• 2 months ago
Only Murders in the Building S4 Episode 5

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😹
Fun
Transcript
00:01The feds are now on the case. They don't want me involved.
00:03The least I can do is feed you idiots some useful information.
00:06A single casing was found in apartment 14F, belonging to a tenant by the name of M. Dudanov.
00:11Look, there's a footprint on the radiator.
00:14Come here! Come here!
00:15Ben Glenroy?
00:17I'm Glenn Stubbins. Ben's stunt double.
00:21I'm begging you, can you help me get a job on your film?
00:23I present to you, the brothers!
00:26And when these gals read the fabulous script that Marshall P. Pope wrote...
00:30I just tried to get you all down in the right way, you know? At least how I pictured you.
00:33I'm not telling you to sell your life rights, but if you do, ask them for a shit ton of money.
00:38Notice this intruder. A male arm. And I don't trust its intentions!
00:42Sass sacrificed everything for me, and by the time I realized it, it was too late to make it up to her.
00:47Someday I won't be able to take the hits anymore.
00:49I'm gonna open up a trampoline park.
00:51What is this place, a hideout?
00:54Don't move or I'll blow your fucking brains out!
00:57Oh my god!
01:04What makes a writer a real writer?
01:10It starts with the look.
01:13A look that says, I'm smart, confident, worldly, important, but not self-important.
01:21I can quote David Foster Wallace and Ace Ventura.
01:26Alrighty then.
01:29It's about convincing the world, and honestly yourself, that you have the goods.
01:41But the look only gets you so far.
01:45It comes down to what's on the page.
01:56And the page has to dazzle.
01:59Bright enough that it catches the right person's eye.
02:04And then you get the call.
02:07They're making your movie.
02:09You're a real writer now.
02:11You're convinced the voice in your head, the one that says you're a fraud, is finally going to go away.
02:18Except it doesn't.
02:20And you start to wonder if it ever will.
02:24Don't move or I'll blow your fucking brains out!
02:26The tragedy of it all.
02:28Death comes for Oliver Putnam in the prime of his life.
02:31Fine! Do it!
02:33Extinguish my roaring flame, but spare my friends.
02:39Oh my god, it's you?
02:41Oh, I'm so sorry.
02:43I've just been a little on edge.
02:45I'm sorry.
02:47I'm sorry.
02:49I'm sorry.
02:51I'm so sorry.
02:53I've just been a little on edge.
02:55I really do not like being this far east of Brentwood.
02:58Do you mind putting the gun down?
03:00Oh, this? It's not loaded.
03:08Okay, so I'll be taking that away from you.
03:13Bev, what are you doing here?
03:15And whose gun is that?
03:17It's your dead friend Saz's, I assume.
03:19I'm here in this, I don't know what you call this place,
03:21a sad shack, a poverty cottage.
03:24Stop deflecting.
03:26Did you kill Saz?
03:28Ooh, I really like what I'm seeing over here.
03:30Mabel the investigator,
03:32stomping around in your patchwork trench coat,
03:35solving crimes like a millennial Nancy Drew.
03:38I'm really excited for our movie, guys!
03:41Bev, did you kill her?
03:43No, I did not.
03:45But I think someone on the movie may have.
03:49I don't know.
04:19Beth, where were you the night she was killed?
04:39Ooh, I was hoping you would ask.
04:41Well, here's me that night in L.A.
04:45at Variety's Power Women party
04:47with the 100 most powerful women under 100.
04:49It was, of course, at the power room.
04:51I'm on top of the world.
04:53I'm dressed head to toe in Chanel.
04:55Ain't no one gonna fuck with this bitch, you know what I'm saying?
04:57Anyway, Saz called me.
04:59I didn't pick up, because it was a random number.
05:01But she left me a voicemail,
05:03which I thought was interesting.
05:05Name's Saz Pataki,
05:07and I'm told you're the one to talk to.
05:09Look, I can't get into this in a message,
05:11but you need to call me, okay?
05:13There's a problem with your only murders movie.
05:15A big problem, and I can't say more than that.
05:171107.
05:19That's right after she left to get the wine.
05:21And you didn't call her back?
05:23I know you're all new to Hollywood, but...
05:25New?
05:27I'll have you know that I directed
05:29Singing in the Rain 2 for VH1 in 88.
05:31Town's still talking about it.
05:33Gary Busey was in it, and he stole all the cameras.
05:35Listen, what I'm saying is
05:37no one wants to get that call.
05:39It's really hard to get a movie made these days.
05:41And I just wasn't in the mood to hear about a problem,
05:43so I took my good old time getting back to her.
05:45Then the next thing I heard, she was dead.
05:47So you're haunted by guilt,
05:49but you think everything would be different
05:51if you'd just called her back.
05:53Oh, I'm haunted by the fear that this movie falls apart.
05:55The stakes are through the roof for me right now.
05:57I passed on Barbie.
05:59I need to find and fix this problem
06:01before it takes down the whole production.
06:03So I came here, and I turned this place inside out,
06:05but all I found were a couple of sketches
06:07of trampolines and that gun.
06:09Ah, I can't believe I did that.
06:11Guns are destroying our entire society.
06:13Can I have it back?
06:15What? No.
06:17Please.
06:19It kind of turned me on.
06:21I don't know.
06:23I just felt so powerful holding it.
06:25And I really think my notes to writers
06:27would land better with a gun.
06:29It's tighten up back two, guys,
06:31or tighten up back two.
06:33I mean, which one are you going to listen to?
06:35Yeah, I think I'm going to hold on to this.
06:37Fine.
06:39I'm going to be blunt into you guys.
06:41Investigating murders is exhausting,
06:43but you all seem to enjoy this killer-finding thing,
06:45so you find the killer, I save the movie.
06:47How's that for a deal?
06:53Get ready to be dazzled.
06:57What do you think?
07:01I think the next time you ask me to rush over here
07:03for a break in the case,
07:05you need to give me something better
07:07than murder boards, okay?
07:09It's only three.
07:11That's three too fucking many, man.
07:13What is this, amateur hour?
07:15May I remind you that these amateurs
07:17have thrice bested the NYPD homicide department?
07:19Now, I think there's something here.
07:21Saz called Bev Mellon and said
07:23that there was a problem on the movie,
07:25and right after that, she was shot.
07:27Ergo, someone on the movie killed Saz
07:29to keep this problem a secret.
07:31Okay, so if this is such a hot theory,
07:33then where's the rest of your crew to vouch for it?
07:35Well, the good people of Page Six have solved it.
07:37The bicep on Loretta's Instagram
07:39has been identified.
07:41Wow.
07:43It belongs to one Jack Junk.
07:45He has a four-episode arc on Norf Bun
07:47as Loretta's love interest.
07:49Go ahead, Loretta, you know Jack Junk, right?
07:51The former Olympic swimmer?
07:53So you know what that means, right?
07:55Big-ass arms,
07:57big-ass legs,
07:59big-ass...
08:01Oh, no, no, I think, to me,
08:03he has a perfectly normal physique.
08:05In fact, he reminds me of me
08:07when I was doing the elliptical two times a week.
08:09Sorry, not listening.
08:11Guys, have you seen these checks?
08:13Oh, our life rights checks have landed.
08:15I sent mine to my accountant in Belize.
08:17Where?
08:19Where my accountant is hiking the Jananchanik Mountains
08:21and will return with the check and deposit here
08:23so I can pay the appropriate American taxes.
08:25I just can't believe they're actually paying us.
08:27It's so official.
08:29That's because we're professionals now.
08:31We're professionals.
08:33I'm a professional...
08:35Wait, what do I do?
08:37You do this.
08:39Well, what is this exactly?
08:41God only knows.
08:43Well, you...
08:45You know, we have a podcast,
08:47so you are a podsmith,
08:49a crime fluencer.
08:51How about podcast producer?
08:53I'm a podcast producer.
08:55I am a podcast producer.
08:57No, but it's more like,
08:59I'm a podcast producer.
09:01Yeah, you don't have to overdo it.
09:03You can just say, oh, I'm a podcast producer.
09:05I'm a podcast producer.
09:07But why is that so scary to say out loud?
09:09Maybe it's because you're a producer
09:11on a podcast about a crime
09:13that has 40,000 fucking suspects.
09:15Not for long.
09:17We are headed up to the production office.
09:19We are gonna poke around and knock a few more names
09:21off these boards.
09:23Okay, great. Sounds good.
09:25So while you guys do that,
09:27tighten it up, you hear me?
09:29Fucking amateur.
09:31Take this shit off the board.
09:33I think she was impressed.
09:41Oh, God.
09:43I have an idea.
09:45These three should be in the photo shoot, too.
09:47Why aren't you writing this down?
09:51Well, Oliver Putnam does love a photo shoot.
09:53My hair guy is in a home now,
09:55so there's a bit of paperwork involved
09:57in getting him out.
09:59What is this photo shoot?
10:01It's marketing for the movie, ready for the concept.
10:03Full frontal nudity.
10:05Two bodies ravaged by time.
10:07And one dewy with promise.
10:09Nobody's doing a naked photo shoot.
10:11Well, yes.
10:13It should be the opposite.
10:15You drowning in your season one outfits.
10:17Did you get that? Season one outfits.
10:19And the actors in identical looks.
10:21Doubles. Illusions.
10:23So cliche.
10:27Don't be late.
10:29Hello.
10:33Hey, Oliver.
10:35I saw page six today.
10:37Oh, my God. Sounds like your girlfriend's
10:39about to get junked.
10:41I'd prefer if you didn't put it that way.
10:43Well, you gotta tell her, though,
10:45because it's best to line up a good orthopedic surgeon now,
10:47because she's gonna need a big hip replacement
10:49after he drops that junk on her.
10:51I'm sorry. You've used junk
10:53as both a noun and a verb in the span of ten seconds.
10:55Well, it can be both.
10:57The junk, junked my junk till I junked
10:59is a valid sentence.
11:01Well, he and I don't sound that different.
11:03Both body guys, you know,
11:05love protein.
11:07In fact, a lot of people don't know this,
11:09but I myself went through a steroids phase.
11:11Prednisone for my sinus infections.
11:13Hmm.
11:15That's so interesting.
11:17It's funny, because you don't strike me as someone
11:19who doesn't care for their body.
11:21Excuse me. I need to go find someone.
11:23Actually, I-I-I-I'm known
11:25as a bit of a Herculean figure
11:27in the, uh, theater community.
11:29Usually pick second for softball
11:31right after the lesbian stage manager.
11:33And I don't want to brag, but, uh,
11:35I've been asked to be a pallbearer
11:37many times.
11:43What is this I'm standing on?
11:45It feels like flypaper.
11:47It's a tacky mat. Production thing.
11:49I work here now. Know all the words.
11:51Comptex. Gobotweenie up and over.
11:53Grip. I can continue.
11:55I can't.
11:57It gets the dust off your shoes so you don't track anything into the sister's nest.
11:59It's a kickoff gift from Eva.
12:01She has a full line of sticky products.
12:03Boob tape, wound glue. She's huge in adhesives.
12:05Anyway,
12:07that's a wrap on me.
12:09I got to go. Martini too shot that best boy.
12:13This is a lot of suspects.
12:15What Detective Williams calls
12:17amateurs.
12:19If that's even the word she used.
12:21I can't remember.
12:23It was amateurs.
12:25Would an amateur pretend to be making a call
12:27while secretly taking photos
12:29for our murder board?
12:31Oh, yes.
12:33Yes, I can hold. Yes, I'll wait.
12:35Oh, yes, it's me, Martha.
12:37Hi.
12:39I just want to order those nachos.
12:41Do you want nachos?
12:43Yeah?
12:45You don't want them? Can you put some
12:47Papa de Gallo?
12:49Pico de Gallo.
12:51Pico de Gallo on that for me.
12:53Oh, look at this. That's so interesting.
12:55Good work. Good work, everyone.
12:57That's fantastic.
12:59I really hope the camera's pointing the right way.
13:01Oh, shoot.
13:03Okay, here we go.
13:05Yeah. Uh-huh.
13:07Well, that's interesting. Yes.
13:09Yes, I can hold, Martha.
13:11What's to tell if one of these people is the murderer?
13:13I guess we look for someone
13:15who gets nervous when they see us poking around.
13:19Like him.
13:27Marshall, right?
13:29We need to talk with you.
13:31Oh, shit, it's the whole trio.
13:33Uh, fine. Let's do it.
13:35We have a few questions about Saz Pataki.
13:37Did you happen to see her
13:39Wait, I'm a suspect?
13:41Oh, thank God.
13:43Sorry, I thought you wanted to give me
13:45more notes on the script.
13:47It's just your producers, co-associate producers,
13:49and everyone's been hounding me about
13:51rewrites, and I figured you...
13:53But no, I'm just
13:55a suspect.
13:57Um, okay, great, so
13:59ask me where I was the night
14:01Saz got murdered. Not here.
14:03Let's talk at my place.
14:05Nebo!
14:07Hi.
14:09I just went down to the lobby to look for you.
14:11Can you hang back and talk with me for a second?
14:13Come sit down
14:15with me. Let's see if we can pass the
14:17Bechtel test.
14:19Oh, by the way, the check's landed.
14:21What are we gonna splurge on?
14:23Oh, I'm probably gonna sink mine into my
14:25business. I'm a
14:27podcast producer. Yeah.
14:29And I oversee a few, a bunch
14:31of projects.
14:33I'm sure you have a million irons
14:35in the fire, but I do happen to be looking
14:37for a hot new podcast
14:39to adapt for my next movie. So what
14:41have you got? Oh, um,
14:43I have lots of ideas.
14:45You know, they're just not fully
14:47baked. Mabel, nobody needs fully baked.
14:49All you need is a hook.
14:51So what's your next podcast? Go on.
14:53Hook me.
14:55Like, now? Yeah, now. Why not?
14:57Oh, um,
14:59the first one is about
15:01people. Tall
15:03people. Short people.
15:05All different sized people.
15:07Hmm.
15:09And, uh, there's a
15:11another one about
15:13buttons being
15:15pushed because of
15:17trauma. Ooh, I like
15:19that. You know what? Forget it. None of
15:21these are really anything. Mabel,
15:23do you want the advice
15:25of a senior VP? These ideas
15:27are fantastic.
15:29They're relatable. I mean,
15:31come on. Who hasn't dealt with people
15:33and buttons? You know what?
15:35I saw it in the shed. I said
15:37the gal under 80,
15:39she's the one you want to bet on long term.
15:41So you know what? I'm calling Billy Bilberg.
15:43He heads up the podcast division of our corporation.
15:45I can already see the potential.
15:47Building brands, spreading trends,
15:49make that Gen Z get off their
15:51asses and listen. Okay, so here's
15:53the plan. You're gonna flesh out
15:55these ideas, and I'm gonna
15:57set you up on a meeting ASAP.
15:59Oh, no,
16:01I'm not sure about my schedule.
16:03I don't want to hear it. Shhh.
16:05I don't want to hear anything. Mabel,
16:07listen to me. They're not buying the idea
16:09as much as they're buying you. So don't
16:11stress. Case closed.
16:13We're doing it.
16:21It's me favorite trio.
16:23Ah, when'd
16:25you grow the beard, Lassie? That's not
16:27Mabel.
16:29Oh, well, um,
16:31I was just leaving you this gift. Oh.
16:33There you go, Chuck. It's me old grand soda bread.
16:35Dropped your name.
16:37Got myself a gig on the film.
16:39Just odd jobs for now, but
16:41I'll be a Dublin for you
16:43at the photo shoot later. Oh, Dublin,
16:45that's... Glenn,
16:47um, you're a stunt guy.
16:49Would you say I'm physically fit?
16:51Oh, sure.
16:53You're a right Conor McGregor.
16:55Oh!
17:01I can't believe I'm getting grilled by the actual
17:03trio. I've spent
17:05months picturing how you would do an interrogation
17:07scene, and now I'm inside one.
17:09Wild.
17:11Yeah, you're really living the dream. Um,
17:13can you tell us where you were the night
17:15Saz died? That's funny you ask.
17:17Marshall, this script is amazing.
17:19You like it? I love it. I've never seen
17:21myself portrayed so accurately before.
17:23Charles peers shrewdly at the evidence,
17:25his keen analytical brain
17:27thumping with thought. Does a brain
17:29thump? Well, apparently this one does.
17:31Oliver flits around the room
17:33as septuagenarian Peter Pan
17:35or a male Tinkerbell? Okay, that's
17:37just bad writing, Marshall. Pick a
17:39metaphor. Aren't you supposed to be printing
17:41out the photos we took in the production offices?
17:43Fine. Fine.
17:45But, Marshall, take a look
17:47at how you wrote me in the script, because I do not
17:49walk like that.
17:53It's
17:55classic trio bickering.
17:57It's my favorite part of the podcast.
17:59God, I love you guys.
18:01But to get back to your question
18:03on where I was the night Saz died,
18:05the truth is
18:07I've been trying my hand at
18:09stand-up, observational stuff.
18:11I'm more of a storyteller than a punchline
18:13guy. Think Jonathan Winters meets
18:15Ali Wong. That night I was in West Hollywood
18:17doing a set at the Laugheteria.
18:19Oh, I can show you on YouTube. Actually, that would
18:21be useful. It's my first time doing this hour.
18:23Wow, an hour. That's okay.
18:25Mabel, we ought to let this kid get back to work.
18:27The only thing he's guilty of is great character
18:29writing.
18:31I'm sorry, Marshall. Before you go,
18:33is your beard
18:35fake?
18:37Oh, God, is it that obvious?
18:39This is supposed to be costume-grade human hair.
18:41It's a great beard.
18:43It's just, can you tell me why
18:45you have it?
18:47Yeah, this is so
18:49embarrassing, but I can't really grow
18:51facial hair. It's my first
18:53time on set, and I wanted to sell
18:55myself as a real writer.
18:57This is the look, right?
18:59Oh, these aren't
19:01real either. I have 2010 vision.
19:03How could a writer of your talent have
19:05imposter syndrome? Actually, I
19:07get it. Really?
19:09You're not an imposter.
19:11Sometimes I feel like one.
19:13That's crazy. You're my inspiration.
19:15It's what drew me to your podcast.
19:17You never pretend to be anything
19:19other than what you are.
19:21Amateurs. Hey, hey, whoa.
19:23I was gonna say amateurs flailing
19:25their way to success.
19:27You haven't missed.
19:29I mean,
19:31look at these murder ports.
19:33They're a little homemade,
19:35and yet you're probably on
19:37the verge of a breakthrough. Finally,
19:39someone who sees it. Want me to walk you through it?
19:41It could be helpful with the script. That would be
19:43incredible.
19:45You'll notice how this
19:47is organized around the theme
19:49of questions. The who, the how,
19:51the why, and the why now.
19:53You know, we really should contact the master class
19:55people about this. Wow.
19:57So you don't know who the target was?
19:59Oh, no, don't look at that.
20:01That's not ready for prime time. That why section
20:03has a lot of... No, no, that's not...
20:05Yeah, but this.
20:07This is my magnum opus.
20:09The how board. Note the
20:11timeline. This baby's airtight.
20:13It's beautiful.
20:15Although the... I forget it.
20:17No, what? Nothing.
20:19It's just the timing.
20:21Saz left a voicemail at 1107,
20:23but her body hit the incinerator at 1119.
20:25That would mean someone shot
20:27from the West Tower, came all the way over here,
20:29cleaned up the crime scene, and disposed of the
20:31body all in 12 minutes? It could totally
20:33happen. You just haven't thought about it
20:35the way I have. In fact, that might be the
20:37secret to my crime-solving ability.
20:39I'm able to channel the mind
20:41of a killer.
20:43You might want to put that in the script.
20:45Ah. You're still not
20:47getting it? All good.
20:49Let me pitch the murder to you.
20:51Picture this.
20:55Our killer takes his place.
20:57Or her place.
20:59And waits for the target to come into view.
21:01Minute one. Our killer takes his shot.
21:03Can I just commit to male pronouns?
21:05It'll be easier. Anyway.
21:07Boom.
21:09Minute two. He takes the
21:11stairs, so as not to run into anyone
21:13on the elevator. But he's gotta be
21:15quick. Minutes three
21:17to six. Our killer exits
21:19the West Tower and traverses the half-block
21:21to the Arconia main entrance.
21:27Just another face in the New York
21:29crime.
21:35Minute seven. Our killer
21:37enters the lobby and expertly
21:39distracts the doorman on duty.
21:43Why, that sounds exactly
21:45like a black-capped chickadee.
21:47What's a forest
21:49songbird doing in my lobby?
21:55Minutes nine through eleven. He enters my
21:57apartment and removes any trace of the crime.
21:59A task made easier by the
22:01high-quality cleaning products I have
22:03neatly organized in my high-quality
22:05cleaning product cabinet.
22:13And finally,
22:15using what I assume is one of my
22:17missing suit bags, our killer
22:19hoists the body over his shoulder and
22:21disposes of it, causing the power
22:23to surge at exactly minute
22:25twelve.
22:31Stylishly done.
22:33Wow. I'm just saying, in order for it to
22:35happen in twelve minutes, the person who did this
22:37would have to be extremely fit.
22:39A gifted athlete in the best shape of
22:41their life. You're describing our killer?
22:43Exactly. No, you're describing me.
22:45I'll do it.
22:47Do what? The murder.
22:49I can reenact it in twelve minutes.
22:51I don't think that's a great idea.
22:53Oh, Mabel, Mabel, Mabel.
22:55You have no idea what this body
22:57of mine can do. In 1981,
22:59I participated in a twenty-four
23:01hour kickline fundraiser.
23:03Like a rockette?
23:05Exactly like a rockette. It was called
23:07Let's Kick Rickets to the Curb, and if we
23:09have extra, send it to AIDS.
23:11We only had enough for rickets.
23:13Um, I'll
23:15test the theory, or Marshall
23:17can. You don't have anything you
23:19need to prove. Who's proving anything?
23:21I'm simply a man in his prime
23:23looking to use his rock-hard bod
23:25to prove a murder timeline.
23:27Oliver, just to say,
23:29I have a lot of things that Jack
23:31Jonk doesn't. You're sweet,
23:33for one. You're
23:35scarves.
23:37Yes.
23:39And even if only ten percent of your stories
23:41are true, you've had an interesting life.
23:43Thank you, but this has nothing to do with
23:45Jack Jonk. Now, here are your photos.
23:47I have to locate my athletic wear
23:49and fly through this killer's obstacle course.
23:51Bang!
23:53Bang!
23:57Are you just gonna leave me up here?
23:59Do you want me to stop the clock? No, just help me down.
24:01I've sunk twenty grand into these knees.
24:05Damn. See you
24:07punks at the finish line.
24:09Ugh.
24:17Ah!
24:23Ah!
24:25Oh!
24:27Move it! Kids on leashes
24:29should be illegal. I'm trying to do something here.
24:31Get back! Hey, hey! Nice outfit,
24:33jackass. Yelling
24:35at children? Are you serious?
24:37Ah! You cannot be serious!
24:39Ah!
24:43How am I doing?
24:45It's been thirty-eight minutes.
24:47What? What happened to you, Oliver?
24:49Well,
24:51I got off to a good start. No, you didn't.
24:53No, I did not.
24:55I've been on a journey.
24:57I saw things.
24:59I did things.
25:01I failed.
25:03I failed as an athlete,
25:05as a movie character,
25:07as a fashion icon,
25:11as a guardian of the city's wildlife.
25:13I'd rather not elaborate
25:15on that. Did you punch a bird?
25:17I said I'm not elaborating! It's not your fault,
25:19Oliver. Nobody could have done that
25:21in twelve minutes unless they were superhuman.
25:23The only thing holding this murder board
25:25together is my timeline, and it's all
25:27wrong.
25:29What are you doing? Oh, my God!
25:31You're rewriting my character. Don't take away
25:33my thumping brain. No, I mean it.
25:35Oh, thank God. I'll get it.
25:37One little mistake, and suddenly
25:39I'm thumpless.
25:43Oh.
25:45Good. You're all here.
25:47Check out your wardrobe.
25:49Geez, for a photo shoot.
25:51Reminds me of the time I modeled for the
25:53great Robert Mapplethorpe.
25:55Just Google, Robert Mapplethorpe,
25:57Lester Dorman. Of course, you won't
25:59recognize me behind the gimp mask,
26:01but it's me in there. Anyway,
26:03have fun.
26:05I never thought I'd say this,
26:07but Oliver Putnam is not
26:09up for a photo shoot. Me neither.
26:11Guys, we have
26:13to go to that photo shoot. Wow,
26:15this has really changed you. One check,
26:17and it's, hey, check me out.
26:19What the hell? Look.
26:21It's the pictures you took in the production office.
26:23This shoe print on that tacky
26:25mat matches the one from Dudenoff's
26:27apartment. The killer was up
26:29at the production offices, which means
26:31they're probably at the photo shoot.
26:33Shit.
26:35It's like I'm already watching the sequel to my movie.
26:37Oh, you're here.
26:39This could be triggering.
26:41Shoot.
26:53Just wait.
26:57It's an honor to be your stand-in, Putnam.
26:59You too, Mr. Anaphylaxis.
27:01Yay!
27:03You made it. I'm so happy.
27:05Don't you love this concept?
27:07We have all of you multiplied,
27:09then we add mirrors.
27:11It's so confusing,
27:13just like your podcast.
27:15Check it out. Look at this.
27:29Charlie's Angels.
27:31Charlie's Angels.
27:33Ah.
27:35Ron Harry Hermione.
27:37Harry Potter.
27:39Oh, yeah.
27:41Godfather 1-2-3.
27:45Are you sure this plan is going to work?
27:47Absolutely not.
27:49But I didn't have a better idea in such short notice.
27:51Let's take five. Charles,
27:53go to makeup. Tell them we need you to look a little
27:55less...
27:57You'll know what that means.
28:01Yeah.
28:07Howard!
28:09Howard!
28:11Why is this box of Eva Longoria
28:13tacky mats not unloaded
28:15and laid out? You think I want dust particles
28:17in my nose all day?
28:19What are we making, dune?
28:21Ms. Longoria, I will lay out the Ms. Longoria
28:23tacky mats, but I will not be spoken
28:25to like a common PA.
28:27I am an on-set documentarian slash talent
28:29liaison. Great. Well, why don't
28:31you liaise these mats?
28:33PA,
28:35lay out the mats. Are you kidding me?
28:37Eva, thanks so much
28:39for playing the crazy celebrity card.
28:41Oh, honey, I've asked for crazier things.
28:43In season eight of Desperate Housewives, I told them
28:45I wouldn't return unless they legalized gay marriage.
28:47And guess what? They did.
28:49You're welcome, gays!
28:59Oh,
29:01I get the plan now.
29:03See, I'm a visual learner.
29:05Do I have all my Olivers?
29:07Oh.
29:09Oliver.
29:11Oliver.
29:13I'm Glenn Stubbins.
29:15Stubbins out.
29:17Zack and Oliver, get on your marks.
29:19Wait. Conference.
29:25Okay.
29:28Have you read the new changes to the script?
29:30They're awful. What changes?
29:32For some reason, and don't ask me why,
29:34it seems as Marshall has done a insecurity
29:36pass on your character.
29:38Oliver stares at the murder board
29:40insecurely,
29:42wondering who the killer is. He flits
29:44around the room, an insecure
29:46Peter Pan or an insecure
29:48Tinkerbell. Okay, you know, this is all about junk.
29:50Jack junk?
29:52That dude fucks.
29:54Hard.
29:56We did a gingerbread take on Snow White
29:58and he junked all seven of the dwarves.
30:00You could hear them hi-hoing from his
30:02trailer.
30:04He's playing
30:06my girlfriend's new love interest on her
30:08show. Sorry.
30:10Well,
30:12you know, maybe he didn't junk
30:14all seven. It could have been
30:16five. Try one back to
30:18back. You share a vertebrae and a
30:20shameful secret.
30:22Shameful secret. Okay.
30:26No turn
30:28around. Wiener to
30:30wiener.
30:32Show him.
30:34Penis?
30:48Charles? Oh, I'm sorry.
30:50My bad. I'm sorry.
30:52I got it.
30:56What are we dancing?
30:58Two people.
31:00That's
31:02it.
31:04My brain is back to
31:06thumping.
31:08Okay. The only thing
31:10that gets you over imposter
31:12syndrome is actually doing
31:14the thing you want to be better at.
31:16Mabel, I figured out
31:18the how. It wasn't
31:20one person to get the murder, it was
31:22two. One to shoot
31:24and one to clean up.
31:26Now which two people could have done it?
31:28Putting ideas together
31:30until they make some kind
31:32of sense.
31:34Until you've got something that you
31:36did. Something you figured
31:38out.
31:40Or it all makes
31:42less sense. And then it's
31:44time for another rewrite.
31:54Oh, Trina. He's
31:56off his mark. Can you move him?
31:58Okay.
32:22Oh my god.
32:24You're totally right. They could have
32:26done this.
32:34Where's the other brother, sister?
32:46Oh my god, they've been shot!
32:56Oh my god.
33:26music
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