't all waiting on you. Okay. That's vanity, thinking that the whole world's gonna That's vain of you to think it's the whole world's going at your pace. Exactly. Gotcha.

SPEAKER_02 1:08:02

That is vain of you. So he's like, yeah, Tom Lee Jones, yeah, just quit. Yeah, okay, gotcha. Because I remember him talking about like I heard that fellow that shot that shot you, that and you for the reason why you're in the wheelchair to his brother, and he's just like, What did he say? Like, I heard he died or I heard he's about to get out. I think he's about to get out. Yeah, something like that. And then he was just like, I don't even care anymore. Like, I don't even have paid anymore. Like, I'm just trying to do things differently. Like what he says, that old man does have a good thing about uh you you you get so mad thinking about the time you lost, you end up wasting the time you have, or something like that, right? Doesn't he say that? I don't remember. But yeah, but he says that because that's what he's talking about. He ain't even mad anymore about the guy who shot him and put him in the chair and stuff, and then that's and I think that's when he goes into the Uncle Rufus speech, or he says that before into that. But I remember him saying that line, and he's just like, that's why like you get so mad thinking about what you was taken from you, you you learn you like lose what you have. He says one something like that. Yeah, okay. He had a line of significance right there. And then I remember that just said to Tommy Lee Jones, I think a thinking or whatever, and they were just like, Oh, he's like, oh wow, yeah. Because I feel like he also Tom Lee Jones meets that man, uh his brother, the only other person to out Tom Lee Jones in this where he's just rambling on, and then Tommy's like, yeah, you said some profoundisms right there. Like, because after after that scene, that's when it goes, fucking Carla Jean's mom died. Carly Jean buries her mom. Which is so sad, she loses her husband and her mom in this fucking movie. And she returns from her mom's funeral to her house where Antoine Sigur is.

SPEAKER_03 1:09:30

Yeah.

SPEAKER_02 1:09:31

Um like the pinnacle whole scene of the coin thing.

SPEAKER_03 1:09:33

Yeah, like Carly Jean like sits in her like the kitchen or whatever, and then she goes into her room and Anton's just sitting on the sitting on her couch or on her chair.

SPEAKER_02 1:09:41

He was crazy when I saw you sitting in the and that's when they have their whole thing about it's he's Okay, hold on.

SPEAKER_03 1:09:49

So she says, uh sh I ain't got she ain't got the money. Uh what little what little she had is long gone, and she hasn't even paid for her mom's burial. Anton says, I wouldn't worry about it. I remember that, and that's that's fucking cold. That is so cold, bro. Yeah, he's like, I wouldn't worry about it, yeah. And then um so so to go back to um the blood on his shoes, um, how he lifts up his feet while he's talking to Moss on the phone, uh, when he steps out, he checks his shoes for blood. He's he he looks at his feet.

SPEAKER_02 1:10:21

You're right, he does when he leaves her.

SPEAKER_03 1:10:22

So that's the significance, that's why I brought that up earlier. Because he's obsessed with his feet not getting. Well, I mean, he's carries blood around. Yeah, that's what it is. And then also, too, um I mean, are do you want to talk about uh this scene, the Carla Jean murder?

SPEAKER_02 1:10:37

Well, we've been talking about it, but just the sense that that's where I tie into of why he still wants to kill her, still feels the bond to kill her.

SPEAKER_03 1:10:45

And the way he he describes it to her, which is so sad through her lens, where she where he's like, promise my husband you're gonna kill me?

SPEAKER_02 1:10:52

Like out of context, it sounds like but even still, she's like, it ain't like that.

SPEAKER_03 1:10:57

So she knows she kind of knows. Which also took up kind of to put it up backtrack, there's a part with uh in the book where in the newspapers it's written, this guy, Moss, was killed with a 14-year-old. Something the fairy is going on, and Sheriff Bell is really upset about the fact that he got he never told her, like, hey, it wasn't like that, even though he didn't know.

SPEAKER_01 1:11:20

Yeah.

SPEAKER_03 1:11:21

So it just kind of goes back to that a little bit where she's like, We're like just looking at it, basically, it's kind of like, oh, he had a D he could have saved you, but he did he chose to not save you, he tried to save himself. And through Anton Shigura's, that's like truthful, but in reality, but in in the other sense, like, no, the wallin wasn't gonna give you the thing, of course not.

SPEAKER_02 1:11:45

He's still gonna try to fight you. Yeah, like giving you the city. And so she's able to tell, like, no, but it ain't like that. But that's also she also knows, like, no, the way you're perceiving, like, when you promise your husband you're gonna kill me, is like a like a promise to him is wrong. Like, that's why, like, you're crazy.

SPEAKER_03 1:11:58

Yeah, I knew you were crazy seeing you sit there. Yeah, as soon as I saw you sit there, or whatever.

SPEAKER_02 1:12:02

And then that's why she's like, she's like, the coin has no business. Like, what did she say? It's not coin has no say. Yeah, the coin has no say, it's all you. And it's like, it's true, because he literally is the one that said, I'm gonna fucking kill, I'm gonna commit and promise to this, to this fucked up thing I told your husband, like, and then which is part of his weird rule set. Otherwise, I think you would just kill Willie Millie, bro. That's why he's like, Okay, I gotta stop, bro, kill everybody. Yeah. I'm new to this planet.

SPEAKER_03 1:12:24

Because I'm an alien. But then, okay. And then also, too, and um, she does say you don't have to do this. And then he kind of like laughs and he's like, they always everybody always says the same thing. Because Woody Harrison said it earlier. Because Woody Harrison said it. And too, it's just like the fact that that's his reaction is like you guys all act this you guys all behave the same way. When you're about to die, yeah. Like you silly billies, why are you acting this way? Like, why do you all have to act this way? Kind of. I'm not saying that's how he is, but that's kind of like the benefits it's kind of a yeah, yeah, yeah.

SPEAKER_02 1:12:53

He's killed so many people, he's hurt a lot. So it's like they all say this.

SPEAKER_03 1:12:57

And they all they all they all act this way. Mm-hmm. It's fucking god, yeah.

SPEAKER_02 1:13:02

And I think that's why it's and like, and then that's the end of the scene. I know because we've been talking about it so much already, that's why it's like we already ran out of steam on it. But I also just want to point out that when he leaves and he's driving away from our house, he he gets in a car accident, and he's not at fault. And I love that. Yeah, some round is fucking green for him! Yeah, I remember to check that this time. I was like, does he is he criminal behavior? Is he fucking up? No, he is following the rules of the road. Fucking his hands are 10 and 2, he's green light go. He's like checking for the kids in the back, like he sees them eating them on the fucking bikes, yeah, and it's just he gets fucking T-boned hard, bro. Like, who the fuck was that other person running from where they were they ran that red line, dude, and they fucked him up.

SPEAKER_03 1:13:45

Yeah. Uh which I think is too, like, the fact that he got into a car accident is very fitting for him in that sense, in the sense that he's such he's so calculated in a way, right? Like everything is as straightforward, like, I'm going to kill you now. It's gonna take there's these rules and laws to him. And he followed these rules, he followed the rules of the road, and somebody else didn't and fucked him up. If the normal rule brought you here, because the rule all green microphones. You know, going up to go up to Anton Shigar if the if the rules that he followed brought you to this, he's gonna be like, bro, you're right. He's gonna be bike so recklessly. Yep. Yeah, you're right. He's gonna bike everyone now. And then so yeah, so then he gets messed up, the he's all he's all bloodied and limping out, and then the the kids that were on the bike that he was looking at uh in his rear view, um he gives him a hundred bucks for the shirt and makes a little makeshift sling and gets the battles.

SPEAKER_02 1:14:52

Yeah, and then he's skipping handles. And then he does and he also tells those kids too, like, you know. I wasn't here, yeah. You didn't see me.

SPEAKER_03 1:14:58

Which is why he's giving him a hundred and then the the kid is like, oh, too much for a shirt.

SPEAKER_02 1:15:02

Yeah, and he's like, he didn't see me either. Which is why, yeah, which is why I was like, okay, so he doesn't want to feel that.

SPEAKER_03 1:15:06

Also, too, you gotta remember, uh, he said uh the one of the little kids says, Oh, um, cops should be coming. Somebody called the ambulance. So I think that's why he's like, because he is like, let me just rest for a minute. Yeah. And then when he hears that, he's like, give me your shirt. Yeah, yeah. Yeah, right. And that's why he's like, I gotta get the fuck up. So then that's why he skedaddles. Um and then Bell talks to Loretta about his dream. He's bored. Yes, okay. And the dream, you want to talk about the dream?

SPEAKER_02 1:15:31

Of course, we gotta talk about the dream, because it then, okay. The first dream, because he talks about two spoon dreams. Like, I keep having two dreams about my daddy, right? Yes. And then the first dream, I don't even remember what he says or does. It's about are they in a car? What's the first dream? I don't even remember the first dream. Because he does remember, he's even he says, like, I don't remember it that well. Yeah. He doesn't go into a lot of the first dream, but he goes in a lot of detail of the second dream where you imagine him and his daddy are on foot in the snow or in those horses on the snowstorm.

SPEAKER_03 1:15:57

Yeah, and he mentions the fact that like he's all he's 20 years older than he ever was before he died. Yeah, and he's still with the dad.

SPEAKER_02 1:16:04

And so he's technically his dad's the young man in the dream. Yeah, yeah. But he's still his dad.

SPEAKER_01 1:16:09

Yeah.

SPEAKER_02 1:16:09

And it's something about he's gonna go on ahead in the dark, and he just knows he's on ahead out there waiting for me, setting up or what then. And I was like, I think that's also a metaphor about like you're close to death, and like you know your loved ones waiting the other side.

SPEAKER_03 1:16:21

That's kind of what I think too, yeah, is that it's a metaphor for him. That's what I feel too. Yeah, like he's waiting for him out in the end.

SPEAKER_02 1:16:28

Retirement is death. Yes. Because he retired, and then you died easily. Yeah.

SPEAKER_03 1:16:31

And there's also too, like, uh, before he before he actually talks to talks about the dream, his uh his wife is trip trying to humor him. Yeah, and she's like, Well, let me hear about him. He's like, they're always our dreams are interesting. And then Bell's like, they're interesting to the parties that are concerned, or whatever. He's involved. Yeah, parties.

SPEAKER_02 1:16:49

He's kind of like rude and then But even she's just like, he's like, You want to go do this? And she's like, No, only one of us is retired. I gotta go still work still. He's yeah, okay. And then that's when she's like, Oh, well, tell me about your dreams, and he's like, Okay, and then like he talks about his dreams, and then that's like I love that it also ends with him talking about his fucking dreams, bro. Like, this is this sweet ass old man cough, I guess, kind of like just Tom Lee and Jones just being like there's something so mundane and dull and boring about being retired and talking about your dreams. It's his country for his men that he wanted, basically. Like that's the time he wanted to be where it's safe. We could just sit here, be reminiscent about my dreams type shit. And also, let's be real, I don't know how many fucking like that wasn't a time even in the 50s or the 80s where they're like, let's talk about our dreams. Let's just be men sit down and talk about our dreams. I still feel like yeah, but he but he was just like, I don't know, he was just so involved. That's why his wife's like, go ahead, tell me about your dreams. And then he's just like, yeah. And then it's like I don't know, like his dad. And it also sounds like then if his dad got killed young, maybe, unless his dad got killed by like cancer or something young, but it's like his dad got killed probably then by violent crime, probably by yeah, yeah, as a sheriff. Which way which would suck because he wouldn't even hold a gun either in the cannon, but compare yourselves to the old timers. But it's like his dad died and went on ahead, type stuff. And it's also like he retired, so maybe he won't die from a violent crime, but it's just like my dad still went ahead and he's forging I don't know, like I guess it is more about waiting for us after death, I guess. That's the only thing I could take off about his my interpretation of his dream and stuff.

SPEAKER_03 1:18:20

Yeah, because cause he says like he knows he's waiting there for him. Like he's he goes on ahead and and I know he'll be there. Or maybe something like that.

SPEAKER_02 1:18:28

Well then maybe okay, now that you said that I think the final piece of puzzle just It means there's no rush. I shouldn't have to rush to meet him. I don't have to keep being a cop in this violent new world. That's yeah, I like that. My dad's waiting for me out there, and I know he's waiting for me out there, and I'll just continue to live life, tell you about my dreams, my beautiful horsewife, and you know, and that's why it's just like Well then it just it cuts to her real quick because she's like I don't know what to say to that.

SPEAKER_03 1:18:52

And then she then goes on him, and then he goes, and then I woke up or something like that, and then it like there's a ticking of the clock and that leads into the credit music.

SPEAKER_02 1:18:59

And then it goes, yeah, and then that's what streaming then blank, yeah. And he's like, and then I woke up, yeah. And it's just like, dude, like that's a good flash ending. Like it's a sudden ending, yeah. Even though it's just we've been calming down from the climax, so to speak, even though we don't even see the climactic gun battle. We've just been wrapping up loose threads. You know that Tommy Lee Jones retires, he talks to his wife, talks to his brother. We know that Carla Jean dies. We know Anton Sugar gets in a fucking car accident and then continues to continue on doing whatever the fuck he does.

SPEAKER_03 1:19:28

Yeah.

SPEAKER_02 1:19:29

Even though he walks away in arm sling and stuff, and it's just like only Tommy Lee Jones are our protagonists. I don't know, do we care about him? And we also leave him the way we found him. Well, we didn't see him in the beginning, but we just hear him rambling and telling the story. Yeah.

SPEAKER_03 1:19:43

You know, and I feel like I also feel like to to go or I want to kind of go into the protagonistic. I kind of feel like I it doesn't matter. I don't no, it's not that it doesn't matter, but it's like to me it doesn't matter that these specific definitions aren't being met by let's say uh Moss because I feel like both Moss and Bell are protagonists to these movies. I can see that too.

SPEAKER_02 1:20:10

Because Moss does he does drive the plot forward, it's his choices. Yeah. And it's the driver. He is, and it's because everyone's chasing him. And he does find the the monies and he is going at like the m the money movement is his movement, so to speak. And so it's like, you're right, I guess he he is a protagonist in that sense, but it's also just like but it's also you're right about it not following the definitions. Because again, we say about it, like it is a hard, it's a it's a crazy trope to kill your protagonist, if you're gonna kill him off like that. And then it's also still just like you kill him off screen, we don't see that death. Yeah, it's like we said, like we said, like that's one of the main big old tropes of this, I feel like, about why it's a crazy thing to do that to protagonists. The only thing I think about that was like the departed where you kill Leonard DiCaprio at the end. Oh, real quick, yeah, and it's just like like the whole movie you're also been hype and it's like, here we go, we're gonna finally get the justice we want. Bam, no, and then just bam, bam, and then it's just such a quick one two things. Yeah, and then just the very end of that where Matt Damon gets clipped by fucking Mark Wahlberger is just like, okay, good, justice ultimately prevailed, I guess. And that's why I kind of feel like this too, where it's like justice didn't ultimately prevail. No, justice kind of retired and Antoine Shagura still just gets to walk away, I guess. The money got returned, so that's good, I guess. Good for the company, I guess. Even though they lost a couple employees. Um yeah, they got the money back, hopefully, and then it's like, I don't know, like that's why it's a trip. But like no matter what, it's like Antoine is for sure a goddamn antagonist. He's just yeah, an opposing force.

SPEAKER_03 1:21:33

But I think to go back to um Moss being killed off screen, there's something to that too, where it's like we we through his like his attitude and even the wife's attitude is like he'll take on all comers. He's ready for this, he's a fighter, he's he was in he did two tours, he's tough, he can handle anything. He's tough, yeah. And we with Bell, Bell's a little more realistic and he's like, these are dangerous people, and so I think the fact that it happens so fast, so suddenly, and we don't see it, and all we get is him being on the him on the floor dead shows that I don't even I kinda don't even know how to say it, but just the fact that like it's almost like it's his life in the grand scheme of things is unimportant because really it is in the sen in a in a sense to the cartels and to the people that that are buying the drugs, it is unimportant. Like this this guy's just a person. He's not really he's not the ultimate badass, right? He's he's just a dude and he's in over his head, yeah, and he gets popped. And that's how quickly life can get snuffed out. It's just like right there. It's it' uh uh you've never seen you you've never seen the Sopranos? No. But I know the ends basically. So there's a part where um one of the mob guys threatens a lady that's given Tony, like, that's the little obsessed with Tony, uh, and uh he's he's threatening her life, and he's like, um, like leave Tony alone um or I'll shoot you. It's not it's not gonna be cinematic. Yeah. And so to me He says that? Yeah, he says it's not gonna be cinematic to her as a threat. Like it's not like you're not gonna know what happened. It's just like you're dead, you're gone now.

SPEAKER_01 1:23:17

Yeah.

SPEAKER_03 1:23:17

And so to me, that's how he feels even though like uh Moss he kills a guy or he shoots up a guy, right? Because we see a uh a Mexican crawling on the ho on the fought back a little bit. So he fought back, but like just the fact that he's he dies off screen and and in a in a way, like, yeah, he's just un unimportant in in a sense, or just yeah, just I don't know. I don't like I said, I don't know.

SPEAKER_02 1:23:39

Well I like what you're getting at too. How fast it could happen. Yes, I exactly. Like it's just it's um because it's also like how fast he got this money, kinda like nothing happened, he just came across it randomly like that. And then I for them damn bro, you're right. It's just also I'm trying to word what you're trying to word too then. It's just it's a plane on the trope of just like you're giving your yeah, it's anticlimactic or it is and it's all it's also like the unwrapping of the peanut wrapper. It was just like we had this tent like I honestly, I wouldn't even feel like we had a tension building. We knew the Mexican in the suit saw talked to the lady, but we don't see them in the car full of guns coming up on his hotel, you know, like we don't see the tension coming after the gunfight. We just know that Belle's coming to look for him. Like we don't even see anything happen when he's talking to the girl, just talks to the girl all chill and stuff. Like, sorry, I'll wait for my wife, you know, and then it's like okay, and then like just face it back, and then you come back after it, and just like it just happens. And it looks like like that's nighttime, and he was there in the middle of the day with talking to the pool lady, and so it looks like maybe a couple hours later to me. I don't know, that's what it feels like.

SPEAKER_03 1:24:47

I think it's daytime when he gets shot up. When he's still dying. I like to think, honestly, I think it's kind of like roughly around that time where he's talking with that lady because she's in the pool shot dead. Yeah, so is she gonna hang out by the pool for six hours? No. I don't know. Six, but it could be it's not like wrong, but while the body stayed there because he died.

SPEAKER_02 1:25:07

Yeah. But that's the thing in the sense that Sheriff Bell is when he's pulling up, they're driving out, right? People are driving out.

SPEAKER_03 1:25:13

Yeah, yeah, because they got him, they killed him, and they didn't really find the money. Yeah, they just yeah.

SPEAKER_02 1:25:20

Alright, you're right then. Okay, okay. That's why I think that's why I keep thinking it happens so soon, because he goes back at night. Yes, that's why. Yeah, he goes, yeah, he goes back and goes back at night. Okay, I gotcha. But yeah, dude. And then and then what? So how would this how would the sequel play out?

SPEAKER_03 1:25:37

Uh maybe Sheriff Bell has another dream? I don't know. Yeah.

SPEAKER_02 1:25:41

I love that he has another dream. He rides the horses. Wendell's a corrupt cop. He has to go back and put him down. Running all this crazy cartile stuff. But yeah, dude. That's it. No crazy for all men. A fucking cinematic masterpiece. Because again, look how much we can talk about it. And it's and we didn't even study every single shot. Like, we I mean, even the writing of it all is just, and like we said, I love the way Sheriff Bell talked. Even the Wellan talks different. Antoine Shigur is a clip manner, Woody Rellison, just the boobonic play. Like, it's just it's there's so much about it. The language alone is one thing. Even the visuals, like we said, that we talk about the way some shots are about the mountains and stuff, even that camera shot angle, just that you see the vent above him, and he won't notice it until he notices it, you know. It's just like and it's just the camera is stationary a lot, is what I'm getting at too. Just a little quick aside about the camera stuff. It's just it's a lot it's just it's just there or whatever. The camera is still and it's just in between some coverage and stuff, but it's not a lot of moving shots. There's not a lot of um pannings or tilts or anything. It's just the camera's there watching them do it. Or it's also like when he's hiking and looking for the the the money or the carnage and stuff, there's a lot of long way far away shots. Like another one is where he's in the middle of the carnage and his truck's up on that ridge over there. That's a good long distance away shot. Or it's also mixed with close-ups, quick close-up cutaways, because it's also there's a lot of quick shots on doorknob, the door locks, the hand busts out. There's another good one where when Sheriff Ball and Wendell are in Llewellyn's apartment or in his trailer, and then the sheriff does clock the indent that the lock made when it blew all the way to the wall. And it's just a quick cutaway shot to that. There's and then just a quick one cut shot to his hand getting the coins out of the pocket, and that's how he unscrews them, and then you later on when we see them, there's just one quick shot to that. And it's again, it's just showing not telling, it's just we're showing this, and then we're showing our characters also realize this stuff or recognize this stuff. And it's all like the milk sweating, oh dang shit.

SPEAKER_03 1:28:00

The way I like to describe this movie is like it's simple and subtle. I it like a lot of what you're talking about where it's like it's just simply one shot. Yeah, like he's going through his pockets to unscrew and then it's not like necessarily subtle, I guess, but to me it's to me it feels a little subtle. It's like, oh, he heard it. It's subtle. Helps you put the story together.

SPEAKER_02 1:28:23

Yes. I think that's what I mean. Because later on when you see it, like when you're setting up later on, that uh stuff on you know, coin and screws means he uh he was there and he and he looked at the room. And he left that event and he probably yeah. And he found it again or not, because well, I'm probably hitting it in the fucking vent again. And it's also god, what's another good one? Um I don't know, I feel like it's Antoine who gets a lot of close-ups, or even just light and shadows, like that whole hotel room scene, like we said, tension building where we don't see anything but we hear it still, the sound design of it all. Uh his just him being quiet with the shadows to there, and then he's like, Oh wait, let's turn off the light, and I'll turn off the light. Yeah, we both turn off lights. Even actually, even about the light, the way the nighttime shots look. I don't want to say it looks like it's filmed in fucking daylight, but it's like the moon that fucking bright we're able to see fully, you know? Because like a good thing is when um goes back, but that's also because it's gotta be close to sunrise, technically, because it's like and I do think they also like um digitally added effects, because like they made it thunder, right?

SPEAKER_03 1:29:30

Like they made the they made the spawn. It might be, bro.

SPEAKER_02 1:29:32

So I mean it could just be Texas way back there. No. Do you know? They did? Yeah, they did. They did make that.

SPEAKER_03 1:29:35

I did I remember seeing something about that, like the actual sky was like the CGI like the or whatever it would be, special effects or whatever. No, but yeah, but the lightning strikes. For lighting, for like the for like the clouds and stuff, so okay.

SPEAKER_02 1:29:48

Then yeah, then I could see that too. Then it but then it would just be God that threw me off then. Uh no, but also no, not really. Well, that's because what was I even saying where I brought that up?

SPEAKER_03 1:29:58

That we went through Like how the the shots at night? Yeah, shots at night.

SPEAKER_02 1:30:02

There you go. Yes. Um but that's not that's not even a big one, just the light of the night shots, is what I'm getting at. And it's uh I think for that car one, because I know they you said that they do lightning strike before that, but just the way you see the cars on the ridge, it's a very blue light. It's not nighttime light. Like that's that's the blue light before the sun rising. Sun like it's coming in. Yeah, yeah. Whereas when Antoine is uh at that carnage scene with the two Managorio types later on, like I'm like there's dark, dark it's it's the moon, like darkness. It's the middle of the night, but yeah, but it's like these guys are lit up by like one big ass blue light over here, kinda. And it's like that could be the moon, like in theory. If you want to check whatever your light source is, if you're filming something like it's the moon, you know, but it's like it's not really the moon, it's a big ass light because we're well but they weren't in no sound stages, so they did do all that shit outside. So it's like everything was done outside type stuff. So it's just like I don't know, I think it's just curious it's just also good fucking uh camera work and lighting work that they did where it's just like cause there's it's not it's like one of those things, I think it's like a trope where at least back in cowboy days, the ancient days, where it's like to make it a nighttime thing, they would just put a filter over it. So it's like you're filming in the middle of the day, and you put like kind of like a filter over it where it's like it's dark, but it's dark. So it's like there wasn't any of that, is what I'm getting at. It's just like they made it just bright as fuck at night just to light them up real quick for the scene. It's just like and then that's why even when he's getting chased by them a little bit, that's why I love that. I think that's natural, where it that is they're waiting for the sun to come up, and that's why you said when you see the bouncing on the cars and everything, it is the car lights are the only light source.

SPEAKER_03 1:31:33

That's like the main light source. That's what that's what you see.

SPEAKER_02 1:31:36

What you see until he gets shot real quick, and then like when you see the water, because the car can't light it anymore, you need the sun's light to light it by then. And then just our fallen soldier, the little furry guy. Scooby. Scooby, dude, I forgot his name Scooby again. That's the way to bring it back. But yeah, dude, but it's just like like I said, this movie is just I don't know, like it's not even their the most movie that's them, it's just a most movie that's cinema that they did. It's not their best movie, but it's one of the best movies. Yeah, I feel like, yeah. Because watching this, like, I still really love Big Lebowski probably more. Like, I think I didn't know because I watched that a lot. When I found that, I watched that a lot more when I was younger and stuff. And like that one was just a special place in my heart and stuff. But then like nowadays, like Hail Caesar, I really love Halo Caesar a lot because that's the movie about old time in Hollywood. A little nostalgia there and stuff, but it's also and that's another good Josh Perlin performance. God, I want you to watch that movie now. But yeah, and uh Yeah, I'm gonna have to watch it. You are bro, it's completely like so different. And um but yeah, and it's just like this movie is like you said, we said there's a little bit of humor in there, but it's like it's not most of their humor. Like I feel like it is their humorless movie, or the one that has the least humor.

SPEAKER_03 1:32:51

Yeah, and it's it's really only kind of it's like there's humor in it, but because of like, I don't know, just like the context of the situations of the film, I feel like, if that makes sense. It does. Where it's just like kind of like back to what Bell says, where it's like all you can do is laugh because this these scenarios are crazy.

SPEAKER_02 1:33:11

That's true, and then because that's all in because no country for us. Like we don't know I don't know how to react to that. Yeah.

SPEAKER_03 1:33:17

But to go back to like the camera work or like shots and stuff and like the like the subtlety and storytelling. It's like um there's a shot where uh the deputy and sheriff are investigating their the milk, right? Like the and so when I I think you may have actually said exactly what I'm gonna say, but uh when Bell sits down on the couch and takes a drink of milk, he's looking at the MC TV and he's sitting in the same position as Anton Shiguri. Because we see the same reflection of Antonio. Yeah, exactly. Because it's a syllabus the reflection as the T.

SPEAKER_02 1:33:50

And the camera is facing the turned off TV, so we see him lit in the reflection of the turn-off TV.

SPEAKER_03 1:33:57

And the statement that he says where it's like he's seen what I've seen and it's made an impression on me, is like just cinema. It's just like great, it's I don't know, it's just a great scene. He doesn't realize he's telling like the truth without realizing it. Exactly. He doesn't even realize this, like, just how awesome, how monumental his life is. He doesn't even realize like he's in a movie. He doesn't even realize the aura he just pulled off right now. He really doesn't, yeah.

SPEAKER_02 1:34:26

While being so chill, too. Yeah, he is, he's just so chill. Damn, bro. Like, I feel like we can still keep going more and more. Like we can find things, but it's absolutely I'm not gonna lie, just an update. We're at four and a half hours now. And I'm gonna tell you something. This is great. I'm gonna tell you something I realized too. I can only put up three hours a month on my podcasting thing. Oh shit. Yeah, but it's okay, it's about to reset like in five days, so then we'll have two more hours. So it's like I might have to cut this one in half. We really might get that 40 minutes of Bogonian obsession catch-up. And so we might dude because we blasted through this like four and a half hours. We talked about the movie. Oh, yeah. We talked through the movie twice, basically. Yeah. Because it's two hours and like two minutes according to Apple TV, because I have an Apple right now.

SPEAKER_03 1:35:10

Yeah, I yeah, I think it's like Which is crazy. It doesn't feel long. Yeah. Yeah.

SPEAKER_02 1:35:15

You think it happens really fast? It's bam, bam, bam. Like it happened faster than us right now. Like we quick enough. Yeah. Yeah. We did, bro. But let's fucking call it there, man. We're probably about to watch hereditary right now.

SPEAKER_03 1:35:28

Yes, we are. It's getting a little tiny dark outside, buddy. Don't need to find the opening. I'm actually excited to go through this movie again because I haven't seen it in like a couple years, I want to say. Oh, okay. I'm excited for this.

SPEAKER_02 1:35:38

Okay, then, but then we'll sign off.

SPEAKER_03 1:35:40

We'll say goodbye to the people. JR again, thank you for having me on here. Letting me yap about No Country for Old Man. I've always wanted to do this.

SPEAKER_02 1:35:48

JB, you're very welcome. Bro, like, I like I think I gotta pull out one of you know what? Like, we did your ultimate favorite, we gotta do like one of my ultimate favorites. And I feel like right now it's gotta be Speed Racer. I think it might be Speed Racer, bro. Because I just to convince of how much I love, like, I don't know. I don't know now. I'll I'll put some thought into this.

SPEAKER_03 1:36:08

Yeah.

SPEAKER_02 1:36:08

Because I know you're about to make me watch Hereditary, and that's definitely a wonderful.

SPEAKER_03 1:36:12

Too fair you wanted to watch this. Like I've told you, if you don't want to watch, I don't want to make you watch a scary movie if you don't like it.

SPEAKER_02 1:36:17

He's totally said that, but yet I feel like I'll never be able to fully bond with my buddy if I don't watch it. And he's made me feel like that about it. That's not true. That's not true. It's not true. But also the Curry Barker of it all and the obsession thing. And then again, a lot of people.

SPEAKER_03 1:36:28

And you said uh the dinner scene from hereditary interest in you, so that is true.

SPEAKER_02 1:36:32

Uh that is true. Some like just seeing Tony Collette's performance, I was just like, in the dinner scene.

SPEAKER_03 1:36:38

Fucking face on your face.

SPEAKER_02 1:36:39

Yes, dude. I was just like, oh my god, I can picture a mom telling this to a teenage boy. Yeah, yeah. The frustration, just that yeah, okay. I've even heard like an older coworker who's a mom talk about being frustrated with her son, like to her, even she's she's talked about like because he he tried to be a sassy teenager one time, and she was like, listen here, you little shit. Like, you know, she had to have to tell you sometimes about it, and I'm just like, I absolutely get this. And like, I've been a teenage boy to my fucking mom too, and it's just like I know when I've gotten smacked in the mouth from saying some stupid shit, but it's also like I get like I don't know, like just everything I saw right there, I was like, okay, I get all of that right there. Just in her one little dinner scene performance and content.

SPEAKER_03 1:37:15

I think too, what's what's so important about her or I don't know about her important, but I guess so good about and interesting about hereditary is that it is a family drama. I love that. Like a majority is family drama, and with, like I said, cult sprinkles throughout.

SPEAKER_02 1:37:33

That blows my mind, and we're gonna finally fucking You're finally gonna watch her go. I I hope I don't I have you oversold it or like you have because it's it's already been so many hyped to me by other sources other than you prior to me ever meeting you and even after meeting you. I think you're okay. You've talked to other people about movies?

SPEAKER_00 1:37:54

What the fuck is that, bro?

SPEAKER_03 1:37:56

Alright, I'm out of here.

SPEAKER_00 1:38:01

I'm gonna stop it. He got up, he's out. This is no more time getting my fucking That was perfect. That's a good ending, JV. Four hours and forty minutes now.