Welcome. Welcome to Antoine's Peak Seeks. That's right. We're almost done and we're changing it a little.
Welcome to Antoine Peaks. We are, frankly, Rob, nearly finished with the entirety of the televised Twin Peaks canon. Hell yeah. It's for, I mean, obviously we're going to get into this episode.
This episode is great, very sad, very, some very sad elements to it, some very sweet elements to it. But it really feels like we're approaching the end here. Yeah. I think once you get tea kettle Philip Jeffery, we're in, you're in pretty deep.
Yeah. All right. You get tea kettle Jeffries. He's he's spitting out steam, steamy numbers or floating through the air.
Quick, write them down before they dissipate. He's trying to confuse me about who's the real Cooper. Yeah. Don't appreciate that at all.
Not one bit. Not one bit. As if I though, as if I don't have enough on my point. Oh, we've already met Judy.
Great. When who? What are you talking about Jeffries? Is anybody going to answer a damn question, please?
Me thinks no. I know. This is just what me thinks watching this episode. Obviously, like all of season three has been just a wild linchy and hooride, of course.
But watching this episode, it just feels so far away from like Cooper, like setting up a glass bottle on a tree stump and like throwing a rock at it. Right. You know, yeah, it really does feel like 20 years later in every sense. Just like how far out we've gone into other worlds.
Yeah. We are way. I think Lynch would appreciate this. We are way over the rainbow here.
Yes. Hey, hey, very good. Good. So part 15 of 18.
So after this, we've only got three more left. Yep. And Rob, can I just say, yes, I'm pretty scared, man. Because because there's some fear in letting go, man.
They're just kidding. That's not what it means. It's not it's not Scooby Doo fear. S'olakes.
I mean, was Matthew Willard probably not a little afraid himself? Yeah. I mean, what if what if a Willard as principal was it? Hastings, I think?
Yeah, it is. Yeah. What if he let out his legs? Right as his head, yeah.
Explered, caved in or whatever. I got a bad feeling about this. Cheese scoop. Yeah.
No, there's some fear in letting go. This is like my goodness. I think it's like as effective as like the the bomb sequence where like, that's like very macro and existential. Yeah.
And obviously, you know, a conversation about death is also existential, but it's so personal and intimate and yeah, heavy as hell, that whole thing with the log lady. Yeah, man. Everything. It's a it's kind of beautiful.
It really is, especially, you know, knowing the reality of the situation, how the actress died less than a week after filming this. Yeah. You know, obviously, you know, very heartbreaking stuff, but it just, I don't know, also extraordinarily, I find it very sweet. And I don't know, just sort of a kind of a lovely send off to a character that Dan didn't like it.
And now how do you feel about that log lady, Dan? Huh? Mr. Smarty Pants.
It's a I'm going to point to a Simpson's line where Homer says that Mr. Burns is a hero because he got shot in doing anything. He just got shot. Well, that's going around this week, isn't it?
Yeah, right. Yeah. So I don't know. My issue with her has always been more the, the sort of like sophisticated laughter of like, oh, she has a log.
Well, no, I know. I completely understand what you were what your problem was with, like, oh, the log is so random and like, right now, am I sad to see an actual woman die? Yeah. Well, yeah, sure.
I also think though that like at this point, you know, like we said, we're almost landing this, this year, Twin Peaks, plain. I feel like the log lady, her sort of her kooky business, the log itself, her carrying it around, it's all seems pretty justified and not just a random quirky kind of thing. For sure. For sure.
I mean, there's, there, you know, the, it's not just the log. I mean, the fact that it's a log in like made of wood and, you know, the woods and all the secrets that the woods hold, all of this, you know, it's real, you know, it plays a factor into the whole story. And just logs can turn to gold. Her log is turning to gold.
I'm not in the way that shovel turns to gold. No. And she's not going to be shoveling herself out of anything with that log. Unlike Nadine, who we open the episode with Nadine walking down the street with a golden shovel in hand.
Nadine who I, who it sounds like has walked 10 miles to have this conversation. It seems that way, right? Right. She says, I walked the whole way here.
I had plenty of time to think about Nadine shovel in hand has something to tell Ed. Yes. She, she walks up to Ed with the big purpose. And she says, Ed, she basically says, Ed, I'm sorry.
I have been an awful person to you and you have been a saint this entire time. She said, yeah, you're in love with Norma. I kept you to a part because of my jealousy. Yep.
And so she say, I've been a real bitch. Something like that. Something like that. It's something in Fatik's inner word.
Yes. Yeah. And she, she, Ed is like, Nadine, listen, tomorrow you're going to wake up and you're going to regret all of these things that you've said. And she's like, no, I walked all the way here.
I could have turned around. I thought about the entire time. I know what I'm saying right now. And I'm telling you, you're free.
You know, she's like, I've had a change. I, you know, something, all credit to Dr. to our friend, Dr. Amp, our old friend, Dr.
Jacoby, the way she delivers. That's so funny to Dr. Amp, our friend, Dr. Jacoby.
And that's it. She's basically just like, it's me and my shovel now. Yeah. That's why.
Which like very early on in this season, when we saw Dr. Jacoby, like getting a delivery of shovels, painting shovels, gold, not knowing what the fuck you know, what is this all about? Like, where are we going with this storyline? Like this is where we're going with it.
It's Dr. Jacoby and all of his like, you know, it's like libertarian radio show and whatever else. And everything that we saw leading up to this, it was all setting up Nadine's, you know, shift in perspective and her, you know, her, her realizing that she needs to change herself. Right?
Yeah. And it's like, I mean, there's a lot to say there, huh? Sure. One thing being like that meme of someone pushing over the little domino and it knocking over increasingly bigger dominoes.
Totally. Right. It's just like, you don't know what consequences are going to knock on to what but then also it's like, you know, Dr. Ampe, we've been talking about how he's a crank and he's the observations are correct, but the conclusions are odd.
Yeah. And it's like, you know, you may not do you may not like his perspective here, but damn it, he got results. He got results. He never intended.
If nothing, if Dr. Ampe has done nothing else, he has set big ed free. Right. Like, yeah, in this way, he never could have fathomed.
Right. Or even we know achieved as a therapist. Yeah. He tried to facilitate their divorce.
Yes. And it simply didn't take. Right. It didn't take.
Right. Yeah. So Nadine sets ed free and Ed, I mean, just immediately go straight to the double R diner. I love the way he like walks in, pants around his ankles.
No, no, no, he walks in and just like, I mean, ever McGill, looking like he's seven feet tall, like just in the doorway there when he comes in and just like a big, like his big hand, like waving to Norma, like in the back of the diner and whatever. And she's like, you know, he comes up and he's like, you know, I'm free like Nadine, you know, wants a divorce. Like I'm free. And she's like, Oh, Ed, and then Walter, Norma's current boyfriend slash business partner.
Yeah, slash on, you know, fucking venture capitalist piece of shit. Yes. And in Blazer, yeah. Say no more.
She's like, Oh, well, Ed, Walter's here. And the Walter and Norma, they go sit at a booth, Ed sits at the counter. Like when he says a cup of coffee and a cyanide down. He does say that.
Ed, come on. No, man. So he gets his coffee and he sits there and Walter and Norma sit at the booth and Norma says, I would like to exercise my right to have you buy it by me out of the franchise, the other franchise diners and Walter's like, what? And he's like, you're joking, right?
And she's like, no, I don't, you know, I don't know how much longer I have left essentially. And I want to spend my time with my family and Walter's like, I thought you didn't have any family and she's like, I have a lot of family. And of course she's talking about the her friends and of course her loved ones at the double R. Shelly.
Yes. The giggling German waitress. Yes. All of the customers.
And I mean, not the least of which big Ed. He's about to make her his actual legal family. That's right. And marriage.
So and while adoption, Walter is like, you're going to walk away from seven successful franchises. He I love it. He's like, I only understand money and you're walking away from money. I don't understand.
And also when you hear it, it's like seven successful franchises. It's it just feels so small. Of course. So small about seven successful franchises.
Yeah. I mean, like it's it's such bullshit, of course. And like, you know, Norma, Norma's we've seen this is we've seen almost 50 episodes of Twin Peaks and Norma is just one of the the sweetest people in town. And the fact that she's like, you know, it seemed like a good business opportunity, but she knows she has her, you know, priority straight, you know, and she's like, I I know what I want in my life.
And you know, it's not this fucking bullshit franchise nonsense. Right. So bullshit franchise nonsense where you're selling subway sandwich versions of all my food, exactly. You're you're you're cutting corners.
You're cutting corners. You piece of shit. You're cutting corners and you want me to put my name on it. You piece of shit.
Fun off Walter. Fuck off. Oh my God. And he gets out of his says, you're making a big mistake.
Huge. He doesn't say that. No, that's what you're Robert says. Yeah.
Big mistake. Huge. But he does leave. Yeah.
And from big mistake to big Ed. I big Ed. And then I look the shot of big Ed just sitting at the counter with his eyes closed and he's just sort of like, I know he's he's absorbing. I know it feels like he is.
I don't know. He he he's like, it's a sense of freedom. It feels like that he's feeling right. And it's like it's this melancholy, but also this sort of like sweetness, the sweet feeling that it seems like at least it's all on his face.
He's got a small smile, but he's also like his eyes are kind of tearing up. It's so. You think about it. And like the other time we see him just sitting there by himself is when he's eating his cup of noodles at the gas station and yes, the way the vibe is different.
Yes, cannot be overstated. But yeah, he so he's yeah, he's sitting there and then Norma, you just see Norma's hand come up and like put her hand on his shoulder there and he turns around and he just looks her dead in the eyes and he says, marry me. And she says, of course I will. And then and then they kiss and this is, I don't know, the best thing that's ever happened in Twin Peaks to anybody.
Yeah. Anyone. It feels like like as a viewer, first of all, I've I've said it since season one, there are no two people I've rooted harder for. Yeah, these two love birds totally.
And it's so like hard one, right? It's been like 30 years or whatever. Yes. And yet as if you were looking at the big picture, you can't help feeling like the other shoe is about to drop that it's almost hard to enjoy because of all the cosmic nonsense that's going on with everybody else.
But also, I guess you got to cling to this, right? Cause you know it's about to get funky nasty elsewhere. Well, that's the thing, right? It's like it's really not going well for anybody else in Twin Peaks at all.
And you got a lot like life where life is mostly shitty. You got to take the wins where you can and, you know, seeing Ed and and Norma get together here is just it's a real bright spot in a show and an episode that gets very dark. Yeah. And yeah, I don't know if it were anybody else that wouldn't feel like nobody's really left on the board for something that's good to happen to, frankly.
No, not really. Like the only thing comparable would be like remotely comparable. I guess it would be like Bobby and Shelley, but that wouldn't feel great either. Cause you know, Shelley's exactly who she's been this whole time.
That's a thing, right? Like everybody is sort of, you know, having seen season one and two, you come into season three, wishing that everybody, like you just want happy endings for like these good people that you like, the good characters, you know, right? You want a happy ending for Shelley after she spent so much time with Shitty Leo and Shitty Bobby, you know, and Bobby. It is absolutely worse and Audrey and Donna, you know, and all of these characters who were like, yeah, they had their ups and downs, but you want good things for them.
Yep. When really like, I want to get into it a little bit later, like some of the the Mark Frost book, the final dossier, whatever, but like, they really, these characters have been fucking through it. Oh, yeah. And you know, it's like, I appreciate it.
I like the fact that like Lynch and Frost didn't pull any punches. They weren't like, you know, everybody gets this fairytale bullshad ending. It's much more like life, but at the same time, you're like, right, I want to feel good about some of these things, you know, right? Yeah, I mean, you think about it, even with like, I guess, even with Ed and Norma, it's like, nor we know Norma's business is losing money.
And we know Ed just owns one old ass gas station. So it's like, yeah, right. This moment. Yes.
Is beautiful. It's perfect, but it's it's also like, yes, life is still there. It's still happening. Right.
And not to mention the fact that the actress who plays Norma actually passed away in real life, which I couldn't help but think of like while I was watching this and they're like, oh man, like, you know, these two get together only for like Norma to pass away six months later or something. Right. Right. That's heavy.
It's heavy. It's heavy stuff, man. It's all heavy. Uh, well, hey, yeah.
What's, uh, what's, what, I got a question for you. Oh, please. Uh, what's going on above the convenience store these days? Ah, aren't you glad I asked?
Orange, you glad I asked? What? I didn't say that. Um, yeah, we get a courteous, glad I asked classic David Lynch driving, like a shot of the highway, the road.
He loves his, his, uh, highway lit by headlights, you know, nighttime. So desaturated, basically black and white. Yep. And then, uh, you know, we see doppelcooper.
He pulls up to the convenience store and there's some, you know, there's some dirty woodsmen sort of milling around outside. Yeah. Um, they walk in and punch it out. Yeah, totally.
Uh, they walk upstairs and much like, um, much like a tardis. Uh, this is bigger on the inside. Oh, yeah. Uh, come on.
Timey, wimey. Timey, wimey bullshit. Uh, so, yeah, it is bigger on the inside. Rob, you're right.
We, uh, so, yes, doppelcooper, Mr. Doppelcooper, Mr. Dale Doppelcooper walks and goes up to, uh, what's me says, I'm looking for Philip Jeffries. And what's many does some weird thing and it freaks out the little guy, you know, that other guy with the white face.
Yeah. So what was a, um, uh, jumping, what's it a jumping boy or was he a jumping man in the movie? Also I can't remember jumping man. Okay.
So it was because the boy, the grandson has like the same mask as him. Yeah. But that might be the confusion here. Okay.
That's what it is. Okay. Um, yes, it's sort of, he flips a switch, sets off some electricity, flex with that jumping man, and then, uh, uh, another woodsman appears and he's like, all right, I'll, like basically like, you know, follow me right this way, Mr. Doppelcooper.
And then they, I mean, it's very good. They, they walk in upstairs. They have walked upstairs to above the convenience store, right? That, and then then Cooper walks in.
That's when he talks to the woodman woodsman says, I want to talk to Philip Jeffries. Then another woodsman leads him up another set of stairs inside the convenience store, which does not exist on the outside of the convenience store. Right. Uh, M.C.
Escher is creaming as jeans. Oh my God. He's just cranking off right now. He, he's in his grave.
Yeah. Yeah, he is. Um, and then they, they get to the top of stairs. He opens the door and it leads to a parking lot of a motel.
Well, there's also that, that like hallway, which. Oh, yeah. Agree or disagree. that, that looks like the Laura Palmer hallway.
Agree same hallway, right? Yes, I believe. must be. Yes.
Um, yeah. What was that? Um, in a firewalk with me, I believe. Right.
It's the one where she looks at the painting. Yes. And it is. Yeah.
Yeah. Yeah. And it's weird. And it's like picture in picture, but it's, it's what's behind her, but it's a painting and there used to be an angel, but she's the angel.
So anyway, Phil Jeffries goes out. I'm not going to do it. I'm going to take out. Uh, yeah.
No, he opens the door. It leads out to the, the, uh, this is the, the Dutchman lodge, which is the motel here. Um, and I think as you pointed out, it's giving wild at heart motel. Oh, I didn't point that out.
Oh, um, I guess it was just my brilliant observation. Yeah. That must have been your brilliant observation. It is.
I mean, if I can guy likes his motels, I think. Sure does. I mean, it feels, it's such a good sort of like understandable, like visual reference here, where it's like a place that pulls together, just like totally disparate people from seemingly different realities. Right?
So you have, I mean, there's, um, wild at heart, like you said, there, there's no motels in blue velvet. There's one in, um, uh, lost highway though. Yeah. Gotta be.
Gotta be. Uh, there's Justin throws like flop house situation and. Drive. Yeah.
Oh yeah. And I guess Inland Empire has like a flop house kind of situation too, right? Like a hotel motel sort of thing. Uh, motel motel.
Sure. Yep. Um, anyway, as he's, uh, as, uh, as doppelcoober is walking across this motel, sort of like parking lot, a lady comes up to him and she's bathed in shadow the whole time. She's wearing like a bathrobe and you can't really see her face.
Uh, and I was just expecting the worst here because usually when someone's crawling out of the shadows like that, you're about to have the worst scarier life. Yeah. Not so here. It's just a lady with a big prosthetic nose who says, I'll let you end.
Yeah. And so she does. I thought I, I mean, this is not, um, uh, the grandma character, the, the old lady with the grandson, but I did think for a second that it was somehow a reference to that old lady. Yeah.
She's a, so on the wiki, at least she's credit as the bosomy woman. The wishes. Uh, hello. The bosomy woman.
Yes. Looking at her nose might not be prosthetic. I think she might just be the, she knows all the woman as far as I'm concerned. Um, yeah, her nose is in fake, but I'll tell you what it is.
Her. Anyway, this bosomy woman lets doppelcooper. No, we don't have to call her. This woman lets doppelcooper into a room of no definitive breast size.
Yes. Let's, let's doppelcooper into the room and, um, we see, uh, Phil Jeffries has been turned into a giant sort of, uh, tea kettle steam producing machine. Yeah. Uh, Jeffrey, Phil Jeffries is now this machine steam tea kettle thing.
Um, the arm is now a tree, right? Um, I don't know what's happening to these guys. What's going on? Well, Rob, I'll tell you, uh, people keep dying and we're refusing to be in the show.
Ah, that must be it. Sometimes both. I do. I mean, how great is that to be like, instead of recasting you, what if you were a tea kettle?
Yeah, right. Like the, the small mind of Terry Gilliam, which is just like, we'll have a bunch of people play. Yeah. That guy's part.
Right. What was that fucking movie? Is that the imaginary of Dr. Parnassus?
Yeah. Sorry. Yeah. Sorry for knowing that was like that one dropped, I think, a point in my life when I was like, well, he, he must be a good filmmaker because he's, yeah, he's a, he's a money python guy and he's, uh, he talks British, but with an American accent.
He's American. Right. But he talks British. He says like bloody a lot.
Yeah, he says bloody and he says, I have to go to the Lou. Yes. He's like a fucking douche. Um, what's his name?
The, the guy, Buffy, the Avengers. Oh, yeah. Um, Josh Whedon. Josh Whedon.
Yes. You're just to me or Josh Whedon. You're Josh Whedon. Now you fuck.
You lost your Joss privileges. Yeah. Hang him up at the fucking door, bitch. Um, so.
Hey, what do you think of this? Yeah. Uh, Joss Queen. Is that anything?
I like it. Uh, yeah, real quick. Let's, uh, Terry Gilliam, I, Terry Gilliam has made really good. I love Brazil.
I think there's, he's got some really great movie time bandits. I really like, uh, if you're in loading Las Vegas, what, um, but I think there's a fish or king. Just fish or king is good. Yeah.
He just sucks. He sucks. Is the issue. He's annoying.
He's annoying. He's one of those guys who like, you know, thinks, uh, nothing, uh, good has ever been made, like, after a certain year. And but also he has like, I don't know. He's like, he's one of those guys.
He's like, I'm an old school liberal, which means as of today, I'm like a fucking centric, a centrist. Right. You know, I do like the, uh, the nothing good has ever been made after X year as like someone actively making films. Yeah.
Yeah. Well, that's why Vazero theorem was so bad is because I made it after the wrong year. Yeah. That's.
Yeah, he does have like kind of a run here, right? Like time bandits, time bandits, Brazil, people like Baron Munchausen, right? Munchausen was good. Yeah.
Um, the Fisher King, 12 monkeys, fear and loathing. Yeah. Those are, those are all good movies. I would, I would, but you know what, too, those are all like, they're all good, right?
They're all like, they have their weird sort of Terry Gilliam isms about them, but I have foot steps on people and makes a fart sound. Yeah, basically. But after a certain point, um, it is really like just diminishing returns. And it's like, it feels like old man, like yells a cloud kind of shit.
Yeah. Well, it's like also he gets too into his own like wins. And also there's just something that like reeks of like, like he's the world's most successful, successful American anglophile, it feels like. Sure.
And it just all of his stuff, even the good stuff, who's is that? Yeah. And I just think people can only take so much of it. No, I mean, I can't, I can't really disagree with that.
But you know what though, I think without Terry Gilliam, we don't get cabin boy. And I think that is that true? I think so. Like literally that's true.
Not literally, but I think that like there, if you watch cabin boy, if you watch like Munchausen and like Time Bandits and shit like that, it feels like, like cabin boy feels of the same sort of ilk. Okay. Um, with its just sort of like, uh, I don't know, weird adventures, sort of shit. It's like a silly fun kind of, I don't know.
They just feel the same to me for some reason. I see. That's, uh, what are you, one of those fancy lads? It's single one of the greatest lines in the middle of cinema.
Movies so good. That that cabin boy, I would say I would watch cabin boy. I don't feature cabin boy and Freddy got fingered. Interesting.
I think for some reason those movies go together as like maligned masterworks. Yes. Only be I still and not convinced on the Freddy got fingered. I want to be extremely clear about that.
But I respect your opinion, Dan. And well, you don't have to do all that. Well, not for you. I have to do all that for me.
Not in this amount, but you know, well, on the subject of cabin boy, you know, who's in that place, Chalky. Uh, who doctor am himself, Russ Tamlin. No shit. Yes.
He's also in Twin Peaks, the return, which is the show we're talking about on this program. Oh, well, okay. All right. So let's get into the Jeffrey scene here.
Um, so, uh, double Cooper confronts Jeffries. He asks why he, he sent Ray to kill him. Uh, boy, I'm back. I'm back.
Um, that's why he sent Ray to kill him. Um, and if, and ask if he was the one that he talked to on the phone and then I think Jeffrey says, he's like, I don't have your number or something. He does say that. Um, which is interesting.
Uh, yeah. And then, uh, they, they show the scene from, uh, was a firewall with me when David Bowie as Jeffries comes back to the office. And he's like, we're not going to talk about Judy at all. Right.
And, um, and Jeff again, present day, Jeffrey says, you were there that day and he's like, what? It's unclear whether or not, you know, what we're fucking talking about here. Right. Now, like that's double Cooper.
We know that real Cooper was there. Uh, but Jeffries can't tell the difference. He seemed right. For whatever reason, he seems not to be able to tell the difference.
Um, and then he, then he also says, but it's also worth noting that like when Cooper goes into the FBI office that day, right? He like sees himself on the footage. That's true. He, he does that thing in the hallway where he's like looking into the camera and then like goes in and looks at in the monitor and there's like a delay.
And like, which feels related now to the, uh, the moment when Andy comes back from the white lodge, if we're calling it that. Uh, uh, and we see sort of like those trails of the other guys at the scene. True. So there's like this, I can't say it.
Tiny, whiny thing happening, but also it's like doppel Cooper, I guess, like always existed. He wasn't conjured when Cooper goes into the black lodge. Mm hmm. And so maybe that's what's happening there.
Yeah. Some, I don't, I mean, when I say that's what's happening, I, I don't know, but was, I guess maybe he was there in some sense. Hmm. Interesting.
Or Jeffries has lost his damn fucking mind because now he's a goddamn teaket. All these to be a guy used to really nice. See, but yeah. No, I mean, that's possible too.
Um, uh, doppel Cooper asks who is Judy and Jeffrey says you've already met Judy. Um, and Cooper's like, what do you mean? I've already met her. And then Jeffrey's spits out some coordinates, some numbers that Cooper writes down.
Uh, phone starts ringing and, uh, uh, they, uh, and doppel Cooper sent back to the back to the store, back to the outside of the convenience store, which is a fun little payoff for Jeffrey saying, I don't have your number clearly is guys number. Yeah. Send him anywhere he wants. I think, um, when we get to the very last episode, I want to talk more about Judy.
It comes off a bit more in the last episode. Uh, but I think that there, there's more. I mean, I think that Judy plays a larger part in all of this than is sort of elaborated on. I mean, that makes sense, right?
Judy's like Judy's an evil demon. Judy's the mother of mother of Bob, the mother of Bob. Yeah. Very powerful thing.
Yes. Um, but yeah, I want to, I want to, I want to do on that a little bit more before I, uh, start popping off with hair rain theories. Okay. Um, but, uh, yes.
So, um, Cooper is, uh, you know, he reappears outside, uh, in a phone booth, um, outside the phone booth, who's there, but Richard Horn and, uh, Richard Horn has a gun pointed at a double Cooper here. And he's like, I know who you are. You're an FBI agent. I've seen your picture and Cooper's like, where did you see my picture?
He's like, my mom had a copy, a picture of you in like a really nice, like suit. And he's like, who's your mom? It's like Audrey Horn. And then Cooper is like, uh, son, basically.
Yeah. He doesn't, they don't address it until after, right? That he's his son? Yeah.
They don't do it at all in this episode. Okay. Yeah. Um, and then, uh, Cooper starts walking towards him and Richard Horn is like, don't, you know, don't walk any closer.
Cooper spits on the ground, which distracts Richard and then, uh, Cooper is able to disarm him and then just starts like kind of wailing on him a little bit. And he's like, don't ever threaten me again. They're getting a truck and then they drive off. Um, but right before they drive off, double Cooper sends out a text saying, loss Vegas.
This question mark, I'm looking at this and I'm a bit confused. Right. Of course. Because to me, that city's called lost wages.
They're right. But I, you know, I pause it. I rewind it. I watch it a few times eventually.
He's talking about the city of Las Vegas, yes, which I call lost wages. Yes. When I go there, I gamble away my wages. That's right.
Like, like many of us, we gamble away our wages effectively losing them lost wages. And I think Dan, I think that's a good spot for a break. Okay. Yeah.
We're going to take a break. Guys, if you want to keep listening, head on over to patreon.com slash came in pod link in the show notes. If you want to hear us talk about things such as a woman named Gersten, and I know you do, if you want to hear us talk about a rousing rendition of sharp dress man, the last thing a guy hears before he goes into probably a coma. Yeah.
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