Jan. 29, 2026

A Script By: Robert Towne - Chinatown

A Script By: Robert Towne - Chinatown

Welcome to our exciting new series, A Script By... Before it was a film, it was a script. Brad Koszo dives deep into some of Hollywood's most celebrated screenplays to analyze their structure, themes, and page-to-film journey. Get ready for a look at...

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Season 7A Film By...

Welcome to our exciting new series, A Script By...

Before it was a film, it was a script. Brad Koszo dives deep into some of Hollywood's most celebrated screenplays to analyze their structure, themes, and page-to-film journey. Get ready for a look at the writers behind the words as he explores their process, what influenced them, and how they inspired some of the iconic cinema we enjoy today.

Chuck Bryan from The Cinematic Flashback Podcast joins Brad on the very first episode of this monthly series, as they turn the page on Robert Towne's Chinatown!

Check out our NEW YouTube Channel and subscribe now! If you're one of the first 100 subscribers, you'll be entered to win a weekend pass for one of several comic cons happening in 2026!

Head over to our Patreon and get started with a FREE 7-day trial. We've got plenty of exclusive content and episodes that you'll only find there! You can also sign up as a free member!

www.afilmbypodcast.com/ for more information.
Email us at afilmbypodcast@gmail.com with your questions, comments, and requests.
Find us on Instagram, X, and Facebook @afilmbypodcast.

WEBVTT

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Before it was a film, it was a script. Welcome

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to a Film By presents a Script By a limited

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series hosted by me Brad Kozo.

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In this series, we'll.

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Explore some of Hollywood's most celebrated screenplays, the scripts that

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define genres, inspire generations, and change the way stories are told.

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Each episode, we're going to break down what makes these

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screenplay so powerful, how the acts flow together, how structure

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and character drives story and theme, and how every page

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earns its place well als. It's like a closer look

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at the writers behind the words, their process, their influences,

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and the journeys that led them to create these iconic works.

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This is a script By. Let's turn the page. Welcome

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to the premiere episode of A Script By. I am

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Brad Kozo, and I am so excited to finally have

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this out there for anyone that would want to hear it.

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I just want to thank anybody that's listening right now,

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and we'll get right to it. For our first episode,

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We're going to dive straight into what many consider one

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of the greatest screenplays ever written. I'm talking about Robert

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Town's master work, the screenplay for nineteen seventy four's Chinatown.

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It's a script that defined an era of filmmaking, a

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story of corruption, deceit, the illusion of control wrapped in

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the sun bleach glamour of old Los Angeles. Today, will

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take a closer look at why these screenplays still studied,

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still quoted, and still regarded. It as a blueprint for

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how to tell a story that feels both timeless and tragic.

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From the first ten pages to its devastating final line,

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will break down and how Chinatown earned its place as

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one of the most celebrated scripts in Hollywood history.

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So to start off.

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Before we get going, I am very pleased to welcome

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to the first episode of a script by my guest,

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Chuck Brian, the host of the Cinematic Flashback. That's right, folks.

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By day, Chuck's a senior software developer, but by night

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he's all about seventy cinema. On his podcast, he and

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his co host revisit the films that defined the decade,

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diving into the stories, the culture impact, and why they

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still resonate. Chuck, Welcome to the show.

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How are you, sir, Brad?

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Thank you so much for inviting me on. I am

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really super psyched to be here tonight. I have to say,

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I I am. I've been looking forward to this conversation

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now ever since Jeff reached out to me and pitched

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the idea. I thought it was great. I love your

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limited series, and I'm really looking forward to hearing what

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you have to do on Chinatown and moving forward.

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Yeah. I mean, this one, I'd have to say, is.

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Not so much the easiest, but the most you can

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kind of talk about why it's considered so great. And

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like when Jeff told me about you know, he's got

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the script and you know, and then about your podcast

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and things like that, I'm like, well, yeah, that's that's

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just like you know, a my doppelganger.

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Perfect.

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You could almost say that seventies movies is my meta.

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Oh it's it's I think if you even though it's

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kind of said the seventies movies, it's about nineteen sixty

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seven to like mid eighty, I mean that that whole

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group of films, you know, that fourteen thirteen years, that

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is just the classics that will always be considered classics.

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Oh yeah, best years of cinema.

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Well, on the cinematic flashback, we are solely keeping in

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between nineteen seventy and nineteen seventy nine, and it's hurting

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a little bit because you're right, there's a couple of

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them that are right on the edge. But I grew

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up in the eighties, so I grew up with the

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you know, in the seventies when I was a child,

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the movies I saw were The Superman, The Star Trek,

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the Star Wars. You know, I did not know about

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films like mash Kelly's Heroes, Clute, all of these films

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that are just real early and they are just magnificent films.

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There's so much fun.

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There's some clever ones, there's some ones that aren't so

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great as well, but you know, overall, Matt, my co host,

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Matt Sardine and I we decided that we would restrict

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ourselves to this one decade period and just explore what

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we can and then just ask each other, honestly, does

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it still grow or has it actually skipped a beat?

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And that's the way in which we render our final

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judgment of thumbs up or thumbs down on it.

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Yeah.

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I mean, I think I was watching one of those,

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like the CNN the movies that they did a couple

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of years ago, and one of the film school professors

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just kind of said it. He goes, you can basically

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teach the seventies films for just like years, just to

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steep you know, for years, he goes, And that's all

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you kind of really need, you know. But yeah, now

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with Chinatown, do you remember when you first saw it,

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what you thought of the film, and then later on what.

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You kind of thought of the script.

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So I can say I can definitely tell you all

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of those because I first saw Chinatown for the first

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time last year in our Season one when we reviewed

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the film. Okay, before that, I mean I I one

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of Chinatown was always one of those films that a

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friend of mine said you should watch, and he told

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me a little He didn't tell me much of the plot,

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but he told me it was about water, water works,

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water department. And in my mind, I kept thinking, Okay,

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it's Jack Nicholson, but I don't know. The water thing

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just never really really sat with me. We want we

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reviewed it last year, and I'm telling you, without necessarily

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spoiling anything for anyone here right at this point, I

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will say that the ending of the movie, my job

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was literally in my lap. I was I just I

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couldn't believe it. How this film ended, and it was

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a satisfying film. Even though it was tragic at the end,

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the whole film was was was satisfying. This past Christmas,

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I had the chance to be with my mom and

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I showed her this film. She had never seen it,

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she'd always wanted to see it as well, and she

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had the exact same reaction. And you know, it's almost

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like I think she actually maybe had bought the film

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before she left and had it shipped from Amazon.

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To her home. Yeah.

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But yeah, And you know, when we're doing our study

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for this, a reviewing for the for the preparing for

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the podcast, I came across that how much that this

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film is is taught. The screenplay is taught. And I

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did not know the name Robert Town. It didn't mean

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anything to me, but now I see his fingerprints all

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over the place. And you got the opportunity, uh recently

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to read the screenplay in preparation for this for tonight,

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and it really brings out a lot in the film.

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I really liked.

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That the the again it's it reads well and there's

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a lot of details that I think Robert Town put

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into the film, are into the screenplay that when you

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read the screenplay and then you watch the film, you

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just start to notice all these small little characteristics are

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a little movements.

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But yeah, it's it was.

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It's pretty amazing.

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Yeah, I remember, I didn't see it until when I

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had this crazy notion that a long time ago, when

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I thought I was going to be a screenwriter, the

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thing to get was Sidfield's screenplay book, and that film

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or a Chinatown and Dog Day Afternoon are mentioned very

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frequently in the you know, like the first couple chapters

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of the book. So the more research it is like, Okay,

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this is supposed to be this other classic like you know,

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the Godfather and stuff. And then I was starting to

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really get into these seventies movies and yeah, like I said,

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after it, my I was shocked.

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But I was also just kind of like did that

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did that happen?

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You know, and almost kind of had to go back

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to make sure it was like did I miss it?

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It was like, no, you didn't miss it. It's just

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very cleverly put there.

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Oh yeah, oh yeah, so many things.

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Well, let's get started with our breakdown. This is a

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script by Robert Town fade In. So Robert Town was

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basically kind of all over everywhere in the seventies, he

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you know, he's even his name wasn't really always on screen.

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He was always doing uncredited working movies like Bonnie and Clyde,

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where he was a creative consultant, Kay and Missus Miller

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the Parallax View basically, like you mentioned before, shaping the

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tone of the entire decade. But the moment that really

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got people talking was his rewrite on that Godfather's scene

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between the Marlon Brando and Paccino. It was it was subtle,

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it was emotional, and it caught the attention of Godfather

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producer Robert Evans, who then invited Town out to dinner

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and they start talking about what are you gonna do next?

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You know?

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And he tells him, I got this idea. I'm sitting

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on nineteen thirties detective story. But wait now, it's not

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about gangsters or shootouts. It's about water, who controls It

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happens when you steal the lifeblood of a city. Evan's

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immediately wants a script. Town tells him, no, it's mine,

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So instead of walking away, Evans does something rare. He

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backs him anyway. He tells Town, you know what, don't

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write with studio once write what only you can.

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And what Town.

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Delivers is a story about murder, corruption, power hiding in

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plain sight under California's son. But he also knew the

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script needed a director, some precise someone could turn elegance

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into something as sentley. And that's when he of course

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thought of Roan Polanski because they had already worked together

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on Roseenbary's Baby. But at that time Polanski had basically

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left Hollywood and disappeared after the brutal man Some murders

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of his wife Sharon Tate in nineteen sixty nine, and

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he didn't want to come back to Los Angeles. But

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I mean he initially said no, He said no, the

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city just carries too much weight. But Evans kept pushing tundon.

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This wasn't just a movie. It was a story about

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Los Angeles itself. You know, you know that Robert Evans

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voice you can always hear about the ru to the beneath,

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the beauty, the lie, the control.

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You know.

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He read the script and then just something clicked, you know,

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he recognized that that underbelly, you know, and that's where

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the fun, you know, the script really comes into focus.

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It's it's basically the collision between Town's perspective, which is

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truth still matters, and Polanski's perspective of you know, truth

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doesn't save anyone. You know, what do you what do

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you think about that kind of like approach to it,

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like two people that see it, one happy, but one like, no,

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that's not the real world.

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Hmmm, well I think you end up with Chinatown.

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Yeah.

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One of the things that really stuck out for me

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for Robert Town was his origin story and how he

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first started off off with Roger Corman. You know, Roger

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Corman gave most of our Hollywood heroes, Yeah, their start.

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It's it's amazing. And the first thing that I remember.

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I have this this book here about by Roger Corman,

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his autobiography called How I Made one hundred movies in

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Hollywood and Never lost a dime exactly, and he was

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talking about Robert Town, and he said, give this man

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enough time and he will write Chinatown or a shampoo.

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But I need him to write faster. He even told uh,

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one of his writers who had she was just coming

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in to work. He said, in that room, the doors closed,

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and in there is Robert Town. He's he's writing for me,

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and he's gonna slip paper underneath the door to you,

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and then you take them as he gives them, and

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then at some point bring him lunch. But whatever you do,

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don't let him out of the room. So Corman leaves

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to go do his his his movie, and Robert looks

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out and says, is he gone yet? And then takes

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a break. So give him enough time and he will

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write Chinatown. And I think that what he was able

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to do with story about water wars and just murder

227
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and mystery and all the things was pretty incredible.

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Yeah, And I kind of did a little bit of

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a dive with his work for the show, besides just

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Chinatown and watching the last detail and body and Clyde

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and kind of seeing how his it's just a it's

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straight in your face. It's it's not he doesn't show.

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He doesn't as to say that, he doesn't give you

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a metaphor.

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He shows you.

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I'm not I'm not going to give you a metaphor

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about it. I'm showing you that the the horror right there,

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and no apologies and very very brutal, you know, very

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kind of kind of rough.

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Yeah, he doesn't pull he doesn't necessarily necessarily pull punches,

241
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but sometimes he kind of layers his especially in Chinatown.

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Uh.

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And it's one of the things that you know, we'll

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probably say, but I just I love how the movie

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starts off as one thing and leads you down this

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road and you're finding out things at the same time

247
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as uh, Giddies is finding it out and you're you're

248
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you're along with him, and I I love that you

249
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start with this very narrow point of view and by

250
00:14:55.039 --> 00:14:58.039
the end it's like it's so wide and you see

251
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everything and you see the corruption, uh, and it's it's

252
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it's pretty brutal.

253
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Yeah, And what we're gonna basically try to do is

254
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to in some way kind of simplify it because I

255
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think the biggest kind of you know, uh thing with

256
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people have sometimes in this film is that it's confusing.

257
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There's just so much to it. I'm like, yes, because

258
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it's confusing to Jake. You feel the confusion. He is

259
00:15:26.480 --> 00:15:29.840
confused just as much as the you know, the audience

260
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member at that time. So yes, it is confusing, and yes,

261
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it is something that needs to be revisited to kind

262
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of break down again. But it's not pretentious. It's not saying, oh,

263
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we're smarter than you, and this is a smart movie,

264
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and your movies aren't smart. It's saying, look what happens

265
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when you don't know what the hell is going on. Well,

266
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right now, we're going to take our one of our

267
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first breaks when we come back. We're going to delve

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into the first ten pages of Chinatown and breakdown Act one.

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Welcome back. We are talking act one. In the first

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ten pages, here's what we know from the first ten pages.

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We meet Jay gittis, confident private detective. He makes money

272
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off people's secrets.

273
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He's approached by.

274
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A woman claiming to be missus Maulray, the wife of

275
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a Los Angeles chief water engineer, Hollis Malray. She suspects

276
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her husband is cheating on her. Now, in the script

277
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and on the film as well, Jake's line of when

278
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she mentions Hollis Malray water and power. When he says it,

279
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he's like wait, water and power. He hears Hollis and

280
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Alray's name, and that's telling the reader, the audience. Jake

281
00:16:46.639 --> 00:16:49.240
knows his name. He knows it's an important, big guy.

282
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This is this one's a big deal. Audience, Keep remember

283
00:16:53.120 --> 00:16:55.279
this guy's name. You know he's going to be important.

284
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Now this moment the fake Missus Mare visit. This is

285
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the story's first inciting incident. I mean, it's it's the

286
00:17:05.039 --> 00:17:08.839
lie that sets everything in motion. You know, he takes

287
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the case without question, you know, he never realizing he's

288
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being used, as I mean upon in a much larger gain.

289
00:17:16.960 --> 00:17:21.359
Oh yeah, absolutely. You know. One of the things about

290
00:17:21.400 --> 00:17:25.039
the script that's really great is the things that don't

291
00:17:25.200 --> 00:17:29.920
make it to the screen. And the movie starts off

292
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with get his working with a client who has his

293
00:17:36.839 --> 00:17:39.680
wife is cheating on him. Okay, so, like you said,

294
00:17:39.720 --> 00:17:42.759
he makes his money on on this. You know, so

295
00:17:42.920 --> 00:17:45.720
after he reviews the pictures, you know, he's he's in

296
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the movie. He you know, the next time you see him,

297
00:17:48.279 --> 00:17:50.519
you know, he's escorting him out and they're talking about

298
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payments and whatnot. But in the script there is this

299
00:17:54.319 --> 00:17:59.160
there is a line where Curly is asking, you know,

300
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I could I could kill her, right, I could just

301
00:18:02.160 --> 00:18:04.200
murder her? And they don't kill a guy like that,

302
00:18:04.799 --> 00:18:07.400
or do they? And get Us just gets real angry.

303
00:18:07.400 --> 00:18:09.319
He says, I'll tell you it's the unwritten law, you

304
00:18:09.359 --> 00:18:11.480
dumb son of a bitch. You gotta be rich to

305
00:18:11.559 --> 00:18:14.319
kill somebody, anybody and get away with it. You think

306
00:18:14.319 --> 00:18:16.759
that that kind of dough, you think you got that

307
00:18:16.839 --> 00:18:22.279
kind of class cash. And the minute I read that,

308
00:18:22.480 --> 00:18:25.559
I mean, that's like within ten pages, and I'm thinking

309
00:18:26.440 --> 00:18:29.119
that is the film. That is one of the major

310
00:18:29.200 --> 00:18:31.640
themes of this film. Yeah, And he just said it

311
00:18:31.799 --> 00:18:36.200
right out there, yea. And part of me wants to say,

312
00:18:37.240 --> 00:18:39.240
maybe it was a good idea that they didn't put

313
00:18:39.279 --> 00:18:40.200
that into the film.

314
00:18:40.839 --> 00:18:41.920
I thought so too.

315
00:18:42.119 --> 00:18:46.240
There was well, when we get to the ending of

316
00:18:46.240 --> 00:18:51.960
the film, a much longer I guess struggle, but it

317
00:18:52.480 --> 00:18:57.160
felt too like Giddy's is trying to, like, you know,

318
00:18:57.279 --> 00:18:59.680
knock us in the head. Hello, you guys are getting

319
00:19:00.039 --> 00:19:02.599
I'm like in it. It seems like it goes on

320
00:19:02.799 --> 00:19:05.759
just a little too long. So he begins his investigation.

321
00:19:06.480 --> 00:19:09.400
We see the glossy sunset, a sunlit world of nineteen

322
00:19:09.480 --> 00:19:13.039
thirties Los Angeles, trust it with dry river beds, furious

323
00:19:13.039 --> 00:19:16.279
farmers accusing the city of stealing their water. So by

324
00:19:16.400 --> 00:19:21.680
page ten, Town has already established the film's tone of deception, corruption,

325
00:19:21.920 --> 00:19:26.559
and illusion, though neither neither get us nor the reader

326
00:19:26.759 --> 00:19:30.799
yet realizes how deep the lights go. At that point,

327
00:19:30.839 --> 00:19:35.119
did the first ten pages earn your trust and If so,

328
00:19:35.480 --> 00:19:39.279
how does he do it without tipping his hand too early?

329
00:19:40.400 --> 00:19:43.759
Well, one of the things for me is you have

330
00:19:43.880 --> 00:19:48.759
to find Jake relatable. I mean, even though he does

331
00:19:48.759 --> 00:19:52.240
what he does, he has to be likable at a

332
00:19:52.400 --> 00:19:55.680
very basic level for the audience to actually connect with him,

333
00:19:55.720 --> 00:19:59.200
to want to go along with him. And you know,

334
00:19:59.480 --> 00:20:03.279
this is where where my misunderstanding of the film when

335
00:20:03.319 --> 00:20:06.599
I was told about it was Okay, this is this

336
00:20:06.680 --> 00:20:09.880
is an investigation of a man for water and power. Okay,

337
00:20:09.960 --> 00:20:14.240
I am not too interested in it. But but because

338
00:20:14.880 --> 00:20:18.200
of you know, whether it was the script, whether it

339
00:20:18.240 --> 00:20:23.759
was Jack Nicholson being a very young Jack Nicholson, I was.

340
00:20:24.039 --> 00:20:26.480
I was drawn into it surprisingly.

341
00:20:27.160 --> 00:20:29.599
Yeah, and the fact that you like I said that

342
00:20:29.640 --> 00:20:33.799
he's not just a creep money tabloid kind of chaser.

343
00:20:34.160 --> 00:20:37.240
You know, he's he tells her, you know, do you

344
00:20:37.319 --> 00:20:38.279
love your husband?

345
00:20:38.519 --> 00:20:40.599
Yes? And go home? Let it go.

346
00:20:41.119 --> 00:20:43.960
I know you're rich. I know you'll pay me a fortune,

347
00:20:44.000 --> 00:20:48.200
but I have some dignity. You know, I'm not a soulless,

348
00:20:48.240 --> 00:20:50.839
heartless person. You should just let it go. You don't

349
00:20:50.839 --> 00:20:52.799
want you don't want to deal with that. She does

350
00:20:52.920 --> 00:20:56.039
want to see her tear the blinds down like Curly.

351
00:20:56.759 --> 00:20:57.039
Yeah.

352
00:20:57.079 --> 00:20:59.640
And even with Curly, you know, Curly is like, you know,

353
00:20:59.680 --> 00:21:02.680
there working out the payment for it, and you know,

354
00:21:02.839 --> 00:21:04.960
he says, I'm not going to take your last dime.

355
00:21:05.279 --> 00:21:05.960
Yeah, you know.

356
00:21:06.640 --> 00:21:12.839
And and so immediately I think we we connect with him,

357
00:21:13.559 --> 00:21:16.759
and I think that we don't see him as like,

358
00:21:16.839 --> 00:21:20.000
you know, well, this guy is just you know, praying

359
00:21:20.039 --> 00:21:22.920
off the pain of others. You know, we actually, you know,

360
00:21:23.240 --> 00:21:26.119
as as as he says later in the barber chair,

361
00:21:26.240 --> 00:21:28.519
you know, I'm doing people a service. I'm not. I'm

362
00:21:28.519 --> 00:21:29.839
not kicking them out of their homes.

363
00:21:30.079 --> 00:21:30.319
You know.

364
00:21:30.319 --> 00:21:33.319
No, yeah, you know, he's just somebody says, hey, I

365
00:21:33.319 --> 00:21:35.160
want you to see somebody's cheat on me.

366
00:21:35.519 --> 00:21:39.200
Okay, I'll do you. I'll do you that solid. Yeah.

367
00:21:39.759 --> 00:21:45.119
So getting into Act one, like I said, we begins

368
00:21:45.119 --> 00:21:47.960
with the woman claiming to be Missus Raw, Missus Mulray,

369
00:21:48.000 --> 00:21:52.079
the wife of Los Angeles chief engineer. She hires private

370
00:21:52.119 --> 00:21:55.559
detective Jack Gettis to investigate her husband, suspected in fidelity.

371
00:21:56.960 --> 00:21:59.839
This moment that we said, it's the it's the inciting incident,

372
00:22:01.480 --> 00:22:05.160
the smug the self assured, he takes it without question.

373
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It's just it's gonna be so much more than a

374
00:22:08.039 --> 00:22:13.400
dodgory case. But he trails houllisball Ray anyway way, and

375
00:22:13.839 --> 00:22:16.000
he knowses that he just doesn't really appear to be

376
00:22:16.039 --> 00:22:18.559
a guy kind of cheating and just more like a

377
00:22:18.559 --> 00:22:21.240
man haunted by the city's water problems. You know, he's out,

378
00:22:21.279 --> 00:22:26.319
he's inspecting dry river beds, empty reservoirs, and their political

379
00:22:26.359 --> 00:22:31.640
hearings were like farmers accuse him specifically like stealing their livelihood.

380
00:22:33.440 --> 00:22:33.680
You know.

381
00:22:33.880 --> 00:22:38.680
Then Giddess does see him with a woman, and we're

382
00:22:38.720 --> 00:22:42.519
never shown any kind of intimacy. It's just the woman

383
00:22:42.599 --> 00:22:45.519
is there and she's younger, and it hits the newspapers,

384
00:22:45.759 --> 00:22:47.720
and of course, like he said, scandal it up. I'm

385
00:22:47.720 --> 00:22:50.559
gonna you know, I'm just an honest man. But then

386
00:22:51.160 --> 00:22:54.119
the fit hits the shan when the real Evelyn maul

387
00:22:54.200 --> 00:22:57.799
Ray storms into his obvious furious that her name has

388
00:22:57.799 --> 00:23:00.920
been dragged to the press. That that's when Getty's realized

389
00:23:00.960 --> 00:23:07.240
he's being used confidence shatter reputation on the line. Determined

390
00:23:07.359 --> 00:23:09.759
declare his name, He's got to now dig deeper on

391
00:23:09.880 --> 00:23:13.480
cover evidence that water is being secretly dumped at night

392
00:23:13.519 --> 00:23:16.759
while the city claims that there is a draft.

393
00:23:16.440 --> 00:23:17.319
So right there.

394
00:23:18.119 --> 00:23:22.839
But yet everything changes when Hollis small Ray dies, you

395
00:23:22.880 --> 00:23:26.720
know it found and the thing is the chief water

396
00:23:26.799 --> 00:23:33.039
engineer found dead, drowned in the very reservoir that he

397
00:23:33.359 --> 00:23:38.400
was inspecting, you know, right now at that point, so

398
00:23:38.440 --> 00:23:42.680
we see, we see Hollis mal Ray's body come up.

399
00:23:43.599 --> 00:23:46.599
That's the point I've never turned. That closes out the

400
00:23:46.680 --> 00:23:49.440
Act one. That means the lie that began as a

401
00:23:49.519 --> 00:23:53.200
routine case now becomes a murder investigation, and the stakes

402
00:23:53.279 --> 00:23:57.440
explode from personal embarrassment to life and death conspiracy. I'm

403
00:23:57.480 --> 00:24:00.000
not sure of the exact page number, but I think

404
00:24:00.000 --> 00:24:03.480
I think it's around maybe thirty three or thirty five,

405
00:24:03.680 --> 00:24:07.559
so about that like half hour mark. So that's a

406
00:24:07.599 --> 00:24:10.640
pretty good solid Act one, you know. And then so

407
00:24:10.799 --> 00:24:15.039
he's he's gonna step into the Act two. Now he's

408
00:24:15.079 --> 00:24:17.640
chasing the truth, you know, I mean for this one,

409
00:24:18.079 --> 00:24:21.759
but really the truth is gonna chase him. I mean,

410
00:24:21.839 --> 00:24:25.519
because Act one it's all set up slide of hand.

411
00:24:26.119 --> 00:24:29.119
We think we're watching a detective story about infidelity, but

412
00:24:29.359 --> 00:24:32.319
what Town is really doing. He's learning us into a trap,

413
00:24:32.759 --> 00:24:35.279
just like with Gid is the same one he walks

414
00:24:35.279 --> 00:24:39.480
into by. By by time Hallsballay's body turns up, it's

415
00:24:39.480 --> 00:24:43.200
too late. The game's changed. And the real story that

416
00:24:43.240 --> 00:24:45.680
the one about the corruption and the control and the illusion,

417
00:24:46.200 --> 00:24:49.920
that's just the beginning, you know. So Chuck, looking at

418
00:24:50.000 --> 00:24:53.559
Act one as as a whole, you know, when do

419
00:24:53.599 --> 00:24:57.119
you think get Us actually loses control of the story?

420
00:24:57.200 --> 00:25:01.160
And is there any point where he could have safely

421
00:25:01.200 --> 00:25:01.759
walked away?

422
00:25:02.160 --> 00:25:08.599
He was never in control, I would say, And I'm

423
00:25:08.599 --> 00:25:12.759
not sure if his character would have allowed him. I mean,

424
00:25:12.799 --> 00:25:17.480
he I think he has this kind of a character

425
00:25:17.519 --> 00:25:22.920
who you know, the relationship that he has with the client.

426
00:25:22.960 --> 00:25:26.440
He's at this point he realizes that he has been

427
00:25:26.559 --> 00:25:30.880
set up. Okay, he knows that someone who was posing

428
00:25:30.920 --> 00:25:35.440
as Evelyn Moray came in, hired him, he did a job,

429
00:25:35.799 --> 00:25:40.039
and then suddenly the real Evelyn Moulray shows up and

430
00:25:40.079 --> 00:25:45.319
she's going to sue him, and then not too much longer,

431
00:25:45.680 --> 00:25:50.559
her husband shows up dead. Now he he is actually

432
00:25:52.599 --> 00:25:56.119
in a position where he could be implicated in conspiracy

433
00:25:56.240 --> 00:25:59.839
or conspiring with or you know, being paid off or

434
00:26:00.079 --> 00:26:05.799
possibly extorting Evelyn. Right, and uh, and so I I

435
00:26:05.839 --> 00:26:09.039
think at this point, you know, he realizes that I mean,

436
00:26:09.240 --> 00:26:11.519
the the the time that he could have walked away

437
00:26:11.799 --> 00:26:17.039
maybe was by not taking Evelyn, the original Evelyn Mara

438
00:26:17.759 --> 00:26:18.160
the ship.

439
00:26:19.400 --> 00:26:23.599
Once he did it, that that was it. And yeah,

440
00:26:23.880 --> 00:26:26.160
there was no way going out of it. And he

441
00:26:26.279 --> 00:26:30.319
was it seems so innocent, you know, you know, he

442
00:26:30.400 --> 00:26:33.400
did it with Curly and he's done it all before.

443
00:26:33.440 --> 00:26:35.480
It seems so innocent. Good paycheck.

444
00:26:36.400 --> 00:26:40.039
Yeah, and now he's not not only did someone end

445
00:26:40.119 --> 00:26:44.720
up dying and being murdered, but a very high profile

446
00:26:44.839 --> 00:26:47.839
person and he is now in this kind of web

447
00:26:47.880 --> 00:26:52.480
of lies that's that they just kind of threw him in.

448
00:26:52.559 --> 00:26:54.640
So yeah, it's it's pretty frustrating.

449
00:26:54.640 --> 00:26:58.319
I'd be I think I myself and as we would

450
00:26:58.319 --> 00:27:00.000
be like, yeah, you need to find this out.

451
00:27:00.240 --> 00:27:02.480
What the hell is going on? Yeah?

452
00:27:03.160 --> 00:27:06.160
Oh if he you know, if if at this in

453
00:27:06.240 --> 00:27:08.440
the fact one or whatever he gave up, of course

454
00:27:08.480 --> 00:27:11.799
we would all be frustrated by that. But one of

455
00:27:11.799 --> 00:27:13.960
the other things that I really like about this script,

456
00:27:15.000 --> 00:27:18.519
and I think the first one actually kind of happens here,

457
00:27:19.039 --> 00:27:25.759
is that town sprinkles clues all throughout. Okay, Yeah, and

458
00:27:26.039 --> 00:27:30.480
the first one I think is the gardener who tells

459
00:27:30.720 --> 00:27:35.440
Jake it's bad for Glass, and Jake's like, yeah, sure,

460
00:27:35.799 --> 00:27:40.440
bad for Glass. A little misunderstanding of the Japanese gardener

461
00:27:40.480 --> 00:27:45.440
who might be pronouncing a letter incorrectly that comes back later.

462
00:27:46.160 --> 00:27:50.640
Yes, And like I said, just those tiny little things.

463
00:27:51.440 --> 00:27:55.359
And I'm sure as a first time viewer, it is

464
00:27:55.480 --> 00:27:58.759
kind of frustrating to be saying like him, watching this

465
00:27:58.839 --> 00:28:03.279
guy like go boring empty reservoirs and things like that.

466
00:28:04.559 --> 00:28:05.759
But I will say one thing.

467
00:28:05.880 --> 00:28:09.920
Anybody that does live in California will kind of understand

468
00:28:10.279 --> 00:28:13.799
what it's like to deal with stuff in a drought

469
00:28:14.200 --> 00:28:18.440
in twenty twenty six, let alone nineteen thirties. You know so,

470
00:28:19.000 --> 00:28:22.160
But yeah, I agree with you. He at first I

471
00:28:22.200 --> 00:28:24.319
thought it was possibly when he found out he was

472
00:28:24.359 --> 00:28:26.799
just being used and kind of walked away. But now

473
00:28:26.920 --> 00:28:28.240
you kind of said, yeah, I was like, I know

474
00:28:28.400 --> 00:28:31.359
he was. He was sucked in from the beginning. Yeah,

475
00:28:31.680 --> 00:28:33.960
all right, we're going to take another quick break when

476
00:28:33.960 --> 00:28:35.559
we come back. We're gonna break down Act two of

477
00:28:35.640 --> 00:28:38.559
Chinatown and see how the story dives even deeper into

478
00:28:38.640 --> 00:28:39.880
corruption and control.

479
00:28:43.480 --> 00:28:44.319
Welcome back.

480
00:28:44.400 --> 00:28:49.000
We're digging into Act two where Chinatown really starts closing

481
00:28:49.000 --> 00:28:53.640
on Jake gidtis So after Hollis's Maulray's death. The case

482
00:28:53.640 --> 00:28:56.240
starts being about saving face and basically just turns into

483
00:28:56.279 --> 00:28:59.519
an obsession. You know, he's he's not investigating anymore, He's

484
00:28:59.559 --> 00:29:04.079
chasing bigger something that we will basically doesn't want to

485
00:29:04.079 --> 00:29:06.920
be found. And then he starts to dig into the

486
00:29:06.920 --> 00:29:11.880
city's water scandal. He realizes he's being followed, watched, out played.

487
00:29:12.039 --> 00:29:16.039
Every answer raises more questions. I mean, it's it's classic

488
00:29:16.519 --> 00:29:20.480
uh Nor paranoia, the sense that the truth itself is

489
00:29:20.519 --> 00:29:24.400
just kind of hunting him, you know. I mean, on

490
00:29:24.599 --> 00:29:28.880
page Town writes his clean procedural one clue lead into

491
00:29:28.880 --> 00:29:31.799
the next, lead into the next. But I will say

492
00:29:31.799 --> 00:29:38.279
on screen plan Ski that that sense, that that frustration

493
00:29:38.400 --> 00:29:40.799
that you feel, that that I think that's him. He

494
00:29:40.880 --> 00:29:44.319
turns in that suffocation, the type frames, the harsh lighting,

495
00:29:45.279 --> 00:29:49.279
everything just kind of there's no certainty. But I mean

496
00:29:49.559 --> 00:29:54.319
the midpoint, though, is jake nose being slashed. It is

497
00:29:54.519 --> 00:29:58.920
the one true literal and symbolic warning. You know, you know,

498
00:29:59.000 --> 00:30:02.079
well you know what happens to a nosy fella, tell

499
00:30:02.119 --> 00:30:05.920
you what loses his nose? Well, because a little funny

500
00:30:05.920 --> 00:30:08.920
thing too, is that Polanski actually plays that little part there,

501
00:30:10.559 --> 00:30:16.279
but I mean they're arrogance that's stripped away and you

502
00:30:16.319 --> 00:30:21.160
know that now it's not professional, it's just physical. And

503
00:30:21.200 --> 00:30:23.359
then it's like I said, it's just it's like an onion.

504
00:30:23.559 --> 00:30:25.839
It just keeps peeling and it like keeps stinking.

505
00:30:26.119 --> 00:30:26.359
You know.

506
00:30:26.559 --> 00:30:30.079
Then the IDA session's phone call. I'm the woman that

507
00:30:30.160 --> 00:30:33.200
calls you. It's like another one. Then they go, you know,

508
00:30:33.359 --> 00:30:38.039
Jake and Evelyn start getting close and hanging out and

509
00:30:38.160 --> 00:30:40.960
doing some investigating your own. They start finding out that

510
00:30:41.559 --> 00:30:46.279
there's lying about they're irrigating the Northeast Valley. He goes

511
00:30:46.279 --> 00:30:48.839
and checks. They're not doing that, but they are saying it.

512
00:30:48.960 --> 00:30:51.400
The white people at the you know, Water and Power

513
00:30:51.839 --> 00:30:57.920
and these senior citizens that have these links to millionaires,

514
00:30:58.000 --> 00:31:02.599
oligarchs of nineteen thirty one whatever, are using these senior

515
00:31:02.640 --> 00:31:06.000
citizens to put their names on the deeds of all

516
00:31:06.039 --> 00:31:10.319
this stolen land. But yet at the same time, the

517
00:31:10.400 --> 00:31:12.920
character of Evelyn, she starts crack, you know, you know,

518
00:31:13.720 --> 00:31:17.920
we get her fear, we get her hesitation, I mean,

519
00:31:18.400 --> 00:31:20.680
her guilt. You know, she kind of bleeds it on

520
00:31:20.720 --> 00:31:24.839
the surface, but Jake doesn't really understand it, you know.

521
00:31:25.079 --> 00:31:29.279
I mean, you see any time her father, no cross

522
00:31:29.359 --> 00:31:33.720
is mentioned. It is just like someone's poking her with

523
00:31:33.759 --> 00:31:36.880
a needle, you know. It's but it also says on

524
00:31:36.960 --> 00:31:41.759
page like, you know, like alarms or she looks up, hesitating,

525
00:31:42.279 --> 00:31:45.079
or just things, you know, very simple likes miss.

526
00:31:44.839 --> 00:31:47.039
Malray, you already have another cigarette going.

527
00:31:47.079 --> 00:31:51.000
As she starts, he mentions that the father, and she

528
00:31:51.079 --> 00:31:53.839
pulls out a cigarette when she already has one going,

529
00:31:53.880 --> 00:31:56.160
you know, just little things like that, just like I said,

530
00:31:56.200 --> 00:31:59.839
those little sprinkles, you know, just man like, there's something

531
00:32:00.279 --> 00:32:03.160
really up with her dad. Not just hey I got

532
00:32:03.240 --> 00:32:07.839
daddy issues. She's got something worse than that that. There's

533
00:32:07.920 --> 00:32:12.559
really about the one thirty mark of the movie, probably

534
00:32:12.599 --> 00:32:14.240
page ninety.

535
00:32:13.920 --> 00:32:16.000
Ish, you know, kind of where we're at.

536
00:32:16.039 --> 00:32:20.039
I mean, it just it does. It keeps getting more confusing,

537
00:32:20.400 --> 00:32:23.079
you know, And even if you've seen the film as

538
00:32:23.119 --> 00:32:25.599
many times as I'm sure I have, and you have

539
00:32:27.039 --> 00:32:30.359
now reading the script, you're still confused.

540
00:32:31.200 --> 00:32:32.119
And your your.

541
00:32:32.039 --> 00:32:35.880
Headache is also Jake's headache in a way. So Chuck

542
00:32:35.920 --> 00:32:39.319
by actuo is is he is he trying to solve

543
00:32:39.359 --> 00:32:41.359
the case still or is he just trying to just

544
00:32:41.960 --> 00:32:43.319
prove something about himself.

545
00:32:43.440 --> 00:32:48.680
I'm gonna say both so, and by that I mean

546
00:32:49.240 --> 00:32:53.599
he's obviously investigating. Uh you know. He meets Evelyn at

547
00:32:53.599 --> 00:32:58.319
the Brown Derby and that is where he receives a

548
00:32:58.400 --> 00:33:01.720
check as she is now a fish, engaging with him

549
00:33:02.279 --> 00:33:05.960
to be her investigator, and he asks what the C

550
00:33:06.240 --> 00:33:10.440
stands for in her initials, and she says Cross and

551
00:33:10.480 --> 00:33:13.920
then he immediately the next scene, he is in the

552
00:33:13.960 --> 00:33:18.640
office of Yelburden, who was the former partner of Hollis Mulray,

553
00:33:19.640 --> 00:33:23.519
and he's looking at all of the different pictures on

554
00:33:23.559 --> 00:33:28.960
the wall and he notices a man whose name is Cross,

555
00:33:29.799 --> 00:33:33.440
and he's inquiring of the secretary and she says, oh, yes,

556
00:33:33.480 --> 00:33:39.200
that's Noah Cross. He at one point owned the water

557
00:33:39.519 --> 00:33:44.720
reservoirs of Los Angeles, he and his partner Hollis Mulray.

558
00:33:44.799 --> 00:33:49.680
So you realize these men in the past had great

559
00:33:49.839 --> 00:33:53.359
power over the city and just you know, a great

560
00:33:53.720 --> 00:33:58.160
responsibility is what Hollis Mulray felt. And he's like, this

561
00:33:58.240 --> 00:34:01.400
really should be part of the communities, It should belonged

562
00:34:01.480 --> 00:34:06.759
to the public. And in a way he deprived, he

563
00:34:06.880 --> 00:34:13.599
deprived no across of that control of not only what

564
00:34:13.840 --> 00:34:17.519
the you know, the future of Los Angeles at that

565
00:34:17.679 --> 00:34:20.199
time by seeding all of that over to the public good.

566
00:34:20.639 --> 00:34:24.239
So Jake is investigating this is all of him going

567
00:34:24.280 --> 00:34:29.960
about investigating the other thing that is really Oh and

568
00:34:30.000 --> 00:34:35.000
as he is investigating, I discessions calls and basically leads

569
00:34:35.039 --> 00:34:39.039
a cryptic message, you know, check the obituaries. And then

570
00:34:39.320 --> 00:34:42.199
he ends up at the Hall of Records where he

571
00:34:42.440 --> 00:34:46.639
sees in the deeds of transactions, you know, all of

572
00:34:46.639 --> 00:34:50.119
these these people and some of them are in you know.

573
00:34:50.679 --> 00:34:52.840
Leads him to the to the to where the old

574
00:34:53.039 --> 00:34:56.960
uh folks home. Uh. And this is where he realizes

575
00:34:57.400 --> 00:35:00.920
that there's this shenanigans that are going on. And at

576
00:35:00.960 --> 00:35:04.119
the same time he is still trying to make sure

577
00:35:04.119 --> 00:35:08.199
that it doesn't look like he's shaking down uh Evelyn

578
00:35:08.719 --> 00:35:13.480
to uh Lou Escobar, the detective who is also investigating

579
00:35:13.519 --> 00:35:14.440
this for the police.

580
00:35:15.360 --> 00:35:19.079
I love the way Town does not only the finding

581
00:35:19.119 --> 00:35:24.039
out about Noel Cross and mal Ray's history together, it's

582
00:35:24.039 --> 00:35:27.440
in an effort where as the reader or the viewer,

583
00:35:28.199 --> 00:35:30.800
it's a charming scene because he's annoying the ship out

584
00:35:30.840 --> 00:35:35.320
of this woman absolutely getting this information. So it's done

585
00:35:35.360 --> 00:35:37.360
in such a clever way of thing. We're gonna give

586
00:35:37.400 --> 00:35:40.320
you some important pieces of the puzzle here, but we

587
00:35:40.400 --> 00:35:43.239
really need you to pay attention, So we're gonna let

588
00:35:43.320 --> 00:35:47.280
Jack Nicholson just kind of be a be kind of

589
00:35:47.320 --> 00:35:49.320
an annoying thing to get on that.

590
00:35:49.440 --> 00:35:53.400
And I love the way.

591
00:35:52.320 --> 00:35:55.719
That he does that by saying, listen up, this is

592
00:35:55.760 --> 00:35:58.960
this is this is important. And the way there's a

593
00:35:58.960 --> 00:36:01.119
couple of times that Jake of finds things out almost

594
00:36:01.159 --> 00:36:06.159
by accident, and just he's a very good investigator. He's

595
00:36:06.360 --> 00:36:07.079
very good at it.

596
00:36:07.800 --> 00:36:10.639
One of the things my co hosts brought up to me,

597
00:36:11.639 --> 00:36:13.679
and I'm not sure if this is a thing or not,

598
00:36:13.840 --> 00:36:18.719
but after Jake gets cut, this is where you see

599
00:36:18.760 --> 00:36:22.360
the giant bandage on his nose. You remember that, right, Yes,

600
00:36:22.679 --> 00:36:27.199
you can't forget it. And it starts off huge, and

601
00:36:27.239 --> 00:36:29.119
as it gets closer to the end of the movie,

602
00:36:29.239 --> 00:36:31.679
as he is beginning to learn more and more and more,

603
00:36:31.920 --> 00:36:35.639
the bandage is becoming smaller and smaller and smaller, until

604
00:36:35.679 --> 00:36:39.039
at the very end when all is revealed, you know,

605
00:36:39.119 --> 00:36:42.360
he's finished his investigations, All the truth is out, you

606
00:36:42.400 --> 00:36:46.519
know now the cut in the bandage are gone.

607
00:36:47.039 --> 00:36:49.159
Yeah, by the end, they're not even a They get

608
00:36:49.239 --> 00:36:51.639
a little bit smaller. Yeah, I think there's like two

609
00:36:51.800 --> 00:36:54.039
or three of them maybe, and they get a little

610
00:36:54.079 --> 00:36:55.639
bit smaller, and but yeah, by the time the end,

611
00:36:55.679 --> 00:36:58.280
it's like it's completely gone. And it's like, like I said,

612
00:36:58.320 --> 00:37:00.599
peeling off that other layer.

613
00:37:01.960 --> 00:37:05.480
But all of that happens in the script because you

614
00:37:05.559 --> 00:37:09.320
and I are watching this and we're learning things, and

615
00:37:09.559 --> 00:37:12.159
we're still trying to figure out what what what's the

616
00:37:12.239 --> 00:37:14.960
deal with Noah Cross? And as you said, every time,

617
00:37:15.280 --> 00:37:19.280
I always thought that the one scene to me that

618
00:37:19.440 --> 00:37:25.079
really showed Evelyn's vulnerability was, you know, after they have

619
00:37:26.559 --> 00:37:29.400
slept together and she's getting ready, she gets a phone

620
00:37:29.400 --> 00:37:35.440
call and she's getting ready to leave, and Giddy says,

621
00:37:35.480 --> 00:37:38.079
I had met your father And at that point, I mean,

622
00:37:38.119 --> 00:37:40.840
at one point, she's just very comfortable around him, and

623
00:37:40.880 --> 00:37:43.679
then she goes into that very defensive posture where she

624
00:37:43.719 --> 00:37:46.880
puts her hands and she's covering herself, you know, and

625
00:37:46.920 --> 00:37:49.360
she's just very tight, and I mean it's just like

626
00:37:49.840 --> 00:37:53.960
the air has gone out of her. And yeah, that

627
00:37:54.079 --> 00:37:57.920
was that was I thought that every time. You're right,

628
00:37:57.960 --> 00:38:00.159
every time she does and you might not notice it

629
00:38:00.280 --> 00:38:02.280
the first time, but the second time you watch it,

630
00:38:02.360 --> 00:38:03.880
you notice all of that.

631
00:38:04.239 --> 00:38:08.360
Well, because then you know why she would be that

632
00:38:08.440 --> 00:38:13.199
way discussing him in the nude. Yeah, you know, it's

633
00:38:13.599 --> 00:38:16.079
you know, please, we're not gonna, you know, do that.

634
00:38:17.679 --> 00:38:20.880
So then, uh, then we come to act three, and

635
00:38:21.480 --> 00:38:26.000
that's when Act three basically everything comes together and then

636
00:38:26.079 --> 00:38:26.760
falls apart.

637
00:38:27.119 --> 00:38:28.639
I mean, he.

638
00:38:28.519 --> 00:38:31.280
Thinks he's closing in on the truth, but he's really

639
00:38:31.400 --> 00:38:35.400
discovering is just how powerless he is against the system

640
00:38:35.400 --> 00:38:38.679
that he's going against. And of course the point comes

641
00:38:38.719 --> 00:38:41.920
with Evelyn's Secret, which we're going to say because if

642
00:38:41.920 --> 00:38:44.199
you're listening to the show, you've obviously seen the movie,

643
00:38:44.280 --> 00:38:48.079
and that is the reveal that Catherine, the girl in question,

644
00:38:48.840 --> 00:38:54.039
is both her Evelyn's daughter and her sister due to

645
00:38:54.440 --> 00:39:00.440
incest and you know, rape. And the thing is after that,

646
00:39:01.480 --> 00:39:04.400
everything else is just done. It's just like, all right,

647
00:39:05.119 --> 00:39:10.360
because you had motive to think that No Across was involved,

648
00:39:10.840 --> 00:39:13.519
you know, with the oh he wanted hollist one of

649
00:39:13.519 --> 00:39:16.679
the water to be for the people. No Across didn't. Okay,

650
00:39:16.679 --> 00:39:22.440
there's your motive, but this motive knocks you on the thing.

651
00:39:22.800 --> 00:39:24.519
You're kind of even not even thinking about it. You

652
00:39:24.559 --> 00:39:28.960
know that that the truth basically just but that point

653
00:39:29.039 --> 00:39:32.559
right now, you know it's it's not about water rights,

654
00:39:32.559 --> 00:39:37.480
it's not about land deals. It's about abuse control and

655
00:39:37.559 --> 00:39:40.840
this rot that just keeps being passed down through like generations.

656
00:39:40.840 --> 00:39:44.360
You know, it's from that point he's just doing damage control,

657
00:39:45.320 --> 00:39:49.679
you know, just to kind of just just somehow helper

658
00:39:50.280 --> 00:39:55.440
because he was he was so gut punched the same

659
00:39:55.480 --> 00:40:00.320
way we were. You know, he believes that knowing the

660
00:40:00.400 --> 00:40:03.920
truth means he can fix things. But he's wrong because

661
00:40:03.960 --> 00:40:06.239
in Chinatown, power protects itself.

662
00:40:06.320 --> 00:40:07.159
And then.

663
00:40:08.440 --> 00:40:10.639
The final scene, which we're gon we're gonna talk about

664
00:40:10.679 --> 00:40:14.199
in just a tiny, tiny bit that breaks every Hollywood resolution.

665
00:40:14.400 --> 00:40:17.679
You know that basically the truth change is nothing. You know,

666
00:40:18.039 --> 00:40:22.519
on page Town gives us devastation, but on screen plans

667
00:40:22.559 --> 00:40:25.360
he's gonna give us. You ain't gonna forget this. This

668
00:40:25.400 --> 00:40:30.360
is gonna be unforgettable. The story ends not with justice

669
00:40:30.960 --> 00:40:35.840
but surrender, and that line forget it, Jake, It's Chinatown.

670
00:40:35.599 --> 00:40:39.760
Is just surrender. This is what happens. And like I

671
00:40:39.760 --> 00:40:40.079
said that.

672
00:40:41.639 --> 00:40:43.920
In your sittor Winner, why the hell is this movie

673
00:40:43.920 --> 00:40:48.199
called Chinatown? It's about water in La And then there

674
00:40:48.239 --> 00:40:52.400
you go and you get your answer. So let's talk

675
00:40:52.440 --> 00:40:57.079
about this controversial ending. You know, the original template was

676
00:40:58.000 --> 00:41:01.519
China Town wanted Chinatown to end with Evelyn killing her father.

677
00:41:01.679 --> 00:41:02.760
He you know, he did.

678
00:41:03.159 --> 00:41:06.440
It was a small victory, you know, built on corruption.

679
00:41:06.639 --> 00:41:10.519
But Plansky he saw it differently. You know, he lived

680
00:41:10.559 --> 00:41:12.920
through real evil.

681
00:41:13.800 --> 00:41:14.840
You know that there's no.

682
00:41:14.920 --> 00:41:17.880
Escape in it, you know, so he rewrote that ending,

683
00:41:18.000 --> 00:41:23.280
you know, where Evelyn dies, Noel crosswalks, Free gets the

684
00:41:24.079 --> 00:41:27.400
sister daughter, and Jake gets he walks away.

685
00:41:27.480 --> 00:41:31.000
Just he just defeated. You know, It's it wasn't just

686
00:41:32.000 --> 00:41:33.199
really just the ending of the film.

687
00:41:33.239 --> 00:41:35.639
It was it was Plansky's worldview too, of you know,

688
00:41:35.719 --> 00:41:37.320
it's just like he's almost.

689
00:41:37.079 --> 00:41:39.119
Saying it Chinatown. Forget it, Jake's Chinatown.

690
00:41:39.199 --> 00:41:45.159
Forget it Roman, It's la But in his version, evil

691
00:41:45.159 --> 00:41:47.239
doesn't lose it just just goes home.

692
00:41:47.760 --> 00:41:51.239
At this point, too, there's another great line. And to me,

693
00:41:51.559 --> 00:41:56.440
this line stabs me deeper than forget it, Jake, it's Chinatown.

694
00:41:57.199 --> 00:42:02.119
And that is the line, as little as possible, and

695
00:42:02.159 --> 00:42:05.800
that hearkens back to a story that he's telling Evelyn

696
00:42:07.079 --> 00:42:10.280
and she says, you were working in Chinatown? What were

697
00:42:10.280 --> 00:42:13.119
you doing there? And he said, as little as possible,

698
00:42:13.719 --> 00:42:18.280
and the origin of that line actually came from a

699
00:42:18.320 --> 00:42:23.239
cop who worked in Chinatown who said, look, you don't

700
00:42:23.360 --> 00:42:26.199
know the culture, you don't know which gang is, which

701
00:42:26.239 --> 00:42:30.280
you don't understand, and so sometimes the best things you

702
00:42:30.320 --> 00:42:34.199
can do is as little as possible so that you

703
00:42:34.280 --> 00:42:39.159
don't make situation worse. And we understand in the movie

704
00:42:39.559 --> 00:42:43.280
that something had happened in Chinatown. You feel it in

705
00:42:43.320 --> 00:42:47.159
the relationship with lou Escobar, I mean that whole relationship.

706
00:42:47.199 --> 00:42:49.440
Every time the two of them are together. I mean,

707
00:42:49.639 --> 00:42:57.000
there's so much tension there and it finally resolves again

708
00:42:57.039 --> 00:43:01.239
at the very end where there's Jake again. He's in Chinatown.

709
00:43:01.760 --> 00:43:04.599
He's trying to help another lady and you know who

710
00:43:04.639 --> 00:43:09.880
needed help, and once again Chinatown screwed him over.

711
00:43:10.559 --> 00:43:14.360
Yeah, And it seems to be the one thing that

712
00:43:14.840 --> 00:43:19.000
Escobar and get Us agree upon every time that they

713
00:43:19.079 --> 00:43:23.639
do come and contact with each other. Like he he

714
00:43:23.760 --> 00:43:26.480
was under the notion that Escobar was still working in Chinatown,

715
00:43:26.519 --> 00:43:29.199
and he's like, I'm out of Chinatown, and Jake is

716
00:43:29.880 --> 00:43:33.960
very pleased for him, you know, he's like, oh, good, good,

717
00:43:33.960 --> 00:43:35.760
you got out of that garbage where you didn't know

718
00:43:35.760 --> 00:43:38.400
what the hell was going on. You know, and even

719
00:43:38.440 --> 00:43:44.639
when he is, he's explaining to uh, I can't he's

720
00:43:45.039 --> 00:43:48.480
he's explaining to know across about Escobar. He's given him

721
00:43:49.039 --> 00:43:50.920
good he knows he's he's.

722
00:43:50.760 --> 00:43:56.079
A because Escort is close. He's pretty close.

723
00:43:56.239 --> 00:43:58.000
Once he starts kind of at the end lay, you know,

724
00:43:58.159 --> 00:44:00.679
so he's like he's he knows, he's like he will

725
00:44:00.719 --> 00:44:03.920
find this out. Yeah, Escobar will find this out. And

726
00:44:03.960 --> 00:44:07.199
that's why he keeps content. Sure, they bust each other's balls, but.

727
00:44:07.679 --> 00:44:08.760
They have this connection.

728
00:44:08.960 --> 00:44:12.360
And I think they have this this almost like police hipocritic,

729
00:44:12.440 --> 00:44:14.360
you know, hippocratic oath type of thing of like this

730
00:44:14.440 --> 00:44:15.119
is the right thing to do.

731
00:44:16.679 --> 00:44:21.760
Was this the right ending? Or was Towns a better ending?

732
00:44:22.519 --> 00:44:25.199
Which one would have if we if we lived in

733
00:44:25.239 --> 00:44:28.199
the alternate universe and you could pick the director's cut

734
00:44:28.280 --> 00:44:30.880
or you could pick the original, which one would you?

735
00:44:32.719 --> 00:44:40.760
I'm I'm gonna go with Polanski because with his version,

736
00:44:40.880 --> 00:44:49.760
because it is not only realistic, it is we've seen

737
00:44:50.599 --> 00:44:53.840
you know, rich people. Yeah, you know, like if if

738
00:44:53.880 --> 00:44:56.559
he wouldn't have cut that scene out, like you said

739
00:44:56.559 --> 00:44:59.880
from the beginning, he would have tipped his hand too early.

740
00:45:00.119 --> 00:45:03.800
M hm. And but like you said, but from that line,

741
00:45:03.880 --> 00:45:05.920
He's like, yeah, you got to be rich to kill somebody.

742
00:45:06.719 --> 00:45:10.039
We've seen that through history, we know it, we've lived it,

743
00:45:10.400 --> 00:45:15.360
you know, so that there seems more if we've seen

744
00:45:15.400 --> 00:45:19.400
it in our lifetime in nineteen thirties, it is a

745
00:45:19.480 --> 00:45:24.360
lot easier to let that thing just be pushed aside

746
00:45:24.480 --> 00:45:27.960
and what you know, swept under the carpet. So I

747
00:45:28.000 --> 00:45:30.840
think that one I you know, she never had a chance,

748
00:45:31.840 --> 00:45:33.760
or a woman Evelyn never had a chance.

749
00:45:34.840 --> 00:45:37.119
You remember I said, there's all those little clues that

750
00:45:37.199 --> 00:45:40.760
gets sprinkled in. So when they're leaving the what is it,

751
00:45:40.760 --> 00:45:47.079
the Vista del Mar, the age home, the elderly home. Yeah,

752
00:45:47.239 --> 00:45:51.920
and Mova Hill and his goons are they shoot twice

753
00:45:52.760 --> 00:45:56.159
at this car that she's driving away in kind of

754
00:45:56.199 --> 00:45:59.159
foreshadow was about to happen. And as she's going, she

755
00:45:59.280 --> 00:46:02.239
reaches up and she touches her left eye, And that

756
00:46:03.440 --> 00:46:05.840
was in the script that I had, But it it

757
00:46:06.320 --> 00:46:08.519
makes me think that the script that I have might

758
00:46:08.599 --> 00:46:12.280
be more related to to maybe a different version of

759
00:46:12.320 --> 00:46:15.719
the script, because the ending that that I was reading

760
00:46:16.360 --> 00:46:21.840
was it still had Evelyn's death in it, but it

761
00:46:22.400 --> 00:46:28.199
took out the idea of Noah Cross, uh, getting away

762
00:46:28.599 --> 00:46:35.400
with Catherine, right, and so that so that was to me,

763
00:46:36.239 --> 00:46:41.079
it's like the ending that we have. It's bad because

764
00:46:41.119 --> 00:46:45.480
first of all, you're shocked, right that that Evelyn is dead.

765
00:46:45.679 --> 00:46:48.159
I mean that I didn't see that coming. And then

766
00:46:48.519 --> 00:46:54.559
when you see Noah Cross putting his hands around his

767
00:46:54.719 --> 00:47:00.480
daughter being Catherine and dragging her away, you know, you're

768
00:47:00.599 --> 00:47:03.920
just like, no, no, somebody stop him something, you gotta

769
00:47:03.960 --> 00:47:09.440
stop him. Oh, there's such a such a impactful ending.

770
00:47:10.119 --> 00:47:11.480
Yeah.

771
00:47:11.920 --> 00:47:16.239
Yeah, And it's just that's what makes that screenplay, you know,

772
00:47:16.400 --> 00:47:17.440
just unforgettable.

773
00:47:17.639 --> 00:47:22.159
You know. So we're gonna talk real quick.

774
00:47:22.000 --> 00:47:28.280
About uh, the dialogue, the character, and the subtext. One

775
00:47:28.320 --> 00:47:30.599
of the reasons that China Town is still get study

776
00:47:30.880 --> 00:47:34.719
is the dialogue. You know, Town isn't writing big movie lines.

777
00:47:34.920 --> 00:47:38.599
He's writing truth disguised his casual conversation. On the surface,

778
00:47:38.679 --> 00:47:42.119
the dialogue feels relaxed, even you know, playful, but there's

779
00:47:42.239 --> 00:47:47.320
always something simmering underneath. Jake and Evelyn. They rarely ever

780
00:47:47.400 --> 00:47:50.159
really say what they mean. Their conversations are full of

781
00:47:50.559 --> 00:47:56.320
deflection and avoidance. Noah Cross sounds warm and fatherly until

782
00:47:56.320 --> 00:47:59.920
you realize how terrifying that calm really is. And then

783
00:48:00.039 --> 00:48:04.239
and even get his wise cracks aren't just humor. There

784
00:48:04.440 --> 00:48:07.440
there armor you know for him, you know, that's sarcasm.

785
00:48:07.599 --> 00:48:11.199
How he that's how he keeps control, you know. But

786
00:48:11.960 --> 00:48:15.400
with this one subtext does all the heavy lifting. It's

787
00:48:15.800 --> 00:48:18.199
i mean, town trust the audience to connect the dots,

788
00:48:19.239 --> 00:48:23.199
but Plansky reinforces it by letting the scenes breathe. That's

789
00:48:23.239 --> 00:48:25.840
with the long silences that take you know, the long

790
00:48:25.880 --> 00:48:30.440
takes as those silences, those uncomfortable you know, ones uncomfortable pauses.

791
00:48:31.519 --> 00:48:35.000
The characters don't explain themselves. They reveal who they are

792
00:48:35.039 --> 00:48:40.840
through hesitation, reaction and what they basically refuse to say.

793
00:48:41.599 --> 00:48:44.079
So it's it's a script of a lot of restraint.

794
00:48:45.320 --> 00:48:48.280
But that's what makes it so powerful. I mean, uh,

795
00:48:48.920 --> 00:48:51.440
like you said, you might have already answered this, but

796
00:48:51.559 --> 00:48:53.840
is there a line or a scene in trying to

797
00:48:53.840 --> 00:48:55.800
tell that you feel simple on the surface but just

798
00:48:55.880 --> 00:48:59.079
hits a little bit harder once you know what realizes

799
00:48:59.599 --> 00:49:01.119
or once you know what's going on.

800
00:49:01.719 --> 00:49:05.960
Oh, you know, some of my favorite lines in this

801
00:49:07.079 --> 00:49:09.800
happens to be and I can't find it right off

802
00:49:09.840 --> 00:49:14.360
the top of my head, but it is the scene where,

803
00:49:15.079 --> 00:49:18.960
first of all there's there's I already said one of them.

804
00:49:19.280 --> 00:49:26.079
But the the scene where Jack is trying to tell

805
00:49:26.119 --> 00:49:30.599
her that he's trying to tell Evelyn that and and

806
00:49:30.800 --> 00:49:37.159
she doesn't, I guess wanna wanna wanna pursue this case

807
00:49:37.239 --> 00:49:42.039
with her husband possibly having an affair with another woman,

808
00:49:42.320 --> 00:49:46.239
because she realizes that if Jake follows this this line,

809
00:49:46.280 --> 00:49:50.960
he's going to discover her secret. And Jake's confused, and

810
00:49:50.960 --> 00:49:53.679
and he says, you know, husband and wife affairs, it's

811
00:49:53.800 --> 00:49:56.639
kind of my thing, it's my meta, and it's he

812
00:49:56.760 --> 00:50:00.519
uses this word, and I'm thinking, what is what is

813
00:50:00.760 --> 00:50:05.239
jj Gettis doing with that word? And I actually had

814
00:50:05.280 --> 00:50:06.920
to go look it up a little bit. I kind

815
00:50:06.920 --> 00:50:09.400
of thought I knew what it meant, but god you did,

816
00:50:09.400 --> 00:50:17.239
because I it's his job, it's his thing. And there's

817
00:50:17.280 --> 00:50:20.079
another line too that I had I had underlined here

818
00:50:20.079 --> 00:50:24.599
in the script, was where you know, he's he's telling

819
00:50:24.639 --> 00:50:27.679
her that, look, this is all fine and well with me,

820
00:50:27.840 --> 00:50:32.079
but missus Moulray, I darn well near lost my nose.

821
00:50:32.119 --> 00:50:34.119
And I like it. I like breathing through it. And

822
00:50:34.159 --> 00:50:37.559
I still think you're hiding something. So she's not coming out,

823
00:50:37.639 --> 00:50:42.280
she's not telling them, but he's telling her that, you know,

824
00:50:42.320 --> 00:50:45.239
he's gone through this whole thing of of laying out

825
00:50:45.360 --> 00:50:48.800
this waterlogged bomb who's been found, and that her husband

826
00:50:48.800 --> 00:50:51.679
has been murdered. He's laid all this out, but he's

827
00:50:51.719 --> 00:50:56.039
still telling her, you're not telling me something. And that's something,

828
00:50:56.159 --> 00:51:02.400
of course, is this relationship between her husband Noah and

829
00:51:02.480 --> 00:51:05.360
her and little things sprinkled all through.

830
00:51:05.360 --> 00:51:10.519
Well, yeah, and that's what just it makes it so well,

831
00:51:10.559 --> 00:51:13.400
then let's get into legacy and lessons, you know, I

832
00:51:13.480 --> 00:51:17.239
mean it didn't just you know, tell a great story.

833
00:51:17.360 --> 00:51:20.079
It basically changed what a screenplay could basically do.

834
00:51:20.280 --> 00:51:20.960
It.

835
00:51:20.960 --> 00:51:24.880
It took the basic bones of a classic nore and

836
00:51:24.880 --> 00:51:32.320
then through in politics, psychology, emotion. But I mean since

837
00:51:32.440 --> 00:51:35.559
nineteen seventy four it's become a reference point. I mean

838
00:51:35.559 --> 00:51:39.199
it is taught in film schools, studying in writers rooms,

839
00:51:39.480 --> 00:51:42.719
and I mean it's echoed in movies that follow, whether

840
00:51:42.760 --> 00:51:45.360
they're they don't have to be a neo nor they

841
00:51:45.360 --> 00:51:50.519
can be anything, you know. But structurally it's it's almost flawless,

842
00:51:50.679 --> 00:51:55.920
you know, as far as a screenplay structure, Every reveal builds,

843
00:51:56.519 --> 00:51:59.880
every setup pays off. But what really I think that

844
00:52:00.199 --> 00:52:03.320
what really gives it. The staying power is the theme

845
00:52:03.760 --> 00:52:07.920
that you know, truth doesn't amically lead to justice, It

846
00:52:08.039 --> 00:52:10.400
just doesn't, you know, It just sometimes just leads to

847
00:52:10.400 --> 00:52:13.280
a little bit of clarity, you know, which which raises

848
00:52:13.320 --> 00:52:18.519
the question of would this script sell today? What do

849
00:52:18.559 --> 00:52:22.039
you think if you were at the studio and they

850
00:52:22.880 --> 00:52:25.239
brought in this screenplay and a guy that's maybe just

851
00:52:25.280 --> 00:52:28.199
done a few rewrits center in there. Is it going

852
00:52:28.280 --> 00:52:30.280
to sell? Is it going to people going to see it?

853
00:52:31.599 --> 00:52:35.039
Here's what I would fear. Let's say it does sell,

854
00:52:35.199 --> 00:52:37.840
maybe as a speck or whatever. Let's say it does.

855
00:52:38.320 --> 00:52:44.719
I am not sure if today they would trust the

856
00:52:44.760 --> 00:52:48.239
writing to the audience. They wouldn't trust the audience to

857
00:52:48.280 --> 00:52:51.159
be able to follow along, and that there might be

858
00:52:51.280 --> 00:52:56.639
a lot more exposition and callbacks or something. I would

859
00:52:56.760 --> 00:53:00.440
love to think, and I'm I'm sure we do, but

860
00:53:01.400 --> 00:53:04.280
I would love to think that we could get movies

861
00:53:04.320 --> 00:53:08.480
of this caliber, that are scripts of this caliber that

862
00:53:09.199 --> 00:53:11.800
you know, you don't always have a producer like Robert

863
00:53:11.840 --> 00:53:15.840
Evans who is going to trust I mean that age

864
00:53:16.400 --> 00:53:20.159
is almost gone, if it's not gone yet ready, So

865
00:53:22.559 --> 00:53:24.360
I would think I would like to think it would

866
00:53:24.400 --> 00:53:27.360
sell but I think it would sell with an asterisk

867
00:53:27.599 --> 00:53:29.679
because I think that there would be some notes.

868
00:53:31.159 --> 00:53:35.000
Yeah, and I think I think it would sell, but

869
00:53:35.559 --> 00:53:38.760
not to a big studio like Paramount at the time.

870
00:53:39.320 --> 00:53:41.880
If it was to be sold to something like today,

871
00:53:42.159 --> 00:53:46.000
I think you would see it get you know, awards recognition, absolutely,

872
00:53:46.039 --> 00:53:47.960
but it would be one of those that was almost

873
00:53:48.000 --> 00:53:51.519
an independent you know, ten different.

874
00:53:51.480 --> 00:53:54.000
Studios brought to you.

875
00:53:53.400 --> 00:53:57.519
You know, twenty minutes of just loose your credits before

876
00:53:57.519 --> 00:53:58.519
the movie starts.

877
00:53:58.239 --> 00:53:59.519
Because that kind of thing.

878
00:53:59.559 --> 00:54:04.880
But eventually, I but not like you said, I believe

879
00:54:04.960 --> 00:54:06.880
that era that's gone, you know, like I said, there's

880
00:54:06.920 --> 00:54:08.320
not a Robert Evers a Paramount.

881
00:54:09.880 --> 00:54:10.079
You know.

882
00:54:10.480 --> 00:54:14.360
But you know, great scripts, they don't they don't chase trends,

883
00:54:14.840 --> 00:54:20.239
they outlast them. So at this part of the episode,

884
00:54:20.360 --> 00:54:22.440
as we're kind of nearing the end here is we

885
00:54:23.239 --> 00:54:26.360
do a couple of companion picks to the episode, something

886
00:54:26.360 --> 00:54:28.960
that maybe if you're interested in whatever film or script

887
00:54:29.039 --> 00:54:31.840
we're talking about, you want a little bit more information.

888
00:54:32.840 --> 00:54:36.320
My pick is and there are several several books about Chinatown,

889
00:54:36.360 --> 00:54:39.639
I'm sure as you know, but is a book called

890
00:54:39.679 --> 00:54:44.000
The Big Goodbye Chinatown in the last years of Hollywood

891
00:54:44.320 --> 00:54:49.559
by Sam Wasson. It's literally all about the beginning and

892
00:54:50.000 --> 00:54:53.119
ending of the making of Chinatown with all the players

893
00:54:53.440 --> 00:54:59.320
Nicholson done away Town, but mostly Town, and uh Polanski

894
00:54:59.440 --> 00:55:02.800
and dealing course with Paramount Charlie Bloodhorn stuff.

895
00:55:03.519 --> 00:55:05.800
But it's a great book if you are a fan.

896
00:55:05.840 --> 00:55:08.960
Of Chinatown, and it's a very I'd say it's a

897
00:55:09.039 --> 00:55:11.840
lot easier read than the actual script of Chinatown. So

898
00:55:13.199 --> 00:55:15.119
and then Chuck, I hear you have a pick for

899
00:55:15.199 --> 00:55:15.679
us as well.

900
00:55:16.239 --> 00:55:19.639
Yeah, you know the script that I picked up off

901
00:55:19.679 --> 00:55:24.239
of Amazon. It was it was a two fer of

902
00:55:24.440 --> 00:55:28.199
Robert Town scripts, one being Chinatown, but the second one

903
00:55:28.559 --> 00:55:33.000
being the Last Detail. Yeah, and I enjoyed the script

904
00:55:33.039 --> 00:55:36.079
for the Last Detail that I scratched an episode that

905
00:55:36.119 --> 00:55:39.840
we were going to do, and I plugged Last Detail

906
00:55:39.960 --> 00:55:46.920
in along with the movie Scarecrow for our March episodes

907
00:55:47.079 --> 00:55:50.239
of traveling movies that you might not have seen before.

908
00:55:51.159 --> 00:55:53.960
And you know it is again, it's one of those

909
00:55:53.960 --> 00:55:57.320
films that I had. Honestly, I had not even heard

910
00:55:57.400 --> 00:56:00.519
of the Last Detail until I started doing cinematic flashback,

911
00:56:01.039 --> 00:56:03.400
and I did not realize that it was by Robert

912
00:56:03.400 --> 00:56:07.679
Town until I picked this book. Up, and yeah, it

913
00:56:07.800 --> 00:56:09.639
was one that I had to put in because I

914
00:56:09.719 --> 00:56:11.360
liked it. I watched the film, had a lot of

915
00:56:11.360 --> 00:56:17.079
fun with it. Jack Nicholson plays Billy Bdesky and you

916
00:56:17.159 --> 00:56:21.480
have a very very young Randy Quaid as the man

917
00:56:21.519 --> 00:56:25.079
that he is escorting to naval prison.

918
00:56:25.679 --> 00:56:30.280
Oh yeah, you'll get you'll understand the term pulk's like

919
00:56:30.320 --> 00:56:34.519
a sailor. You will definitely hear that. And another thing

920
00:56:34.559 --> 00:56:37.760
that town was very it was not only good friends

921
00:56:37.760 --> 00:56:42.480
with Nicholson, but I think he knew even though you

922
00:56:42.599 --> 00:56:46.159
feel like, oh, that's Nicholson kind of going off and

923
00:56:46.199 --> 00:56:46.760
doing his thing.

924
00:56:46.840 --> 00:56:52.400
No, it's written like that. We saw it, you know, so.

925
00:56:53.960 --> 00:56:57.320
That's going to be a rap on the first episode

926
00:56:57.719 --> 00:57:01.360
of a script by I think it went okay, Chuck.

927
00:57:02.000 --> 00:57:04.239
I'm assuming you had a good time. You know. You

928
00:57:04.320 --> 00:57:06.440
can't see, but he's got a big smile on his face.

929
00:57:07.400 --> 00:57:10.559
No, we had a great time here tonight. In fact,

930
00:57:10.840 --> 00:57:14.599
it's just I am probably gonna start trying to read

931
00:57:14.639 --> 00:57:17.000
more of these screenplays as they come up. I'm I

932
00:57:17.039 --> 00:57:21.320
am eagerly looking looking forward to others in your series,

933
00:57:21.960 --> 00:57:24.679
So I will probably pester Jeff to let me know

934
00:57:24.880 --> 00:57:27.119
what you're doing so I can grab a screenplay and

935
00:57:27.159 --> 00:57:30.639
read it before I listen, and best of luck on

936
00:57:30.679 --> 00:57:32.559
this series. This is a fantastic idea.

937
00:57:33.119 --> 00:57:37.159
Yeah, we're gonna do twelve right now, one a month.

938
00:57:37.440 --> 00:57:39.920
You know, like I said, it's it's not a film

939
00:57:39.960 --> 00:57:43.320
by as much as this film is great, you know,

940
00:57:43.400 --> 00:57:45.079
we we just focus.

941
00:57:44.760 --> 00:57:45.679
On the script.

942
00:57:45.719 --> 00:57:47.800
And like I said, we why you know you keep

943
00:57:47.880 --> 00:57:49.800
hearing why is this considered such a great thing?

944
00:57:49.880 --> 00:57:51.440
You know, well we'll tell you why.

945
00:57:52.440 --> 00:57:54.800
And I just want to put a shout out and

946
00:57:54.880 --> 00:57:59.039
a huge thank you to all of my film by

947
00:57:59.119 --> 00:58:02.280
colleague buddies for welcoming back with open arms and being

948
00:58:02.440 --> 00:58:05.960
so supportive of the show. You guys are the best.

949
00:58:06.000 --> 00:58:07.519
You know exactly who you are.

950
00:58:08.800 --> 00:58:10.920
But next time on.

951
00:58:10.920 --> 00:58:14.159
A script by we will turn the page to another

952
00:58:14.639 --> 00:58:15.440
Landmarks shreingplay.

953
00:58:15.519 --> 00:58:16.199
It's going to be.

954
00:58:17.800 --> 00:58:20.880
Butch Cassidy and the Sundance Kid a screenplay or a

955
00:58:20.920 --> 00:58:26.159
script by William Goldman, basically a screenplay that changed how character,

956
00:58:26.199 --> 00:58:30.039
banter and friendships were written in film. So remember everyone,

957
00:58:30.159 --> 00:58:34.400
before it was a film, it was a script. Please

958
00:58:34.599 --> 00:58:38.199
join a film buy On social media, you can find

959
00:58:38.280 --> 00:58:42.159
us all on YouTube, Instagram, Facebook, and x we love

960
00:58:42.239 --> 00:58:45.159
interacting with you, sharing your opinions, taking your request for

961
00:58:45.199 --> 00:58:48.760
future episodes, and debating great movies. You can check out

962
00:58:48.800 --> 00:58:55.239
our website at wwwafilmpipodcast dot com. Any questions or emails

963
00:58:55.280 --> 00:59:02.599
please email at a film by Podcast at gmail dot com.

964
00:59:05.480 --> 00:59:12.360
The same as an Overhand and a Candil t Some

965
00:59:13.400 --> 00:59:14.320
Trailing

966
00:59:14.679 --> 00:59:23.400
And Silent in duping Yan