#eagle pennell

[pacingmusings]

Seen in 2022:

Last Night at the Alamo (Eagle Pennell), 1983

[svanwijk]

How the Texan barflies in Last Night at the Alamo (1983) are unable to learn to live with changing times.

[shiningwizard]

Heart Full of Soul (Eagle Pennell, 1990)

Bring a man back to Texas, put him on a horse, reawaken some mythic purpose and potential that traces back to the first Texas Rangers. But that means now working for his brother's towing company. And that's enough.

[proverbialschoolmarm]

Last Night at the Alamo

[watching-pictures-move]

Movie Review | Last Night at the Alamo (Pennell, 1983)

This review contains mild spoilers.

In my review of Showdown, I recounted the story of my attempt to order a pair of cowboy boots, only for them to get lost in the mail, and for the eventual refund to provide a bit of solace despite not fully numbing the melancholy of my cowboy-boot-free existence. (I should also note that I've been too fucking lazy to go buy a pair in person, although with masking requirements having been recently lifted where I am, I'm reluctant to go rectify that at the moment.) Now, this doesn't have a whole lot of relevance to the story of Last Night at the Alamo, where a couple of losers converge upon their favourite bar the night before it closes down, but you could argue that it has some thematic relevance. You see, I understand that cowboy boots aren't just practical and stylish footwear, but that they hold symbolic value and come with the weight of certain iconography and mythology. And with that, I could put myself in the shoes (or boots) of these losers who are enamored with a certain cowboy in the movie and what he represents.

The characters in this movie are sketched knowingly and arguably with some affection, but hardly flatteringly. There's the young crybaby who drags around his long suffering girlfriend, who you spend the movie waiting to dump his ass. There's the guy who just got kicked out of his house by his wife, who spends the movie arguing with her over the phone and insisting he isn't drunk in between sips of beer while threatening to burn their house down. (In one of the movie's more startling moments, this character drops a racial slur. While the movie doesn't exactly take him to task for this, it also gives him the least flattering portrayal out of this band of losers, so it's hard to read it as an endorsement.) There's also a guy (played by Texas Chain Saw Massacre screenwriter Kim Henkel) who barely talks and can't seem to remember his role in a supposedly amusing anecdote. The effect is a bit like King of the Hill, if that show were populated entirely by Bills and Boomhauers. And like that series, this is very funny in a low key, knowing way.

What these characters all have in common, aside from their presence at the titular bar, is their admiration for a cowboy nicknamed Cowboy. When the character finally arrives, he seems like everything they're not: cool, self-assured, stylishly dressed, handsome, charismatic. But over the course of the night, that facade starts to unravel, and you can see how he tries lamely to maintain his image through small acts of self deception. Getting turned down by a girl? She was married to a doctor, and he don't mess with that. Getting his ass kicked in a fight? Well, you should see the other guy. And that hat? It's not hiding a receding hairline, is it? These might be little lies he's telling his friends, but by the end when he not only proposes staging an armed defense of the bar but seems drunk enough to try it, you can see he's bought into his own bullshit.

The characters commiserate but lack the self-awareness for it to translate to any real introspection, let alone self-loathing. The movie emerges as a critique of a certain kind of masculinity, one which mistakes cowboy iconography for character and uneasily grapples with modernity. The guy with with wife trouble seems jealous of the computer programmer who lives down the street. Cowboy pointedly plans to star in western movies, seemingly oblivious to the fact that they were a genre in decline at the time. And when he rails against the bar down the street for its Yankee influence, nobody seems to really care about the difference in whatever character he's attributing to the different establishments, as one watering hole is as good as another. But at the same time, I can't help but feel a tinge of sympathy. Some would argue that my city is a gentrified hellscape that's being steadily engulfed in condos, and I can't help but feel some nostalgia for some of the places we've lost over the years, if only for the memories I attach to them.

Now, while these characters are not ones I'd like to hang out with were I sober, I did enjoy spending time in this movie, with its stark black and white images, boozy rhythms and rich dialogue written with an ear for drunken inanities. This was a great little movie to stumble into and out of.

[directorsnarrative]

The Whole Shootin’ Match • Director Eagle Pennell

[hyaenagallery]

Louis Byron “Lou” Perryman (1941 – 2009), also known as Lou Perry, was an American character actor. He first became involved in the film business back in 1961 while on leave from the US Army. After getting out of the Army in 1968, Lou worked as a production manager at the Texas Pavilion at the World’s Fair in San Antonio. He then worked as a cinematographer, sound man and production manager at the Filmhouse in Austin from 1969 to 1971. In addition, Perryman worked as a sports cinematographer for both NCAA and ABC TV from 1969 to 1977. In 1974, Lou worked behind the scenes on the original Texas Chainsaw Massacre film as an assistant cameraman. Perryman acted in a number of small roles both on television and in films. He played a hostile redneck bar patron in “The Blues Brothers” (1980), a construction worker helping install the Freeling’s pool in “Poltergeist” (1982), and the sheriff in the acclaimed award-winning indie hit “Boys Don’t Cry” (1999). He was memorable as the affable radio station engineer L.G. McPeters in “The Texas Chainsaw Massacre Part 2” (1986), where he was hit in the head with a hammer by Bill Moseley’s character and later has his face sliced off. Perryman also starred in Texas independent filmmaker Eagle Pennell's The Whole Shootin’ Match and Last Night at the Alamo. Among the plays Lou appeared in are “The Time of Your Life,” “Fool for Love,” “The Night Hank Williams Died,” and the especially well-received “In the West, ” which Perryman also co-wrote. Lou was tragically murdered in his home in South Austin, Texas on April 1, 2009, by a 26-year-old man named Seth Christopher Tatum. Tatum, had recently been released from prison after serving several years for aggravated robbery. He had a history of mentally illness (diagnosed as bi-polar), and drug addiction. A month earlier, Tatum had stopped taking his medication because he felt they were not helping him. The night before the murder, he asked his mother to try and admit him into the hospital, but she told him she could not afford it. #destroytheday https://www.instagram.com/p/CCd4XRNhM7q/?igshid=ykk2tkhd0rbz

[lastchancevillagegreen]

The King of Texas (2008) d. René Pinnell & Claire Huie

Documentary on Eagle Pennell director of the last two films I saw: The Whole Shootin’ Match and A Hell of A Note. 

[hamptonluzak]

History of Independent Filmmaking

Hampton Luzak is an experienced air reporter/producer who worked for MSNBC. Casting director Hampton Barringer Luzak worked on independent features and a short film that won numerous awards for the best short film (Chaperone, the year 2000). Independent films are products of smaller production companies with tighter budgets. They vary in style and genre from studio films and are designed to draw attention to certain issues while utilizing more realistic and challenging storylines. The first organized event to showcase these films took place in Salt Lake City, Utah. In 1978, Sterling Von Wagram, and his assistant, Lori Smith, created a film festival called the United States Film Festival. The films showcased were "The Whole Shootin' Match" by Eagle Pennell, "Joe and Maxi" by Joel Gold, "Girlfriends" by Claudia Weill, and "Martin" by George Romero. The studios made it incredibly difficult to make a feature film outside of studio lots. Despite these challenges, early indie filmmakers got creative with the filmmaking process. Since they did not have access to studio facilities and could not hire union labor, many would write, direct, edit, carry lights, run the camera, and sometimes act. Minimal funding affected locations, actions, actors, and the actual outcome of the film. This creative filmmaking created unique styles that, in the late 1970s, resulted in groundbreaking films like Eraserhead (David Lynch, 1977), Northern Lights (John Hanson, Rob Nilsson, 1978), and Return of the Secaucus 7 (John Sayles, 1980) these caused an increase in investments. By the 1980s, the impact of technology began to be felt in the independent film industry. With better equipment, the technical process improved significantly yearly. Due to the financial viability of these films by the 1990s, most of the indie companies had been kicked out of the market by studios who were now creating special divisions for indie films. Fox created Fox Searchlight, Warner Independent Pictures, Lion's Gate, among others.

[littlemovieposters]

2021 Home Viewing #124: The Whole Shootin’ Match. (dir. Eagle Pennell, 1978)

There seems to be no original poster to speak of for this fantastic film, which reportedly inspired Robert Redford to create the Sundance Film Festival, so we have to make do with whatever mockups various streaming companies have thrown together. I’m not sure where this one originates.

[sportsleague365]

Here are today’s workout updates. There are a number of notable names on this list, so pay attention! Arizona Cardinals * LBShane Ray Baltimore Ravens * DEFadol Brown, SDemetrious Cox, DEDewayne Hendrix, SA.J. Howard(signed to practice squad), DBC.J. Reavis Buffalo Bills * DEAlex Barrett, RBSenorise Perry(signed to 53-man roster), LBWyatt Ray(signed to practice squad) Carolina Panthers * DBDominique Hatfield Cleveland Browns * WR Jeff Badet Denver Broncos * CBDavid Amerson, CBChris Campbell, CBDeatrick Nichols, CBShareece Wright Detroit Lions * WR Quincy Adeboyejo, WRBennieFowler, WREmanuel Hall Green Bay Packers * TE Rico Gathers, DLMike Pennel, DLAdolphus Washington, TECole Wick, DTSylvester Williams,TEEthan Wolf(signed to practice squad) Houston Texans * CMarcus Henry,DTWillie Henry, DTBrian Price, CKeegan Render Indianapolis Colts * DTCarlDavis, LBObum Gwacham, DEEli Harold, DLJoelHeath, DLDamontre Moore, LBPita Taumoepenu, DLEthan Westbrooks Jacksonville Jaguars * TEBrian Parker, TEEric Tomlinson, TEWill Tye Los Angeles Chargers * S Shalom Luani,STre Sullivan New England Patriots * DB Brian Allen, KNick Rose, DTEddieVanderdoes Oakland Raiders * DEAndre Branch, LB Kasim Edebali, OLDatone Jones, DETerrence Fede, LBNate Orchard Philadelphia Eagles * WRPenny Hart,LBPaul Worrilow Tampa Bay Buccaneers * WRCyril Grayson,RBDarius Jackson, QBChad Kanoff, WRCaleb Scott, RBDavidWilliams Tennessee Titans * RBJeremy McNichols,RBZach Zenner Washington Redskins * OLMalcolm Bunche,LBDarrell Williams #FadolBrown #AJHoward #AlexBarrett

[presssorg]

Fred's store closings 2019: Discount chain shuttering 159 stores

Fred's store closings 2019: Discount chain shuttering 159 stores Discount chain Fred's is joining the growing list of retailers shuttering stores amid slumping sales. The Memphis-based company announced Thursday that it would close 159 underperforming stores by the end of May with "going out of business" sales starting Thursday as it looks to reduce its store footprint and "evaluate strategic alternatives." The retailer said in a statement that it retained investment banking advisory firm PJ Solomon to assess its options "to maximize value" and hired liquidation firms Malfitano Advisors and SB360 Capital Partners "to help manage the process and ensure a seamless experience for customers." When companies announce they are considering "strategic alternatives," it often involves a potential sale or restructuring. The closing stores represent nearly 29% of Fred's 557 stores and are located in 13 states, with Mississippi, Alabama, Georgia and Tennessee losing the most stores.   Sales at Fred's stores open at least a year fell 4.9% in the first nine months of 2018, compared with a year earlier. "After a careful review, we have made the decision to rationalize our footprint by closing underperforming stores, with a particular focus on locations with shorter duration leases," Fred’s CEO Joseph Anto said in the statement. "Most of these stores have near‐term lease expirations and limited remaining lease obligations." Shares of Fred's were down nearly 5.8% at $1.97 in midday Thursday trading after the announcement. Store closings 2019: Payless, Gymboree and Victoria's Secret are just some of the brands closing locations The start of a new Sears era?: The retailer announces openings, not closings  

Discount chain Fred's is joining the growing list of retailers shuttering stores amid slumping sales.  

The liquidation

Also Thursday, SB360 Capital Partners, which is managing the closing sales, announced the firm was launching “Total Inventory Blowout” clearance sales at an additional 360 Fred's stores. Discounts are 5% to 20% off the lowest ticketed price with some exclusions at both the closing locations and stores holding clearance sales, SB360 officials told USA TODAY.  “Fred’s stores bring the everyday necessities closer to home, and they do it at discount prices,” said Ziggy Schaffer, an executive vice president with SB360. “The store closing and total inventory blowout events will bring value on top of value.” With most of Fred’s stores in smaller communities, Aaron Miller, an executive vice president with SB360, said they’re expecting “a pretty strong response from the customers.” “Fred’s has a loyal following and we’re expecting increased traffic,” Miller said. “The merchandise will go quickly.” SB360 has managed liquidation sales for more than 50 years and is an affiliate of the Schottenstein family, which also owns DSW Inc. and American Eagle Outfitters. It recently handled the Charlotte Russe liquidation. Fred’s will remain “a one-stop shop with continued replenishment of food staples,” Miller said, noting milk, eggs, beverages and frozen items would be restocked throughout the sale. Only 37 stores, or 7%, of stores are not included in either the clearance or liquidation sales.  

What happened

In 2017, a deal for Fred's to acquire hundreds of Rite Aid or Walgreens stores collapsed when a mega-merger between the pharmacy giants deteriorated. Months later, Fred's announced it was considering "strategic transactions and alternatives for certain non-core assets," including real estate and specialty pharmacy business. Last September, Fred’s reached an agreement to sell the pharmacy patient prescription files and related pharmacy inventory of 179 Fred’s stores located across 10 southeastern states to Walgreens for $165 million.  . With Thursday's announcement, Fred's said it is "continuing to pursue the sale of its remaining pharmacy assets as part of its previously announced plan." Fred's is part of a wave of recent retail closures. Based on figures from global marketing research firm Coresight Research, bankruptcy filings and company earnings reports, more than 6,500 stores are slated to close locations in 2019. The brick-and-mortar downturn is expected to continue, according to a new report released this week from UBS Securities. Investment bank analysts said 75,000 more stores would need to be shuttered by 2026 if e-commerce “penetration rises from 16% currently to 25%.”  

What's next for Fred's

In Fred's statement Thursday, the company said PJ Solomon would do a "thorough evaluation" of the company's plan and look for alternatives. "There can be no assurance that the strategic review will result in any specific action, or any assurance as to its outcome or timing," the statement said. The number of employees affected was not immediately available. “Decisions that impact our associates in this way are difficult, but the steps we are announcing are necessary,” Anto said. “We will make every effort to transition impacted associates to other stores where possible.” There are no plans to close a majority or all Fred's stores or to file for bankruptcy, The Wall Street Journal reported last week.   

Stores closings

Liquidation is getting underway at 159 Fred's stores in 13 states with discounts ranging from 5% to 20% on most items with some exclusions. The stores are expected to close by the end of May.  

Alabama

Anniston: 1544 Greenbrier Ln Branchville: 13254 Hwy 411 Center Point: 1683 Center Point Pkwy Centre: 710 Cherokee Plz Enterprise: 621 Boll Weevil Cir Florence: 321 N Court St Florence: 4150 Florence Blvd Foley: 1200 N Mckenzie Street Guntersville: 1477 Sunset Dr Hoover: 3317 Lorna Rd Hueytown: 3056 Allison Bonnett Memorial Dr Lanett: 622 Cherry Dr Marion: 1549 Highway 5 S Monroeville: 1318 S Highway 21 Byp Roanoke: 3077 Highway 431 Russellville: 13150 Highway 43 Sylacauga: 212 W Fort Williams St Talladega: 65364 Hwy 77 Tuscumbia: 1401 Woodmont Dr  

Arkansas

Bryant: 3395 Highway 5 N Cabot: 207 S 2nd St Conway: 245 Oak St Conway: 1125 Morningside Dr El Dorado: 430 S Bradley Ave Forrest City: 2227 N Washington St Harrison: 617 Highway 62 65 N Hope: 535 N Hervey St Jonesboro: 2308 S Caraway Rd Mena: 1201 Highway 71 S Mountain Home: 509 Hwy 62 E. Newport: 1705 Malcolm Ave Osceola: 1324 W Keiser Ave Paragould: 1723 W Kings highway Prescott: 1426 W 1st St N Russellville: 3303 W Main Pl Searcy: 2706 E Race Ave Stamps: 1110 E Antigo St West Memphis: 606 E Broadway St  

Georgia

Adel: 1014 S Hutchinson Ave Bainbridge: 1602 E Shotwell St Barnesville: 790 Veterans Pkwy Blakely: 800 Columbia Rd Brunswick: 5485 New Jesup Hwy Calhoun: 325 Curtis Pkwy Se Camilla: 500 Us Highway 19 S Cedartown: 550 N Main St Cleveland: 156 Wanderway Dr Cordele: 102 E 14th Ave Covington: 6179 Highway 278 Ne Dillard: 7230 Highway 441 N Hinesville: 767 Veterans Parkway Jasper: 970 E Church St Kingsland: 925 E King Ave Mcdonough: 1550 S. Zach Hinton Pkwy Quitman: 1315 W Screven St Ringgold: 1426 West 1st North Riverdale: 94 Upper Riverdale Rd Sw Rome: 1916 Redmond Cir Nw Royston: 411 Smith St Swainsboro: 501 S Main St Thomasville: 2730 E Pinetree Blvd Tunnel Hill: 3593 Chattanooga Rd Zebulon: 9215 Highway 19 N  

Illinois

Benton: 215 Bailey Ln  

Kentucky

Hopkinsville: 3129 Canton Pike Murray: 928 S 12th St Princeton: 300 Hwy 62 W Russell Springs: 2385 Lakeway Dr  

Louisiana

Baton Rouge: 10710 Greenwell Springs Road Bossier City: 5751 Shed Rd Carencro: 806 Veterans Dr Franklin: 1801 West Main Street Gonzales: 228 W Highway 30 Hammond: 125 Hwy 51 North Jonesboro: 310 E Main St Lafayette: 2490 W Congress St Monroe: 2350 Sterlington Rd Natchitoches: 400 Dixie Plz Pineville: 4628 Highway 28 E Shreveport: 5907 Old Mooringsport Road St. Martinville: 1114 South Main Street Westlake: 1514 Sampson Street  

Missouri 

Cape Girardeau: 121a South Sprigg Street Poplar Bluff: 441 Highway 53  

Mississippi

Aberdeen: 107 N Meridian St Brookhaven: 218 S Whitworth Ave Byram: 7261 S Siwell Rd Cleveland: 306 E Sunflower Rd Coldwater: 520 Central Ave Columbia: Hwy 13 Northgate S/C Columbus: 304 5th St S Columbus: 201 G Alabama St Florence: 2932 Highway 49 S Forest: 237 Woodland Dr Gautier: 1693 Highway 90 Greenville: 7616 Highway 80 Greenville: 1600 S Colorado St Greenwood: 813 W Park Ave Hattiesburg: 1000 Broadway Dr Holly Springs: 148 W Van Dorn Ave Horn Lake: 3031 Goodman Rd W Jackson: 225 Meadowbrook Rd Jackson: 540 Raymond Rd Leland: 302 North Main St. Magee: 1700 Simpson Hwy Meridian: 626 22nd Ave S Ocean Springs: 3176 Bienville Blvd Pascagoula: 2511 Ingalls Ave Pearl: 235 George Wallace Dr Philadelphia: 714 Pecan Ave Terry: 422 W Cunningham Ave Tupelo: 809 Varsity Dr Tupelo: 1776 McCullough Blvd West Point: 26591 E Main St Yazoo City: 1200 Jerry Clower Blvd  

North Carolina

Dunn: 988 Erwin Rd. Marion: 1155 N Main St Spruce Pine: 11931 S 226 Hwy  

Oklahoma

Wagoner: 700 E Cherokee St  

South Carolina

Anderson: 122 E Shocky Ferry Rd Chester: 109 Cestrain Sq Clinton: 105 B Jacobs Hwy Hodges: 4905 Emerson St Iva: 9710 Highway 81 S Ladson: 119 College Park Rd Landrum: 213 W Rutherford St Liberty: 315 W Front St North Augusta: 401 W Martintown Rd Orangeburg: 1180 Five Chop Rd Pickens: 310 Hampton Ave  

Tennessee

Brownsville: 337 E Main St Clarksville: 390 Highway 149 Collierville: 450 Hwy 72 West Dayton: 260 16th Ave Decherd: 1755 Decherd Blvd Dyersburg: 805 Pennell Ln Gallatin: 420 W Main St Hartsville: 230 Broadway Jackson: 1688 S Highland Ave Jasper: 3600 Main St Lebanon: 230 E Gay St McMinnville: 912 N Chancery St Medina: 211 Three Oaks Drive Memphis: 4280 Getwell Rd Memphis: 5016 Old Summer Rd Mt. Pleasant: 700 North Main Street Murfreesboro: 1664 Middle Tennessee Blvd Newport: 122 Five Rivers Plaza Way Paris: 850 Volunteer Dr Portland: 114 W Knight St Pulaski: 1670 W College St Selmer: 399 Mulberry Ave Woodbury: 1130 S Mccrary St  

Texas

Gladewater: 601 Broadway Ave Kilgore: 605 N Henderson Blvd Lindale: 1601 S Main St Mc Gregor: 1000 S Main St Tyler: 1803 E Gentry Pkwy Whitehouse: 1123 State Highway 110 N Follow USA TODAY reporter Kelly Tyko on Twitter: @KellyTyko Fred’s agreed to sell patient prescription files and related inventory in the 185 stores to Walgreen Boots Alliance Inc. for $165 million. Michael Schwab/USA TODAY NEWTWORK - TENNESSEE Read the full article

[hotvideo]

THE BOSS’ SON (1978)

BACK WHEN I THOUGHT THERE WAS A FUTURE FOR ME IN THIS RACKET, I USED TO PULL ALL-NIGHTERS ON IMDB, CONNECTING THE DOTS BETWEEN THE ACTORS, DIRECTORS AND FILMS THAT COMPRISED WHAT I CONSIDERED TO BE A SECRET HISTORY OF AMERICAN MOVIES. THIS IS HOW I HAPPENED ON WRITER/DIRECTOR BOBBY ROTH. MY OFFICIAL INTRODUCTION TO HIS WORK WAS A FLICK HE MADE IN THE EIGHTIES CALLED HEARTBREAKERS, WHICH HAS, IN MY OPINION, A LOT OF JUICE. BACK IN THE SEVENTIES, ROTH WAS ONE OF A NUMBER OF YOUNG FILMMAKERS EMERGING ALL OVER THE COUNTRY, CATS LIKE CHARLES BURNETT (KILLER OF SHEEP), DAVID BURTON MORRIS (PATTI ROCKS), ROB NILSSON (SIGNAL 7), EAGLE PENNELL (THE WHOLE SHOOTIN’ MATCH), AND PENNY ALLEN (PROPERTY).  FOLLOWING IN THE FOOTSTEPS OF GRAND WIZARDS LIKE JOHN CASSAVETES, THIS LESS-CELEBRATED CLASS OF FILM MAVERICKS HELPED LAY THE GROUNDWORK FOR WHAT WE NOW KNOW AS AMERICAN INDEPENDENT CINEMA. THE FILMS WERE MADE ON A SHOESTRING, A COLLABORATION BETWEEN BEARDED, BRA-BURNING BOOMERS. SOME WENT ON TO HAVE SUCCESSFUL CAREERS IN AND AROUND HOLLYWOOD; THE OTHERS, WELL, DIDN’T AND NOW TEACH FOR A LIVING. JUDGING FROM THE VIDEO “MASTER CLASSES” IN DIRECTING HE’S SELLING VIA HIS WEBSITE, I’M GUESSING BOBBY ROTH IS ONE OF THE ONES WHO TEACHES FOR A LIVING.

AFTER HEARTBREAKERS, I VOWED TO SEE MORE BY BOBBY ROTH. I FOUND A USED VESTRON TAPE OF AN EARLIER FILM OF HIS, THE BOSS’ SON, ON eBAY. FRANKLY, I DON’T KNOW WHAT HE DID BEFORE, BETWEEN OR AFTER THESE TWO FILMS, BUT I THINK BOTH ARE INCREDIBLE; ROTH SEEMED POISED TO BE A STRONG NEW VOICE IN AMERICAN FILM. THE BOSS’ SON IS A SOCIAL DRAMA THAT DEALS WITH SOME OF THE HARSH REALITIES FACING THE AMERICAN LABOR FORCE IN THE 1970s. IF MEMORY SERVES, THE TAGLINE ON THE ORIGINAL ONE-SHEET READS SOMETHING LIKE: IF BLUE COLLAR KNOCKED YOUR DICK IN THE DIRT, GET DOWN AND BOOGIE WITH THE BOSS’ SON. IT’S THE STORY OF A RICH KID WHO RETURNS HOME AFTER COLLEGE TO WORK FOR HIS FATHER, A SELF-MADE MAN WHO GOT RICH IN THE CARPET BIZ. POPS IS THE AMERICAN DREAM INCARNATE. HE STARTED FROM NOTHING AND NOW HE’S GOT THE ROLLS AND THE BIG HOUSE IN BEVERLY HILLS, AND ALL THE HEALTH PROBLEMS THAT COME WITH THAT. BUT INSTEAD OF JUST SETTING JUNIOR UP WITH A COZY JOB AT THE COMPANY, POPS DECIDES TO MAKE HIM ONE OF THE FACTORY PROLES. THE KID’S BEEN MOLLYCODDLED ALL HIS LIFE, THE PRODUCT OF A POST-WAR, SUBURBAN JEWISH UPBRINGING, AND HE’S GOTTA LEARN SOMETIME WHAT THE WORLD’S ABOUT.

FOLLOWING A TITLE SEQUENCE COMPOSED OF HOME MOVIE FOOTAGE MOST LIKELY GLEANED FROM ROTH’S OWN CHILDHOOD, THE BOSS’ SON OPENS TO A MIDDLE-AGED WOMAN SINGING SHOW TUNES IN THE MIRROR. THIS IS MOM (RITA MORENO, WEST SIDE STORY). SHE’S DRUNK AGAIN.  BETWEEN SIPS OF SHERRY, THE BEVERLY HILLS HOUSEWIFE ENTERTAINS HER MEXICAN HOUSEKEEPER (LUPE ONTIVEROS, REAL WOMEN HAVE CURVES), WHO, OF COURSE, SPEAKS NO INGLES.

AT DINNER, POPS (RUDY SOLARI, “EVERY TV SHOW OF THE 1960s/70s”) TELLS JUNIOR (ASHER BRAUNER, SWITCHBLADE SISTERS) WHAT HE HAS PLANNED FOR HIM. TOUGH LOVE, BABY. THE KID’S A COLLEGE GRADUATE AND HE’S NEVER WORKED A DAY IN HIS LIFE. POPS IS ABOUT TO CHANGE THAT. HE’S GONNA SEND HIM OUT ON THE BIG TRUCK WITH A SCHVARTZE NAMED CHARLES (HENRY G. SANDERS, KILLER OF SHEEP) TO LEARN THE BUSINESS FROM THE GROUND UP. POPS IS A BIG-HEARTED GUY, BUT HE’S LOSING HIS SHIRT. HE DOESN’T NEED THE TSOURIS OF RUNNING A BUSINESS ANYMORE, AND HIS PLAN IS TO LEAVE IT TO JUNIOR. THAT IS, IF JUNIOR CAN PROVE HIMSELF TO BE A LEADER AND ONE WHOM THE WORKERS RESPECT.

JUNIOR AND CHARLES DON’T HIT IT OFF IMMEDIATELY, AS THEY COME FROM TOTALLY DIFFERENT WORLDS. JUNIOR CAN’T SHAKE HIS ENTITLED ATTITUDE AND CHARLES IS JUST A WORKING STIFF, TRYING TO STAY HARD AND KEEP THE CLOTHES ON HIS BACK, JACK.

“I’d never take anything from your father that I didn’t have coming to me.”

THE MEN LOAD AND UNLOAD HUGE ROLLS OF CARPET FROM AN OLD TRUCK. IT’S BACK-BREAKING WORK, SOMETHING JUNIOR’S NOT ACCUSTOMED TO.

THINGS ARE TENSE AT THE FACTORY. CARPETS ARE FALLING OFF THE TRUCKS AND OLD MAN ROSE IS ON THE VERGE OF BANKRUPTCY. POPS’ RIGHT-HAND MAN, BUDDY (JAMES DARREN, GIDGET GOES HAWAIIAN), A SHORT-TEMPERED FUCKHEAD WITH FRANKIE AVALON HAIR AND A DIFFERENT PLAID SPORT COAT FOR EVERY DAY OF THE WEEK, SUGGESTS THEY HIRE AN OUTSIDE GUY TO COME IN AND FIND OUT WHO’S DOING THE DIRT. POPS ASSURES BUDDY IT’S BEING HANDLED.  

WHEN THE OTHER WORKERS TREAT JUNIOR LIKE A NARC, HE ASKS THE OFFICE MANAGER, AL (FOLK MUSIC LEGEND RICHIE HAVENS, WOODSTOCK) TO LET HIM GO ON A RUN BY HIMSELF. 

SOME FUNKY LITTLE INCIDENTAL MUSIC CUES PLAY HERE AND THERE, JERRY GOLDSMITH-ON-A-BUDGET SMOOVE.

JUNIOR DELIVERS SOME SHIT TO A TOUGH OLD BROAD IN THE BACK OF HER STORE. SHE GIVES HIM HER CARD AND TELLS HIM TO CALL IF HE EVER COMES ACROSS ANY SPARE CARPET. ON THE RIDE BACK, THE REAR OF THE TRUCK FLIES OPEN WHILE JUNIOR’S DRIVING AND A BUNCH OF SHIT FALLS OUT INTO THE STREET, NEARLY CAUSING AN ACCIDENT.

WHEN JUNIOR GETS BACK TO HEADQUARTERS, HE’S LIVID. HE YELLS AT AL IN FRONT OF THE OTHER GUYS, INCLUDING A JIVE-ASS WHITE BOY (CHRIS MULKEY, PATTI ROCKS). AL, REALIZING WHAT’S AT STAKE MAKING WAVES WITH THE BOSS’ KID, PLUGS IN HIS DEFERENTIAL SIDE AND KOWTOWS TO THE LITTLE MAN.

LATER, IN THE COFFEE HUTCH, CHARLES TELLS JUNIOR THAT AL’S GOT A LOT ON HIS PLATE AND SIMPLY FORGOT TO HAVE THE TRUCK REPAIRED, WHILE THE TRUTH IS THE WORKERS HAVE BEEN AFRAID TO BRING UP THE TRUCK’S MAINTENANCE ISSUES TO OLD MAN ROSE, WHO’S ALWAYS CRYING ABOUT THE RISING COST OF TEA IN CHINA.

JUNIOR GIVES CHARLES A RIDE HOME, AND CHARLES INVITES HIM TO STAY FOR SUPPER. WE GET TO SEE HOW CHARLES IS LIVING -- NOT VERY LARGE AND, PRESUMABLY, ON A LAYAWAY PLAN. WE’RE INTRODUCED TO CHARLES’ WIFE, AN UNHAPPY MULATTO NURSE NAMED EVIE. THE MARRIAGE APPEARS TO BE ONE OF CONVENIENCE, LIKE THEY’RE PARTNERS IN A CORNER STORE CALLED MAKING DUE. IT’S HERE THE ACCOUTREMENTS OF CHARLES’ WORKING CLASS DOMESTICITY -- FOR INSTANCE,  A PLASTIC CUBE THAT HOUSES FAMILY PHOTOGRAPHS ON EACH OF ITS PANELS -- TAKE ON A GREATER SIGNIFICANCE. THIS IS SOMEONE’S LIFE.

EVIE IS RUDE TO JUNIOR, REFUSING TO COOK SUPPER FOR THE WHITE BOY. ONCE JUNIOR’S OUT OF EARSHOT, CHARLES CONFRONTS HIS WIFE, EXPLAINING TO HER HIS PIPE DREAM OF MOVING ON UP AFTER JUNIOR TAKES OVER HIS FATHER’S COMPANY. SHE CALLS HIM A FOOL. CHARLES PUTS HIS FOOT DOWN: IT’S HIS HOUSE AND JUNIOR STAYS.

EVIE HEATS UP SOME CANNED SPAGHETTI AND WHITE BREAD FOR THE TWO MEN, THEN PREPARES TO LEAVE FOR HER SHIFT AT THE HOSPITAL. JUNIOR THANKS HER FOR THE MEAL AND OFFERS TO CLEAN UP. EVIE JUST SHAKES HER HEAD. 

AFTER SUPPER, CHARLES DEMONSTRATES HIS NIGHTLY RITUAL OF DRIFTING OFF TO SLEEP IN HIS BELOVED LA-Z-BOY CHAIR.

“I puts me on some music, roll me a number, lay back and just drift away, jack.”

I LOVE THIS SCENE.

CHARLES INVITES JUNIOR TO TRY ON THE CHAIR, LIKE THEY DON’T HAVE COMFY FURNITURE WHERE HE COMES FROM. JUNIOR ASKS CHARLES IF EVIE MINDS HIM BEING SO FREE, OUT ALL HOURS AT THE AFTER-HOURS, PLAYING HIS MUSIC FOR THE PEOPLE.

“She’ll never quit me  cos she know I always come through. I say ‘Hey, baby, you know all that runnin’ around don’t mean nothin’, and it don’t... it just be my dick getting hard. Look here, if I see a little girl who’s new in town, don’t know nobody in the city, I says ‘Hey, stick with me, baby, cos I got a line on a good thing goin’, but right now let’s boogie... cos I love me some Pointer Sisters! But if I go to the nickel and dime, don’t ask me for a quarter. Cos how much a dollar cost anyway?”

 RIGHT ON!

THE MEN DELIVER A SHIPMENT TO OLD MAN ROSE’S PAD. CHARLES HAS NEVER BEEN TO THE HOUSE BEFORE. JUNIOR TELLS HIM TO WAIT IN THE FOYER, WHICH, WELL, SAYS A LOT.

CHARLES SAYS SOMETHING STUPID ABOUT THE ART ON THE WALL. THE SPANISH MAID SHUFFLES IN, TALKING THAT PIGEON LANGUAGE OF HERS RAPIDAMENTE. SHE LEADS JUNIOR TO THE GARAGE, WHERE MOM AND HER FRIEND, ACADEMY AWARD-WINNING ACTRESS PIPER LAURIE (THE HUSTLER), ARE WAAAASTED. WHEN MOM SEES CHARLES, SHE HAS THE COMMON MINI-FREAKOUT THAT WHITE PEOPLE HAVE ANY TIME A BIG STRAPPING BLACK MAN ENTERS THEIR CAR AND ATTEMPTS TO REMOVE THEM FROM IT. AGAIN, NICE WRITING BY ROTH! MY MAN! NORMAN JEWISON AIN’T GOT SHIT ON THIS GUY! MARTIN RITT? EAT MY ASS WITH SOME CRACKERS! THE MEN CARRY MOM OUT OF HER BENZ AND INTO THE BEDROOM, WHERE SHE PASSES OUT. PIPER LAURIE FLIRTS WITH CHARLES; HE WOULD TOTALLY HIT THAT IF JUNIOR AND HIS MOM WEREN’T IN THE ROOM.

JUNIOR’S EMBARRASSED BY HIS MOTHER AND THE DEPTHS BY WHICH EVEN BORED BEVERLY HILLS HOUSEWIVES WILL GO JUST TO GET GOOD AND GASSED IN THE AGE OF ELECTRIC CAN-OPENERS.

TO HELP GET HIS MIND OFF THINGS, JUNIOR INVITES CHARLES TO JOIN HIM FOR A NIGHT ON THE TOWN. THEY GO TO SOME SWINGING HOUSE OF SPIRITS, WHERE CANDI STATON’S COVER OF THE BEEGEES SONG “NIGHTS ON BROADWAY” IS PLAYING WHEN THEY MAKE THE SCENE. JUNIOR SEEMS TO KNOW EVERYBODY IN THE JOINT. AT THE BAR, CHARLES ORDERS A COURVOISIER ON THE ROCKS, WHILE JUNIOR, KEEPING IT LOW-KEY, ORDERS A CUERVO GOLD NEAT WITH A LIME. SUDDENLY, THE BOSS’ SON BECOMES A STEELY DAN SONG.

CHARLES GETS JAZZED AND CUTS IN WITH SOME BLONDE SHAKING HER STUFF OUT ON THE FLOOR. BOOGIE FEVER. THIS IS PRESUMABLY THE BEGINNING OF A VERY LONG NIGHT OF DEBAUCHERY. SADLY, WE DON’T GET TO SEE ANY OF IT.

THE NEXT DAY, JUNIOR AND CHARLES ARE VERY LATE TO WORK.  

THEY GET THE STINK-EYE FROM BIG AL, WHO GIVES JUNIOR A PASS AND CHARLES A TALKING-TO, BROTHER TO BROTHER.

JUNIOR JOINS POPS AND BUDDY FOR A DAY AT THE COUNTRY CLUB. AFTER SOME GOLF, THEY DINE AT THE RESTAURANT, WHERE BUDDY AND JUNIOR BUTT HEADS OVER BUDDY’S INSISTENCE THAT THE DRIVERS ARE RESPONSIBLE FOR THE MISSING CARPETS.

BUDDY USES THE WAITER AS AN EXAMPLE WHEN MAKING A LONG-WINDED POINT ABOUT HOW LOW-PAYING JOBS ESSENTIALLY MAKE WORKERS MORE PRONE TO STEAL FROM THEIR EMPLOYERS.

THE FACT THAT BUDDY’S RIGHT DOESN’T CHANGE THAT FACT THAT HE’S A COCKSUCKER WHO USES POPPERS WHEN HE MAKES LOVE TO MEN IN PUBLIC RESTROOMS.

ON THE DAY BEFORE CHRISTMAS. CHARLES GETS SNUBBED BY ONE OF THE REGS ON HIS ROUTE, WHO DOESN’T LEAVE HIM WITH A CUSTOMARY BOTTLE OF BOOZE FOR CHRISTMAS. IT’S TRUE. IF YOU’RE A COURIER OF ANY KIND AND IT’S THE HOLIDAYS, YOUR REGULAR CUSTOMERS ARE SUPPOSED TO LEAVE YOU A LITTLE SOMETHING (OR VICE VERSA). JUNIOR DOESN’T GET WHAT ALL THE FUSS IS ABOUT.

OLD MAN ROSE HAS A MEETING WITH THE FELLAS TO EXPLAIN THAT THERE AREN’T GONNA BE ANY CHRISTMAS BONUSES COMING. TIMES ARE TOUGH, YOU KNOW. I RESPECT EMPLOYERS WHO GIVE THESE KIND OF PEP TALKS, DIFFICULT AS THEY ARE TO STOMACH; LEST WE FORGET THE MORE POPULAR ALTERNATIVE, WHICH MOST OF US UNDERPAID SLOBS HAVE GROWN TO ACCUSTOMED TO IN THE YEARS SINCE THE BOSS’ SON, WHICH IS, OF COURSE, NO EXPLANATION AT ALL... JUST THE OLD SHUT-UP-AND-BE-HAPPY-YOU-STILL-GOT-A-JOB.

NICE SHOT OF JUNIOR WITH HIS YOUNGER SELF.

JUNIOR COMMISERATES WITH KEN, THE SADDEST, GUILTIEST LOOKING GUY IN THE BUNCH, WHO IS TOO BROKEN UP TO ATTEND THE STAFF PARTY. HE HAS TO GO HOME AND FEED HIS EIGHT KIDS. HOW ABOUT THEM APPLES? AND HE AIN’T EVEN MEXICAN!

NOT THAT HE’S MISSING MUCH. EVERYONE’S DEPRESSED. THEY HOLD THEIR TINY PAYCHECKS AND MOPE AROUND. MERRY CHRISTMAS.

CHRIS MULKEY SLIDES IN LIKE A PUNK AND TELLS EVERYONE HE’S JUST BEEN FIRED FOR BEING A WISE-ASS LITTLE PUNK. HEY, THIS AIN’T PATTI ROCKS, PAL. HIT THE BRICKS!

JUNIOR CONFRONTS BUDDY ABOUT FIRING CHRIS MULKEY. BUDDY SAYS HE FIRED CHRIS MULKEY COS CHRIS MULKEY’S A WISE-ASS PUNK, AND ANY PUNK WHO TRIES THE SAME SHIT IS GONNA GET THE SAME TREATMENT. FINALLY, TO ACCENT HIS POINT, BUDDY SPRAYS SOME BINACA IN HIS MOUTH LIKE A TRUE G.

WHILE JUNIOR’S GRILLING BUDDY, CLEO, THE ONLY CHICK WHO WORKS THE FACTORY LINE, STARTS BITCHING OUT THE GUYS IN THE OFFICE FOR NEVER STEPPING UP AND DEMANDING A BETTER WAGE.

JUNIOR CATCHES THE TAIL END OF CLEO’S RAP AND FOLLOWS HER OUT TO HER VW BUG TO AWKWARDLY ASK IF HE CAN BOOGIE WITH HER BODY AND OFFICIALLY SCRATCH BROWN SUGAR OFF HIS BUCKET LIST. I HAVE NO IDEA WHY JUNIOR HAS CHOSEN CLEO, WHO, LET’S FACE IT, LOOKS LIKE A LESBIAN FOLK SINGER. BUT, HEY, THIS IS AMERICA. WE INVENTED DIFFERENT STROKES. ANYWAY, CLEO TURNS HIM DOWN. SHE’S GOTTA GO HOME AND FIX HAMBURGER HELPER FOR HER KIDS.

“Now look’a here, lil whiteboy, I’s seen ‘em comes and I’s seen ‘em disappear, and nobody does it better than a Texas steer.”

ON THE LOADING DOCK, CHARLES ASKS JUNIOR IF HE’LL TALK TO HIS FATHER ABOUT PROMOTING HIM TO A SALES POSITION. JUNIOR TELLS CHARLES THE GODAWFUL TRUTH: HIS FATHER WILL NEVER PROMOTE SOME RAGTIME SOUL BROTHER TO A RESPECTED POSITION AT HIS COMPANY, AND NEITHER WOULD JUNIOR.

OUCH.

OVER TAKEOUT CHINESE, THE ROSE FAMILY PERFORMS ITS VERSION OF CHRISTMAS. 

MOM’S DRUNK ON PLUM WINE. SHE TELLS POPS TO TELL EVERYONE THE LATEST DEPRESSING NEWS.

IT SEEMS OLD MAN ROSE WENT DOWN TO THE BANK TO GET A LOAN, IN HOPES OF FLOATING THE BUSINESS UNTIL THE DOWNTURN ENDS, AND WAS DENIED.

THEN BUDDY REVEALS HE’S PLANNING TO LEAVE THE COMPANY FOR SOMETHING MORE SECURE. AFTER THAT, EVERYONE AT THE TABLE JOINS IN THE CLASSIC JEWISH AMERICAN PASTIME OF YELLING AT EACH OTHER.

JUNIOR STORMS OUT WITH HIS DATE, WHO HE PROMPTLY DUMPS BACK AT HER PARENT’S. THEN HE TAKES TO THE SAVAGE STREETS, TROLLING FOR COOZE. NEXT STOP, DARKTOWN USA.

JUNIOR SHOWS UP AT CLEO’S PAD. SHE TELLS HIM HER FEELINGS HAVEN’T CHANGED IN THE SIX HOURS SINCE SHE SAW HIM LAST, BUT THAT HE CAN SACK OUT ON HER COUCH IF HE SO WISHES.

JUNIOR TAKES CLEO UP ON HER OFFER. BUT HE CAN’T SLEEP BECAUSE THE VINYL COVER ON HER COUCH MAKES TOO MUCH NOISE. HE DECIDES TO GIVE CLEO ONE LAST SHOT AND GOES IN HER BEDROOM TO LEER AT HER BENEATH THE COVERS.

JUNIOR HAS A MOMENT OF CLARITY, WHEN HE DECIDES TO LEAVE THIS POOR WOMAN ALONE. BUT JUST AS HE MAKES TO LEAVE, CLEO TURNS TO HIM AND ASKS WHY HE DIDN’T JUST WHIP IT OUT AND DO IT, BABY. JUNIOR LEANS OVER AND KISSES CLEO ON THE FOREHEAD AND SAYS GOODNIGHT.

ALL THE GUYS FROM THE FACTORY MEET UP IN SOME PARK TO PARTY. CHRIS MULKEY PULLS UP ON HIS KAWASAKI, CHARLES SITTING BITCH.

THIS IS A GAME WE USED TO PLAY CALLED HOOPS FOR HEADS. EVERYBODY MEETS IN THE PARK AFTER SATURDAY MORNING CARTOONS, WITH SOMEBODY BRINGING A CASE OF BEER AND SOMEBODY ELSE BRINGING SOME GRASS. EVERYBODY GETS GOOD AND RIPPED AND READY TO SLAY ON THE COURT. ALSO, EVERYONE SPORTS REALLY BRIGHT ATHLETIC WEAR SO NO ONE GETS LOST TRYING TO FIND THE HEAD.

CHRIS MULKEY DOESN’T LIKE JUNIOR. THIS IS BLATANTLY OBVIOUS WHEN THEY’RE PLAYING BALL BECAUSE HOOPS IS ONE OF THOSE PRIMAL GAMES WHERE YOUR TRUE FEELINGS FOR YOUR OPPONENT WILL COME TO THE FORE, IT SIMPLY CAN’T HIDE; THE OBJECT IS TO USE ONE’S BRAWN TO INTIMIDATE AND CONQUER.

IT ISN’T LONG BEFORE EMOTIONS GET THE BEST OF THESE TWO DUDES AND THEY START FIGHTING. MOST GUYS AREN’T GONNA JUST WAIL ON THE BOSS’ KID, BUT CHRIS MULKEY DOESN’T GIVE A FUCK, HE’S ALREADY FIRED.

LATER, A BRUISED JUNIOR COMES HOME AND CATCHES POPS BURNING THE MIDNIGHT OIL. OBSERVING THE AGONY OF POP’S SITUATION  CAUSES JUNIOR TO FEEL A RARE MOMENT OF LOVE FOR HIS POPS.

THE NEXT MORNING, JUNIOR GOES TO WORK EARLY AND NOSES AROUND THE OFFICE, WHERE HE FIND A PICTORIAL TIMELINE OF THE ROSE COMPANY.

THEN JUNIOR BUMPS INTO THE NERVOUS GUY, KEN, WHO’S MAINLINING FOLGERS LIKE IT’S GOING OUT OF STYLE.

CHARLES ASKS HOW JUNIOR’S CHRISTMAS WAS.

“[Santa Claus] skips the Jews.”

“Well, I guess he figures every day is Christmas for you folks.”

L.A. STILL LOOKS LIKE THIS. ONLY THE CARS AND THE PEOPLE HAVE CHANGED.

AT ONE STOP, JUNIOR AND CHARLES GET WORD THAT THEY NEED TO PHONE THE OFFICE, SOMETHING’S UP.

CHARLES GETS ON THE HORN. HE GETS THE DEETS ON A RUN TO RECOVER AN AWOL TRUCK.

THE BOSS’ SON REALLY NAILS THE PROSAIC GRIME OF L.A. LIKE FEW FILMS DO.

JUNIOR AND CHARLES HAPPEN ON KEN’S TRUCK. THERE’S COPS ON THE SCENE, WHICH IS NEVER GOOD. SOME CHICK’S TAKING PICTURES FOR HER CAMPUS PAPER.

WHEN CHARLES ASKS ONE OF THE COPS WHERE THE DRIVER (KEN) IS AT, THE COP NONCHALANTLY SAYS KEN BLEW HIS HEAD OFF.

THE COPS WANT JUNIOR TO INSPECT THE PAPERWORK IN KEN’S TRUCK AND ENSURE EVERYTHING’S KOSHER.

JUNIOR TELLS CHARLES HE’LL DRIVE KEN’S TRUCK BACK TO THE FACTORY.

WHEN CHARLES AND JUNIOR RETURN, ALL THE WORKERS ARE SITTING AROUND THE OFFICE. THE FIRST THING ANYBODY ASKS ABOUT IS THE CLIPBOARD WITH ALL OF KEN’S ORDERS AND INVOICES. SOMETHING AIN’T RIGHT.

CHARLES VOLUNTEERS TO UNLOAD THE REST OF THE CARPET THAT KEN DIDN’T GET TO.

IT’S THEN JUNIOR REALIZES ALL THE DRIVERS ARE IN ON THE ACTION, THEIR COVER BLOWN BY KEN’S SUICIDE.

JUNIOR STORMS OUT OF THE OFFICE. CHARLES FOLLOWS HIM AND THEY HAVE A VERY OVERWROUGHT EXCHANGE ON THE LOADING DOCK. THE RAIN HAS STARTED AND THIS MIGHT AS WELL BE AN ELIA KAZAN MOVIE FROM THE FIFTIES. GOD, I HATE SCENES LIKE THIS.

JUNIOR WALKS AWAY FROM CHARLES, WHO YELLS SOME WEAK-ASS SHIT GUYS LIKE TO SAY TO OTHER GUYS WHEN THEY WANT TO MAKE THEM FEEL LIKE ASSHOLES FOR WALKING AWAY. 

CHARLES KNOWS HE’S FUCKED.

JUNIOR GETS IN HIS BMW AND GOES ON A SPIRITUAL QUEST INTO THE HEART OF L.A.’S DARKNESS WHILE A RICHIE HAVENS SONG CALLED “WHY DON’T YOU WALK AWAY” PLAYS.

... CHICKS WITH DICKS WORK THE LONELY STREETS...

...AND THE 3rd STREET TUNNEL (BLADE RUNNER, LESS THAN ZERO, ET AL) PROVIDES ITS USUAL HALLUCINATORY OPTICS.

JUNIOR ENDS UP AT ANOTHER QUINTESSENTIALLY L.A. VENUE FOR EXISTENTIAL ANGST, THE ALL-NIGHT BURGER STAND, WHERE WEEK-OLD SLABS OF PASTRAMI ARE OVER-SALTED AND SOLD AS-IS TO SAD SLOBS ON THEIR WAY HOME FROM THE BAR.

WHEN JUNIOR GETS HOME, HE FINDS HIS MOTHER UP MAKING COFFEE. A LOT OF OLD PEOPLE LIKE TO DRINK COFFEE IN THE MIDDLE OF THE NIGHT BECAUSE, HEY, THE CLOCK IS TICKING AND THEY’D RATHER STAY UP.

JUNIOR TELLS HIS MOM THE DRIVERS HAVE BEEN STEALING FROM THE COMPANY.

MOM TELLS JUNIOR HE’LL HAVE TO TELL HIS FATHER, EVEN THOUGH IT’S GOING TO KILL HIM.

SO HE DOES.

OLD MAN ROSE MAKES THE DRIVERS SIGN SOME SORT OF LETTER OF RESIGNATION AND/OR ACKNOWLEDGEMENT OF THEIR WRONGDOING.

ONLY BIG AL IS SPARED, MOSTLY BECAUSE THE BALLJAZZ IN HIS GOLF PANTS IS KINDA UPLIFTING IN SUCH A GRAVE MOMENT OF SADNESS AND REGRET.

RUDY SOLARI KILLS IT AS OLD MAN ROSE. I BUY EVERY WORD HE SAYS. JUST A MENSCH, THROUGH AND THROUGH. I HOPE BOBBY ROTH WAS SATISFIED WITH SOLARI’S PERFORMANCE, AS THE CHARACTER, I’M ASSUMING, IS WRITTEN VERY CLOSE TO HIS OWN POPS.

POPS TELLS JUNIOR IT’S TIME TO GO HOME.

OUTSIDE, THEY’RE ACCOSTED BY CHARLES, WHO BEGS OLD MAN ROSE FOR HIS JOB BACK. POPS TELLS HIM HE CAN’T HELP HIM. IF I WASN’T SO ANXIOUS TO FINISH THIS MOVIE, I’D WRITE SOME KIND OF EPITAPH FOR CHARLES. (OK: STOP SPLOOGING ALL OVER THAT PRECIOUS TONE POEM KILLER OF SHEEP, YOU CINEMA FAGS, AND DIG HENRY SANDERS’ ROLE IN THE BOSS’ SON.)

AFTER CHARLES GOES AWAY, JUNIOR TELLS HIS FATHER HE DOESN’T WANT ANY PART OF THE BUSINESS, HE’S OUT. POPS IS TAKEN ABACK, THE SHOCK QUICKLY TURNING TO ANGER. THE FLICK ENDS ON ANOTHER KAZAN-LIKE NOTE, WITH JUNIOR WALKING AWAY FROM HIS POPS, ENTERING THE DARK PARKING LOT OF LIFE AS OLD MAN ROSE’S VOICE RINGS OUT:

“Somebody’s got to be the boss!”

YEAH, WELL, THAT INSIGHT AND FIFTY CENTS WILL GET YOU A CUP OF COFFEE, POPS. THE END.

[hyaenagallery]

Louis Byron "Lou" Perryman (1941 – 2009), also known as Lou Perry, was an American character actor. He first became involved in the film business back in 1961 while on leave from the US Army. After getting out of the Army in 1968, Lou worked as a production manager at the Texas Pavilion at the World's Fair in San Antonio. He then worked as a cinematographer, sound man and production manager at the Filmhouse in Austin from 1969 to 1971. In addition, Perryman worked as a sports cinematographer for both NCAA and ABC TV from 1969 to 1977. In 1974, Lou worked behind the scenes on the original Texas Chainsaw Massacre film as an assistant cameraman. Perryman acted in a number of small roles both on television and in films. He played a hostile redneck bar patron in "The Blues Brothers" (1980), a construction worker helping install the Freeling's pool in "Poltergeist" (1982), and the sheriff in the acclaimed award-winning indie hit "Boys Don't Cry" (1999). He was memorable as the affable radio station engineer L.G. McPeters in "The Texas Chainsaw Massacre Part 2" (1986), where he was hit in the head with a hammer by Bill Moseley's character and later has his face sliced off. Perryman also starred in Texas independent filmmaker Eagle Pennell's The Whole Shootin' Match and Last Night at the Alamo. Among the plays Lou appeared in are "The Time of Your Life," "Fool for Love," "The Night Hank Williams Died," and the especially well-received "In the West, " which Perryman also co-wrote. Lou was tragically murdered in his home in South Austin, Texas on April 1, 2009, by a 26-year-old man named Seth Christopher Tatum. Tatum, had recently been released from prison after serving several years for aggravated robbery. He had a history of mentally illness (diagnosed as bi-polar), and drug addiction. A month earlier, Tatum had stopped taking his medication because he felt they were not helping him. The night before the murder, he asked his mother to try and admit him into the hospital, but she told him she could not afford it. #destroytheday https://www.instagram.com/p/BwuWAjKB2WB/?igshid=4t05w2r6891p

[lastchancevillagegreen]

The Whole Shootin’ Match (1978) d. Eagle Pennell

Easily the best time I’ve had with a movie in a very, very long time. 

[crzcorgi]

Lemonade

Written for @flames-bring-a-ton-of-ash 2k Negan Writing Challenge!

My prompt was “Lemonade”

Negan x wife (reader - Y/N)

Y/N=your name

Ne - reader’s nickname for Negan

This is in Negan’s POV

Warnings- NSFW, very sexy Negan times & language. NSFW aesthetic

Not real happy with the smut in this one, sorry!

1800 words

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I apologize if I forgot to tag you, Just let me know with a slap aside the head! And @#% Tumblr won’t tag everyone, I’m sorry!

    Once again, doll is missing. It’s becoming a regular occurrence. We wake up, have a little morning fuckity fuck, go to shower, more often than not, together. But this morning I was in a hurry and y/n said something about a meeting. What the fuck meeting she would have, who knows.

 After I meet up with Simon, I go in search of her. I make my way through the many halls and rooms in the Sanctuary. I was on the verge of giving up when I heard doll’s distinctive laugh. I should have known where she would be, the schoolroom.

 I duck my head inside searching for y/n, not wanting to draw attention to myself.

 “Mr. Negan! Mr. Negan!” I’m startled, looking around my back to see a little girl running fucking full speed at me.

 I bent down to stop the little rugrat from plowing me over.

 “Hey, hey! Where’s the fu… fire?”

 “It’s Miss y/n! She’s heping us makes a wemonade stand!”

 “Oh, is she now?! And where might Miss y/n be right now?”

 “Fowu me Mr Negan!”

 As I followed her around the tables I noticed doll standing around the back. She looked up from whatever the fuck she was doing, noticing me.

 “Ne!” She stood up making her way through the throng of kids. “Did you come to help us?” She grinned, raising up on her tiptoes to kiss my cheek.

 “I don’t even know what the fuck you’re doing sweetheart.”

 All at once a chorus of “Mr Negan, language!” erupted.

 “Yeah, well ‘Mr. Negan’ is an adult and we sometimes say things that little children can’t. It’s one of the good things about being an adult. Among other things!”  I put my arms around y/n drawing her close and nipping her ear.

 “Ewwwww!” The kids all groaned in unison.

 “Yeah, you’re saying that now, just wait a few years kiddos. You’ll be singing a much different song, believe you me.”

 Doll tried to break free, but I wouldn’t let go of her. I just needed to have her close to me.

 “So, Ne…” she looked up at me, that damn breathtaking smile. “We’re making a lemonade stand. It’s to help the kids learn about businesses, management and the such. You know, grooming future Negan’s.” She winked at me.

 “Oh baby, there will never be another Negan.”

  “Oh really?”

 “Yes, doll, really.”

  “Well, anyway, would you care to help us? We could use a big strong man.”

 “Are you flirting with me sweetheart? Cause if that’s a yes, and I will be rewarded at the completion of this project, I will most certainly help.”

 “I am flirting with you, and depending on the reward, yes.”

 “I think you know my type of reward I prefer.” I squeezed her tighter, eliciting a squeak and giggle out of her.

 We started working on the lemonade stand. It was assembled of old planks, cardboard and found paints. When it was finished we all stood back admiring a job well fucking done.

 “It’s beautiful Ne, thank you so much for helping!” She wrapped her arms around me, squeezing tight.

 “What do you say to Mr Negan, children?”

 “Thank you Mr. Negan!”

 “Let’s give Mr. Negan a hug, guys!”  Soon I was smothered in a massive fucking hug.

 “Okay, doll, where’s the lemonade, I’m fucking thirsty!”

 “Mr. Negan!”

 “Yeah, yeah, I know. Give me a break kids, I just helped build the best damn lemonade stand in the world.”

Everyone cheered. I turned around to grab doll and she was gone. Jesus darling, I’m  going to have to leash you.

 I spotted her coming back into the room carrying jugs of a yellowish liquid I was hoping was lemonade.

 “Ms Y/N has the lemonade kids, let’s set it up.”  One of the teachers instructed the kids. After y/n placed the lemonade down, she made her way back to me.

 “You know what’s funny, Ne?” She entwined her arm with mine, leaning her head against it. “Before the end, I never even liked kids, never wanted them even. But now, it’s like, I don’t know, I guess knowing they’re our future, if we want the world to continue, come back from whatever this is, we need them. Besides, they’re kinda cute sometimes.” She snickered.

 “Yeah, Lucille and I never had any kids. Guess she knew what a shitty dad I would’ve made.” I sighed, looking down at doll, she was looking up at me with a face I couldn’t quite read.

 She let go of my arm, moving around to in front of me. Rising up, she wrapped her arms arms around my neck, simultaneously pulling my head down and her’s up. In a quiet but firm voice, she spoke towards my ear.

 “I didn’t know Lucille, obviously. But I know you, quite well I believe, and I think that any woman who was married to you had to be very very special. And I would be willing to bet that Lucille knew exactly what kind of dad you would have made. And that would be a fucking wonderful one, Negan. Don’t you ever doubt that. I’m sorry that you and Lucille never got to experience parenthood Ne.” She kissed me softly. “Now let’s go give you your reward.”

 Withdrawing her hands, she took one of mine in hers, leading me out of the room, waving and saying goodbye to everyone.

 “Mr Negan, you need a cup of lemonade!”

 Both doll and I were handed a cup, taking sips.

 “Holy shit!!!” It tasted like fucking sour sugar water.

 Y/N made the funniest face, then glared over at me. I started spitting than laughing.

 “Yes, yes, it’s so good guys! Mr Negan couldn’t help himself!”

 Doll took our cups, placing them down on a table. “Mr Negan and I are going to make some of our own lemonade. See you guys later!” She grabbed my hand again, quickly pulling me out the door. She collapsed against the wall, laughing and gagging.

 “That was awful! But it’s my fault, I left them alone to make it.”

 She couldn’t stop laughing, and goddamn if she wasn’t beautiful doing it.

 “Come on baby, let’s go enjoy ourselves, let’s go make some lemonade!”

 “I couldn’t think, it’s all that came into my head, Ne!” She was laughing so hard I had to help her up. I then threw her over my shoulder, earning a squeal from her.

 When we got back to my room, I dropped her down on the bed, crawling over her. “So, about that fucking lemonade.” I winked.

 “Negan, you are so naughty!” She reached up, helping me out of my jacket.

 We began kissing, both our tongues intertwined. She started stripping me of my shirt, trying to pull it up and over but it kept sticking.

 “Ne!” She laughed onto my mouth. “A little help please!”

 “Want me to strip for you doll? Put on a little fucking show? Would you like that?” I grinned at her.

 “Hmm, yes!”

 I got up, standing beside the bed. I slowly pulled my tee up my torso, stopping just above my stomach.

 “Liking this sweetheart? Hmmm?”

 She sat up, twisting over onto her hands and knees and crawling over the bed to me. She sat back on her heels, looking up at me with pure lust. Jesus doll, you are fucking perfection, sitting there, looking like that.

 She slid her hands over my stomach, slipping one hand up under my shirt, the other caressing my stomach. I could hear her breathing pattern change, quick shallow breaths. She slowly moved both hands under my shirt, pushing it up my chest.

 I lifted my arms up, making it easier for doll to remove it. She rose up on her knees, gliding her hands up my chest, my shirt going with her. When she finally rid me of it, doll began kissing, nipping and licking my chest.

 Suddenly, she stood up on the bed, stripping herself of every shred of clothing she fucking wore.

 “Doll?” I got to say, as much as a fucking turn on this little show was, and Jesus, was I ever hard, I was confused. Y/N was not usually like this.

 “God, Ne, I don’t know what’s come over me, but I need you, now!”

 She threw herself back onto the bed, spread eagle, just fucking waiting for me. I could hardly breathe, much less move.

 “God fucking damn baby girl, if this isn’t the best sight!”

 I rid myself of what clothing I had on, crawling into the bed, and heaving myself carefully over her, just taking in all that fucking beautiful creamy skin. All for me.

 “Fuck me Negan, hard.”

 That was all it took. I grabbed my rock solid cock, rubbing through her soaked folds. Her soft moans and slight hip movement causing me to make my own noises. When I was wet enough, I entered her waiting pussy, causing her to growl.

 “Ohhh … ohhh… Ne…Ne… oh.”

 “I know baby, oh fucking god I know.”

 I wanted to just let go, slam into her so hard the fucking bed would break. But that’s not what I did with her.  She was my delicate doll, always afraid to hurt her. So I took my time, rolling into her at a steady pace.

 “Ne… harder… please.”

 “Are you sure baby? I don’t want you to be fucking uncomfortable.”

 “I'm…I’m…okay…Please…Oh god!!!”

 I started thrusting faster, harder, feeling her clench around me. She was making sounds I never heard before, making me slam into her ever harder.

 I slid my hand down, between our sweat covered bodies, rubbing, flicking her clit, causing her to thrash and arch her back. I knew she was coming so I upped my motions, wanting to come together.

 “Come with me baby, milk me fucking dry doll.”

 We came together, grabbing tightly to each other, exploding in a symphony of loud moans, grunts, curses and declarations of undying love.

 I rolled over, taking her with me. Even like this, all flushed and sweaty, she was beautiful. She sighed, snuggling into me.

 “You okay, baby girl?”

 “Mmhmm, fine”

 I kissed her hair, the smell of her floral shampoo magnified from the sweat.

 “That is some fucking tasty lemonade we made doll.”

  She started giggling. “I said it was the only thing I could think to say, Ne!”

 “I know baby, just teasing.”

 We laid there, just enjoying the post coital buzz.

 “Ne?” She moved her head to glance up at me.

 “Yeah, doll?” I could stare into those eyes forever.

 “Ever think of having kids?”

 She took me aback. “Kids? Before the world went to fucking hell, yes, Lucille and I discussed it, and then, well, you know the whole story. But baby, why are you asking?”

 “I don’t know, just wondering.” She yawned, placing her arm over my chest, grasping on tightly. “Night, Ne. Love you.”

 Leaving me with my mind reeling, I kissed her forehead, running my fingers through her hair to help sleep come for both of us.

 “Love you too y/n, sleep baby.”

 “Always, Ne.”

 “Forever, doll.”

  She soon was out for the night. But not me, I couldn’t fucking get what she said out of my mind.

Kids?!