[inaudible] again please. We know of a little town called Jasper, in Missouri, where Emmett lives. Emmett who. Who is— […] What is the first name of this man Emmett. […] “Emmett” is his first name? What is his surname? […] Surname. Last name. Honestly, this is exhausting, my having to explain this to you. […] He has no last name. It’s just “Emmett,” is it? […] Well then how do you know which name it is? […] Yes it is. Yes it is important. How am I to describe the film amid such uncertainty? […] Then whose job is it, if not mine? I know my job, sir. I know precisely what my job is and isn’t, more than I can say for you. And your friend. […] If you want me to say “Emmett” I will say “Emmett,” I simply wish to be on record as stating it makes no sense. I’ve no wish to be held responsible you see. […] Fine. Fine. Are we ready? […] Exhausting. […] We know of a little town called Jasper, in Missouri—now you’ve done it again. You’ve added an “in” where no “in” need be. […] Jasper, Missouri. That’s— […] That’s—it’s more pleasing to the human ear to say Jasper, Missouri than it is to say Jasper, in Missouri. […] The English language. Do you say New York, in New York? […] We know of a little town called Jasper, Missouri, where Emmett lives. Emmett raises horses…raises horses. No, […] No, something does not— […] The sound of it. Raises horses. Too sibilant. The phrase sounds like the buzzing of bees. […] Well if you won’t change it then at least tell me you hear it. Indulge me if you would, please. […] Thank you. How very kind. […] Emmett raises horses on his little ranch, just across the water from—you know you will confuse people. […] The water, as if you expect them to know which or what water. Emmett raises horses—and I’m only proceeding under duress you understand. Miserable. […] Emmett raises horses on his little ranch, just across the water from this man. His name: Brad my God. […] You want me to launch right into his name right after saying the words His name. But you see if you massage it a bit— […] If you add a goddamned verb and massage it a bit it sounds much cleaner. His name is Brad Wesley. […] But I’m looking at the copy and […] Put down that ridiculous mug and pay attention! You want the emphasis to be on the sentence that follows: He is the most dangerous man in town. But you cannot emphasize that sentence as it’s written right now because you’re emphasizing his name. […] It’s before we are told what distinguishes him that’s the problem. […] Why are we leaping ahead all of a sudden? […] Well that is bullshit, I’m sorry, because I said it in passing. If you want me to read it and do what you’re paying me for then do me the kindness of allowing me to do a read of it. […] His name is Brad Wesley. He is the most dangerous man in town. Are you sure? […] Because […] No no, because it doesn’t match up with the footage at all. He is the most dangerous man in town and you have him eating breakfast. The least dangerous man in town no doubt eats breakfast as well. One should hope. […] So you see it does not distinguish him. […] Yes, I’ll wait. This day is beyond salvage whatever the case. […] [unintelligible] bit prosaic to show him with a gun when you’re saying he’s the most dangerous man in town. Prosaic and redundant. […] The picture and the words together tell the story and you have them speaking in unison as it were. From which school were you matriculated? […] Where did you go to school, to university. […] [prolonged exhalation] […] See, that’s it! Now you’re using your head, for arguably the first time today if you’ll pardon my saying so. If you show him in the car— […] What was that? Who was that, rather. […] My God how many people do you have back there? Must I answer to this new fellow as well? […] Don’t you see, New Fellow, don’t you see how much nicer it is to say he’s dangerous when he’s swanning about in his car than when he’s brandishing the pistol. The most dangerous man in town and he’s singing, what was it again? […] Yes, “Sh-boom.” […] Because everybody eats breakfast, that’s the issue. Not that breakfast isn’t dangerous. Everybody eats breakfast but here he’s weaving to and fro and singing and you’re saying he’s the most dangerous, it’s intriguing. […] No I’m sorry to interrupt but who is this? Who is— […] No, the dancer. The fellow with no shirt. […] Oh horseshit. […] No, I do beg your pardon but it’s preposterous, what you’re saying. The man is a dancer! […] His physique. […] One expects the bruiséd ear and uncertain gait of a prizefighter and this fellow moves like Nureyev. […] Sets him apart from what. From— […] … […] I’m listening. […] Yes, always. […] Well it’s absurd don’t you see. Don’t you see that the very idea of it would get you laughed out of Bellevue! […] Explain to me how one becomes a famous bouncer and I’ll whack the both of you off simultaneously. […] Another famous bouncer! Too much bouncing around here. You’re saying this famous bouncer has an— […] A mentor. How delightful for him that must be. […] If either of you gentlemen had had a mentor we might not be so utterly outmatched by this. Road House: A Roddy Herrington Film. […] What? […] His name is never Rowdy. […] His name is Rowdy? Rowdy Harrington, Herrington excuse me. […] Road House: A Rowdy Herrington Film. No, this isn’t worth it. […] You go again and I won’t be here because no money is worth it and [unintelligble]