WEBVTT 00:02.417 --> 00:06.303 You're a pisser. Really funny. Really funny. 00:06.465 --> 00:08.829 What do you mean I'm funny? 00:10.072 --> 00:13.577 It's funny, you know? It's a good story. It's funny. 00:13.626 --> 00:17.164 You're a funny guy. What do you mean? You mean the way I talk? 00:18.073 --> 00:21.356 What? It's just, you know, you're just funny. 00:21.453 --> 00:24.801 It's funny, you know, the way you tell the story and everything. 00:25.477 --> 00:27.695 Funny how? I mean, what's funny about it? 00:28.835 --> 00:32.592 Tommy, no, you got it all wrong. Oh, Anthony. He's a big boy. He knows 00:32.624 --> 00:34.551 what he said. What'd you say? Funny how? 00:37.521 --> 00:41.311 What? Just, you know, you're funny. You mean— let 00:41.391 --> 00:44.506 me understand this, 'cause maybe it's me. I'm a little fucked up, maybe. 00:44.972 --> 00:47.958 But I'm funny how? I mean, funny like I'm a clown? I amuse you? 00:49.082 --> 00:52.533 I make you laugh? I'm here to fucking amuse you? What do you mean funny? 00:52.597 --> 00:53.783 Funny how? How am I funny? 00:56.300 --> 01:00.692 Just— you know how you tell a story? Well— No, 01:00.708 --> 01:03.962 no, I don't know. You said it. How do I know? You said I'm funny. 01:04.459 --> 01:07.681 How the fuck am I funny? What the fuck is so funny about me? 01:07.922 --> 01:09.252 Tell me. Tell me what's funny. 01:15.456 --> 01:18.518 Get the fuck out of here, Tommy. You motherfucker! 01:18.662 --> 01:22.477 I almost had him! I almost had him! You stuttering 01:22.509 --> 01:27.294 prick, you! Frankie, was he shaking? I wonder 01:27.794 --> 01:30.329 about you sometimes, Henry. You may fold under questioning. 01:33.079 --> 01:36.540 It's Two Dads, 01:36.572 --> 01:40.009 One Movie. It's the podcast where two middle-aged dads sit around and 01:40.509 --> 01:43.731 shoot the shit about the movies of the '80s and '90s. Here are 01:44.231 --> 01:46.322 your hosts, Steve Paulo and Nick Briana. 01:48.238 --> 01:51.893 Hello everybody, welcome to another episode of Two Dads, One Movie. I'm Steve. 01:51.958 --> 01:55.636 And I'm Nick. And today we are moving from the 1980s into the 1990s in 01:56.136 --> 01:58.944 our Two Dads, Two Decades exploration of both decades. 01:59.425 --> 02:03.246 And for the year 1990, we have chosen the Martin Scorsese crime 02:03.343 --> 02:07.614 classic Goodfellas, starring Robert De Niro, Ray Liotta, and Joe 02:08.114 --> 02:10.953 Pesci, and a bunch of other people. I mean, it's almost like this cast is 02:10.985 --> 02:14.293 just loaded. Absolutely ridiculous. So this was my pick 02:14.357 --> 02:17.472 for us. And, you know, I'll say I remember how old I was when I 02:17.972 --> 02:20.984 first saw this because I think it was sophomore year of high school, so it 02:21.484 --> 02:26.210 would've been right around maybe 1996. I got into a kind 02:26.710 --> 02:28.791 of a funk, not a funk, but I got into like a phase of like 02:29.291 --> 02:33.087 watching a lot of Quentin Tarantino, you know, a lot of Martin Scorsese, 02:33.135 --> 02:36.469 a lot of Francis Ford Coppola. Like that's the year that I first saw like 02:36.969 --> 02:39.082 Reservoir Dogs and I saw this, I saw The Godfather for the first time. 02:39.130 --> 02:42.785 And it was just kind of in that like era for myself of discovering 02:42.881 --> 02:46.921 these movies. And Goodfellas was like my favorite kind of mobster crime 02:47.421 --> 02:51.352 movie for a long time. It, so much in this movie is just, Absolutely classic. 02:51.836 --> 02:54.863 This is one my wife loves. She actually, we were just talking about last night, 02:54.879 --> 02:58.148 a couple years ago she decided she wanted to watch, look, listen, watch this movie. 02:58.832 --> 03:01.575 And then every time a song came on, she would add it to, she would 03:02.075 --> 03:03.995 figure out, you know, find it and add it to a Spotify playlist. So she's 03:04.495 --> 03:06.351 got this huge, 'cause there's so much music in this movie. Oh, a ton of 03:06.851 --> 03:10.589 songs in this. A huge playlist of all like '50s and '60s, like Motown and 03:10.622 --> 03:13.749 doo-wop and kind of that stuff that, you know, is from this movie 03:13.847 --> 03:16.861 in a single playlist, which is fantastic. But yeah, Goodfellas is just, 03:16.910 --> 03:19.699 You know, it's gonna be kind of hard, I feel, in a lot of ways 03:19.731 --> 03:23.674 to like, quote, review this movie, 'cause it's Goodfellas, for God's sake, you know? 03:23.915 --> 03:27.746 So what's your experience with Goodfellas, Nick? Yeah, I think I got into it around 03:28.246 --> 03:31.753 the same time. And it was during that like, oh, Pulp Fiction's out, 03:31.769 --> 03:35.296 you start caring about what's a good movie, what are the classics, you know? 03:35.697 --> 03:38.534 What's the stuff that I was a little too young for when it came out? 03:39.047 --> 03:42.558 And catching up on that. But this was great. I remember watching 03:42.574 --> 03:45.972 this with my brother a bunch and watching it with my parents. I think 03:46.758 --> 03:48.777 we got a tape of it at some point. This was like, 03:49.627 --> 03:53.381 early, like mid-'90s, '90s. Yeah, probably around '96. 03:53.430 --> 03:56.330 So Blockbuster, I was starting to buy some used tapes and all that stuff. 03:57.154 --> 04:00.583 Perfect. Um, so quotable. There's, there's so many 04:01.083 --> 04:03.610 things about this that I think about. Like, this is one of those few movies 04:03.643 --> 04:07.473 where I think about the characters outside the context of the movie sometimes. 04:07.521 --> 04:10.943 Like, so many things just really tend to come alive with this film. 04:11.505 --> 04:15.039 And, uh, it's just, it's been a while since I've revisited it. 04:15.119 --> 04:18.136 Yeah. And, uh, I'm really glad I did, and I'm psyched to chat about this 04:18.636 --> 04:22.231 one today. Absolutely. Let's jump into the facts on Goodfellas 04:22.731 --> 04:25.115 because there's a lot of good stuff in here. All right. The movie Goodfellas came 04:25.212 --> 04:28.080 out on September 19th, 1990, with an R rating, 04:28.256 --> 04:31.622 obviously, and a running time of 145 minutes, which might be the 04:32.122 --> 04:35.147 longest movie that we've covered on the pod. I'm not positive, but it's up there 04:35.163 --> 04:38.016 for sure. Directed by the incomparable Martin Scorsese, 04:38.448 --> 04:40.900 written by Nicholas Pileggi and Martin Scorsese, 04:41.333 --> 04:44.986 starring Robert De Niro, Ray Liotta, and Joe Pesci. Scores on Rotten Tomatoes, 04:45.019 --> 04:48.305 a 93%. Not even sure how anybody didn't 04:48.805 --> 04:51.557 give a positive review to this thing, but apparently 7% of reviewers did. Yeah, 04:51.573 --> 04:55.115 weirdos. On IMDb, an 8.7, 04:55.195 --> 04:58.848 which is astronomical, is the 17th highest rated movie 04:59.024 --> 05:02.293 on IMDb. Of all movies on IMDb, it is number 17, 05:03.046 --> 05:06.363 which is pretty wild. And then Siskel and Ebert with two thumbs up, which again, 05:06.443 --> 05:09.696 not a surprise. Awards. This movie, 05:09.712 --> 05:12.725 I'm not going to go into all of them, but this movie won 44 total 05:13.225 --> 05:16.732 awards. 44 awards this movie won. It won— there 05:17.232 --> 05:20.483 was at the 1991 Oscars, it won Best Supporting Actor. Joe Pesci won Best Supporting 05:20.499 --> 05:23.705 Actor for his role in this movie, but it was also nominated for Best Picture, 05:23.785 --> 05:27.087 Best Editing, Best Director, Best Adapted Screenplay, and Best 05:27.587 --> 05:30.117 Supporting Actress for Lorraine Bracco. They did not— none of them won, though. 05:31.015 --> 05:34.061 At the— Rough to not win Best Picture. Yeah. Looking back, like, 05:34.077 --> 05:37.427 you know, me and the boys always hanging out quoting Dances with Wolves to each 05:37.571 --> 05:41.354 other. That's a great movie, too, though. But anyway, at the '91 BAFTA 05:41.854 --> 05:44.544 Awards, however, which we know are sort of the British Oscars, it did win for 05:45.044 --> 05:48.646 Best Film. Best Adapted Screenplay, Best Director, Best Costume Design, 05:48.791 --> 05:52.940 and Best Editing. Whew. It was also nominated for a pair of Guild Awards, 05:53.213 --> 05:56.946 the DGA Award for Best Director. Scorsese was nominated there and 05:56.962 --> 06:00.294 the WGA Award for Best Adapted Screenplay, nominated there as well. 06:00.487 --> 06:04.252 No wins. It was also nominated for 5 Golden Globes with no wins. And like 06:04.752 --> 06:06.799 a lot of the movies we cover, was added to the National Film Registry in 06:06.831 --> 06:10.228 the year 2000, which is one of the earliest, I think. Yeah, relative to when 06:10.260 --> 06:13.369 it came out for sure. On a budget of $25 million. 06:14.346 --> 06:18.004 It made $47 million at the box office, which is kind of a disappointment. 06:18.052 --> 06:22.190 That's just under 2 times what it cost. That is in our disappointment category. 06:22.768 --> 06:26.056 And I think interesting to note, the movie we watched last week, 06:26.136 --> 06:29.216 Roadhouse, which, you know, let's, let's face it, is not exactly a work 06:29.716 --> 06:32.970 of, of great cinema, was able to pull in a little bit better, you know, 06:33.034 --> 06:35.681 kind of like relative numbers at the box office, which kind of surprised me. 06:36.419 --> 06:39.659 But yeah, $20 and $25 million to do a movie of this scope for 06:40.159 --> 06:43.684 $25 million is impressive as hell. And it all went into like technical things 06:43.780 --> 06:47.403 that made this look so good, you know? And wow, 06:47.563 --> 06:51.170 what a job. I will never forget the look of Tommy DeVito's 06:51.670 --> 06:54.456 face cutting off near the end. That effect was fantastic. 06:55.242 --> 06:58.576 Okay, so this is Goodfellas. Let's jump into 06:58.688 --> 07:02.086 it. I'm going to go ahead and get us started. Boy. Okay, 07:02.103 --> 07:05.581 so this movie starts, we are driving down the highway in a Pontiac 07:05.597 --> 07:08.643 Grand Prix owned by one Mr. Henry Hill, played by Ray Liotta. 07:09.028 --> 07:12.137 Next to him is Jimmy Conway, played by Robert De Niro. And in the backseat 07:12.330 --> 07:15.247 is Tommy DeVito, played by Joe Pesci. So the three of them are driving along 07:15.295 --> 07:18.533 and there is a banging racket coming from somewhere in the car. And at first 07:19.033 --> 07:21.643 they think, God, did we hit something? Is it a flat? Like, what's going on? 07:21.707 --> 07:24.913 So they pull off the side of the highway, off into the woods it almost 07:25.413 --> 07:28.023 seems. And, you know, they have to sort of like, you know, there's noise coming 07:28.523 --> 07:31.774 from the trunk. And so Tommy's got a knife and, 07:31.967 --> 07:35.958 you know, Henry's got the keys and they kind of gingerly open things up 07:35.974 --> 07:39.437 and there is a man in the trunk of this car struggling and 07:39.485 --> 07:42.979 yelling or trying to, but he's like, oh my God, almost senseless, 07:43.092 --> 07:46.636 whatever. And Tommy is like, This motherfucker won't die! And he 07:47.136 --> 07:49.219 starts stabbing him over and over again, at which point we get a little bit 07:49.719 --> 07:53.552 of like a freeze frame, and Ray Liotta's voice, Henry Hill's, goes, as far back 07:54.052 --> 07:56.986 as I can remember, I always wanted to be a gangster. And it might not 07:57.486 --> 07:59.360 be literally the first thing said in the movie because they talk a little, 07:59.473 --> 08:02.890 you know, in the car, but for like a real opening line of a movie, 08:03.083 --> 08:06.549 one of the best ever. And then going right into the music, 08:06.838 --> 08:09.485 and like, it's beautiful, 08:09.582 --> 08:13.048 and it drags you right into it. So now we're in a flashback 08:13.112 --> 08:16.257 into like the '50s. This said it was 1970. Yes, right now we're going back 08:16.757 --> 08:20.156 to like 50, 55, or something like that. And, and the first hour of this 08:20.237 --> 08:23.542 hour— of this 2.5-hour-long movie is in flashback. We don't 08:24.042 --> 08:26.575 get back to that moment on the highway for a full hour. So for the 08:27.075 --> 08:30.764 next hour, we are getting backstory that leads us up to this. It's almost 08:31.264 --> 08:34.118 in a way like the longest cold open in the history, but not quite because 08:34.618 --> 08:37.183 we do get the title card and stuff. But yeah, yeah, uh, so we get 08:37.683 --> 08:40.697 a flashback and we get young Henry, uh, great casting by the way. Like a 08:40.777 --> 08:44.499 lot of play, uh, places in this film, the young version The young Pesci 08:45.028 --> 08:48.938 is perfection. Beautiful. Yes. Yeah. So the young Henry is 08:49.050 --> 08:52.463 great. And, uh, you know, kind of talking about where he's growing 08:52.495 --> 08:55.861 up and stuff, and, you know, they're in a poor area in New York, 08:55.877 --> 08:59.514 and they're Italian family. His dad's Irish, his mom's from Sicily. 08:59.707 --> 09:03.312 That's right. And there's like some Italian kind of mob type guys across 09:03.812 --> 09:07.751 the street. Uh, Tootie Cicero has like a cab stand or something, and so 09:08.023 --> 09:11.410 there's always some activity around That's right. And one of the first we see Henry 09:11.523 --> 09:13.949 sort of watching out the window, he's learning about these guys. He says he always 09:14.449 --> 09:16.924 wanted to be with them. Yeah, they were clearly like, they ran the neighborhood. 09:16.973 --> 09:19.688 Nobody messed with them. They could double park in front of a hydrant. Nobody would 09:20.188 --> 09:23.254 bother them. They'll get no tickets, whatever. So he always starts from an early age 09:23.754 --> 09:27.061 just idolizing this group of men down at the cab stand, one of whom we've 09:27.561 --> 09:29.831 seen, as we have seen many people in this movie, in the film or in 09:30.331 --> 09:33.960 the series The Sopranos. So I noticed right away the actor Tony 09:34.460 --> 09:37.222 Sirico, who played Paulie Walnuts in The Sopranos. I don't know if his name might 09:37.722 --> 09:38.838 have been Tony as well in this. I'm not 100% sure. Yeah. But the thing 09:39.338 --> 09:42.071 that I noticed that made it clear to me that who that is, is that 09:42.087 --> 09:45.535 he points with both the index and pinky finger like 09:45.631 --> 09:48.757 Paulie Wolnitz does throughout the series, The Sopranos. And this guy points the same way 09:49.257 --> 09:51.499 and it's like, oh my God, that's Tony Sirico. But there are how many— I 09:51.547 --> 09:54.995 mean, you look this up too, Nick. How many people were in this movie and 09:55.495 --> 09:58.635 at least one episode of The Sopranos? 27. That's insane. That's crazy. 09:58.699 --> 10:01.441 That's wild. This— I mean, this movie is one of those movies with a ton 10:01.941 --> 10:04.295 of actors in it because there's a lot of characters and there's characters at different 10:04.795 --> 10:08.480 stages. And during the credits, I mean, the cast is incredibly large 10:08.980 --> 10:12.311 in this movie, but This isn't just like side extras. This is people 10:12.811 --> 10:15.741 with speaking parts in this movie for the most part who had like significant roles 10:15.789 --> 10:18.963 in The Sopranos. Absolutely. So yeah, really cool to see that. Yeah. 10:19.781 --> 10:23.692 And God, I mean, the scene of the glamorizing this because where 10:24.192 --> 10:27.283 Henry lives, you know, he's in a little apartment that's very small for his family. 10:27.459 --> 10:30.297 Yeah. His dad seems to have, you know, not that great of a job. 10:30.345 --> 10:33.519 He's taking it out on the wife and kids and everything. So he's looking for 10:34.019 --> 10:37.029 something better. He's inspired by these guys who seem to have a little class and 10:37.478 --> 10:40.909 get a little respect in the neighborhood when everyone else, including his dad, probably is 10:40.941 --> 10:44.017 shit on. As he's observing. Yeah. Do we know what neighborhood they're in? I don't 10:44.517 --> 10:46.915 think we ever quite got— is this like Staten Island, Bronx, Brooklyn? Like, I can't 10:47.415 --> 10:49.282 actually tell. Queens? I don't know where they are. Yeah, I don't remember off the 10:49.782 --> 10:51.181 top of my head. I mean, it's not Manhattan. I feel like that's the only 10:51.262 --> 10:53.898 thing I feel confident about. They're not living in Manhattan, but you know, it's one 10:53.946 --> 10:57.488 of the outer boroughs. Um, but yeah, so this is, uh, so we get 10:57.988 --> 11:01.303 introduced, uh, because basically Henry starts working like a day, a job after school initially 11:01.803 --> 11:04.662 at the cab stand, making a little money. You know, he's parking guys' cars and 11:05.162 --> 11:08.043 like doing whatever. But over time, it seems like even quickly he just stops going 11:08.543 --> 11:11.697 to school. And the cab stand is like not just an after-school job. It's an 11:11.714 --> 11:15.224 everyday, all-day job because he wants in on this life. And he knows that 11:15.256 --> 11:18.911 by being good and doing what he's told, that he can get that. We get 11:18.927 --> 11:22.613 him introduced to a couple of very important characters throughout the movie. One, Jimmy Conway, 11:22.870 --> 11:25.611 who's Irish. We say, you know, we hear, right, that Henry is half Irish. 11:25.659 --> 11:29.057 His mom's Sicilian. His dad's Irish. Jimmy is just Irish. He's an Irish-American, 11:29.682 --> 11:32.984 but he's got connects and he's got ins and he's willing to do things. 11:33.032 --> 11:36.840 And so he sort of acts as an associate a soldier associated with, 11:37.226 --> 11:40.408 uh, this, this crime family here. Um, he's played by Robert De Niro, and even 11:40.440 --> 11:43.414 the young version of Jimmy is Robert De Niro. He just like, he kind of— 11:43.914 --> 11:46.090 I don't know if they use makeup, whatever, they darkened his hair, whatever, but it's 11:46.590 --> 11:49.962 like he's a younger Jimmy. Scorsese loves pretending that De Niro is way 11:50.027 --> 11:53.673 younger than he really is. It's true. Um, but the other person that 11:54.173 --> 11:56.823 he gets introduced to, Tommy DeVito, who as an adult will be played by Joe 11:57.323 --> 11:59.520 Pesci, but here is this, yeah, young guy. I don't know the actor, but not 12:00.020 --> 12:02.343 only do they got a guy that looks a lot like Pesci, and really you 12:02.376 --> 12:04.534 could say, yeah, that guy will grow up to look like Pesci, but he sounds 12:04.550 --> 12:08.025 like him. He He sounds like him so 12:08.525 --> 12:11.151 much. And, and I love him. He says Hendry. 12:11.815 --> 12:14.827 He says Hendry instead of Henry. I really enjoy that. 12:15.676 --> 12:19.195 Um, so, so Henry though, like, like you said, like he was being 12:19.227 --> 12:22.183 truant from school and his mom got a letter. His dad beat him up, 12:22.280 --> 12:25.237 you know, for him not going to school. And he takes that to the mob 12:25.253 --> 12:28.793 guys and their solution is, okay, we're gonna intimidate your mailman and 12:28.810 --> 12:31.203 tell him he can't deliver another letter to your house. 12:31.865 --> 12:35.292 And, uh, you know, there's a couple lines from Henry here, like his dad's 12:35.792 --> 12:36.607 beating him up and during the voiceover he's like, yeah, the way I see it, 12:36.640 --> 12:40.264 everybody Everybody takes a beating sometimes, right? 12:40.922 --> 12:44.226 Uh, the voiceovers in this film are great 12:44.726 --> 12:47.772 to just move the story along, but when it gets to explaining kind of how 12:48.462 --> 12:51.734 these guys are making money or how it is that like the mafia is working, 12:52.168 --> 12:55.585 it's so instructive and it's so like efficient. Yeah, throughout this 12:55.681 --> 12:58.520 movie, this is an adapted screenplay. This was based off a book that was written 12:59.020 --> 13:02.194 about a real set of events that occurred surrounding, mostly surrounding, um, 13:02.258 --> 13:04.922 this, this heist at the end of the movie called the Lufthansa Heist, which is 13:05.422 --> 13:08.724 one of the biggest airport heists in American history at the time. And so what 13:09.224 --> 13:11.887 What Scorsese obviously and Nicholas Pileggi chose to do is like, 13:12.289 --> 13:15.725 rather than trying to show us all the detail that the book contains, 13:16.223 --> 13:19.450 let's use narration. And for the most part, it's Henry Hill, Ray Liotta doing the 13:19.950 --> 13:23.240 voiceover from Henry Hill's perspective. But for a chunk of the movie, we get his 13:23.740 --> 13:27.816 eventual wife, Karen, played by Lorraine Bracco. We get her perspective 13:28.316 --> 13:31.783 on stuff and her voiceover is there. And it's so fantastic, the different feel 13:31.815 --> 13:35.508 throughout the movie of when Henry is narrating versus when Karen is narrating 13:36.008 --> 13:39.181 and the differences there. Is really impressive. And just— and again, another reason 13:39.681 --> 13:43.220 frankly why, why Bracco should have absolutely won Best Supporting Actress. Like, uh, because she 13:43.720 --> 13:46.138 plays the role and she does the narration and it's just like so good in 13:46.234 --> 13:48.975 both. And I'm shocked. I don't— you know what, I should have looked up who 13:49.475 --> 13:51.396 won in that year. I can bet— I bet it'd piss me off if I 13:51.412 --> 13:55.002 do. Um, but yes, so, uh, so this kind 13:55.502 --> 13:58.818 of whole operation is run by Paul Cicero. That's right, Cicero. 13:59.379 --> 14:02.280 And, uh, that's Paul Sorvino. That's right. And we see him, and some of the 14:02.780 --> 14:05.871 things about him is that, you know, Paulie, he would only talk to one person 14:06.371 --> 14:08.548 at a time and he wouldn't have a phone in his house or a TV, 14:08.676 --> 14:11.962 you know, he, he kept everything, didn't want people 14:12.462 --> 14:14.848 to hear what he was saying, you know, didn't even want other people to know 14:15.348 --> 14:18.759 who he was talking to. Yeah, the whole thing. Yeah, good opsec by Paulie, 14:18.775 --> 14:22.174 honestly, like knowing what we know about the FBI and the mafia 14:22.398 --> 14:25.620 and how they'd spy on it. Um, so, uh, 14:26.389 --> 14:29.820 the explanation of it is, you know, what, what Paulie does, what people don't 14:29.836 --> 14:33.427 understand about the mob, is Paulie offers protection to the people who can't go to 14:33.443 --> 14:36.729 the cops. So this is how they justified it themselves, like, well, hey, yeah, 14:36.745 --> 14:39.550 there are the cops, but there's certain people who can't go there, and that's where 14:40.050 --> 14:43.396 we step in. We're just, you know, a benevolent force in the neighborhood. We're the 14:43.896 --> 14:46.360 cops for the people who are breaking the law. Yeah, that's what we are. 14:46.424 --> 14:50.126 We're the cops for the lawbreakers. We're the cops who arrest the cops. That's right. 14:50.670 --> 14:53.699 Um, uh, but he's talking about like all the things that he sees these guys 14:53.811 --> 14:57.192 getting and how he was getting these benefits. You know, I was getting to go 14:57.692 --> 15:00.668 to the front of the line at the grocery, uh, line, and people were being, 15:00.845 --> 15:04.129 you know, respectful. And somebody carried my mother's groceries 15:04.629 --> 15:07.863 all the way home. You know why? Just out of respect. And while he's saying 15:07.975 --> 15:12.208 all this stuff, What he's doing on screen is pouring gasoline 15:12.320 --> 15:15.431 on a whole, like, parking lot full of cars and lighting them on fire. 15:15.608 --> 15:19.184 So he's doing a James Caan thief. That's right. And the 15:19.280 --> 15:22.696 justification of the acts and the sort of mental 15:23.706 --> 15:27.523 dissonance between the thing that's being done and the explanation 15:27.619 --> 15:30.922 for why it was necessary is one of the most interesting sort of elements 15:31.422 --> 15:33.713 of this movie, because there's so many things that are like, well, that is just— 15:34.130 --> 15:37.366 there is no moral ground for that. Yeah. 15:37.415 --> 15:40.537 Unless you believe that all is permitted, that nothing is illegal. And so the only 15:40.569 --> 15:43.948 justification is sort of revenge versus, you know, like, like, like you do 15:44.448 --> 15:45.818 to me, so I'm going to do to you. Like, then you justify it. 15:46.125 --> 15:49.416 But really, it's like they're just breaking the law constantly and they're destroying property and 15:49.916 --> 15:52.417 they're just being awful. But there's all this like, yeah, well, that's the way it 15:52.917 --> 15:55.431 goes. Like, it wouldn't, it wouldn't go that way if you didn't do that. 15:55.495 --> 15:59.198 Like, and he is— I mean, speaking of this very matter-of-factly, yeah, 15:59.262 --> 16:02.369 we're doing a service to the neighborhood. We're just a business like anybody 16:02.401 --> 16:06.154 else. And so when he's 16:06.654 --> 16:10.244 talking about Jimmy, Robert De Niro, Jimmy's thing is that he like 16:10.744 --> 16:14.431 hijacks truckloads of stuff. Yeah, yeah, yeah. So he'll like hijack merchandise and 16:14.931 --> 16:17.254 then go, you know, sell it real cheap. Give a bunch of it away even. 16:17.302 --> 16:20.173 Yeah, give a lot of it away. And they say that, you know, Jimmy, 16:20.205 --> 16:23.718 we call him Jimmy the Gent because everyone, like the way he explains the scams, 16:23.734 --> 16:27.487 it's like, yeah, we're robbing this truck, but really us and 16:27.987 --> 16:30.727 then the truck driver's in on it and then the dispatcher's in on it. 16:30.775 --> 16:34.088 And like, all these people are involved. So really, like, we're all part 16:34.588 --> 16:37.656 of the scam and insurance covers it or whatever it is, you know, like somebody 16:38.156 --> 16:41.515 is paying who we don't care about. It's the classic sort of criminal justification for, 16:41.660 --> 16:45.171 for stealing things, especially when they belong to a company and not an 16:45.671 --> 16:48.343 individual. It's like, well, look, they're insured, they're covered. Like, what? It doesn't matter. 16:48.665 --> 16:51.397 And so we're going to pay the delivery driver, we're going to pay the security 16:51.413 --> 16:53.616 guard, we're going to pay the district. They're all going to get their beak wet. 16:53.923 --> 16:56.482 They're all going to get a piece. They're all going to be better off than 16:56.498 --> 16:59.993 they were before. And we get a shit ton. Of either money or 17:00.074 --> 17:03.360 loot or whatever. And so that's how they justify that. But well, yeah, so Jimmy 17:03.392 --> 17:06.855 steals a bunch of cartons of cigarettes and stuff, and then Henry and Tommy 17:07.355 --> 17:09.581 are selling them out the back of a car. Look like to me like a 17:09.678 --> 17:12.487 bunch of factory workers or something, you know, selling for cheap Pall Malls, Lucky Strikes, 17:12.503 --> 17:15.731 whatever. And some guys walk up, you know, cops or whatever, and they 17:15.796 --> 17:18.658 arrest Henry. And I love— he's so innocent still at this point. He's like, 17:18.707 --> 17:20.893 no, no, no, it's okay, it's okay, guys, it's okay. And they're like, what are 17:21.393 --> 17:24.439 you talking about it's okay? You're selling stolen cigarette cartons. Like, it's okay. 17:25.009 --> 17:28.424 And, uh, and that's just Tommy busts off and goes tell Paulie, hey, Henry got 17:28.924 --> 17:32.372 pinched. Um, and they go to— that we see Henry's, you know, 17:32.388 --> 17:36.118 court hearing or whatever it is. Um, and I don't remember what sentencing he got 17:36.618 --> 17:38.775 or whatever. Nothing. I think they let him off because there was kind of a 17:39.275 --> 17:41.962 scene of his lawyer who seemed like a great two mafia lawyer, kind of like 17:42.043 --> 17:45.428 grinning and winking at the judge. And then Henry was just walking out. Exactly. 17:45.687 --> 17:48.012 And he thought he was in trouble. So Jimmy walks up to him, he's like 17:48.512 --> 17:50.450 stuffing cash in his pockets, like, you did good. He's like, I thought you'd be 17:50.950 --> 17:54.725 mad. Mad? Everybody gets pinched. But you followed the two rules. You never rat 17:55.225 --> 17:58.228 out your friends. You never take— you never say shit or something, right? Oh, 17:58.324 --> 18:01.264 the two best things in life. Yeah, yeah. Never rat on your friends and always 18:01.377 --> 18:04.687 keep your mouth shut. And it's kind of like a subset of a set, 18:05.474 --> 18:09.057 you know? The second one covers the first one. Number 2, never draw 18:09.105 --> 18:12.126 squares. And number 2, number 2, never draw rectangles. 18:12.319 --> 18:14.809 Like, the fuck out of here. Um, 18:15.532 --> 18:18.312 so, uh, so I think we have an idea now of, 18:18.971 --> 18:22.151 uh, a heist, like So we're kind of grown up 18:22.280 --> 18:25.443 now. Yeah, not like fully to the present at the beginning of the film, 18:25.491 --> 18:29.731 but like— but it's now Ray Liotta and Joe Pesci. Yeah, yeah. And they're 18:29.747 --> 18:32.959 stealing trucks coming out of the airport, so they're doing Jimmy's type of 18:33.459 --> 18:36.861 work. Yeah, exactly. And, you know, again, this all works. Like, these guys 18:36.973 --> 18:39.944 know, they see us coming and everything, and they steal this guy's truck in front 18:40.444 --> 18:42.979 of a diner. Of course, this guy has to come in and he blames it 18:43.479 --> 18:46.496 on two Black guys, who he doesn't say it that— no, he doesn't. And, 18:46.673 --> 18:50.264 uh, but I This is probably realistic. And one of the things that Henry says 18:50.376 --> 18:54.431 is that if the truck drivers complain and 18:54.543 --> 18:57.925 they try to like bring the cops into it, we also control the union so 18:58.425 --> 19:00.954 we can threaten the company with the strike. So they have all these ways to 19:01.454 --> 19:04.880 protect their rackets. It's very interesting. Also, this reminds me 19:05.380 --> 19:08.245 the reason that they hit up the airport constantly. They say, we lived right by 19:08.745 --> 19:11.066 the airport. This is our neighborhood, this is our turf. So that means since they're 19:11.566 --> 19:13.694 talking about JFK, they live in Queens. That answers that question. There we go. 19:13.775 --> 19:17.284 Neighborhood. But yeah, so, so they're doing all that and we 19:17.784 --> 19:20.874 now cut to Well, we've got, you know, still more Ray Liotta sort 19:21.374 --> 19:24.391 of like narration, and we're at a restaurant called the Bamboo Lounge, and it seems 19:24.891 --> 19:27.618 like it's, you know, this is like Vesuvio in Prada, right? I love this place, 19:27.634 --> 19:29.606 by the way. It's so cool. I want there to be one in town. 19:29.655 --> 19:32.262 I like that lighting. It's like a tiki bar, but it looks like they sell 19:32.762 --> 19:35.402 Italian food. I mean, this looks like the most wild place, but he's introing all 19:35.902 --> 19:37.801 the characters, and this is like all the different names for people, and like, 19:37.817 --> 19:40.233 you know, Tommy Two Times, I'm gonna get the papers, get the papers. Like he 19:40.733 --> 19:43.738 said everything twice. It's just very funny introing like the whole group. And then in 19:43.771 --> 19:47.330 the back of the, uh, of the restaurant, they're bringing in stolen goods or 19:47.347 --> 19:50.164 kind of using it as like a staging area maybe, or like whatever. And there's 19:50.664 --> 19:53.416 a bunch of fur coats on a rack coming in. And of course, if you 19:53.916 --> 19:56.933 get another Sopranos reference, this is Vinnie Pastore. Big Pussy is the guy. 19:57.321 --> 20:01.358 Very— yeah, like, don't, don't search this 20:01.858 --> 20:05.423 wrong in the transcript, but a very young Big Pussy. That's very young. That's true. 20:05.793 --> 20:09.032 Yeah. He looks like he's maybe 26 or something. I don't know how old he 20:09.532 --> 20:12.024 actually was at the time, but he does look young. Um, so one of the, 20:12.152 --> 20:15.445 um, one of the guys, Frenchy, who we've seen in, uh, 20:15.621 --> 20:18.384 Dumb and Dumber— he's right, the gas man, one of the guys who's pursuing them 20:18.432 --> 20:22.720 in Dumb and Dumber. And he's telling, uh, Henry and Jimmy about 20:22.769 --> 20:25.997 this like plane with cash on it, this Air France plane. That's right. 20:26.061 --> 20:28.952 You know, like, hey, I'm the security guard at the airport, like, this is a 20:29.452 --> 20:32.646 piece of cake, $400 grand cash and everything, right? So he's bringing him into some 20:33.146 --> 20:35.858 scams here. Exactly. Uh, and now we end up with kind of one of our 20:36.358 --> 20:39.103 best, uh, one of our best scenes. One of the earliest scenes that, 20:39.215 --> 20:41.979 that and almost all of this is a good reason why Joe Pesci won the 20:42.479 --> 20:45.629 Oscar for this. So many of the, like, most memorable scenes in this movie revolve 20:46.129 --> 20:49.943 around his character Tommy. And this is one of them. He's telling a story about, 20:49.991 --> 20:52.401 like, you know, I don't remember the exact details of the story, but it was 20:52.901 --> 20:55.279 just like this thing where he's like, like, you know, I kept telling the guy, 20:55.489 --> 20:58.059 like, you know, leave me alone. He's like talking back to the cops. Yeah. 20:58.156 --> 21:01.661 Beating them up. Boom, bang, whatever. His onomatopoeia, 21:02.516 --> 21:06.277 man. And he keeps— and everybody's laughing. Everybody's belly laughing, 21:06.309 --> 21:09.592 just dying laughing. And as he wraps the story up, Henry goes, 21:09.689 --> 21:13.229 God, you're funny, Tommy. You're so funny. And Tommy looks pissed at this. He goes, 21:13.908 --> 21:16.592 Funny how? What do you mean I'm funny? Funny how? What do you mean? 21:16.722 --> 21:18.516 What do you mean? What do you mean? You said it. I don't know. 21:18.597 --> 21:20.941 You said it. Yeah. What do you mean funny? Funny how? What am I, 21:21.006 --> 21:24.401 a clown? I'm here to amuse you. Funny how? And initially Henry's 21:24.901 --> 21:27.245 laughing at him, whatever. But like Tommy looks really pissed. And for a moment Henry's 21:27.745 --> 21:30.255 like, what are you talking about, Tommy? You tell a funny story. Like, what do 21:30.755 --> 21:33.419 you mean? You know, he's like getting real mousy. But then he goes, get the 21:33.919 --> 21:36.208 fuck out of here. And Tommy's like, I almost got him. And it's clear that 21:36.240 --> 21:40.119 like Tommy's the kind of guy that is dangerous 21:40.231 --> 21:43.613 enough and will fuck people up for little enough that when he 21:44.113 --> 21:47.621 screws with you, you can't be sure. Even if you're like his best friend, 21:47.701 --> 21:51.227 right? Number one brother in the world is still at danger of 21:51.243 --> 21:54.770 Tommy DeVito. It is crazy. Ray Liotta's laugh 21:55.270 --> 21:58.440 is iconic. I love the way he laughs. Nobody else laughs 21:58.940 --> 22:02.531 that way. Uh, so right after this scene, Tommy is approached 22:03.031 --> 22:06.286 by the owner of the Bamboo Lounge who's telling Tommy like, 22:06.302 --> 22:09.366 hey, oh, you're gonna settle your check, you owe me, uh, 7 grand, 22:09.414 --> 22:13.281 right? Yeah, bad move. I mean, if this guy knows him, that is a 22:13.781 --> 22:17.132 terrible move. And this guy's a real— look, he's been wronged by Tommy, but he's 22:17.632 --> 22:20.966 a very unlikable character. He's very like whiny and shitty and 22:20.982 --> 22:24.400 everything. So, uh, Tommy basically breaks a bottle of 22:24.480 --> 22:27.529 champagne over that guy's head and shoves him away, and then, you know, threatens this 22:27.641 --> 22:31.301 other server, and he says, oh, 22:31.688 --> 22:34.519 you talk about funny. So everyone's still laughing at all this stuff, you know. 22:34.905 --> 22:37.817 He's like, oh, you want to, you want to know something funny? Last week this 22:38.317 --> 22:41.363 guy asked me to christen his kid, and I didn't— when I was younger, 22:41.606 --> 22:44.282 when I first saw, I didn't get the joke. I didn't understand the joke. 22:45.602 --> 22:49.362 Like, you christen a boat by breaking the champagne bottle. Like, Jesus. In the moment, 22:49.443 --> 22:52.368 man, that is a great joke. I read that a lot of his, like, 22:52.496 --> 22:55.859 funny how, that was all, uh, it was improv. Oh really? At least it was 22:55.892 --> 22:59.489 like loosely scripted. And stuff. Wow. So just knowing that so much 22:59.554 --> 23:02.778 of that was just let Pesci cook makes me appreciate it more. So good. 23:02.875 --> 23:05.737 And of course, Henry finishes this scene by going, you know what, Tommy, 23:05.994 --> 23:09.706 you're a funny guy. And that's just like, oh, you bastard. Like, it's very— it's 23:10.206 --> 23:13.483 such good, like, bro kind of humor, you know, with each other, even though Tommy 23:13.983 --> 23:17.122 pulls a gun on him. Yeah, jokingly pulls a gun. That's always fun. Um, 23:17.186 --> 23:19.746 but basically, the owner of the Bamboo Lounge is now like— he's at his wit's 23:20.246 --> 23:24.721 end. He goes to Paulie through Henry, basically. And Henry's like, look, come talk 23:25.221 --> 23:25.494 to Paulie. Maybe he can help you And the guy's like, look, Paulie, I need 23:25.994 --> 23:26.863 some help. I need somebody. He's like, what do you want from me? What do 23:27.363 --> 23:29.826 you want me to do? It's Tommy. Like, he's wild. I can't control Tommy. 23:30.164 --> 23:32.821 It's like, oh, if you told him to stop, he'd stop. Yeah, but like, 23:32.853 --> 23:35.550 I'm not going to tell him to— like, basically Paulie's saying, like, I'm not going 23:35.566 --> 23:38.815 to babysit even my guys. Like, fuck you. Like, deal with him. Yeah. 23:38.961 --> 23:41.127 You know, you're an adult. Deal with him. But that's when he goes, well, 23:41.144 --> 23:43.537 what if you came in on the restaurant with me? Come in the place. 23:43.585 --> 23:45.666 It's a great place. You're in there all the time. You already know how great 23:46.166 --> 23:49.828 it is. Because this way Tommy's not going to act the same when it's Paulie's 23:50.328 --> 23:53.454 place. He's going to be a little more respectful. And that's what this guy I 23:53.954 --> 23:56.593 don't remember the character's name, but he's looking for it. There you go. Too late. 23:56.657 --> 23:59.310 I wrote it. This is what Sonny's looking for, is just like, get Tommy off 23:59.326 --> 24:02.400 my back. So Paulie goes in on him, and now we get the, the narration 24:02.900 --> 24:05.207 of Henry explaining like, yeah, now that Paulie's your partner, you got a problem with 24:05.707 --> 24:07.837 the cops, go to Paulie. You got a problem with Tommy, you go to Paulie. 24:07.885 --> 24:10.386 You got a problem with the distributor, you go to Paulie. He's going to take 24:10.886 --> 24:13.365 care of everything, but he's also going to take everything. Yeah. 24:13.895 --> 24:17.575 And, and his explanation of how kind of the bust out of the business 24:17.751 --> 24:20.916 goes, where it's like, well, okay, we're going to order a bunch of booze on 24:21.416 --> 24:24.406 your credit line sell it out the back door at a discount because we're never 24:24.906 --> 24:27.861 going to pay that credit line. Pure profit, you know? And then once we're out 24:28.361 --> 24:31.655 of credit, we can't borrow anything else, like, we burn the place down, we light 24:32.155 --> 24:34.617 the place on fire. Yeah. And this is also the famous part where it's like, 24:35.020 --> 24:37.178 you know, every single week you got to pay— you got to pay Paulie his 24:37.274 --> 24:40.430 money. Oh, oh, you had a bad week? Fuck you, pay me. Oh, your kid's 24:40.930 --> 24:42.838 in the hospital? Fuck you, pay me. Like, everything is fuck you, pay me. 24:43.000 --> 24:46.605 Yeah. Ended up living far beyond this movie as like a cultural thing. 24:46.654 --> 24:49.807 That's fuck you, pay me. Oh, for sure. Especially in rap music and stuff. 24:49.888 --> 24:53.620 I mean, that was like big time there. Yeah. So Tommy and Henry are 24:54.120 --> 24:57.477 kind of sitting outside of this restaurant that they've just like lit on fire 24:57.977 --> 25:01.751 with a bunch of like little kerosene rags and stuff. It's so detailed. 25:01.831 --> 25:05.447 They almost did like individual Christmas lights of kerosene. I wonder 25:05.947 --> 25:09.207 if you do that because then there's no single ignition point. Like, it doesn't look 25:09.707 --> 25:12.115 like there's a single ignition point for the fire. It looks like it all kind 25:12.615 --> 25:15.120 of spread quickly or something. Maybe it looks less like arson that way. I'm not 25:15.620 --> 25:18.095 sure why they did that much. You know, why not just douse the thing in 25:18.127 --> 25:20.257 gasoline and just throw a match, you know? But that's how they did it. 25:20.305 --> 25:23.838 It was— and it looks like it really smokes before it burns, you know? 25:23.935 --> 25:27.242 Like, so interesting. There must have been a very specific reason why that was the 25:27.742 --> 25:30.301 method chosen. Yeah. And I mean, gave them a lot to do. And, uh, 25:30.688 --> 25:33.908 and then so they have to sit outside and like make sure that it caught 25:34.408 --> 25:37.696 properly. And, uh, during their, uh, time out here, Tommy is 25:37.793 --> 25:41.237 telling Henry, he's like, hey, I want to date this lady, but she said, 25:41.334 --> 25:43.776 you know, she's not going to go with me unless I bring someone for her 25:44.276 --> 25:46.307 friend. She wants to bring a friend along. Will you come date this girl? 25:46.375 --> 25:49.895 Yeah, because she's Jewish, but she's prejudiced against Italians. She Italian guy. 25:49.960 --> 25:53.599 Can you believe that? A Jew brought President Prejudice against Italians. 25:54.001 --> 25:57.198 Great line in that. Um, so yeah, so this 25:57.310 --> 26:00.692 is Karen here, and Henry wants nothing to do with 26:01.192 --> 26:03.220 it. So he's got like a job to do that night, like he's got somewhere 26:03.720 --> 26:06.157 to be, he's supposed to meet Paulie or something, and he's just preoccupied. He's disinterested. 26:06.270 --> 26:09.190 Exactly. Um, so he gets dragged on the date, and this is kind of where 26:09.690 --> 26:12.821 we get the switchover of the voiceover. Yeah, yeah, that's right. And now we get— 26:13.321 --> 26:16.259 Karen is just, again, great. I don't know how many movies have done like the 26:16.663 --> 26:20.134 multiple voiceover to this point, but I really, really love this. He does 26:20.634 --> 26:23.845 it in Casino as well. Yeah, yeah. Um, but super effective. Absolutely. 26:23.893 --> 26:27.251 And Karen, we get her perspective that like Henry was just uninterested and, and kind 26:27.751 --> 26:31.333 of, you know, it was so rude and it's like whatever. And but, but basically 26:32.345 --> 26:35.317 Tommy and Karen's friend, they convinced the two of them to double date again even 26:35.366 --> 26:38.900 after a terrible first date. And so they agree, but then Henry stands around, 26:38.916 --> 26:41.198 doesn't show up. So it's, it's just the three of them at dinner and she's 26:41.327 --> 26:44.665 super embarrassed and humiliated. So she tells— she gets Tommy that, 26:44.874 --> 26:47.085 you got to take me to wherever Henry is. He's at the cab stand because 26:47.585 --> 26:50.360 of course he is. And so she gets out and is like yelling at him, 26:50.376 --> 26:54.055 and all the guys are laughing at Henry, and he's 26:54.555 --> 26:55.105 kind of like, whoa, whoa, whoa, hey, I thought it was next weekend, like what 26:55.605 --> 26:57.978 are you talking about? Like, you, you were bored, I thought you'd stand me up. 26:58.026 --> 27:00.948 Like he's trying to like play it back at her. And his voiceover comes in, 27:00.964 --> 27:03.906 is kind of like, she was yelling at me, she was so angry, but she 27:04.406 --> 27:07.938 was so sexy. Like, that's when he starts liking her. And that takes 27:08.438 --> 27:10.975 us to their, I guess technically, second date since he stood them up— stood her 27:11.475 --> 27:12.372 up on the, on the what should have been the second date. And it's one 27:12.872 --> 27:16.082 of the kind again, classic scenes of the movie. 27:16.274 --> 27:19.943 Yeah, one of the best single-take tracking shots 27:19.959 --> 27:23.228 in movie history. For 3 full minutes, a little over 3 27:23.728 --> 27:26.994 minutes, we are a single shot following Henry and Karen through the 27:27.010 --> 27:30.198 back door to the Copacabana. Yeah, uh, and, and I 27:30.698 --> 27:34.220 wonder how many individual actors there were in that scene because it's like, it's not 27:34.720 --> 27:38.690 just going through a facility, there are people everywhere, their interactions 27:39.190 --> 27:42.167 happening the entire— well, there's a huge crowd out front that they're going past, 27:42.215 --> 27:45.647 right? And then he's saying hi to everybody, he's throwing $20 bills at everybody. 27:45.696 --> 27:49.383 And this is, you know, every time you— yeah, I would just go into places 27:49.431 --> 27:52.718 and start saying that. This is like the mid-1960s probably at this point. And he's 27:53.218 --> 27:55.401 throwing $20 a pop at people. That's a lot of money, right? And so, 27:55.789 --> 27:58.327 and there's still stuff. And like, you know, he gets in and there's people waiting 27:58.375 --> 28:01.738 to like get actually seated once they're inside the place. He and Karen come 28:01.770 --> 28:05.309 up and they're lift— they're carrying a table over to a blank spot 28:05.809 --> 28:08.493 in front for him to sit down and watch Henny Youngman for all people, 28:08.525 --> 28:11.978 which is like— I reference Uh, the, the carrying the 28:12.478 --> 28:16.538 table and just producing a new front row seat out of the ether. I referenced 28:17.038 --> 28:19.878 that probably monthly. I think about that all the time. It's so good. Uh, 28:20.312 --> 28:23.989 it's really good. I mean, that, that shot is so immersive, like walking 28:24.101 --> 28:27.634 through the Copa in the back of the kitchen and just how long it 28:28.134 --> 28:32.178 takes. It's just— and then it makes the arrival to the actual 28:32.611 --> 28:36.008 venue just seem so magical, you know, like, whoa, like This 28:36.508 --> 28:38.873 is the place to be. And we like took that route there. And I love 28:39.373 --> 28:41.363 it. Karen asks him, what do you do? Yeah, what do you do? And he 28:41.863 --> 28:45.336 goes, I'm in construction. And then she does the hand check, the check. 28:45.803 --> 28:49.253 Oh yeah, yeah. Oh, you have soft hands. I'm a union delegate. 28:49.317 --> 28:53.361 That's right. Uh, so they're watching Henny Youngman, and the Henny 28:53.393 --> 28:56.839 Youngman audio is happening. Yes. So we 28:57.339 --> 29:01.464 get Henny Youngman telling his jokes while it's showing this Air France kind of robbery. 29:01.513 --> 29:04.738 That's right. So they're going and stealing the money, $420,000 they got from Air France. 29:04.787 --> 29:08.381 Again, mid-'60s. The Henny Youngman jokes going over it. 29:08.429 --> 29:11.015 I like that, uh, I like that juxtaposition there. 29:12.043 --> 29:15.979 Oh man. Okay, so then we get a scene where Karen has apparently brought— 29:16.059 --> 29:19.352 it looks to me like Karen has brought, uh, Henry to like her family's, 29:19.384 --> 29:22.259 uh, country club or something, tennis club, you know, 29:22.275 --> 29:25.006 something like that. Um, I don't know if they also live in Queens, it's a 29:25.506 --> 29:27.721 nicer part of Queens, or like what, you know, but they're somewhere in, in New 29:28.221 --> 29:31.303 York and, and clearly members of this country club. And there's a guy who says 29:31.319 --> 29:34.022 hi to Karen, this guy Bruce or whatever, kind kind of not hits on him, 29:34.071 --> 29:37.369 hits on him, but he's clearly like, does not consider Henry at 29:37.869 --> 29:40.105 all. Like, it's just kind of like, okay, whatever. Hey, Karen, he looks very swimmer-ish. 29:40.570 --> 29:43.285 Yeah, a little bit. Also a lot like a couple of the guys in the, 29:43.397 --> 29:46.643 uh, Delta Chi or whatever from Trading Places, the, the fraternity. 29:46.691 --> 29:49.776 He looks like a couple of those guys. Oh yes, together. Yeah. Um, but you 29:50.276 --> 29:52.699 know, and it's— and I literally wrote in my notes, Bruce, don't hit on Karen, 29:52.748 --> 29:56.367 this is gonna go bad for you. Um, yeah. And Karen's voiceover 29:56.867 --> 30:00.591 here, she says about Henry, like, why she likes him, you He was, he was 30:01.091 --> 30:04.265 exciting. He was nice. People wanted to be nice to him and he knew how 30:04.765 --> 30:07.666 to handle that. Yeah. Yeah. So it's kind of interesting. Yeah. She kind of knew 30:07.778 --> 30:11.323 he wasn't fully like, she didn't believe that 30:11.823 --> 30:15.831 he was a union delegate at that point. It's clear that she is suspicious 30:15.895 --> 30:18.879 of sort of like where all his money comes from. Why do the seas part 30:18.927 --> 30:22.441 for him wherever he goes? But she's also like totally having fun being 30:22.489 --> 30:25.296 along for the ride. And so she's not asking too many questions, at least not 30:25.796 --> 30:29.103 at this stage. And then we see Maury's Wigs, an ad for 30:29.119 --> 30:32.494 Maury's Wigs. And Maury is a new character being introduced to, who's obviously 30:32.994 --> 30:36.269 somebody that, you know, again, is sort of like involved with the crew. He's not 30:36.350 --> 30:39.885 in the mafia. He's a, he's a, what they call civilian, right? But he's 30:40.385 --> 30:43.339 obviously very involved. And he has, you know, 30:43.355 --> 30:46.810 like Jimmy owes him money and there's like stuff. I think like he was maybe 30:47.310 --> 30:49.766 involved in figuring out the Air France thing or something. Like he's involved in a 30:50.266 --> 30:52.698 lot of the heists as like an information guy, it seems like. Like, um, 30:52.925 --> 30:56.146 and then he also seems to have a gambling problem and gambles 30:56.243 --> 30:59.059 through Jimmy. That's a good point too. So there's, so there's all kinds of stuff 30:59.092 --> 31:02.372 there. And he, but he is like very brazen. Like Maury from 31:02.566 --> 31:05.293 the jump is like, you know, fuck Jimmy. And it's like, and Henry's like, 31:05.309 --> 31:08.730 don't say fuck Jimmy. Fuck him in the ear. Fuck him in the other ear. 31:08.924 --> 31:12.160 You're gonna— that's bad. Like, go tell him yourself, like, you fucker. Like, 31:13.060 --> 31:16.579 uh, and then yeah, they end up getting in a little 31:17.079 --> 31:20.015 bit of a scuffle and Maury's, uh, wig falls off and it makes everyone start 31:20.048 --> 31:24.045 laughing. Thank God for toupees falling off. I wonder how many lives have been saved 31:24.545 --> 31:27.523 moved by just like a toupee falls off and someone's, I'm gonna laugh too hard, 31:27.539 --> 31:30.827 I can't rip your throat out now. She's literally like strangling with a telephone cord 31:31.327 --> 31:34.531 at the time. Uh, so now we get Henry gets 31:35.031 --> 31:38.347 a call, uh, from Karen, and he goes to pick her up, 31:38.363 --> 31:41.618 and she's very upset. Yeah. And she tells him his story 31:41.650 --> 31:45.002 when he picks her up, that Bruce the neighbor, you know, 31:45.018 --> 31:47.920 basically sexually assaulted her, tried to, 31:48.369 --> 31:51.079 you know, push it really far, and then kicked her out of the car. 31:51.191 --> 31:55.763 Yeah. And, uh, and you know, Henry's just like fucking furious, 31:55.843 --> 31:58.666 takes her home. Bruce is in front of his car with his other Theta Chi 31:58.730 --> 32:02.115 dipshit buddies, like polishing a Corvette or whatever. 32:02.179 --> 32:05.435 And Henry, just no words, like, all right, are you okay? Gets out of his 32:05.451 --> 32:09.141 car and walks across the street and starts pistol-whipping him in the face. 32:09.317 --> 32:12.782 Very satisfying. It's not even pistol-whipping. I mean, he's got— he's holding— it's like a.38 32:13.282 --> 32:16.391 Special. It's a little pistol. He's holding it where he's just slamming the side of 32:16.891 --> 32:19.894 it into the guy's head over and over. I mean, 10, 32:19.990 --> 32:23.348 11, 12 times. I mean, something like that. And then as the other guys, 32:23.380 --> 32:25.581 you know, they're in shock, they're not gonna, whatever. He kind of points the gun 32:25.645 --> 32:28.892 at them like, "Fuck off." Goes back over and just hands it 32:28.989 --> 32:31.976 to Karen and goes, "Hide this." And her voiceover kicks in. It's like, 32:32.477 --> 32:35.674 most women would've run the first time their boyfriend asked them to hide a bloody 32:35.771 --> 32:39.415 gun. Like, but instead we 32:39.753 --> 32:42.967 cut to the wedding. And then it cuts right to the wedding, which at 32:43.208 --> 32:46.728 first is like showing them having like a religious, like a Jewish religious ceremony. 32:46.811 --> 32:50.143 That's right. Like a mazel tov. Kicks off and very modest, you know, and Henry's 32:50.643 --> 32:54.012 family's there and her family's there and stuff. And then it goes to like the 32:54.028 --> 32:57.993 mafia wedding, which is just the mafia people, and it's this big 32:58.025 --> 33:01.605 ballroom and everyone's in, you know, black tie, beautiful place. 33:01.701 --> 33:05.409 Yeah, yeah. Uh, Karen's voiceover 33:05.909 --> 33:09.230 here, we're going around, we're meeting the family, and she's like, I went around and 33:09.262 --> 33:12.183 just what a whirlwind it is meeting all the people for the first time. 33:12.248 --> 33:15.988 And everyone had a son, everyone was named Petey or Paulie, and they all were 33:16.488 --> 33:19.744 married to women named Marie, and their daughters were all named It's, it's legit. 33:19.792 --> 33:23.196 My family's not even Italian, but we're Catholic, and the number of Marys, Maryanns, 33:23.228 --> 33:26.777 Mary Ellens, Marians that are in my family, it's like ridiculous. 33:26.905 --> 33:30.662 It's a ridiculous number. But yeah, like everybody is Pete or Petey 33:30.790 --> 33:34.307 or Paul or Paulie or whatever, and Marys and all this stuff. And they named 33:34.807 --> 33:38.272 all their kids Pete and Paul. Yeah, Marie and whatever. And they're getting 33:38.401 --> 33:41.516 envelopes full of cash as their wedding gifts. So I love the scene of them 33:42.016 --> 33:45.541 just receiving these little window envelopes where you can see Ben Franklin Joplin's face sticking 33:45.557 --> 33:48.663 out the front there. And again, still, we're still in the '60s, so just trying 33:49.163 --> 33:51.931 to think about exactly how much money— amazing— is, is there. And she even says, 33:51.963 --> 33:54.451 like, what about the bag? They're dancing like their first dance. Yeah, whatever. She's like, 33:54.467 --> 33:57.172 what about the bag? The bag with all the money? He goes, nobody's stealing that 33:57.188 --> 34:00.296 here. Yeah, this is the safest place in the world for a bag full of 34:00.796 --> 34:03.886 money that belongs to you, you know? Like, yeah. But they're still living with Karen's 34:04.386 --> 34:07.604 parents at this time. Yes. And, uh, we get Karen and her parents sitting 34:07.653 --> 34:10.743 there, you know. Her mom's like, you know, where's Henry? You know, he's out late. 34:10.792 --> 34:13.875 A married man shouldn't be out this late. What kind of people are these? 34:13.943 --> 34:17.348 Uh, Carmella's mom in The Sopranos, who Great actress. 34:17.396 --> 34:20.637 I mean, always plays a character that I would never want to spend Thanksgiving 34:20.685 --> 34:23.927 with, but very good at it. Absolutely. Yeah, love to hate kind of thing. 34:24.023 --> 34:27.425 Yeah. And, uh, and Henry finally pulls up when it's like 34:27.441 --> 34:30.538 starting to get light out, and they both spring up, and immediately 34:30.554 --> 34:33.988 he gets to the door and Karen's mom is yelling at him, and he just 34:34.488 --> 34:37.935 like turns around and gets back into the car. He starts laughing, he's laughing his 34:38.000 --> 34:40.888 ass off. Tommy's in the car, and I love because Tommy's like goaded enough to 34:41.388 --> 34:43.878 go, yeah, Henry, what kind of people are you? Henry, why are you You up 34:44.378 --> 34:47.451 all late, Henry? Come on, Henry! Correct response 34:47.951 --> 34:51.541 from a grown man. I'm sorry, like, that's— it's unacceptable behavior for you to 34:51.557 --> 34:54.822 get screamed at when you walk in the door. Oh, they didn't have kids yet 34:55.322 --> 34:57.845 or anything. I mean, I think— I do think they're like newlyweds though. It is 34:57.942 --> 35:01.370 pretty fucking wild. Yeah, when you're newly married. 35:01.984 --> 35:04.726 Um, but yeah, and so then we get Karen, and we're still in kind of 35:05.226 --> 35:08.010 her voiceover world. Yeah, you know, zone. And she goes to this sort of hen 35:08.042 --> 35:11.733 party with all the mafia wives. Right? And so her descriptions 35:11.878 --> 35:15.455 here are so good. And you got these women that, yeah, like they've got bad 35:15.955 --> 35:18.050 makeup, they got like, you know, there's one who's got like a cold sore or 35:18.114 --> 35:20.176 something on her lip. I think one or two of them's got like a black 35:20.256 --> 35:23.315 eye. Like it's just, these are these. And then she says, and they're talking 35:23.815 --> 35:28.274 about like hitting their kids and how they're— so it's all like negativity and grossness 35:28.323 --> 35:32.441 and stuff. Yeah. And she's talking about, she says, you know, they're, uh, they're dressed 35:32.941 --> 35:36.370 cheaply, thrown together outfits, they wear too much makeup, they got bad 35:36.386 --> 35:39.400 skin, bad hair. Like it's just, it's all kind of a nightmare. So then when 35:39.900 --> 35:42.705 it cuts back to to, uh, you know, her at home with Henry, where they 35:43.205 --> 35:45.067 got their own place now. They're not living with her parents anymore. You know, 35:45.083 --> 35:48.264 she's complaining. She's saying to him like, what, what's going on? Like, like, God forbid 35:48.764 --> 35:51.504 you go to jail. Like, this is awful. Like, what happens? He goes, nobody goes 35:52.004 --> 35:55.145 to jail unless they want to. Yeah, Mickey went to jail to get away from 35:55.645 --> 35:57.944 his wife. Like, this is not— like, don't worry about it. Like, this is not 35:58.444 --> 36:01.837 gonna happen kind of thing. Yeah, yeah. Or there's never going to be a consequence. 36:01.935 --> 36:04.237 That's the best part. No one's ever gonna get caught. 36:06.507 --> 36:10.085 And she is explaining how everything we did, we did 36:10.133 --> 36:13.502 together. There were never any outsiders. So we only went to each 36:14.002 --> 36:17.480 other's houses. Every birthday, every wedding, everything. It was just us. 36:18.379 --> 36:22.085 And, you know, they're kind of showing some of the excesses they have now. 36:22.165 --> 36:25.389 They have their nice house, the closets, like crazy amount of shit in there. 36:26.079 --> 36:29.721 And, and Henry breaks off. He has this big, like, stack of hundreds. 36:29.769 --> 36:33.074 He has, he has 2 inches of money. That's right. And he breaks, he breaks 36:33.574 --> 36:36.892 a little off for Karen, and she immediately goes down to to give him head, 36:36.989 --> 36:40.022 which is nice. I like his like, oh, oh, all right, 36:40.294 --> 36:42.653 I'll stick around for a moment. Sure, 36:43.440 --> 36:47.018 twist my arm. Um, but yeah, then there— we do get 36:47.518 --> 36:49.441 a scene where Karen sort of shows us a little bit of the, the sort 36:49.941 --> 36:53.229 of less fun side, which is, you know, the cops show up, we got a 36:53.729 --> 36:56.566 search warrant, and she's just like, whenever they came, you know, like it would happen 36:57.066 --> 36:58.733 every once in a while, really they were looking to get bought off. They were 36:59.233 --> 37:01.637 looking for, you know, money. Uh, if they did find anything, no big deal, 37:01.653 --> 37:04.736 we've— we kept money for that. That, you know, and she said, I would always— 37:04.849 --> 37:06.969 I was always nice to him. I'd offer him coffee, bring— let him in, 37:06.985 --> 37:10.616 like, whatever. She's like, Mickey Conway, Jimmy's wife, would spit on the floor and 37:11.116 --> 37:13.765 curse at them. She would spit on her own floor. I never understood that. 37:13.861 --> 37:16.608 I'm like, this is a woman with her head on straight. Like, like, why are 37:16.656 --> 37:19.130 you going to, like, do that to your own home just to be, like, 37:19.146 --> 37:21.925 mad at the cops? Like, they're just doing their jobs too. Everybody's getting a piece. 37:22.182 --> 37:25.717 Yeah. It's so important to the movie that we get, like, Karen's point of view 37:26.217 --> 37:29.925 on her culture shock of being a part of this. Yep. Coming from a 37:30.425 --> 37:33.353 very different world. It just makes her character just, yeah, so much better. We kind 37:33.853 --> 37:37.708 of zoom forward into the future now. Yes, we do. So we're in 1970 Queens, 37:38.695 --> 37:42.079 and we're at— we're not at the Bamboo Lounge, we're just at a different one 37:42.128 --> 37:44.299 of the other bars that somebody owns. I don't know if we see this. 37:44.558 --> 37:47.053 Henry owns this bar. I can't remember the name. It's like the Sweet Spot or 37:47.553 --> 37:50.947 something like that. It's something like that, but it's Henry's bar. Okay. And there's 37:51.447 --> 37:54.463 a little party going on for a guy named Billy Batts, played by— I can't 37:54.963 --> 37:58.237 remember— Frank Vincent. Frank Vincent. Yeah, there you go. Phil Leotardo in The Sopranos. 37:58.577 --> 38:01.732 And this is another one of the kind of most memorable classic scenes from the 38:02.232 --> 38:04.553 movie. He's there celebrating he got out of prison. He was in prison for 6 38:05.053 --> 38:07.115 years. He's out. He's ready to, you know, get back on the street, do what 38:07.615 --> 38:10.244 he's gonna do. He's drinking, you know, Henry's saying hi, Jimmy's there, like, whatever. 38:10.293 --> 38:12.526 They're all kind of having a good time. And Tommy walks in with a date, 38:13.011 --> 38:16.409 and when Billy sees Tommy, he's like, 38:16.426 --> 38:19.908 Tommy, get over here, I'm back, whatever. And Tommy, right off the bat, 38:19.924 --> 38:22.715 it's like, oh, this fucking guy. Like, it's like he never— it's like Billy always 38:22.748 --> 38:25.636 gave him shit when he was younger. Yeah. And now he's like not looking forward 38:26.136 --> 38:27.937 to seeing him. Him. And he goes, oh, we used to call this guy Spit, 38:28.018 --> 38:31.026 you know, Spit Shine Tommy. He'd make your shoes look like mirrors. He was so 38:31.107 --> 38:33.210 good with his shine box, whatever. And he goes, hey, I don't know if they 38:33.710 --> 38:35.796 told you, Billy, you've been away for a long time. I don't shine shoes anymore. 38:36.425 --> 38:38.748 You don't use them anymore. You gotta stop breaking my balls. And he goes, 38:38.780 --> 38:40.522 well, if I was gonna break your balls, I'd tell you to go get your 38:40.538 --> 38:43.976 fucking shine box. And it's just— he's really pushing buttons 38:44.073 --> 38:46.881 hard. And I get that. I mean, 38:47.139 --> 38:51.059 obviously Tommy's an overreactor, but is that— sometimes you have that situation where 38:51.188 --> 38:54.215 if you have a friend who you were friends with in middle school and they 38:54.715 --> 38:57.532 had a sibling that was a few years older, they see you as like, 38:57.677 --> 39:00.496 oh, my little brother's friend, even if you're in your 20s. Yeah, right. Like, 39:00.512 --> 39:04.022 fuck yeah, I'm not getting my shine box anymore. I'm sorry, you're literally 39:04.070 --> 39:07.033 a year and a half older than me, dude. Like, yeah, 39:07.339 --> 39:10.639 uh, yeah. So Tommy, Tommy leaves. He's like, 39:10.655 --> 39:14.112 keep him here, keep him here. Takes his date home. Yeah. And, 39:14.193 --> 39:17.460 and when they're talking about it, uh, he's like, I didn't insult anybody. 39:17.525 --> 39:20.048 And, uh, De Niro's saying, you insulted him a little bit. A little bit. 39:20.097 --> 39:23.246 Insulted him a little bit. Drinks on us. So they Hey, treat him drinks on 39:23.746 --> 39:26.830 the house. What a bad party for coming home from jail after 6 years. 39:27.569 --> 39:30.719 Hey, I'm gonna just hang out at a bar with the same henchmen I got 39:31.219 --> 39:34.373 arrested with. Yeah, right. Yeah, there's like nobody there. Like, here's the thing, 39:34.824 --> 39:37.464 I don't think Billy's part of Paulie's crew because there, 39:37.480 --> 39:40.330 there's a scene later where Paulie's talking to Henry and it's sort of like clear 39:40.362 --> 39:42.826 that he's not one of his guys. Other guys are, because I think, uh, 39:43.035 --> 39:46.337 Paulie and all them, they're part of the Lucchese family. I think, uh, they say 39:46.837 --> 39:48.801 Billy's with the Gambinos, so it's like a different one of the Five Families. 39:48.914 --> 39:51.177 Why would they be at Henry's bar? I think it's maybe because it's in the 39:51.677 --> 39:54.520 neighborhood. Like, I mean, I guess there's probably at least some crossover where people actually 39:54.665 --> 39:57.756 live or grew up or whatever. I don't know for sure, but yeah, apparently that's 39:57.805 --> 40:00.541 where Billy is. And Billy knew Tommy when Tommy was younger, so there's obviously some 40:01.041 --> 40:04.179 crossover, you know, some mix-up. Exactly. But Tommy comes out to be a bad idea. 40:04.244 --> 40:07.267 Yeah, Tommy comes back, uh, and basically, 40:08.087 --> 40:11.239 uh, there's nobody in the bar now except for Henry and Billy and 40:11.739 --> 40:15.069 Jimmy. And Tommy just goes in on him and starts beating him with 40:15.101 --> 40:18.145 the— with a gun, I think, right? Like kind of the way, uh, Henry came 40:18.645 --> 40:21.400 at Bruce. Does he start stabbing him? Yeah, no, because he gets the knife later. 40:21.531 --> 40:23.755 Oh, that's right. Yeah, so they're beating him up, they're kicking him while he's on 40:24.255 --> 40:28.113 the ground. This scene of Jimmy De Niro's— his face 40:28.289 --> 40:31.397 as he's kicking, it doesn't show him doing the kicks, but it just shows his 40:31.493 --> 40:35.194 face looking down. I love that so much. He— it feels like 40:35.694 --> 40:39.200 Jimmy wanted to beat Billy's ass for Tommy more than Tommy wanted to 40:39.700 --> 40:43.013 beat his ass. Like, that's the thing. Yeah. So, so Billy, 40:43.269 --> 40:47.082 you know, obviously this guy is done for, so they're wrapping him up in 40:47.114 --> 40:50.191 aprons, and Tommy is like still in psycho mode. 40:50.255 --> 40:53.523 He's just like— and you know, Henry, I didn't 40:54.023 --> 40:57.007 want to get blood on the floor. Yeah. He's like so concerned for his buddy's 40:57.507 --> 41:00.381 bar, you know. He's like, so sorry, it's your floor, man, there's blood on it, 41:00.526 --> 41:03.894 I'm so sorry, you know, kind of thing. But yeah, so the plan is 41:03.927 --> 41:06.900 to go, we're gonna, we're gonna take the body, we're gonna bury him. I gotta 41:07.400 --> 41:10.130 shovel at Tommy's— Tommy has a shovel at his mom's. Exactly. So they're gonna go 41:10.630 --> 41:12.588 to his mom's house and get the shovel, and they go there, and they're— it's 41:13.088 --> 41:14.854 middle of the night, they figure she'll be asleep. He's even saying, oh, let's be 41:15.354 --> 41:17.569 quiet, we go in, whatever. But of course she's up because she heard them drive 41:18.069 --> 41:20.461 up or whatever, and you know, she hasn't seen Tommy in a while. And of 41:20.961 --> 41:24.243 course this is— this actress is Martin Scorsese's mother. And so she does a great 41:24.259 --> 41:27.541 job sort of just being the old nonna and like talking to them, whatever. 41:27.718 --> 41:30.983 "Gotta feed 'em." "What happened? What happened? How you doin'? 41:31.160 --> 41:34.535 What happened?" "You got blood on you. Where'd this come from? What's going on?" "Oh, 41:34.551 --> 41:36.881 Jimmy will tell you." And they go, "Jimmy—" "Oh, don't worry about it. It's okay." 41:37.266 --> 41:40.448 And they eventually tell her that, okay, they're eating some food and it's really good. 41:40.496 --> 41:43.370 And they tell her, "Oh, we hit a deer. That's where the blood came from. 41:43.418 --> 41:46.283 So I'm gonna borrow this knife 'cause I gotta hack it up. The, what do 41:46.783 --> 41:48.630 you call it? The paw, whatever, the foot, like gotta think." And they go, 41:48.646 --> 41:50.783 "The hoof, the hoof. Yeah, the hoof got stuck in the grill. I gotta hack 41:51.283 --> 41:53.483 it off." Oh, sorry, Mom, it's a sin. I can't leave it there. Like, 41:53.499 --> 41:57.480 you know? Yeah. Jimmy, the way— this always 41:57.656 --> 42:00.883 killed me— the way he puts ketchup on his plate where he's like rolling the 42:01.383 --> 42:04.687 ketchup bottle sideways in his hand. I've never seen anyone do that. And we would 42:04.719 --> 42:07.544 say Goodfellas style to put your ketchup on that way. 42:08.170 --> 42:11.156 One of the things that Mom shows him, she's like, oh boy. And it's just, 42:11.252 --> 42:14.816 it's such a great scene of visiting 42:14.848 --> 42:18.186 a parent that feels like they don't see you enough because they're busting out everything. 42:18.267 --> 42:21.048 I got to tell you about everything. Anything. Did I ever show you my painting? 42:21.466 --> 42:25.117 And she shows them the painting. Tommy says, I love 42:25.617 --> 42:28.365 this one. Uh, it's a guy on a boat with two dogs. One dog goes 42:28.462 --> 42:31.178 this way, one dog goes the other way, and this guy's looking at me like, 42:31.194 --> 42:34.071 hey, uh, what do you want from me? For me? And then Jimmy goes, 42:34.344 --> 42:37.300 he kind of looks like somebody we know, doesn't he? Go, oh my God, 42:37.316 --> 42:40.204 you're right! You take off the beard, it's a spitting image! It's him! Because they're 42:40.704 --> 42:43.811 saying he looks like Billy Batts. Yeah. Uh, so, 42:44.361 --> 42:47.998 so Henry's explaining as they're kind of taken out Billy Batts is 42:48.030 --> 42:51.613 that, you know, he was a made guy and what the concept of that means, 42:51.645 --> 42:54.842 right? Now it's dangerous for them. The idea about being made is that you're 42:54.858 --> 42:57.835 in the books, you're officially a member of the family, and therefore you're— no one 42:58.335 --> 43:01.024 can act against you except for somebody who's at your level. Exactly. And there you 43:01.056 --> 43:03.906 basically have to get cleared. Any made— any, anytime you're killing a guy, you gotta 43:04.406 --> 43:06.595 get a boss to clear that, like really high, probably even higher than Paulie, 43:06.611 --> 43:09.895 it feels like, right? Really high up person's got to okay the take— the 43:10.395 --> 43:13.066 killing of a made guy. And made guys can kill anybody who's not made, 43:13.195 --> 43:15.122 and that is all good. Nobody gives a shit. They can do whatever they want. 43:15.173 --> 43:18.098 So this is bad. Like Tommy— no, none of that. First of all, We learn 43:18.598 --> 43:20.572 a little bit more details later, but I'll say it here. Jimmy can never be 43:21.072 --> 43:23.432 made because he's Irish. Henry can never be made because he's half Irish, even though 43:23.464 --> 43:26.967 his mom's Sicilian from the same part of Sicily that Paulie 43:26.999 --> 43:29.156 and his family came from. You got to be— it doesn't matter. Got to be 43:29.172 --> 43:32.360 100% Italian. That's the only way. Now Tommy is 100% Italian, but he's 43:32.376 --> 43:35.821 never been made. So the three of them are not in the category of person 43:36.095 --> 43:38.945 within this world that Billy is. So the fact that they killed him is a 43:39.074 --> 43:42.294 big problem. Yeah. Uh, and, and the problem they need to sort of, you know, 43:42.359 --> 43:45.755 keep on the wraps or whatever. Um, but yeah, so he was a maid guy. 43:45.819 --> 43:48.478 We get that whole explanation. And the next scene is, uh, 43:48.959 --> 43:52.260 you know, uh, Henry says, you know, Saturday night was for the wives, 43:52.548 --> 43:55.881 Friday night at the Copa was for the girlfriends. And so it's all of them 43:55.929 --> 43:58.524 hanging out, you know, Jimmy— because Tommy's not married, but Jimmy and Henry are. 43:58.733 --> 44:01.536 Yeah, these women are not— it's not Karen and it's not Mickey. These are not 44:02.036 --> 44:05.141 their wives. And I like that they can do that every Friday and it's the 44:05.641 --> 44:09.243 same group of girlfriends who know, oh, I know this is like your Friday 44:09.743 --> 44:12.063 night girl. Yeah, right. You know, but you also have a wife who I, 44:12.335 --> 44:15.417 you know, I'm not supposed to know, but, uh, I think the girlfriends all 44:15.917 --> 44:18.051 know about the wives. The wives just don't know about the girlfriends, right? But I 44:18.551 --> 44:20.828 mean, they don't like know them in real life. They know that there is one. 44:21.487 --> 44:24.569 Uh, but yeah, I mean, seems like a hell of a time, I gotta say. 44:24.634 --> 44:28.214 I mean, uh, morally, uh, not great, but geez, 44:28.246 --> 44:31.185 seems like a heck of a time. And Tommy is really upset that his lady, 44:31.441 --> 44:34.845 uh, is complimentary towards Sammy Davis Jr. So it does show like 44:34.910 --> 44:38.554 these guys are deeply— I mean, it's racist enough to say we 44:39.054 --> 44:41.656 have this club that you have to be 100% Italian to be a part of. 44:41.705 --> 44:44.690 So it's not really surprising that they're racist against Black people. 44:44.819 --> 44:48.481 They're into the whole pureblood thing. Yeah, yeah, nasty. But yeah, 44:49.497 --> 44:52.886 um, so, uh, Paulie, uh, they're at Paulie's 44:53.386 --> 44:55.999 house now. So after we're at the Copa for a bit, we have this conversation, 44:56.063 --> 44:59.058 and Paulie pulls Henry aside and he's like, hey, 44:59.331 --> 45:02.245 you know, I don't know if he asked directly about him, but he's hinting at 45:02.745 --> 45:04.985 who it is, asking about Billy Batts. Like, did you know what happened to this 45:05.485 --> 45:07.224 guy? Like, a friend from the other side of town, you know? Yeah, what happened 45:07.724 --> 45:10.631 to him? And Henry's like, uh, he came into the bar and then left, 45:10.679 --> 45:13.204 and that was it. Yeah, yeah, just like, don't have anything. There's over— you hear 45:13.704 --> 45:15.422 from— you hear something, you're gonna tell me, right? So, yeah, yeah, Paulie, of course 45:15.922 --> 45:19.419 I'll hear something, you know. And so there's that. And so then, uh, Henry and 45:19.516 --> 45:22.304 Jimmy are then talking, uh, you know, in a different scene when Jimmy says, 45:22.883 --> 45:25.266 we gotta— we gotta— you know that thing we did? We gotta go deal with 45:25.766 --> 45:27.713 it. We gotta go move it. We gotta go. What do you mean move it? 45:27.762 --> 45:30.714 I mean, it's like they're sold the land that it's sold, and they're gonna build 45:31.214 --> 45:34.263 like condominiums. Like, we gotta move it. Uh, dude, it's been 6 months. 45:34.587 --> 45:37.909 Oh my God, in, in no kind of preservation to the body, in the 45:38.409 --> 45:42.091 ground for 6 months. Crazy. Oh, that's foul. Yeah, so they have to go dig 45:42.591 --> 45:45.931 him back up. The lighting of this scene is so good. 45:46.044 --> 45:49.434 It is just like hell. Yes, you know, it's all red from the 45:49.643 --> 45:52.745 headlights from the car, basically. Like, oh, it's, it's really good. 45:52.793 --> 45:55.926 And they're throwing up and they, you know, and then it does show like a 45:56.426 --> 46:00.184 consequence to the family because Henry now, he's got kids and everything, and Karen 46:00.684 --> 46:02.900 and the kids are walking by as he's hosing out the trunk of the car, 46:02.916 --> 46:05.725 like covering his mouth, like She's like, oh, what is that? You know, I hit 46:06.225 --> 46:09.525 a skunk. I hit a skunk, Karen. Get out of here. Uh, there, 46:09.733 --> 46:13.341 there are several scenes in this movie where it shows like some really bad act 46:13.841 --> 46:16.435 that he's committing as a member of the, the organized crime, and then it'll show 46:16.532 --> 46:20.155 kind of an effect on his family. Yeah. Um, so yeah, the kids have to 46:20.655 --> 46:24.148 smell the, the disgusting 6-month-old decayed body. Yeah. 46:25.190 --> 46:29.182 Um, so, so he's gotten an apartment for his girlfriend Janice. 46:29.295 --> 46:32.068 That's right, he's got an apartment, uh, downtown, I think he says, or a little 46:32.101 --> 46:35.312 bit further away, not, not near the house, but he's there a lot. And there's 46:35.812 --> 46:38.636 like a party going on there, and you've got Janice is showing her girlfriends around, 46:39.070 --> 46:42.298 you know. And one of those girlfriends is Debbie Mazar, who's in Entourage and a 46:42.798 --> 46:46.249 bunch of other stuff, uh, whose name's Sandy. She comes back later, but basically like 46:46.297 --> 46:49.301 they're all kind of looking around. And there's a point where, uh, you know, 46:49.349 --> 46:52.882 Henry sort of tackles Janice playfully on the bed, like, oh, whatever. But like 46:53.043 --> 46:56.158 as they're leaving the room, he and, he and Sandy have a little moment, 46:56.190 --> 46:59.370 and there's clearly like a mutual interest there. So maybe he's gonna have have, 46:59.707 --> 47:02.706 you know, the side piece of the girlfriend while he's got a wife. Like, 47:02.738 --> 47:06.041 he's got to have multiple girls in play here, but it doesn't quite 47:06.541 --> 47:10.307 happen yet. But yeah, he's shopping for the replacement girlfriend at the housewarming party 47:10.451 --> 47:14.059 for his current girlfriend. Or maybe it's shopping for the girlfriend that he'll get 47:14.559 --> 47:17.282 when he leaves Karen to marry Janice. Maybe that's his plan. It's like, you know, 47:17.298 --> 47:20.473 stacking them up or something. Uh, and they were talking about 47:20.973 --> 47:23.777 how, you know, now Janice is kind of protected by him, and, 47:24.162 --> 47:27.354 uh, her boss complained that wasn't, you know, doing enough at work. 47:27.726 --> 47:29.943 And then it cuts to, oh, so we had to straighten up her boss. 47:30.008 --> 47:32.662 And then it's the guys just beating the shit out of this guy, like, 47:32.678 --> 47:35.927 from now on Janice can do whatever she wants. 47:37.545 --> 47:39.899 You gotta keep her on staff and pay her, but don't expect her to do 47:40.013 --> 47:43.631 anything. Yeah. Um, and now we're at another cool little, 47:43.647 --> 47:46.647 uh, card game in the basement. Yep, exactly. And we've got, 47:46.712 --> 47:49.390 uh, you know, all the kind of all the, the crowd. We've got, uh, 47:49.890 --> 47:52.608 a couple people that we've seen before. This guy Carboni who's got like the big 47:53.108 --> 47:54.987 afro head, and he's going— Tommy's there, Henry's there, Jimmy's there. It looks like maybe 47:55.487 --> 47:59.384 it's the back room at Henry's bar, I'm guessing. Maybe, but kind 47:59.884 --> 48:03.030 of manning this little back bar or whatever is also another one of our Sopranos 48:03.544 --> 48:06.643 folks, Michael Imperioli, who played Christopher Moltisanti, 48:07.061 --> 48:10.434 is here as the character Spider, who's sort of like— he feels very much like 48:10.934 --> 48:14.144 who Henry was when Henry was like 16. It's kind of what it feels like. 48:14.224 --> 48:18.320 Yeah, kind of like the— yeah, he's the gopher, whatever. But Tommy asked 48:18.820 --> 48:20.568 for a drink, and I don't think Spider hears him, or he says like, 48:20.632 --> 48:22.881 oh, I thought you said I was okay, or whatever. He brings a drink for 48:23.381 --> 48:26.440 Jimmy, but Tommy's like, where's my drink. And he really lays into Spider about just 48:26.940 --> 48:29.418 like, what the fuck? Are you— you got me on a no pain, no mind 48:29.918 --> 48:31.399 list, kid? Like, what are you— like, why didn't you bring me my drink? 48:31.914 --> 48:35.992 And Spider's like— there's— he's either like a little slow, or he's just 48:36.041 --> 48:39.994 so intimidated by Tommy that he's stammering, or both. But he's not 48:40.494 --> 48:43.804 like getting— you know, there's a way to just be like 48:44.746 --> 48:47.440 right away, I'll get you your drink. But he like kind of gets stuck on 48:47.940 --> 48:51.298 this conversation with Tommy. I think he's I think he 48:51.378 --> 48:54.967 is too much like Tommy. If this were somebody his 48:55.063 --> 48:58.412 age saying this to him, he would have already thrown hands. Spider, like, I feel 48:58.912 --> 49:00.912 like it's a thing where it's like he knows he's not gonna— he can't attack 49:00.928 --> 49:04.421 Tommy. Tommy could fucking kill him, right? Like, whatever. But he's pissed that he's being, 49:05.158 --> 49:08.202 you know, sort of questioned in this way. Like, he legit didn't hear him. 49:08.314 --> 49:10.942 It's like, like, quit breaking my balls. I legit didn't hear. But he can't say 49:11.022 --> 49:14.067 that to a guy, right, of Tommy's stature, right? So it's like he's stuck in 49:14.567 --> 49:17.255 this— in between his own sort of like machismo and like the reality of the 49:17.755 --> 49:21.460 situation. But basically Tommy decides to make Spider dance. 49:21.976 --> 49:24.942 Uh, he talks about— he's talking about some old western. Oh, was that that movie 49:25.038 --> 49:27.601 Bogart did where he shot the guy's foot and made him dance and everything? 49:27.681 --> 49:29.974 Well, he didn't shoot his feet, and then he shoots at his feet and the 49:30.474 --> 49:33.283 guy dances, and he never actually shoots him. But like, but they— yeah, but that's 49:33.783 --> 49:36.092 what Tommy tries to do, except he actually shoots Spider in the foot. The poor 49:36.108 --> 49:39.974 kid knocks him down. Henry runs over to help him. And like, the, the worst 49:40.474 --> 49:43.403 part about— they're like, the most kind of brazenly sociopathic part of all this is 49:43.903 --> 49:47.262 that Tommy Tommy is then yelling at Spider as they are carrying him out 49:47.762 --> 49:49.455 to take him to the doctor up the street who can fix him up without 49:49.955 --> 49:52.271 going to a real hospital, yelling at him not to make a big deal. 49:52.320 --> 49:55.151 Don't, don't bust my balls over this. This is no big deal. Don't act like 49:55.651 --> 49:58.048 this is a big deal. Yeah, this is on you, you fucking mutt, or whatever 49:58.548 --> 50:00.329 he says. You know, he calls everybody a mutt. That's a big— he was mad 50:00.829 --> 50:03.277 that Spider was like, my bones are all shattered, and he's like, shut the fuck 50:03.373 --> 50:06.370 up, you're making too big a deal out of it. Like, it's just happened. 50:06.483 --> 50:10.188 Shout out, Tommy. Sociopath. Crazy. Yeah. Um, yeah, 50:10.204 --> 50:13.962 and so far, like, Henry's been, been kind of normal, but yeah, 50:14.203 --> 50:19.052 I mean normal as far as like violence towards— in his relationship, 50:19.100 --> 50:22.504 he's not popping off on people. But him and Karen are now at home fighting. 50:22.568 --> 50:26.020 Yes. And I think Karen knows what's going on. She's like, 50:26.245 --> 50:29.537 you know, you're going somewhere. Yeah. She doesn't know exactly about Janice, 50:29.553 --> 50:32.507 but she knows there's somebody— that something like that is happening. Yeah. 50:32.748 --> 50:36.455 And, you know, they're fucking throwing lamps and shit. So it gets the 50:36.535 --> 50:40.352 domestic arguments that they have and the fights that him and 50:40.384 --> 50:43.399 Karen have are really, really intense and they ramp up fast. 50:43.752 --> 50:46.382 Yeah. Like you really feel those. Yeah. 50:47.200 --> 50:50.327 And again, as they're having this big fight and I 50:50.827 --> 50:53.294 think she tries to throw his car keys out the window, he's like, I'm still 50:53.794 --> 50:56.069 gonna go out. What are you doing? Pick up the car keys. But it does, 50:56.181 --> 50:59.244 the camera then goes down the hall to their little daughter standing in 50:59.744 --> 51:03.365 the doorway of her bedroom. Fighting. So Karen's shouting, I hate you, I wish you'd 51:03.381 --> 51:07.132 fucking die. Yeah, we cut back to the same little backroom, 51:07.164 --> 51:10.835 card room, whatever. And now Spider's got his foot all bandaged up, 51:10.851 --> 51:15.163 but he's back working and all this stuff. And they're basically like 51:15.179 --> 51:18.209 Jimmy and whatever, they're kind of giving Tommy a hard time a little bit. 51:18.305 --> 51:21.672 And Spider is feeling a little empowered. And so, you know, Tommy's like, oh, 51:21.736 --> 51:24.333 look, see, he's back, he's faking it. Like, it's not even that big a deal, 51:24.381 --> 51:28.328 whatever. And Spider, not even under his breath, like full-throated, is like, 51:28.794 --> 51:33.036 why don't you go fuck yourself, Tommy? Everybody goes silent. And then Jimmy, 51:33.373 --> 51:36.700 I think, makes the situation 1,000 times worse by just 51:36.844 --> 51:39.817 laying into Tommy. Oh, you're gonna let him talk to you like that? Look at 51:40.317 --> 51:43.239 the balls on Spider. Like, totally joking, but you could see Tommy, 51:43.336 --> 51:46.710 like, he's like, even if there's a 2% chance 51:46.726 --> 51:50.599 that this does hurt my rep by not doing something right now, I gotta do 51:51.099 --> 51:54.997 it. And like, what a fucking psycho. Yeah. Yeah, so yeah, he basically— he pops 51:55.127 --> 51:58.148 up and blasts Spider. 3 shots to the chest, 51:58.277 --> 52:01.540 kid's dead. Yeah, like wild, wild stuff. And Jimmy's pissed. 52:01.589 --> 52:03.578 He's like, what the fuck are you doing? Like, I was breaking your balls. 52:03.626 --> 52:06.280 Like, are you kidding? Like, why are you doing— killing the kid? Like, Jesus Christ. 52:06.458 --> 52:09.030 So— and he's not like, poor Spider. He's like, well, you dig the hole. 52:09.192 --> 52:11.473 I'm not digging the hole. Like, I can dig a hole. First hole I ever 52:11.973 --> 52:15.319 dug. It's the first hole I ever dug. I can dig a hole. Oh man. 52:15.560 --> 52:20.130 Um, so Karen and the kids have now found Janet 52:20.630 --> 52:23.096 Janice's apartment. So they're at, uh, the buzzer for Janice's apartment. She's trying to buzz 52:23.128 --> 52:26.162 in. These two poor little kids, one with like a pacifier. I mean, just, 52:26.242 --> 52:29.662 it's just heartbreaking. And I mean, for Karen too, and she's just 52:30.162 --> 52:33.579 smashing the buzzer, just talking to everybody in there. You have a whore 52:33.724 --> 52:37.576 living in apartment 21, Janice Rossi. Like, really going, 52:37.721 --> 52:41.076 uh, going nuts. Rightfully so, you know. Henry has really 52:41.108 --> 52:44.721 been— because Karen, from the very beginning of their relationship, 52:46.885 --> 52:49.835 prone to like impulsive behavior. 52:49.931 --> 52:53.313 Yeah, say, yeah, like she's not a perfectly calm like, 52:53.522 --> 52:57.465 you know, Mormon fucking, uh, prairie wife type 52:57.965 --> 53:01.489 character. Like she made, uh, Henry— or she made Tommy drive him 53:01.553 --> 53:05.080 to go yell at Henry at the very beginning after their failed date. So like 53:05.320 --> 53:08.767 she has this fucking fire in there too. Yeah, absolutely. And, uh, and we see 53:09.267 --> 53:12.486 that right after that scene as the next thing is we get a 53:12.839 --> 53:16.221 gun in our face as the audience as Henry is waking up. Karen is lit— 53:16.721 --> 53:18.648 he He's, you know, obviously was just like taking a nap. He's like dressed, 53:18.712 --> 53:22.199 but he's like on the bed and she is straddling him and is pointing a.38 53:22.311 --> 53:25.782 right in his face. I mean, the gun is cocked. This is not good trigger 53:26.282 --> 53:29.462 discipline. Her finger is on the trigger. It's not on the trigger guard. Like a 53:29.962 --> 53:33.093 slight squeeze and brains everywhere. I mean, it really is that thing. And, 53:33.479 --> 53:36.516 and, and, and Henry's very calmly like, Karen, put the gun down. 53:36.950 --> 53:39.264 I only love you. 'Cause she's like, tell me, you know, tell me like, 53:39.344 --> 53:41.080 what do you love her? Like what's going on? I know all about her. 53:41.128 --> 53:43.966 I know all about Janice. Like, all that stuff. And he's like, she's just a 53:44.466 --> 53:47.045 girl, like, I only love you, put the gun down, let's talk about this. 53:47.093 --> 53:49.818 He's trying to be very calm. And he's trying to be a cooler. 53:50.460 --> 53:53.052 That's true, he is. Um, but as soon as she sort of lets her guard 53:53.552 --> 53:56.273 down slightly, he smacks the hell out of her and is like throwing her to 53:56.773 --> 53:58.335 the ground and putting the gun in her face. How do you like it? 53:58.383 --> 54:02.041 Like all this stuff. It's really fucking scary. And, and the, the craziest part 54:02.541 --> 54:04.930 of the scene, and again, like, I cannot believe Bracco didn't win the Supporting Actress 54:05.430 --> 54:08.717 Award, but, but she is doing that 54:08.782 --> 54:11.994 silent choking sob where you can't hear anything, but it's like 54:12.139 --> 54:15.833 very visceral. And he gets up to leave, and as she leaves— as he leaves, 54:15.849 --> 54:19.752 she lets the sob out and is screaming, "I'm sorry." Yeah, 54:19.849 --> 54:22.579 so she's apologizing to him, which is just like, 54:22.884 --> 54:26.450 oh, amazing. In her voiceover too, is really 54:26.950 --> 54:30.450 like heartbreaking for her character. She says, um, you know, no matter how bad 54:30.950 --> 54:34.610 I felt, no matter what he did to me, um, I was still attracted 54:35.110 --> 54:38.367 to him, and I wasn't gonna gonna like end this with him and let somebody 54:38.383 --> 54:41.127 else have it. Yeah, like I wasn't gonna let somebody else win. It's just like, 54:41.272 --> 54:45.188 fuck, dude. Wild. Yeah, uh, yeah, really just amazing, 54:45.220 --> 54:49.008 amazing Lorraine Bracco there. Um, so now Henry's 54:49.136 --> 54:51.993 like out of the house for a little bit, you know, living at Janice's. 54:52.041 --> 54:55.412 He's living with Janice, her insanely decorated apartment. 54:55.733 --> 54:58.830 Once again, we've had so many films in a row, I think, with like really 54:59.023 --> 55:02.417 wild decor, and I think it's part of it is the years we're existing 55:02.917 --> 55:05.629 in. But also, even for that time, like, get out of here. When you compare 55:06.129 --> 55:09.181 like the Beetlejuice, the, the Deetz's house after it was decorated, 55:09.229 --> 55:12.424 to like, you know, Ben Gazzara's house in Roadhouse, and then now this, 55:12.569 --> 55:15.812 and we're not even to the final one in Wall Street. That's true. Oh my 55:16.312 --> 55:18.781 God. And then we're not even to the sec— the most ridiculous house in this 55:19.281 --> 55:21.459 movie hasn't even shown up yet. We haven't even gotten to Karen and Henry's next 55:21.959 --> 55:25.066 place. So that's wild. Really crazy decorations. 55:25.243 --> 55:28.786 Like, um, so, so Paulie and Jimmy show 55:29.286 --> 55:31.916 up to Janice's place to tell Henry, like, 55:32.541 --> 55:35.123 yeah, it doesn't work for you to be separated from your wife. You gotta go 55:35.623 --> 55:38.281 home. Part of the mafia thing is, is that's your family and that's just how 55:38.410 --> 55:41.312 it is. And it's keeping up appearances. Yeah. Also, like, 55:41.841 --> 55:44.903 this is a disruption waiting to happen. Like, this is gonna fuck with our 55:45.403 --> 55:48.431 business. Like, yeah, figure it out. Go home. First, why don't you go to Tampa, 55:48.976 --> 55:52.247 uh, with Tommy and, uh, Jimmy and, 55:52.359 --> 55:55.566 and, yeah, and then, uh, and then come on back up, you know. So it, 55:55.710 --> 55:59.325 it immediately cuts to him in Tampa. Yeah. And they're like smashing 55:59.357 --> 56:02.610 this guy's face against the dashboard of a car. 56:03.447 --> 56:06.185 Really crazy. And they're about to feed him to the alligators. They're at like the 56:06.685 --> 56:09.177 Tampa Zoo, or the Lions. That's right, the Lions. Yeah, the Tampa Zoo. They're gonna 56:09.677 --> 56:11.909 feed them to the Lions. And the guy cracks and then calls in like, 56:11.925 --> 56:15.252 whatever, yeah, they're serious, they do need the money, whatever. Problem is, 56:15.364 --> 56:18.555 it's like that guy's sister or something, right? Works for like— she's 56:19.055 --> 56:21.901 like a typist for the FBI, they said. Fucking desk jockey, kind of, you know, 56:21.917 --> 56:24.940 not an enforcement officer but works for the FBI. So she spills everything she knows 56:25.440 --> 56:28.801 about, you know, about his stuff and about what happened and about who Jimmy and 56:29.301 --> 56:32.326 Henry are. And they get pinched and they each get 10 years for, 56:32.663 --> 56:35.275 um, it's all sorts of— I'm assuming aggravated assault and like all the kind of 56:35.307 --> 56:37.598 different stuff, battery, whatever. But yeah, they get 10 years each. 56:38.175 --> 56:41.957 Um, and so then we cut to another kind of the main kind of famous 56:42.457 --> 56:45.963 moments in this movie, which is Paulie's garlic. We learn that Henry is in jail 56:46.463 --> 56:49.440 and Paulie is in jail too. And it's like Paulie had a special way of 56:49.488 --> 56:52.244 doing the garlic and he would use a razor blade and cut it cut it 56:52.744 --> 56:55.835 so thin you could see through it. It would melt into the sauce. 56:56.396 --> 56:59.169 So good. I've never had the patience to do it that way. I know, 56:59.330 --> 57:02.488 I can't. I slice it thin sometimes and I'm like, oh, I'm kind of like 57:02.552 --> 57:06.063 Paulie slicing this garlic. But yeah, I gotta try the real razor blades. I'm too— 57:06.079 --> 57:09.237 I'm way too metagon for that. Like, I absolutely put it into the crusher 57:09.269 --> 57:12.507 and just like squeeze it through the little holes. Like, you know. So, so Henry 57:13.007 --> 57:15.072 is a little far gone at this point too, right before he goes to jail. 57:15.120 --> 57:18.310 I mean, off of this fight with his wife that had. 57:18.598 --> 57:21.916 So he's going directly. He hasn't been home. There's been no reconciliation. 57:22.092 --> 57:25.345 And now she has to support him and his kids while he's in jail not 57:25.473 --> 57:28.758 earning any money. Uh, and it shows how rough things are 57:29.258 --> 57:32.156 going for him because he takes a bunch of pills without water. That's right. 57:32.204 --> 57:35.569 That's how you know. That's always how you know. But yeah, okay, 57:35.729 --> 57:39.543 the scene of the prison is just beautiful. And, you know, from reading 57:39.800 --> 57:43.421 about it, it's like, yeah, this is possible. Like, if you think about, 57:43.501 --> 57:47.338 well, Well, in Mexico, would you imagine that the cartel bosses have a favorable 57:47.997 --> 57:50.806 thing? It's like, yeah, they probably do. So why the fuck wouldn't we here? 57:50.887 --> 57:54.531 Yes, there are ways to bribe your way into better situations. If you've got enough 57:54.644 --> 57:57.839 money and the people that are in control of things are willing to take bribes, 57:57.935 --> 58:01.403 then that's what happens, right? I mean, that's just how it works. And they're 58:02.029 --> 58:05.706 eating like absolute kings, right? Lobster. They get lobsters delivered. 58:05.818 --> 58:09.238 They got all these different kinds of meats and salamis and fresh bread and 58:09.270 --> 58:12.534 booze. And wine and all this shit. Oh, they're talking about the sauce. It's got 58:12.566 --> 58:15.764 veal and beef and pork. Oh, you got the pork for the flavor. 58:15.861 --> 58:19.399 Like, it's like, it's as if they— nothing changed. They just gotta— they're just sleeping 58:19.480 --> 58:22.819 on twin, you know, twin-sized cots instead of their big king beds, you know. 58:22.884 --> 58:26.175 Like, and this is what, what Henry says about jail. 58:26.288 --> 58:29.481 He says, uh, it wasn't that bad except that I missed Jimmy. 58:30.480 --> 58:33.860 Because he was— that's right, Jimmy was in some other— his kids— doesn't miss 58:34.360 --> 58:37.643 his wife, doesn't miss his girlfriend. Yeah, just missed Jimmy. Um, 58:37.804 --> 58:41.112 so then Karen comes in with the kids to visit, right? And, uh, 58:41.128 --> 58:44.210 she looks at the, the sign-in list for the visitors and notices, 58:44.339 --> 58:47.679 oh, somebody else visited Henry. Who was it? And sees Janice Rossi's 58:48.179 --> 58:50.772 name on there. She freaks out. She blows up his spot. She's obviously been smuggling 58:50.804 --> 58:53.702 stuff in for him because she's got like baguettes and like, you know, all this 58:54.202 --> 58:56.374 kind of food and booze and stuff. And she's like, and I don't know why 58:56.874 --> 58:58.981 it doesn't get taken from him. I mean, even with a couple of the guards 58:59.013 --> 59:01.970 on the take, it can't be all just to make it look good. Yeah, 59:02.066 --> 59:04.685 they should take something. Yeah, but they— but she kind of tries to blow his 59:04.718 --> 59:07.433 spot up and basically is just like, don't ever let her visit again. He's like, 59:07.465 --> 59:08.844 I'm in here. Like, what? How am I supposed to control who comes visit me 59:09.344 --> 59:12.784 or not? Like What are you talking about? But she's like, 59:12.881 --> 59:15.771 let her sneak this in. Like, like, I'm doing this, like, 59:15.787 --> 59:19.032 nobody's helping me, everyone's ignoring me and stuff. Yeah, I told you that was how 59:19.532 --> 59:22.147 it was going to be. But I'm trying to get us set up. So she's, 59:22.308 --> 59:25.212 uh, one of the things she's bringing is some pills for him to sell, 59:25.228 --> 59:28.104 and he's got some drug dealing happening. And he's talking about, well, I have this 59:28.168 --> 59:31.953 connection in Pittsburgh who's going to help me when we get out. Exactly. And then 59:32.453 --> 59:35.143 we cut to 4 years later. Uh, we're now— I don't know exactly what year 59:35.175 --> 59:38.143 we're in now, but it's getting to the mid-'70s, late '70s. I think it's point. 59:38.612 --> 59:41.199 Um, Henry gets out, so he got out maybe after about 5 years, it looks 59:41.699 --> 59:44.838 like, altogether. And, uh, he gets out and they go to Paulie's for dinner, 59:44.854 --> 59:47.620 and it's like a whole big thing, and they're, you know, everybody's super happy, 59:47.765 --> 59:50.754 and it's like Henry's back and they're chitchatting, whatever. But Paulie has to go take 59:51.254 --> 59:53.727 Henry aside and have a chat with him, like, in the backyard. And he's basically 59:54.227 --> 59:57.285 saying— he doesn't use the word drugs or whatever, but he calls it 59:57.349 --> 59:59.636 garbage, and he's like, you stay off of that stuff. I don't want any of 01:00:00.136 --> 01:00:02.179 that stuff near me. And he names this other sort of boss. He's like, 01:00:02.195 --> 01:00:04.351 he's, he's going to die in prison. He's 7 years old, he's going to die 01:00:04.384 --> 01:00:08.036 in prison because he got 20 years just because he talked to somebody that 01:00:08.536 --> 01:00:11.425 sold drugs. I can't have that. Like, you can't be like that. You gotta, 01:00:11.586 --> 01:00:13.909 you gotta stay out of it or else I'm in it. Yeah. It's basically saying 01:00:13.941 --> 01:00:16.950 like, there is no way for you to do this and it doesn't blow back 01:00:17.079 --> 01:00:19.155 on me, so you can't do this shit. I don't want anything. And this is 01:00:19.655 --> 01:00:22.566 so funny because, you know, The Godfather had a very similar kind of plotline, 01:00:23.330 --> 01:00:26.283 right? Where Don Corleone didn't want to get involved in the drug dealing and stuff. 01:00:26.348 --> 01:00:29.673 Funny fucking mythology that is completely fake. Yeah. 01:00:29.754 --> 01:00:32.982 That the mafia draws the line at drugs. Get the fuck out of here. 01:00:33.132 --> 01:00:36.933 They did it though. The idea behind it is that there were elements who 01:00:36.950 --> 01:00:40.483 were high enough up that they didn't need to make more money. 01:00:40.999 --> 01:00:44.387 Exactly. They're the ones saying, what we've got is going so good for us 01:00:44.887 --> 01:00:47.431 that if you guys bring drugs into the picture, it just raises the risk on 01:00:47.931 --> 01:00:49.824 us. Yeah, you know, and then— because I think in The Godfather— maybe it was 01:00:49.840 --> 01:00:52.909 in The Godfather and Casino, one of the movies— they mentioned how, uh, when drugs 01:00:53.409 --> 01:00:56.962 came in, everybody started getting worse sentences. So it wasn't like you were racketeering, 01:00:56.994 --> 01:00:59.399 you were running numbers, you were maybe beating guys up, you get 3 years, 01:00:59.447 --> 01:01:03.061 you get 5 years. That's— you can do that time. Yeah, but you go 20, 01:01:03.303 --> 01:01:05.610 30 years. Yeah, what the fuck are you gonna do in jail for 20, 01:01:05.628 --> 01:01:08.468 30 years? You're out of the game, like, completely. Your life's ways. 01:01:08.919 --> 01:01:11.660 And that's the thing. But all the like street-level guys are like, fuck that, 01:01:11.741 --> 01:01:14.659 we're trying to make more money. So they were no problem bringing drugs into the 01:01:15.159 --> 01:01:18.256 picture. But I do think the bosses, maybe even like the kind of captain-level guys, 01:01:18.758 --> 01:01:22.250 you know, they did not want to bring drugs in just because it raised— it 01:01:22.750 --> 01:01:25.274 changed the risk profile. Yeah. And for them, they were getting enough money off all 01:01:25.565 --> 01:01:27.762 the shit going. They got their fingers in everything. They got everything going on. 01:01:27.811 --> 01:01:30.618 So they don't want the extra risk. But everybody below them is like, yeah, 01:01:30.650 --> 01:01:33.779 but I fucking want more. Yeah. And this is the fastest, easiest way, 01:01:33.796 --> 01:01:36.522 guys. This is the fastest, easiest way to do it. And if you don't want 01:01:37.022 --> 01:01:39.179 to know about about it, that means I'm not paying a tribute on it. 01:01:39.854 --> 01:01:43.198 So the guys doing the drug running lower in the system are not kicking money 01:01:43.214 --> 01:01:46.254 up because they can't let the bosses know they're doing it at all. Right. 01:01:46.350 --> 01:01:49.206 So, so that's a violation on its own. It is a violation on its own. 01:01:49.255 --> 01:01:52.175 Kicking up on earnings. But it also means that they're keeping more. Yeah. You know, 01:01:52.191 --> 01:01:54.628 so it's just, it's all, it's all kind of, it really fucks up the whole, 01:01:55.160 --> 01:01:57.694 you know, what do they call it? There's, I can't remember, there's a term. 01:01:57.743 --> 01:02:00.874 It's like La Cosa Nostra, but it's like, you know, it fucks up the 01:02:01.197 --> 01:02:04.604 deal. You know, the pact gets all fucked up by drugs being involved. Is it 01:02:05.104 --> 01:02:08.627 omerta? That's the word. There we go. Good job. Um, yeah, and the other 01:02:08.659 --> 01:02:12.371 thing Paulie says to Henry is like, watch out for Jimmy and Tommy. 01:02:12.435 --> 01:02:16.050 Like, Jimmy takes too many risks and Tommy's temperature, it can't 01:02:16.550 --> 01:02:20.726 be controlled. It's like, oh, thank you, Paulie, for introducing me to these two concepts. 01:02:22.301 --> 01:02:25.964 Uh, but you know, Henry's fine. He's set up. He has his drug plan. 01:02:26.093 --> 01:02:29.386 He's got his new girlfriend Sandy, who we saw earlier, and, uh, 01:02:29.772 --> 01:02:33.018 she's helping him cook up coke and, uh, it's kind of like 01:02:33.518 --> 01:02:36.865 Yeah, what a fun time going to Sandy's apartment. That looks like a hell of 01:02:37.365 --> 01:02:38.900 a visit there. Oh God. Oh Jesus. 01:02:40.279 --> 01:02:43.805 Um, but now that he has money coming in, they're not— because when he first 01:02:44.305 --> 01:02:47.155 got out and he looked around the place, the place that Karen and the kids 01:02:47.188 --> 01:02:50.554 were in looked like maybe it was a studio or one, but because 01:02:51.054 --> 01:02:54.160 there were just bunk beds loose, like the bed and everything there. So, and he 01:02:54.660 --> 01:02:56.741 takes one look around, he's like, pack this shit up, we're moving out of here. 01:02:56.805 --> 01:02:58.568 Because they had to sell that. She had to sell the house they were in 01:02:59.068 --> 01:03:01.041 when he went away because they weren't getting help from Paulie anymore. Anymore. So she 01:03:01.105 --> 01:03:04.323 moves them into an apartment, her and the girls, just that's what they could afford 01:03:04.823 --> 01:03:06.753 or whatever, right? And he's just like, no, none of this, this is not going 01:03:07.253 --> 01:03:09.472 to work. But now he's selling drugs through this Pittsburgh connect that he's got, 01:03:09.876 --> 01:03:12.926 and so he's bringing in money, you know, left, right, center, 01:03:13.006 --> 01:03:16.540 whatever. And this is when we get yet another kind of, yeah, wildly decorated 01:03:16.637 --> 01:03:20.045 home, you know. And it's Karen taking Mickey Conway 01:03:20.126 --> 01:03:23.620 around showing her like all the different stuff, like, oh, this table came from Italy 01:03:23.684 --> 01:03:26.370 in two pieces that had to be put together here, like whatever. Like it's just 01:03:26.499 --> 01:03:29.598 all this crazy stuff. They've got like a moving bookcase, she's got the most ridiculous 01:03:30.098 --> 01:03:33.566 remote control that opens up. It's the most ridiculous remote control she's holding. It's a 01:03:34.066 --> 01:03:36.249 huge thing. It looks like something Data would have had in The Goonies. And it's 01:03:36.297 --> 01:03:40.008 like she flips a switch, a big old, you know, it's like arm 01:03:40.508 --> 01:03:42.960 the bombs. Like it's that level of a switch, right? Detonator looking thing. And then 01:03:42.976 --> 01:03:46.399 she opens it and it's like the hi-fi with the record player with the TV 01:03:46.899 --> 01:03:49.949 that's like maybe 19 inches, right? Which at the time, yeah, it was fantastic. 01:03:50.014 --> 01:03:53.323 Like 1975, this is incredible, you know. But yeah, so it's a lot 01:03:53.371 --> 01:03:56.777 of Japanese stuff like that. The way that you would kind of picture 01:03:57.277 --> 01:03:59.930 Steven Seagal's house would look, there's lots of that stuff. 01:04:00.917 --> 01:04:03.947 Um, really good, really good. Uh, so Maury, 01:04:04.203 --> 01:04:07.409 uh, the wig shop guy, yeah, he's got some info now. So he's 01:04:07.909 --> 01:04:11.433 got some tips and he's talking to Jimmy and, uh, he's talking about the job 01:04:11.449 --> 01:04:15.184 that ends up being the Lufthansa heist, which is another airplane cash theft. 01:04:15.520 --> 01:04:18.374 But this is way bigger in scope. This is more than 10 times bigger than 01:04:18.406 --> 01:04:22.333 the previous one. Exactly. Um, so this is the crew for the Lufthansa 01:04:22.833 --> 01:04:26.212 heist. We got Jimmy, we got Maury, we got Tommy, we got Carbone, 01:04:26.261 --> 01:04:29.354 the kind of afro-looking guy, we got Frenchie, the guy from Dumb and Dumber, 01:04:29.867 --> 01:04:33.562 we got Joe Buddha, who it doesn't really show much of. We've got Johnny Roastbeef, 01:04:33.659 --> 01:04:37.309 who I love, and then Stax Edwards, who is Samuel 01:04:37.809 --> 01:04:40.684 L. Jackson. I completely forgot he was in this movie. Yeah, completely forgot he played 01:04:41.184 --> 01:04:43.379 Stax. Like, because he's like young for some reason. And I know this isn't like 01:04:43.879 --> 01:04:46.253 the early— we saw him in Trading Places. I just think Trading Places was like 01:04:46.333 --> 01:04:49.239 8 years before this movie, and he looked more like Samuel Jackson to me than 01:04:49.271 --> 01:04:52.955 in this movie. He's something about him looks different. Yeah. But anyway, yeah, 01:04:52.971 --> 01:04:55.427 so he's in it, and Stax is, you know, involved as well. 01:04:57.173 --> 01:05:00.160 And so yeah, there's the whole Lufthansa heist that goes down. And it's like the 01:05:00.660 --> 01:05:02.987 kind of thing where Henry's really only involved, I think, to like help get the 01:05:03.487 --> 01:05:06.056 crew together. He's not part of the heist, right? He's not— he doesn't get like 01:05:06.556 --> 01:05:09.402 a proper cut. Yeah, he's not getting a full cut because he's not actually involved. 01:05:09.482 --> 01:05:12.344 But he hears on the radio— he's like taking a shower and he hears on 01:05:12.844 --> 01:05:15.303 the radio about how there's this like, you know, the largest like heist from an 01:05:15.803 --> 01:05:18.732 airport in American history has taken place. And like, you know, like NYPD says $2 01:05:19.232 --> 01:05:21.873 million is missing, the Port Authority says it's $4 million, and he's just like, 01:05:22.342 --> 01:05:25.418 I love him slapping the wall of the shower 01:05:25.918 --> 01:05:29.909 to celebrate. I— it's such a great— soapy, like, oh, and he's so exciting. 01:05:30.021 --> 01:05:33.530 And, and yeah, so he's very excited for them. And the thing that he's doing 01:05:33.642 --> 01:05:37.472 is his coke smuggling to Pittsburgh thing involves their old babysitter, 01:05:37.488 --> 01:05:40.997 who's kind of like bringing a baby back and forth on plane flights 01:05:41.013 --> 01:05:43.593 and like putting the coke in the diaper bag and all that kind of shit. 01:05:43.721 --> 01:05:47.390 Yeah, yeah, Lois. So we have a Christmas party. Is Goodfellas 01:05:47.438 --> 01:05:49.938 a Christmas movie? I don't know. We got a little bit of Christmas here, 01:05:50.530 --> 01:05:53.703 uh, more than Rocky IV. Great soundtrack selections here. 01:05:54.697 --> 01:05:58.033 I think we have the Bells of St. Mary's from 01:05:58.081 --> 01:06:01.337 the Phil Spector A Christmas Gift to You album, 01:06:01.353 --> 01:06:04.978 which is just fantastic. And so the Christmas 01:06:05.138 --> 01:06:08.650 party's happening at the bar, and Johnny Roastbeef, who is one of the Lufthansa 01:06:09.150 --> 01:06:12.836 crew, shows up and he's showing Jimmy this new car that he just 01:06:13.336 --> 01:06:15.466 bought. He's like, Cadillac, what the fuck? I told you not to buy it. 01:06:15.627 --> 01:06:18.514 And his new wife, which looks like he just bought, you know, because they were 01:06:19.014 --> 01:06:21.577 like, who the hell is this? He's like, oh, we just got married and I 01:06:22.077 --> 01:06:23.856 bought her the car. Like, this thing is a gift, right? It's a wedding gift. 01:06:24.115 --> 01:06:27.360 And he keeps saying, it's in my mother's name. It's not mine. It's in my 01:06:27.860 --> 01:06:29.475 mother's name. And Jimmy's like, I don't give a fuck whose name is it. 01:06:29.588 --> 01:06:32.963 Yeah, you're driving around a brand new car. Like, what? How do you think this 01:06:33.060 --> 01:06:35.006 looks? Like, what are you doing? What'd I tell you? What did I tell you? 01:06:35.472 --> 01:06:38.751 Yeah, so don't buy anything. So Jimmy's, you know, and then Carbone 01:06:38.847 --> 01:06:41.740 walks in with his wife and she has this big mink coat on and they 01:06:42.240 --> 01:06:45.389 refer to it as a $20,000 mink. Now, I don't know if that's an exaggeration 01:06:45.889 --> 01:06:49.053 or accurate, but that is fucking wild. That's true. And so he takes 01:06:49.553 --> 01:06:52.612 that. My one thing about that though is that earlier they're just lifting trucks of 01:06:52.629 --> 01:06:56.269 fur coats. So wouldn't you think that's a good gift to like kick one down 01:06:56.769 --> 01:06:59.658 to your wife, it wouldn't raise as many, uh, red flags. It's a white mink. 01:06:59.738 --> 01:07:02.260 None of the ones on the thing were white before. Maybe that's more rare, 01:07:02.340 --> 01:07:05.986 more expensive, and it's going to draw more attention. Um, but yeah, 01:07:06.002 --> 01:07:08.958 so then we get, uh, we get this whole scene and Mori is pissing off 01:07:09.458 --> 01:07:12.620 Jimmy. Mori keeps asking, where's my cut? Where's my cut? Because Mori, again, not a 01:07:12.668 --> 01:07:15.398 full share probably because he wasn't like in the job, 01:07:15.719 --> 01:07:18.321 but he did bring the idea to them. Yeah, he gets like a finder's fee. 01:07:18.370 --> 01:07:21.357 It'd be more like a, you know, a smaller percentage cut, but like, you know, 01:07:21.570 --> 01:07:24.740 thing. A couple hundred thousand dollars, right? Yeah, they end up selling big 01:07:25.240 --> 01:07:28.590 time money. They do end up saying it was $6 million in cash was stolen. 01:07:28.639 --> 01:07:31.934 So crazy, the number of people involved. If it was an even split, there— if 01:07:32.014 --> 01:07:34.334 all the people involved are probably getting $700,000, 01:07:34.350 --> 01:07:38.055 $800,000, $900,000, something in that ballpark. 01:07:38.151 --> 01:07:39.505 And then what's left over for guys like Henry and Maury, who were like sort 01:07:40.005 --> 01:07:42.340 of involved, hundred grand, right? It's definitely a lot of money. And we know Maury's 01:07:42.840 --> 01:07:45.320 got gambling debts, like probably some of them to Jimmy, but probably to other people 01:07:45.820 --> 01:07:48.056 as well. So he really needs money. He's like pressing. He's like, I need the 01:07:48.556 --> 01:07:51.687 money, the money. And Jimmy is fucking close to the edge with Maury. Like, 01:07:51.735 --> 01:07:54.675 he is not cool. He doesn't do anything yet, but he is really fucking close 01:07:55.175 --> 01:07:57.777 to the edge. But Maury again does not act like a guy who's ever been 01:07:58.277 --> 01:08:00.749 around these guys in his life. The way that he's act— it's like, 01:08:02.115 --> 01:08:05.232 I know you want your money, but you have to know your approach is terrible 01:08:05.248 --> 01:08:08.911 here, Maury. I can't imagine being a civilian associated 01:08:08.927 --> 01:08:12.061 with these people. Not even really a soldier, but like somebody that's on the 01:08:12.561 --> 01:08:15.712 outside and just associated with with them and acting like that towards people like 01:08:16.212 --> 01:08:18.861 this. Like, it does not make any sense to me. Like, you know, that's the 01:08:19.361 --> 01:08:22.525 thing. If I bring you this and you steal these things and you kick me 01:08:22.590 --> 01:08:25.898 down anything, that's good. Cause that means I'm in your good graces, 01:08:26.334 --> 01:08:29.110 right? If you didn't kick anything down to me after a heist like that, 01:08:29.174 --> 01:08:31.939 I'm going to just, I'm probably gonna leave town. Cause now I feel like you 01:08:32.053 --> 01:08:34.479 probably want to clean up some loose ends. That's why you're not kicking money down 01:08:34.979 --> 01:08:36.971 to me. That would be my first instinct. It's like, this is not going to 01:08:37.471 --> 01:08:40.110 go well for me if I stick around. You've seen this happen how many times 01:08:40.610 --> 01:08:43.323 before? And you feel like you're the exception. I don't understand that. 01:08:44.769 --> 01:08:47.916 Yeah. And for Henry's part, he said, you know, he just got a little 01:08:48.416 --> 01:08:51.689 taste. I love referring to a little bonus as just a taste. And what he 01:08:52.189 --> 01:08:55.125 did is I just bought my family the most expensive Christmas tree they had, 01:08:55.221 --> 01:08:58.128 right? Which is this real shitty looking artificial white tree. 01:08:58.433 --> 01:09:01.981 It's real bad. It's not even flocked. It's just white. It's really terrible. 01:09:02.768 --> 01:09:06.349 But now we get back to Stacks briefly because Tommy, you know, 01:09:06.365 --> 01:09:09.177 he wakes Stacks up, uh, knock at his door, and Tommy and Carbone are there. 01:09:09.629 --> 01:09:11.632 And he's like, oh, you want some coffee? He's like, no, no, yeah, sure, 01:09:11.713 --> 01:09:15.363 put some coffee on. Carbone, whatever. And, and, you know, they're basically talking about how 01:09:15.863 --> 01:09:17.880 they got to get going somewhere. And so Stacks starts putting his shoes on, 01:09:18.379 --> 01:09:20.941 and Tommy's just behind him with a gun with like a suppressor on it and 01:09:20.973 --> 01:09:24.356 just blows his brains all over his apartment. We hear from the, from the narration 01:09:24.421 --> 01:09:28.135 voiceover from Henry is basically, instead of putting the truck where Stacks was supposed to 01:09:28.635 --> 01:09:30.834 put the truck, it was like a really important part of this deal, he ends 01:09:30.947 --> 01:09:34.337 up like driving it to his girlfriend's house and getting high. Yeah. And like leaving 01:09:34.402 --> 01:09:37.623 there and forgetting about it. So the cops, like, they, they hadn't found 01:09:38.123 --> 01:09:40.813 Stacks yet, but they were like on the general trail of this, like it was 01:09:40.893 --> 01:09:43.715 gonna lead to him. Exactly. So yeah, so they had to take him out. 01:09:43.779 --> 01:09:47.514 And again, during this whole time, uh, this playing— this Bells of Saint Mary's song 01:09:47.706 --> 01:09:49.710 is playing in the background, which is really effective. 01:09:50.655 --> 01:09:54.679 Um, so we find out that, uh, that Tommy's 01:09:55.179 --> 01:09:58.910 gonna get made. Huge deal. That's big news. Huge deal. So they're extra happy because, 01:09:59.007 --> 01:10:01.892 uh, because Henry goes and he sees Jimmy and Tommy at this place and they're 01:10:02.392 --> 01:10:05.497 just a little extra hop in everyone's step. Because for them, you know, because they 01:10:05.562 --> 01:10:08.975 can't— like you said before, this is as close as they're ever going to be 01:10:09.263 --> 01:10:11.795 to being in it. It's like the closest guy to us is in it. 01:10:11.972 --> 01:10:14.616 Exactly. And if— and the idea would be, right, if Tommy's made and Tommy's a 01:10:15.116 --> 01:10:18.157 made man and he makes it clear to everybody, hey, like, Jimmy and Henry are 01:10:18.657 --> 01:10:21.442 my guys, it's not the same as being made themselves, and it doesn't give them 01:10:21.942 --> 01:10:25.176 carte blanche to do what they want, but it probably gets heat off of 01:10:25.208 --> 01:10:29.150 them in a lot of ways. Like, there's probably elements where 01:10:29.650 --> 01:10:30.302 where it's like, eh, I might have beef with Jimmy Conway or Henry Hill, 01:10:30.383 --> 01:10:33.794 but Tommy's a made guy and he says that they're his guys. 01:10:34.004 --> 01:10:35.912 Oh, I don't want to fuck with Tommy, so I'm not going to fuck with 01:10:35.944 --> 01:10:39.156 those two. Like, I'm sure there's a lot of like extra protection that just comes 01:10:39.220 --> 01:10:43.109 from being that close to a made guy. Um, so they're super excited. Jimmy especially, 01:10:43.125 --> 01:10:48.642 because he's— he's 100— he's the Irishman. He's 100% Irish. This is something that's 01:10:49.142 --> 01:10:51.695 nothing like whatever he's going to get, but he's also been instrumental as an associate 01:10:52.195 --> 01:10:54.896 of the Lucchese family. Like, he is a hugely important member. Family, but there's— good 01:10:55.073 --> 01:10:57.496 earner, as they say. And there's— oh, that's always hanging over his head though, 01:10:57.593 --> 01:11:00.242 that like he's not one of them, and that's an issue. So having Tommy be 01:11:00.742 --> 01:11:03.407 made is such a big deal, uh, such a big deal for— for— because he 01:11:03.907 --> 01:11:06.075 is like a father figure to both of these guys. Absolutely. He's a little bit 01:11:06.140 --> 01:11:09.956 older. Yeah. And, uh, yeah, so we get an appearance of Sunshine of Your 01:11:10.456 --> 01:11:15.228 Love again, which I think is just interesting because we saw it in Breakfast Club 01:11:15.728 --> 01:11:16.092 with Bender like singing the riff, and then we saw it in True Lies with 01:11:16.592 --> 01:11:19.444 a cover version. So it's just funny that song's like sneaking around on us. 01:11:20.105 --> 01:11:22.308 Uh, so Jimmy lets Henry know So like, 01:11:22.933 --> 01:11:26.378 Maury's too fucking annoying. I'm gonna take him out. I'm done with this 01:11:26.878 --> 01:11:30.288 guy. And, uh, and there's a great kind of voiceover as they're going through like 01:11:30.788 --> 01:11:33.637 having this hang and poker game, and Maury's there, and Tommy and Henry and Jimmy, 01:11:33.989 --> 01:11:37.130 and like all the dudes are there. And Henry's kind of saying like, 01:11:37.258 --> 01:11:40.879 well, I was hoping that I could get, uh, Jimmy to stop thinking about 01:11:41.379 --> 01:11:43.860 it by hanging around, you know, get on his good graces and everything. Yeah, 01:11:43.908 --> 01:11:46.808 yeah. And at a certain point, Jimmy looks over to Henry, is just like, 01:11:47.032 --> 01:11:49.633 yeah, that thing, uh, it's not gonna happen. Forget about tonight. It's okay. 01:11:49.778 --> 01:11:54.304 So good for Henry. And again, they, you know, maybe Henry's too innocent, 01:11:54.368 --> 01:11:57.525 or maybe the guy who wrote the story never talks about how he 01:11:58.025 --> 01:12:00.513 participated in murders. I don't know. I don't know which one it would be. 01:12:00.594 --> 01:12:03.554 It's true. It does seem like Henry is only adjacent to like most of these 01:12:03.651 --> 01:12:06.870 killings for the most part. Like, yeah, but they go— you would get a scene 01:12:06.886 --> 01:12:10.491 where walking down the alley that same night is Jimmy and Tommy and Carbone 01:12:10.685 --> 01:12:14.339 and, and Mori. And Mori's fucking getting at Jimmy again. He's like, 01:12:14.581 --> 01:12:16.780 I need my money, Jimmy. Like, where's my money? He's like, all right, look, 01:12:16.828 --> 01:12:18.800 look, fine, fine, I'll bring it to you. Let's go, let's go get it right 01:12:19.300 --> 01:12:21.246 now. Come on, get in in the car. And this is the classic where, 01:12:21.358 --> 01:12:24.659 you know, the, the classic mistake that, that Maury makes is getting in the front 01:12:25.159 --> 01:12:26.662 seat. Never get in the front. Don't ever get in the front seat. You sit 01:12:27.162 --> 01:12:29.322 in the back or you don't get in the car. Yeah. And so he gets 01:12:29.822 --> 01:12:32.318 in the front seat, Tommy gets in behind him, Carbone gets in to drive, 01:12:32.671 --> 01:12:35.859 and before they even start the car, Tommy's putting an 01:12:36.359 --> 01:12:39.352 ice pick into this brain stem of Maury. He's done. And it's like one of 01:12:39.852 --> 01:12:43.358 the cleanest kills. Such a good shot. Like zero sound at all. 01:12:43.486 --> 01:12:46.835 I mean, it was like a no-splash dive of an ice pick murder. 10 out 01:12:46.995 --> 01:12:50.734 of Absolutely perfect. 10 out of 10 from the Lithuanian judge. Yeah. 01:12:50.895 --> 01:12:54.259 And you know, and then Maury's wife comes like super upset to Henry and 01:12:54.292 --> 01:12:58.140 Karen's house, like, where's Maury? Like, we've been married for 27 years, he's never not 01:12:58.189 --> 01:13:01.666 come home, something might have happened. And of course Henry, ah, he got drunk and 01:13:02.166 --> 01:13:05.676 he felt— because Henry doesn't know, but he's starting to put pieces together. 01:13:05.725 --> 01:13:09.172 He doesn't know it happened, so he— it's a surprise to him. But upon hearing 01:13:09.286 --> 01:13:12.541 Mickey say— or not Mickey, that's, uh, Jimmy's wife— whatever, you know, Maury's wife 01:13:13.041 --> 01:13:15.509 say say that, you know, she— he didn't come home, he knows right away why. 01:13:15.910 --> 01:13:18.702 Jimmy told me he wasn't gonna do it, but he went through with it anyway, 01:13:18.718 --> 01:13:21.990 and Maury's fucking dead. Like, nobody's gonna find him. Yeah, at that point. So, 01:13:22.391 --> 01:13:25.873 God. And, and so, uh, Henry's talking about how, 01:13:26.803 --> 01:13:29.450 you know, during— after this big heist, like, yeah, 01:13:29.530 --> 01:13:31.969 Jimmy, Jimmy doesn't like giving money to people. 01:13:32.290 --> 01:13:35.578 So even though the deal was we're gonna split it up these ways 01:13:36.078 --> 01:13:39.541 because we all have vital roles in this operation, Jimmy doesn't like giving money 01:13:39.573 --> 01:13:42.364 to people, so he just killed him. And Henry's so matter of fact the way 01:13:42.864 --> 01:13:46.661 he's talking about this. This scene is amazing, and it's happening— this montage 01:13:46.693 --> 01:13:50.380 happening with the piano part from Layla, yeah, uh, playing over 01:13:50.880 --> 01:13:53.538 it, which is just so good and so much better than the rest of that 01:13:54.038 --> 01:13:57.209 song. Yeah, it's like the saxophone part from Baker Street. There you go. 01:13:57.289 --> 01:13:59.966 Yeah, listen to the rest of the song, you're like, this isn't up to par. 01:14:00.174 --> 01:14:03.444 No. Yeah. Um, but the Layla thing— so we're seeing like 01:14:03.944 --> 01:14:07.292 Johnny Roastbeef and his wife are both dead in the car, in the big Cadillac. 01:14:07.372 --> 01:14:10.994 Yep. And, uh, with some bodies in the garbage truck. Yeah, that's Frenchy 01:14:11.219 --> 01:14:14.233 and, uh, what do you have— remember the other guy? But oh, that's where French 01:14:14.425 --> 01:14:17.662 and Buddha are there. Carbone is hanging in a meat truck, and he 01:14:18.162 --> 01:14:20.017 was in there so long that they had to thaw him out for 3 days 01:14:20.049 --> 01:14:24.007 before they do the autopsy. Him frozen in that with like his air— his 01:14:24.135 --> 01:14:27.452 fro like frozen is just such a cool, uh, look. 01:14:27.884 --> 01:14:30.769 And then we get another— I think maybe again one of the more famous scenes 01:14:31.269 --> 01:14:32.996 for me at least, and one of the ones I think about a lot— is, 01:14:33.332 --> 01:14:36.056 uh, we get Tommy going to be made. So he's at his mom's house and 01:14:36.556 --> 01:14:38.828 she's like looking at his suit, oh, you look so nice, you know, be careful. 01:14:38.940 --> 01:14:42.385 Wild collar, like whatever shirt he's wearing. All these— there's so many times the collar 01:14:42.578 --> 01:14:46.218 so tight and like together, it's so weird looking. But it is very mobstery. 01:14:46.314 --> 01:14:49.826 Like, to me it's very similar to like, oh, my tie is lighter colored 01:14:49.858 --> 01:14:53.001 than my dress shirt. That's a very mobster look. Yeah. And I feel like that 01:14:53.501 --> 01:14:56.208 kind of collar is always a mobster look. But basically he gets picked up by 01:14:56.708 --> 01:14:58.806 Tootie and this old guy. I don't know who the old guy was, but these 01:14:58.838 --> 01:15:02.046 two— but Tootie, uh, uh, uh, uh, what's his last 01:15:02.546 --> 01:15:05.798 name? Sister? Yeah, sister. Yeah, Paulie's little brother ran the cab stand. He picks up 01:15:06.298 --> 01:15:09.021 Tommy and the old guy. They pick him up, they drive to like— I don't 01:15:09.521 --> 01:15:12.423 know who whose house this is, by the way, where they go. Yeah, pull into 01:15:12.923 --> 01:15:15.870 the garage and they're going through, and Tommy's kind of chatting. He's like, oh hey, 01:15:15.886 --> 01:15:17.932 how long ago did you get made? Oh, 30 years ago. I bet this brings 01:15:17.980 --> 01:15:21.452 back memories. And the guy's like, yeah, kind of, whatever. And they go in and 01:15:21.952 --> 01:15:25.007 it's an empty room, and it's so good the way Joe Pesci goes, 01:15:25.690 --> 01:15:29.142 oh no. Yeah. And it's just this, this moment of resignation. 01:15:29.206 --> 01:15:30.868 And then he's got the gun in the back of his head, and I mean, 01:15:30.884 --> 01:15:35.062 they really— it is a visceral look. It's probably the best, like, special effect 01:15:35.142 --> 01:15:38.873 in the is his— Joe Pesci's head exploding out 01:15:39.373 --> 01:15:42.774 the front of his face. Yeah, and Joe, like, that gruesome 01:15:42.807 --> 01:15:46.355 of a thing is something that the effect often looks really bad. 01:15:46.403 --> 01:15:50.128 Yes, right. And yeah, it was just— it was so perfect. 01:15:50.256 --> 01:15:52.777 I would have loved if they just had him slip on a bunch of Micro 01:15:53.277 --> 01:15:56.502 Machines when he walked in there, but that's also a good 01:15:56.534 --> 01:16:00.178 way to injure Joe Pesci. Paint can to the face. Yeah. 01:16:00.933 --> 01:16:04.048 And then the thing about this, you know, the whole maid guy thing is it 01:16:04.080 --> 01:16:07.559 gets around to— so Jimmy, they're waiting for the call to confirm. 01:16:07.912 --> 01:16:11.182 Yeah, no, this is like them waiting for— to find out that their kid is 01:16:11.278 --> 01:16:14.820 born. Like, it's so exciting to them. And Jimmy's at the payphone, he gets the 01:16:15.320 --> 01:16:18.267 call, and it's just like, uh, yeah, it, uh, didn't work out. Yeah, we had 01:16:18.767 --> 01:16:21.344 a problem, we had a problem, fix it. That's it, there's nothing we can do 01:16:21.392 --> 01:16:25.079 about it. And Jimmy's scene, uh, De Niro's— this is like the greatest 01:16:25.579 --> 01:16:29.551 De Niro scene, breaking down in the payphone. I love a phone with a receiver 01:16:30.208 --> 01:16:34.010 because you can slam it against the phone when you're upset. With the cell phone, 01:16:34.042 --> 01:16:36.834 you can't. You got to slam it against something else. You got to be able 01:16:36.866 --> 01:16:40.364 to slam it against itself. Yeah, there was almost a moment here where I thought 01:16:40.701 --> 01:16:43.365 Henry— and this is, again, this is a great acting scene for both De Niro 01:16:43.865 --> 01:16:46.254 and Liotta— and I really felt like there's a moment here where Henry was debating 01:16:46.318 --> 01:16:49.623 whether he should hug, like embrace Jimmy, right? There's this moment of like, 01:16:49.639 --> 01:16:52.576 he looks like he might kind of reach for him, but like, I feel like 01:16:53.076 --> 01:16:55.368 that would have— good call not to. I feel like Jimmy would have reacted very 01:16:55.400 --> 01:16:59.043 badly to any kind of like sensitivity at that moment. But he is breaking down 01:16:59.107 --> 01:17:02.218 over this. Because here's the thing, not only does it mean one of his best 01:17:02.718 --> 01:17:06.083 friends is dead and his ticket in is gone, it means they're 01:17:06.583 --> 01:17:09.836 in trouble now too. Like, not right away necessarily, and maybe not him, sure, 01:17:09.900 --> 01:17:13.188 whatever. They're never going to be trusted by these guys because they don't even 01:17:13.688 --> 01:17:16.251 have a full Italian to speak for them. That's right. But then also they were 01:17:16.751 --> 01:17:21.238 associated with this guy that double-crossed them and went against the rules, and they're implicated 01:17:21.738 --> 01:17:23.948 even if, you know, it's not like Tommy ratted them out, but they have to 01:17:24.448 --> 01:17:26.819 know like who would have been with them, right? Who's most likely to know about 01:17:27.319 --> 01:17:29.465 Tommy, or at least known about it. Exactly. And they make a, you know, 01:17:29.610 --> 01:17:32.687 And they make it clear in, uh, Henry's voiceover that this was a— this was 01:17:32.751 --> 01:17:35.989 in revenge for Billy Batts. Yes, this was because he killed Frank Vincent's character. 01:17:36.053 --> 01:17:39.307 So this is why, you know, he said— and it's really— it's like, I guess 01:17:39.404 --> 01:17:43.555 he did do the killing, but like, it's pretty wild for Jimmy 01:17:43.587 --> 01:17:46.745 especially to not take some blame. And maybe he does. I mean, 01:17:46.761 --> 01:17:49.743 that's why he's so freaked out that like, you know, his boot marks are all 01:17:49.839 --> 01:17:53.045 over Billy Batts's face too, you know. Yeah, we did some forensics. I think we 01:17:53.109 --> 01:17:56.587 could find some fault for Jimmy there, right? Yeah, Henry was more involved 01:17:57.087 --> 01:17:59.856 in the cleanup more than the actual killing. Yeah, but yeah, and he owned the 01:18:00.356 --> 01:18:03.046 facility, you know, he provided the venue for it. Yeah, so the end of this 01:18:03.158 --> 01:18:05.965 is just Henry saying, and that's that. Yeah, exactly. 01:18:06.046 --> 01:18:09.010 And then we go to 5/11/1980, 01:18:09.058 --> 01:18:12.232 May 11th, 1980, 6:55 AM. Oh my God, this whole 01:18:12.264 --> 01:18:15.639 sequence of this day is amazing. It's so tense and 01:18:16.139 --> 01:18:19.260 it's so— and it's different from the way that the rest of the movie has 01:18:19.373 --> 01:18:21.992 been, you know, where a lot of it is like, hey, let's kind of hang 01:18:22.105 --> 01:18:24.704 out in mafia world and show you what it's like and let you feel what 01:18:25.204 --> 01:18:28.133 it's like. And this is just like, and here are the consequences. Day in the 01:18:28.633 --> 01:18:31.677 life of, and it's, and it's this important day. And, uh, so it starts off 01:18:32.177 --> 01:18:33.505 where he, the whole day, he's got a few things to do. He says he's 01:18:34.005 --> 01:18:35.895 got like a whole bunch of you. He's got to go pick his brother Mikey 01:18:35.991 --> 01:18:39.567 up from the hospital, uh, and take him home. He's got to 01:18:39.776 --> 01:18:43.576 go, uh, bring some guns to Jimmy that Jimmy wanted because he 01:18:43.625 --> 01:18:46.110 bought some like silencers or whatever and he wants to fit them to him. 01:18:46.415 --> 01:18:48.981 He's got to meet up with his Pittsburgh guys to get the shipment that then 01:18:49.481 --> 01:18:51.804 has to go out to Miami. It's got to go down to Florida. He's good. 01:18:51.853 --> 01:18:54.696 So then he's got to get that set up and ready to go and give 01:18:54.744 --> 01:18:56.845 it to Lois and get her to the airport so that she can take her 01:18:57.345 --> 01:19:00.140 flight. So there's all this stuff going on, and he's making— he's making the dinner. 01:19:00.221 --> 01:19:03.360 And I love him referencing back, you know, talking about these 01:19:03.458 --> 01:19:06.794 big, you know, well, I gotta deliver the drugs to this thing and I gotta 01:19:07.294 --> 01:19:10.526 get back to stir the sauce. And he's telling— everything's on like 01:19:11.026 --> 01:19:13.300 a level playing field. He's telling his brother Michael to keep stirring the sauce, 01:19:13.317 --> 01:19:15.962 don't let it burn, don't let it stick to the pot, like all this stuff. 01:19:16.397 --> 01:19:19.827 He goes to the hospital to pick his brother up, and the doctor there like, 01:19:19.988 --> 01:19:23.208 you look like shit, dude, like you need help, whatever. He apparently gives him some 01:19:23.224 --> 01:19:26.863 Valium and sends him on his way because apparently, you know, the 1980s were wild. 01:19:26.927 --> 01:19:30.356 Just amazing. That doctor, did you recognize who that was? He looked familiar. 01:19:30.404 --> 01:19:33.123 Who was that? I forget the actor's name. He just passed away. He was on 01:19:33.623 --> 01:19:37.066 The Wire as State Senator Clay Davis. He was— that's right, yes, 01:19:37.130 --> 01:19:40.283 I knew that was somebody. Good to see him. Yeah, so again, 01:19:40.315 --> 01:19:43.832 we've got the family dinner intertwined with like all the crime stuff happening. 01:19:44.333 --> 01:19:47.560 And Henry, as he's driving around, he's seeing this chopper overhead. Oh yeah, 01:19:47.576 --> 01:19:51.183 keeps looking at the helicopter and looking up. And he brings, he brings Karen in 01:19:51.456 --> 01:19:54.260 to the car with him. They have to go run an errand. And like, 01:19:54.484 --> 01:19:58.474 yeah, you see this helicopter. It's funny, the type of people who they became 01:19:58.667 --> 01:20:01.840 by this point in the movie would have been seeing helicopters like twice a week. 01:20:01.936 --> 01:20:05.445 Yeah, exactly. So it's crazy that this is— was real helicopters. 01:20:05.557 --> 01:20:08.602 Yeah. And Karen's clearly all in on the drug stuff. I mean, she's doing coke 01:20:09.102 --> 01:20:11.807 with him, like she's completely bought into the whole system. They go and pick up— 01:20:12.307 --> 01:20:15.196 they go to a motel and pick up drugs from there, connect or whatever whatever. 01:20:15.359 --> 01:20:18.659 And we've seen this guy too. The guy who's the connect from Pittsburgh was in 01:20:18.757 --> 01:20:21.147 The Sopranos as well. He was the guy that got crippled, 01:20:22.120 --> 01:20:25.163 that Tony hit with the car. Yeah, Beansy. Yeah, Beansy is the one that's hooking 01:20:25.663 --> 01:20:29.041 up the pickup from Pittsburgh. And so Karen needs a hit, like all this kind 01:20:29.057 --> 01:20:32.528 of stuff. They end up getting back to the house, uh, and well, 01:20:32.576 --> 01:20:34.970 before they get back to the house, he calls and he talks to Lois and 01:20:35.470 --> 01:20:37.826 he says, before you make the call, you go to an outside line. I think 01:20:38.326 --> 01:20:41.232 she's got to give the flight information to the people in Miami that she's flying 01:20:41.265 --> 01:20:43.551 down to. She's got to make sure they know what flight she's coming in on 01:20:44.051 --> 01:20:46.529 or something like that. So you leave the house and you make that call from 01:20:47.029 --> 01:20:48.863 an outside line. Do not make that call from home, right? You know, whatever. 01:20:49.169 --> 01:20:50.940 And sure enough, she hangs up with them, whatever, and she says fuck it, 01:20:50.956 --> 01:20:54.366 and she makes the call from the house, right? So that's bad. So he comes 01:20:54.415 --> 01:20:57.588 home with Karen, they're doing dinner, they're doing whatever, and Lois— he's got to get— 01:20:58.088 --> 01:21:00.234 oh, he's got to go to Sandy's and like cut the drugs. So he goes 01:21:00.266 --> 01:21:03.312 and does that, comes back and is like, all right, Lois, like, let's get you— 01:21:03.344 --> 01:21:05.612 we gotta, we gotta tape this stuff to your legs so that you can like 01:21:06.112 --> 01:21:09.525 get through security, you know, pre-TSA obviously. And, uh, and you know, like, 01:21:09.591 --> 01:21:12.193 this is time, it's time. But she says I'm not going. I'm not going to 01:21:12.693 --> 01:21:15.034 go on the flight. I need my hat. Yeah, I'm not gonna fly without my 01:21:15.534 --> 01:21:18.472 hat. Lucky hat. And she lives in— it's like a Paddington hat that she wears. 01:21:18.650 --> 01:21:21.832 That's true. Yeah, yeah, yeah. But she lives like in Rockaway, which is like 01:21:21.977 --> 01:21:24.807 pretty far away, I think, from Queens, which is I think where they still are. 01:21:25.130 --> 01:21:28.526 But like, yeah, so he's like, fuck, fine, all right, I gotta go. And he 01:21:29.026 --> 01:21:32.303 stashes the drugs in like the kitchen cabinet and is like, Karen, I gotta go 01:21:32.803 --> 01:21:35.381 take Lois home. She's like, for a hat? Like, what? But he's like, she's not 01:21:35.881 --> 01:21:38.363 gonna fly. He's gotta have her fly. So there they go. They get into the 01:21:38.427 --> 01:21:41.825 car and immediately— here's the Funny thing I noticed, and it looks like Henry doesn't, 01:21:41.841 --> 01:21:45.151 but there are red and blue lights flashing off of the street of the house 01:21:45.199 --> 01:21:47.931 across the street. The second they come out of their house, you can see a 01:21:48.431 --> 01:21:51.103 faint flash of blue and red. Oh, funny. Off on the distance. But as soon 01:21:51.603 --> 01:21:53.328 as he gets in the car, cops come up to, you know, hey, you know, 01:21:53.345 --> 01:21:56.247 like, stop, like, freeze, or whatever, and all this shit. And he says in the 01:21:56.747 --> 01:21:59.694 voiceover, as soon as they said freeze, I knew it was cops. Yeah, if it 01:22:00.194 --> 01:22:01.872 were a wise guy, I would be dead already. Wouldn't have heard anything. It wouldn't 01:22:02.372 --> 01:22:05.486 have heard anything. Yeah, it's very cool. Oh my God. Yeah, so he's, 01:22:05.824 --> 01:22:09.261 uh He finds out, and Karen, 01:22:09.518 --> 01:22:12.890 you know, is freaking out, and she's flushing all the 01:22:13.390 --> 01:22:16.326 coke and stuff, which smart move, because it's not like it was hidden in the 01:22:16.423 --> 01:22:19.907 walls of the house. It was like in the cabinet, you know, behind your DVDs, 01:22:20.068 --> 01:22:22.011 in like a fanny pack. Yeah. So, 01:22:24.082 --> 01:22:27.438 so Henry's in jail, and he ends up getting out on bail. 01:22:27.583 --> 01:22:30.890 Yeah, like Karen's mom put her house up basically for Henry's 01:22:31.390 --> 01:22:34.138 bail, and Henry's plan is like, all right, well, I still get these drugs I 01:22:34.187 --> 01:22:37.566 can flip that, I can turn that into something to get us, yeah, you know, 01:22:37.598 --> 01:22:40.832 out of here. Because Paulie's going to be insanely pissed now because now Paulie knows 01:22:40.848 --> 01:22:43.967 I'm in drugs. Drugs is a problem. Yeah. So he's like, I gotta make it 01:22:44.467 --> 01:22:48.145 right with Paulie, I gotta do this. So he goes home and that's when 01:22:48.177 --> 01:22:50.614 Karen— you know, he's looking around for the drugs. He goes, Karen, where's the drugs? 01:22:51.001 --> 01:22:53.082 And she goes, well, I flushed them down the toilet. And he's like, why would 01:22:53.582 --> 01:22:57.536 you do that, Karen? And this scene is probably Ray Liotta's best acting. So intense, 01:22:57.552 --> 01:23:00.920 the meltdown of it. Like, you can feel his agony so much and and 01:23:01.420 --> 01:23:04.615 it's like more than anything that's ever happened. Like, if one of his kids was 01:23:04.647 --> 01:23:08.101 killed, he wouldn't have reacted that deeply. And, and the way— the 01:23:08.601 --> 01:23:12.375 number of different ways you can say, 'Why would you do that, Karen?' And he 01:23:12.875 --> 01:23:15.829 says that line like 8 or 9 times, and every one of them hits a 01:23:15.877 --> 01:23:19.476 little different. Yeah, it's the range that Liotta's got in the scene is amazing. 01:23:19.990 --> 01:23:23.074 And it's all this different depth of just, yeah, like despair and whatever. And he 01:23:23.574 --> 01:23:26.255 finally crumples into a corner, right, of the room, and it's just freaking— he's like, 01:23:26.480 --> 01:23:29.131 'I got nothing now. There's no way to like like, fix this. Yeah. Which is 01:23:29.631 --> 01:23:32.986 just, you know, so yeah, so then Karen goes— oh no, so then I think 01:23:33.486 --> 01:23:35.813 he goes— he goes to Paul. Yeah. And, and I don't know if this is 01:23:36.313 --> 01:23:39.844 like for a last resort. I mean, it might be for a last resort bailout. 01:23:39.909 --> 01:23:43.009 Yeah. Um, but yeah, he goes to see Paulie, and Paulie said, 01:23:43.747 --> 01:23:46.655 here you go, like, I'll give you the, the money in my pocket, inch and 01:23:47.155 --> 01:23:50.413 a half of cash that's in my pocket, and that's it. After this, I have 01:23:50.913 --> 01:23:52.887 to turn my back on you. That's right. So he's like, there it is, 01:23:52.983 --> 01:23:56.653 an entire life for $2,200 or whatever. Exactly, not much. 01:23:57.041 --> 01:24:00.163 Oof. Oh, $3,200 for a lifetime. Not even enough 01:24:00.211 --> 01:24:03.786 to pay for the coffin. That's right. Which I was curious about— whose coffin? 01:24:04.319 --> 01:24:07.408 Like, I'm not sure what he's referencing. He's probably feeling at that point in the 01:24:07.908 --> 01:24:10.885 story. But yeah, it is funny. But yeah, so then, then Karen goes to see 01:24:11.385 --> 01:24:14.349 Jimmy and is just kind of like chatting with him, whatever. And like, you know, 01:24:14.896 --> 01:24:16.840 he's like, oh, everything's gonna be okay, everything's gonna be all right, we're gonna figure 01:24:17.340 --> 01:24:18.944 this out, whatever. And they go to leave and he goes, you know, I got 01:24:19.444 --> 01:24:22.061 some new dresses, some Dior. There's, you know, if you want them, you should just 01:24:22.110 --> 01:24:24.336 take some. Like, they're gonna fit you, they're gonna look great, you should just take 01:24:24.836 --> 01:24:26.907 them. Oh no, no, they're not up here, they're down around the corner here. 01:24:26.987 --> 01:24:29.076 Where'd you go? And so Jimmy goes out and they're out on the street and 01:24:29.092 --> 01:24:31.501 she— and he's like looking and going, yeah, go down to the corner, go in 01:24:32.001 --> 01:24:35.807 the corner. She goes down and he keeps pushing, but he's 01:24:36.307 --> 01:24:36.911 not walking that direction at all. And she looks in at one point and I 01:24:37.411 --> 01:24:38.825 can't even tell what's going on. It looks like a couple guys working on, 01:24:39.004 --> 01:24:41.177 on a place, like, like doing construction or something, 01:24:42.140 --> 01:24:44.796 remodeling or whatever. But she's got all the fucking bad vibes. 01:24:45.456 --> 01:24:48.612 And luckily for her, where she was walking to was towards her car. And so 01:24:49.112 --> 01:24:51.284 she gets all the bad vibes over and goes, uh, I gotta go, Jimmy. 01:24:51.349 --> 01:24:52.798 No, no, never mind. I'll go. And she goes and he goes, no, no, 01:24:52.814 --> 01:24:55.875 no, no, no, no, go in there, go in there. And she knows, 01:24:55.891 --> 01:24:59.368 like, she was about to get whacked. Like, that was it. Crazy, crazy creepy. 01:24:59.592 --> 01:25:02.925 And the way that Jimmy approaches, just, you know, kind of very 01:25:02.957 --> 01:25:06.803 like Silvio and the Sopranos, just like, hey, I'm still your friend. Like, right until 01:25:07.303 --> 01:25:10.489 you're never gonna see this, uh, never gonna see this coming. Yeah. Um, 01:25:11.114 --> 01:25:14.671 yeah, so, uh, they go and they end up talking to— 01:25:14.960 --> 01:25:18.164 oh, so Henry goes to meet Jimmy. Yeah, so that's kind of the last— yeah, 01:25:18.245 --> 01:25:21.501 the last tempt for one of his crime guys to maybe help him, 01:25:21.549 --> 01:25:24.598 or just to see what's going on. Because Jimmy's also been asking questions like, 01:25:24.679 --> 01:25:28.097 what are they talking about? What's happening? When Karen was meeting him, he's like, 01:25:28.129 --> 01:25:31.707 oh, what are they asking Henry about? Um, and they have this meeting at the 01:25:31.739 --> 01:25:35.286 diner where Henry's explaining. He's like, you know, we're supposed 01:25:35.786 --> 01:25:39.073 to meet at this time. I got there 15 minutes early. Jimmy was already there. 01:25:39.522 --> 01:25:42.828 Like, he seemed nervous, he seemed different, and all this shit. So he knew, 01:25:43.069 --> 01:25:46.251 like, Jimmy was gonna kill me. Well, and this is when then Jimmy says, 01:25:46.833 --> 01:25:50.083 um, hey, I want you to go down, down to Tampa or 01:25:50.583 --> 01:25:53.154 whatever, down to Florida and whack this guy. You're gonna go with— I don't remember 01:25:53.654 --> 01:25:54.997 who he says— with another guy. The two of you are gonna go down there, 01:25:55.013 --> 01:25:57.399 you're gonna whack this guy for me. And he goes, Jimmy never asked me to 01:25:57.415 --> 01:25:59.797 whack a guy ever. And we've seen, right, Henry's never been the one to pull 01:25:59.830 --> 01:26:03.034 the trigger on anybody. Yeah, he's not a mafia hitman 01:26:03.066 --> 01:26:05.530 in any way, shape, or form. So he's like, that's when I knew I was 01:26:05.563 --> 01:26:08.038 never going to come back from Florida. Like, he was going to go down there 01:26:08.054 --> 01:26:10.383 with this other guy, that guy was going to kill him, out of town. 01:26:10.496 --> 01:26:13.994 Like, that was the whole plan. Um, and so instead Instead, they go 01:26:14.494 --> 01:26:18.155 to the FBI and they turn state's evidence. The witness protection— I love 01:26:18.495 --> 01:26:21.847 that guy. Yeah, the guy who's talking to them, explaining how it works. It's very 01:26:22.347 --> 01:26:25.877 matter of fact and everything. Oh, if you're legitimately bronchial, we'll see what we can 01:26:25.893 --> 01:26:29.557 do. Like his stuff that he says. Um, and again, this does an 01:26:29.670 --> 01:26:33.550 excellent job of explaining what— how the witness protection program works, 01:26:33.614 --> 01:26:36.850 you know, where it's like, yeah, you're not— you have no contact with these people. 01:26:37.060 --> 01:26:39.408 Yeah, you're not going to see your parents, you're not going to go visit or 01:26:39.458 --> 01:26:43.017 any of that. Stuff and having to make that decision very quickly. 01:26:43.883 --> 01:26:47.510 Yeah, yeah, uh, really, really intense. And I like the way— because Karen asks, 01:26:47.574 --> 01:26:50.430 well, but they, they want you— they— she says, 01:26:51.008 --> 01:26:54.249 you want Henry, not me. And he goes, yeah, that's right, we, we just want 01:26:54.749 --> 01:26:56.576 Henry. We don't care if you come or not. I actually would prefer you didn't 01:26:57.076 --> 01:26:59.448 unless it makes him a better witness to have you there. But yeah, we don't 01:26:59.948 --> 01:27:03.492 care. But just so you know, when he's in witness protection and you're not, 01:27:03.941 --> 01:27:06.990 they may not really actually want you, but you're going to be the only way 01:27:07.490 --> 01:27:09.091 they have to get to to him, you're going to be in danger. Like, 01:27:09.171 --> 01:27:11.928 yeah, you will get killed if you don't go into the program when he does, 01:27:12.024 --> 01:27:15.952 and we need him to, right? Yeah. Uh, so, you know, really tough 01:27:16.452 --> 01:27:19.927 decision. But then, you know, we're— what are you left with? You're left with nothing 01:27:19.975 --> 01:27:23.229 else. Yeah, exactly. Uh, so now we're in 01:27:23.245 --> 01:27:26.916 the courtroom. So Jimmy and Paulie have been arrested, so they're in the courtroom, 01:27:27.012 --> 01:27:30.731 and Henry is being asked to, you know, could you identify this man? Points to 01:27:31.231 --> 01:27:33.841 Paulie, points to Jimmy, and all that stuff. Yeah. And the other, uh, 01:27:34.082 --> 01:27:37.127 lawyer is asking him something. It's like, you know, do you know what the concept 01:27:37.627 --> 01:27:40.110 of a rat is? You know, it's like, say, I don't know anything about being 01:27:40.610 --> 01:27:44.218 any rat. And then we get kind of a weird, like, fantastical, 01:27:44.331 --> 01:27:47.765 like, fourth wall break. Yeah. Where he gets up from his 01:27:47.797 --> 01:27:51.312 witness seat, so it just goes to him delivering to the 01:27:51.812 --> 01:27:56.222 screen. Yeah. And saying, you know, after— and talking about his life after this all 01:27:56.722 --> 01:27:59.272 happened. And it was— it's like the continuation of the narration has now been put 01:27:59.772 --> 01:28:02.096 into the scene. And yeah, nobody else is paying attention to him as he walks. 01:28:02.144 --> 01:28:04.985 It's not like they're frozen, it's not like that, but they're just not looking at 01:28:05.485 --> 01:28:08.066 him as he walks by. Yeah. And kind of giving us the wrap-up, essentially. 01:28:08.162 --> 01:28:12.015 Yeah. Of what his life is like now. Uh, it's really good, um, when he's 01:28:12.515 --> 01:28:15.885 talking about his recapping, you know, oh, I used to walk into a 01:28:16.385 --> 01:28:19.723 place and this would, you know, talking about the grandiosity of his life 01:28:19.803 --> 01:28:23.111 in the mafia versus now, you know, I asked for 01:28:23.611 --> 01:28:26.547 spaghetti and marinara sauce, I got egg noodles and ketchup. 01:28:26.804 --> 01:28:29.951 To which my wife, when we were watching this, she was like, you were just 01:28:30.451 --> 01:28:33.467 in jail for 5 years with a guy who was an expert at making pasta 01:28:33.967 --> 01:28:36.835 sauce. You can't fucking make your own. Phone. Like, that sounds like a you issue. 01:28:36.932 --> 01:28:40.651 That's fair. So he's an average nobody, 01:28:41.067 --> 01:28:44.530 and then for some reason— this is the end of the movie— and 01:28:45.030 --> 01:28:48.297 then it just— we get a quick flash of Tommy shooting his gun directly at 01:28:48.797 --> 01:28:51.455 the screen like 5 times, and then it goes to the shitty version of My 01:28:51.487 --> 01:28:54.164 Way by Sid Vicious or whatever, right? 01:28:54.613 --> 01:28:58.332 It was a weird little— he was like, how badly can I land this for 01:28:58.832 --> 01:29:01.602 the rest of it being so amazing? I want the last like 10 seconds of 01:29:02.102 --> 01:29:04.568 this movie to be really confusing. And it didn't make sense. Tommy's dressed in a 01:29:05.068 --> 01:29:07.235 way we've never seen him. He's got a hat on we've never seen him wear 01:29:07.735 --> 01:29:11.003 like sunglasses or something. It's very strange. Yeah, I don't— I think it's— I think 01:29:11.503 --> 01:29:14.674 the idea maybe is that we're— Tommy, or excuse me, Henry is going to be 01:29:14.722 --> 01:29:17.688 haunted for the rest of his life by Tommy. Yes, 01:29:17.704 --> 01:29:21.351 like in that life, something like that. Anyway, it really does open us up very 01:29:21.851 --> 01:29:24.368 nicely to the sequel that I'm sure we'll do at some point, uh, My Blue 01:29:24.384 --> 01:29:27.641 Heaven, which is clearly the sequel to this movie. Um, we'll get to that at 01:29:28.141 --> 01:29:31.703 some point. So, okay, that, that is Goodfellas. That is right. 01:29:31.977 --> 01:29:34.862 And God, it's, it's a lot to talk about, but I mean, the movie's got 01:29:35.362 --> 01:29:38.621 so much, it's dense and packed so full. So this was my pick for us. 01:29:38.669 --> 01:29:41.655 I'm gonna give my, my, you know, version of my review, I guess, 01:29:42.506 --> 01:29:45.300 which just feels dumb. Like, I honestly— this is one of the movies we did— 01:29:45.316 --> 01:29:47.484 I feel— I felt this way about The Silence of the Lambs too, where it's 01:29:47.984 --> 01:29:50.470 like, what the fuck am I supposed to say about this movie? Yeah, Goodfellas. 01:29:50.534 --> 01:29:53.713 Like, do you know the movie Goodfellas? If you don't know the movie Goodfellas, 01:29:54.211 --> 01:29:57.888 you should go see it because it's fantastic. There's— there is nothing 01:29:58.080 --> 01:30:01.532 I can ask for from a movie that has set out to be me 01:30:02.255 --> 01:30:05.404 a story about real crime in America that 01:30:05.452 --> 01:30:08.344 this movie does not give me. There is nothing I can ask for this movie. 01:30:08.585 --> 01:30:11.461 There is not fat on the bone here, even at 2 and a half hours. 01:30:11.573 --> 01:30:14.561 No, this is— it's solid. There's no piece of it where you're like, well, 01:30:14.609 --> 01:30:17.533 we didn't really need that. They cut so— so much happens. 01:30:17.597 --> 01:30:20.425 You cut from this scene to the next so quickly with those narrations. You know, 01:30:20.473 --> 01:30:24.248 there are elements or segments rather of this movie where either Henry or Karen 01:30:24.264 --> 01:30:27.606 is giving us significant amounts of information in the narration while we're watching 01:30:27.638 --> 01:30:30.525 a relatively quick scene. Scene happen, but we just got as much info as would 01:30:31.025 --> 01:30:34.453 have taken a true show-me-only movie would have taken like 10 minutes to show 01:30:34.953 --> 01:30:38.893 us over the course of one instead. Yeah, this movie's fantastic. The acting is amazing. 01:30:38.941 --> 01:30:42.788 The script is incredible. They're, you know, Scorsese at his absolute peak. 01:30:43.750 --> 01:30:46.572 You know, the fact that he didn't win Best Director for this is like wild. 01:30:47.437 --> 01:30:50.868 But, you know, it's— or did he? No, no, that's right. Pesci's the only 01:30:50.884 --> 01:30:53.945 one that won out of this one. Yeah. For an Oscar. Yeah. It's 5 out 01:30:54.445 --> 01:30:57.023 of 5. I don't have any notes to give to Goodfellas, and I would feel 01:30:57.039 --> 01:30:59.588 like a schmuck for pretending I do. This is a 5 out of 5 movie 01:30:59.780 --> 01:31:01.923 for me. And hopefully I didn't just call you a schmuck. That's not what I 01:31:02.423 --> 01:31:05.538 meant to do. Ah, son of a bitch. Let me get to my notes. 01:31:06.327 --> 01:31:10.078 No, like I said, I really think my only note is that Pesci 01:31:10.224 --> 01:31:13.813 shooting at the screen at the very end is stupid. And then that 01:31:13.942 --> 01:31:18.394 last song, the My Way, Johnny Rotten sucks ass. I think the 01:31:18.894 --> 01:31:21.797 tone, I mean, you're going for a certain feeling at the end, so I get 01:31:22.297 --> 01:31:25.145 that, but I would've liked it to end on like a smooth, like, you know, 01:31:25.210 --> 01:31:28.343 hey, you're nobody till somebody loves you. 01:31:28.489 --> 01:31:30.145 Or give us Frank's version of My Way or something, right? Or give us like 01:31:30.645 --> 01:31:33.896 just Henny Youngman. Just saying jokes. Um, 01:31:34.169 --> 01:31:37.798 but Jesus Christ, this movie is so enjoyable, so well cast. 01:31:37.862 --> 01:31:41.460 Like, everything looks great. Uh, there's no effects 01:31:41.960 --> 01:31:44.576 that they couldn't do that they tried to do. There's— so this movie is going 01:31:44.608 --> 01:31:47.418 to stand the test of time. I don't know what's, what's gonna look, 01:31:48.045 --> 01:31:51.080 uh, off about this movie. And of course, you know, there's language things, 01:31:51.112 --> 01:31:54.533 there's, there's ways that the characters are, but that's the characters. 01:31:54.646 --> 01:31:58.083 That's not a reflection of the filmmaker's ideas at the time and stuff 01:31:58.583 --> 01:32:02.176 like that. Um, a couple things here. One thing is that I think this 01:32:02.209 --> 01:32:05.355 movie, uh, with its explanations of the 01:32:05.387 --> 01:32:09.224 mechanics of organized crime enhances your enjoyment 01:32:09.400 --> 01:32:12.852 of other organized crime material. So like, if you've 01:32:12.868 --> 01:32:16.432 watched this, you're gonna like The Sopranos more. You're gonna like even The Godfather, 01:32:16.480 --> 01:32:19.803 like Donnie Brasco, all that stuff more. Um, 01:32:20.172 --> 01:32:23.238 and the other thing that I, I didn't bring up, uh, Joe Pesci 01:32:23.302 --> 01:32:26.416 put out an album. He did a music album in the late '90s. 01:32:27.058 --> 01:32:30.716 And one of the songs that he did was called Wise Guy, 01:32:31.310 --> 01:32:34.903 and he's rapping. It's a rap thing. Oh my God, dude. I think actually 01:32:34.936 --> 01:32:38.305 that should be the closing music for this episode if we're able to do that. 01:32:38.770 --> 01:32:41.930 Joe Pesci says, I'm a wise guy. I don't drive by. 01:32:42.316 --> 01:32:47.016 I just stopped by with a couple of guys. So it's 01:32:47.193 --> 01:32:50.337 really worth checking out. So I'm glad that that 01:32:50.837 --> 01:32:54.491 exists here. Yeah. This movie is really perfect to me. I mean, I don't see 01:32:54.991 --> 01:32:57.955 how it would be any better. Goodfellas is an absolute 5 out of 5 for 01:32:58.455 --> 01:33:01.531 me. I love it. Should be the, the, the least amount of shock ever, 01:33:01.707 --> 01:33:04.658 uh, from our podcast, but a 10 out of 10 from the two dads on 01:33:04.690 --> 01:33:08.618 Goodfellas. Such a surprise. But that brings us to 1991. 01:33:08.763 --> 01:33:12.595 And Nick, your pick to, to, to bring us further into the '90s in 1991. 01:33:12.691 --> 01:33:15.257 What are we going to watch next week? Yeah, so I had a few different 01:33:15.757 --> 01:33:18.897 picks for 1991 and went back and forth, but one thing I realized is now 01:33:19.122 --> 01:33:22.749 coming up on our 58th episode, I think, uh, and one of 01:33:23.249 --> 01:33:26.601 the bigger stars of the '80s and '90s who I remember just being kind of 01:33:26.745 --> 01:33:30.260 everywhere and always talked about and stuff, we haven't seen yet. And I thought, 01:33:30.741 --> 01:33:34.417 let's check this movie out. Uh, Julia Roberts is, 01:33:34.593 --> 01:33:38.509 uh, is escaping some creepy dudes and dating some creepy 01:33:38.542 --> 01:33:41.896 dudes, and it's, it's a really great fun thriller 01:33:42.396 --> 01:33:45.619 from the early '90s, kind of a, you know, in the Cape Fear vein, 01:33:45.651 --> 01:33:48.726 hopefully. Hopefully more in the Cape Fear vein than in the Pacific Heights vein. 01:33:49.306 --> 01:33:52.494 But I want to check out 1991's Sleeping with the Enemy. 01:33:52.767 --> 01:33:55.602 Nice. Okay. I have never seen it, so this will be good. The only thing 01:33:55.650 --> 01:33:58.425 I know about Sleeping with the Enemy, we talked about it when we did Home 01:33:58.925 --> 01:34:02.136 Alone. It was the movie that knocked Home Alone off the number one box office 01:34:02.636 --> 01:34:06.051 spot after like 16 weeks or whatever. This was the movie that was the first 01:34:06.165 --> 01:34:09.740 number one domestic box office movie after Home Alone came out that wasn't Home 01:34:10.240 --> 01:34:12.597 Alone was Sleeping with the Enemy. So I'm definitely interested in seeing if it will 01:34:13.097 --> 01:34:15.802 serve as a family fun holiday classic too. Well, I think, I think by the 01:34:15.834 --> 01:34:19.040 time that happened it was like February or something, but like, yeah. Um, 01:34:19.120 --> 01:34:22.478 so yeah, very cool. I love Julia Roberts. Yeah, surprising, right, that we haven't seen 01:34:22.510 --> 01:34:26.295 her yet in anything that we've done. Uh, she's such a cornerstone of the decades, 01:34:26.820 --> 01:34:28.934 but yeah, yeah, this will be great. I, and I saw this one the first 01:34:29.434 --> 01:34:32.582 time a few years ago and I feel like it's too good to not be 01:34:33.212 --> 01:34:36.379 better known. Okay, so hopefully we'll enjoy chatting about it. Sounds good. 01:34:36.704 --> 01:34:39.138 That's a wrap. So if you like what you hear, please consider heading over to 01:34:39.218 --> 01:34:42.542 Apple or Spotify and leaving us a 5-star review. It helps new folks find the 01:34:43.042 --> 01:34:46.379 show. Be sure to check out our website at twodads1movie.com. That's the number 2 and 01:34:46.879 --> 01:34:49.430 the number 1. There you can explore the movies we've covered, sign up for our 01:34:49.930 --> 01:34:53.460 newsletter, The Rewind, and even get sneak previews of upcoming episodes. We'd also love 01:34:53.960 --> 01:34:57.025 it if you followed us on Instagram, TikTok, and Bluesky @twodads1movie. 01:34:57.458 --> 01:35:00.396 Once again, this has been Goodfellas, another episode of Two Dads, One Movie. 01:35:00.686 --> 01:35:03.495 I'm Steve. And I'm Nick. Thank you so much for listening, and we'll catch you 01:35:03.768 --> 01:35:04.379 next week. Thanks, everyone.