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My Own Private River (Full Film HQ)

1:38:39735 summary words · ~4 min readEnglishBy Phoenix CutsTranscribed Jul 15, 2026
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Summary

A fragmented character study of Scott's descent into addiction, family trauma, and self-discovery, interwoven with revelations about his mother's violent death and his own identity.

The film exposes the cyclical nature of trauma and addiction, forcing viewers to confront the psychological scars that shape personal choices and relationships.

Section summaries

0:03-3:37

Opening Montage / Character Introduction

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The film opens with Scott's disjointed internal monologue and fragmented memories, establishing his addiction, street hustling, and strained relationships with Mike and others. The dialogue oscillates between dark humor and existential dread, hinting at his troubled past.

  • Scott's addiction is normalized through casual references to prostitution and drug use.
  • His relationship with Mike is marked by mutual dependency and shared recklessness.

Sets the tone for Scott's psychological state and introduces key themes of survival and identity.

3:37-10:24

Family Trauma and Street Life

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Scott recounts his father's death and his mother's violent demise, intercut with scenes of him hustling and using drugs. The narrative reveals his coping mechanisms and the cyclical nature of his environment.

  • Scott's mother was killed by her lover during a movie, a trauma he struggles to process.
  • His father's death as a biker remains a mystery, fueling his search for identity.

Critical for understanding the roots of Scott's self-destructive behaviors and his relationship with trauma.

10:24-21:42

Nostalgia and Shared Trauma

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Scott and Mike reminisce about their shared past, including drug use, shoplifting, and a friend's suicide. The scene balances dark humor with poignant reflections on their lost youth.

  • Their friendship is built on shared trauma and mutual survival instincts.
  • The suicide of a third friend highlights the lethal consequences of their environment.

Provides emotional context but is less critical than later revelations about Scott's mother.

21:42-35:44

Mother's Story and Identity Crisis

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Scott learns his mother was murdered by her lover, a revelation that shatters his perception of her. The scene explores his conflicted emotions and the impact of this truth on his identity.

  • Scott's mother's death was not accidental but a result of her lover's betrayal.
  • This revelation forces Scott to confront the violence embedded in his family history.

A pivotal moment that recontextualizes Scott's trauma and motivations.

35:44-56:56

Journey to Italy and Climactic Revelations

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Scott and Mike travel to Italy, where Scott seeks his mother's grave. The narrative shifts to a surreal exploration of identity, heritage, and the impossibility of escaping the past.

  • Scott's search for his mother's grave symbolizes his quest for closure.
  • The Italian setting contrasts with his American roots, emphasizing cultural dislocation.

The film's climax, where themes of trauma and identity converge in a surreal, emotionally charged sequence.

56:56-1:16:52

Return to Portland and Existential Reflection

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Scott and Mike return to Portland, their journey marked by bumbling attempts to reconnect with their past. The dialogue shifts to philosophical musings on life, death, and the futility of escape.

  • Their return to Portland underscores the inescapability of their past.
  • The film ends with unresolved tensions, leaving Scott's fate ambiguous.

Provides closure but lacks the thematic intensity of earlier sections.

1:16:52-1:37:31

Closing Reflections and Ambiguous Ending

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The film concludes with fragmented dialogue and surreal imagery, leaving Scott's future uncertain. The final scenes emphasize the cyclical nature of trauma and the impossibility of true escape.

  • The ending resists resolution, mirroring the unresolved nature of trauma.
  • Scott's journey remains incomplete, suggesting ongoing struggle with identity and addiction.

The ambiguous ending reinforces the film's themes of existential uncertainty and the persistence of trauma.

Key points

  • Addiction as a Survival Mechanism — Scott's drug use and street hustling are framed as desperate measures to cope with systemic neglect and familial instability, not moral failings.
  • The Violence of Family Legacy — Scott's mother's murder by her lover and his father's mysterious death as a biker create a legacy of violence that haunts his identity and relationships.
  • Identity Through Storytelling — Scott's obsession with music production and performance reflects his desire to control his narrative and escape his past, yet his Italian heritage and family secrets complicate this pursuit.
  • The Absurdity of Survival — Scenes of Scott and Mike's bumbling attempts to navigate Italy and Portland reveal the absurdity of their attempts to outrun their pasts through reckless decisions.
She goes with this guy to the movie. During the movie, she takes this gun, sticks it in his mouth, and blows his fucking brains out. Unnamed Narrator
I know, I know what I am chasing. I know, I know, I know that this is changing me. I am flying off the star into a meteor tonight. Scott

AI-generated from the transcript. May contain errors.

0:03

I feel like an alligator Climbing up the escalator I'm an up the escalator I feel strong You're like an aviator Bet you wouldn't buy it I'm feeling right Bet you're beating my head Hey, hey, alligator You've got a lot to learn I have got a lot to learn I feel like an out of pilot

1:00

Walt? Yeah Mark?

3:37

You think that you could spot me ten more dollars? It's for a friend, Denise She doesn't have a daddy. He got his throat clipped. You know that. My dad? Well, he drowned himself at a boxcar canyon. Again, yes again. I don't want to get into this, please. I don't want to get into this!

4:22

Actually, I've had a pretty fucked life. I can face reality, so I started doing drugs. And the drugs really fucked up my life. They were really making me feel like shit.

5:01

When I was doing the drugs, I'd mail a prostitute to get my drugs. I was living with a drag queen, and he always supplied my drugs. I was pulling dates, Fridays and Saturday nights, to get my drugs. I was doing quite a bit of drugs.

5:23

When you're in a situation like that, I think street hustling is for material objects only. The kids will like, they need this, so they'll go out and street hustle. And actually that's an easy way to get the money. Because, you know, like let's say I needed food for the night and I couldn't get up money that quick. I'd have to go out and street hustle and get money. I'd have food for the night. And that's the fastest way to do it. That's basically why I street hustled.

7:25

20 bucks! Miss, can you spare a quarter? She on sorry for my last one. What a fucking bitch. You know she has some money too, right? I think we should go up to Seattle, Mike. What do you think? Yeah. Yeah! Yeah! Dog shit. There's fucking dog shit everywhere, man. Why can't dogs just shit on the side of the road? How about next week sometime?

10:24

Give me a call! Very fine, thank you. 1362. I will need that receipt. Thank you. Right here. I don't need a bag either. Here you go. Bye-bye. Thank you. 40 D's. How's that sound? Don't fucking kiss. Is that fair? Friendly Frankie said something about it. Oh, fuck.

13:42

You're on and off. You're gonna nap right there until you can't ride. So how's your wife? Good, I take it. You're very talkative. If I have to do with a man alive, there's nothing better than a hamburger grilled to perfection. Your partners are getting cold, guys. Holy moly. My father was a biker. Fucking killed some guy in a bar fight. Just took off someplace. I'm never gonna find him. The fuck you looking at? What's up?

17:36

I charge a buck a minute, but for you, since you're my friend, 50 cents. What do you say? You want to party? Not bad at all. Get out of here. You faggot. Dude. Dude.

18:20

I know, I know what I am chasing I know, I know, I know that this is changing me I am flying off the star into a meteor tonight I am flying off the star

18:50

♪ I can make it through the day until the day becomes the night ♪ ♪ I made the night my peanut ♪ ♪ Not complete, never been ♪ ♪ Tell me something, Lord ♪ ♪ From where do they go tonight ♪ ♪ I know, I know, I know that this is changing ♪ ♪ We walk the streets to feel the ground I'm chasing ♪

19:46

Mikey! Yeah? They could drop a big ol' bomb on this piece of shit. You know what we would do? Survive! Yeah, we would meet up with, uh...

21:42

15, 16 other guys. And it was about 6.30, 7 o'clock, right after dinner time, and we'd all take a walk down about a half a mile down Broad Street because it was the only liquor store that would service. So we would walk there, and we'd buy a big gallon of Mad Dog 2020. It was like $3.50 at the time. And we'd all get that and cruise back down to our neighborhood, which we hung out right outside of McDonald's.

22:13

And we would go in and get big cups of ice and then we'd go across the street to the school. It was Southern. It became my high school. And we would just sit there with the radio and listen to Frank Sinatra for five hours and just get drunk on a gallon of 2020. Mad Dog 2020. Like that time that you and Bob dressed up as women and went to shoplift at Safeway and Bad George tried to pick you up and after he found out he was so scared.

22:47

that he jumped off into the Willamette River, right? - Yeah. - That's not funny. It's funny to you, and it's funny to me. That's 'cause we were there. But otherwise, it's not funny. Another example. You and Bob were living at the, what was that hotel, what is it called? - Clements Inn. - Clements Inn, yeah. When you were living there, I stopped by one day when Bud was checking out Bob's gun, 22, standing in front of the mirror, messing around, thinking that he's in gun smoke. And like a fool, he shoots a hole in his leg, right?

23:20

Now that's funny. To me, that's funny. And to you, it's probably funny, right? You're laughing. But Digger didn't get it. He didn't give a shit. Bob. - - Please. Please. Please. - - She's a tough little hug. Get the smokes.

24:27

All my friends on the street just gave him a big ration of shit. I told them they could have killed me. They could have been responsible for my death by saying it was cool to go with this guy. Did you ever see that guy again? Never. It was real classy, too. He pulls up on his Porsche and says, I want to make some money. He looks like a real nice guy. He says he's going for his pilot's license and all this shit. Real legitimate looking dude. It was really legitimate. I fucked up and I went anyway.

24:58

It's fucked. No problem. What am I gonna eat now? What am I gonna do? I'm gonna take care of you, man. Scott. Justice. He's got some money. This is so good. Fuck! Scott Richardson. What time is it? Look, do you care why he wouldn't even look at the clock? Unless now it's around McDonald's. If, like, the signs of Gatorade... Night!

28:17

Yeah, my cousin he lives in Montana. Well, you see it. I

31:18

He just died actually. He hit a tree going too fast. And then my brother tells me that my grandma, well my cousin's, my cousin Art's grandma too, that she just died. So that's two in a row. - Death usually comes in threes. - It does.

31:41

It does. It's funny you should say that. 'Cause my brother says shit like that all the time. He says things usually come in threes. So right, my cousin dies, my grandma dies, and then right after that, her daughter dies. My aunt, she choked on a biscuit. So like, within a year,

32:00

Um, and they were all women too. But in a year, it wasn't even a year, was it? No. It was more like six or seven months. Five months. Let's just say like in half a year, um, three women in my family died in that amount of time. You got a spider on your head here. Yeah, they're dead now. Dead and gone. My brother used to say really weird shit like that all the time, though. My grandma was real superstitious like that.

32:37

One time I broke three mirrors off of this big vanity that she had. And she swore up and down I'd have bad luck for the next 21 years, seven years apiece. So far she's been right. She's right. I wonder if it'll ever end. My brother said some stupid shit, man. Stupid shit, like things come in threes, money grows on trees. I don't drive Japanese. But you know, he's right, though. And the weird thing, too, is that my lucky number is three. Yeah.

33:10

Mine's 13. 9. I used to like 9 a lot. Before that I liked 5. Now it's 3. I don't know why. You know why I like 13? What? You know why I like 13? No. Because the 13th letter of the alphabet is M. It stands for marijuana. It's also supposed to be a bad luck number. Bad luck is the story of my life, pretty much. Yeah.

33:47

That's cool. I don't mind 13. I think if I ever got bored of three, I would just like put a one in front of the three and just like... Then like both our favorite numbers, our lucky numbers would be 13. But then by then you'd probably be bored of 13 and then you'd have three. We'll just like play musical numbers. Yeah. This is like a dream. A girl never picks me up, much less a pretty rich girl like you. No rich girls pick you up. Well, I don't know why not.

35:44

Well, this is a nice home. Do you live here? Yes. That's good. Nice woodwork. Would you help me off with my coat? Mm-hmm. Mm-hmm. There are some soda pops in the refrigerator. Help yourself. Fucked up place. Oh! Oh! Oh!

39:06

I want to play music. I want to play music. I want to play it my way. I want to produce it. I want to engineer it. I want to mix it. I want to have say on opening bands. You know, I want to pose for pictures, in front of pictures bigger than myself. That's what I want. I want a lot of people to come to my shows, to see me. Where should we go? Let's go visit my brother. You have a brother? Yeah, I've got a brother. You know that. Where is he? Well, I'm thinking that he should be somewhere in the Potato State.

39:43

Last time I saw him anyway. Doesn't move much. Just said some jacks off. Pains. Discover Discover

41:03

I can see myself

41:46

Shut up Mike. You suck. If I'd known it'd be so hard to start, I wouldn't have stopped it at all. I've been here before on this road, you know that? Looks like a fucked up face, Scott. Scott, you see what I mean? Here, let me try this, man. Let me try this. It's on this side, man. Dude, help me out, man. What are you doing, man? I'm trying to start your spank.

45:11

Did they ever show you this picture of you and mom? I was taken out at the institution. I don't know, what was that, 20 years ago? I'm 17. How could it have been 20 years ago? Is that how old you are? I thought you was older than that. We used to go out to this place on the weekends to see him. I don't know, you were about, what, one year old at the time? I hated that fucking place. Scott, how do you get a kid this young into an institution? What's that for? What's that all about, huh?

46:08

What do you ask me? Why they put you in an institution? What does that mean? I'm asking you, yeah. Because of mom. They didn't think she was safe. But we were a family. You, me, and mom. Where you going? I want to ask you something. How come you turned out just like me? Turned out just like me? It's a stupid question. I know the answer, but I don't care.

47:14

Don't insult me! Don't fucking insult me! You're shit! Don't give me any of your shit! You're gonna scare me! Don't worry, he'll be alright. This happens every time we get together. You want a drink? Yeah. You like those? I paint them for a living. Sometimes the people don't send me the checks when they're finished, so I keep them. I like them. I like hanging them up. They keep me company, you know?

48:41

I want you to know the truth about your mother. I know the truth about my mother. You don't know the truth about your mother. I do. I do. I do. You don't know the truth about your mother. You're so foolish. You know, she used to go out at night and look for guys when I was asleep. She'd go out to bars and shake her ass at anyone who was interested. That's how she met that guy. You know who I'm talking about, don't you? Yeah. Yeah. That guy from Reno. I know what you're talking about.

49:30

That cowboy gambling fuck. I remember this guy. He worked in one of those big casinos in Vegas. He got fired for fucking with the cards. This guy was a real scumbag. But your mother loved him. She loved him. And she wanted to marry him. But he said no. Because he didn't love her.

50:01

But she had it in her head that she wanted to marry this guy. She wanted to go off with this guy and go somewhere and have a little family with the little house and the white picket fence and the fucking dog and the station wagon and all that shit. This was her dream. This is what she wanted. This is around the time that you were born, you see? Your mother had a gun.

50:37

I remember this. She had a gun. It was a Smith & Wesson. It was a .38 revolver. And she loved this gun. She loved this gun. She would sleep with it. She used to... Once she was in the kitchen with this gun, stirring the vegetables with it. Stirring the vegetables up in a frying pan. I said, Sharon, what are you... She loved this gun. One night she goes...

51:11

to a drive-in movie with this guy. What the fuck was the name of the movie? Jesus Christ, what the fuck was the name of it? - Real Bravo, right? - Right. It was a John Wayne movie, Real Bravo, right? She goes with this guy to the movie. During the movie, she takes this gun, sticks it in his mouth, and blows his fucking brains out. Real Bravo playing on the big screen.

51:53

John Wayne on his horse going through the desert spilled popcorn all over the front seat soaking up the blood. That's why she had to leave. And that guy, that guy was your real father. Oh no. Oh no, you fucking lie man. You fuck with my mind. Every time you say you're gonna fucking tell me and then you tell me this shit.

52:34

Listen, I know who my real dad is, all right? All right? All right? All right, dick! Dick! You, all right? All right, Richard? All right, I know! So lay off me and stop fucking with my head! You know too much. I don't care. He's your father. Sit down, sit down, sit down. What? I got this a while back.

54:02

She sent me this. Yeah, I'm gonna get a job. She's working at a fucking hotel. What's this? I don't know. I just... I fucking spilled oil. I wanna go see her, man. Hey, Scott. I don't know. I don't fucking see her, man. I'm trying to tell her to fuck off. I don't tell her to fuck off. I just don't fucking see her. You know? Why is she working at a place like this?

55:20

From what I'm told, she works here. It says right here, name's Sharon Waters, and that's her, and that's me. But you can't tell it's me. There's that crease right down the middle. No, I can't think of anyone by that name. Okay, um... Let me check with the manager. Yeah. Here, check with... Sharon. Sharon. Sharon. There was a Sharon who worked here about a year ago, but she split, saved up all her money and headed for Italy. Italy. To Italy. Italy.

55:50

Yeah, she went Italy. She took forever to save any cash, but she finally did it. Flew away. Said she was looking for a family. I guess she was Italian. She didn't look Italian, though. Your mom was Italian? I don't know. I don't know. I mean, I guess she was Italian. Do I look Italian? No, I didn't think so. I guess she was Italian, though. She left us this address. Sharon Waters, Via Casoli, 46.

56:17

Seteveni Roma Roma Rome Rome Italy she's in Rome Italy from fucking home it'll excuse me Thanks. Yeah, thanks. It's that guy what guy you gotta give us a ride from Portland. Oh, yeah, hon What's he doing? I don't know. Okay. Here we go. Thank you Hey Scott, how she be nice to see you both. I see you too. Oh

56:56

Yeah, we're in 309. For a little while. 407. See you later. Yep. Thank you very much for your time and your efforts, sir. You're welcome. Italy. Fucking Italy, man. Fucking Italy. Mike, I'm extremely excited. I just got in. Could you please give me some more time and wait your turn? But don't you want anything to eat? We are ordering room service, yes? Room service? Yes, uh...

57:32

Room service. I'll take a hamburger, no cheese, lettuce, tomato, onions, no pickles, and a Coke and some large fries, and make that... Wait. Yes. Two hamburgers, please. Okay, I got it. Two hamburgers, no cheese, no pickles, Coke and French fries. Is that correct, Mike?

57:55

Yes, that is correct, Hans. Except, I've changed my mind now. I don't want anything that I just ordered. What I would like is four orders of fries. And that's all. And a Coke, please. I got it. Four portions of French fries and a Coke. Is that correct? Yeah. Okay, hurry up. Yeah. This little piggy went to the market. This little piggy played with suds. This little piggy had a...

58:34

Orgasm. And this little pitty, this little piggy, had some cum. Mike? What? You want some ice and a coke? Yeah, ice and a straw for the coke, please. Okay, hurry up. What size is that? Large one. Large? Right. It's not big enough. Make it two grams. Okay. Hurry up. Okay. Okay. Yeah. You look just like her. Thank you. Well, well, let's see.

59:17

You know, before I was selling pieces for cars, you know, I used to be a performer many years ago. Really great time I had. Play it. Yeah, you're right. Make some room, put out the light, and the music on. I got my jacket. ♪

1:00:12

Well, that was the old days. How are the hamburgers, boys? Good, Hans. Very good.

1:01:09

I don't think that I have tasted as fine a hamburger as this Family Tree hamburger. I'm glad you like it. But tell me, how did you boys get so far? I only left you in Portland a few days ago, right? We rode on our trusty motorcycle. And what brings you to Idaho? To this exciting Family Tree Inn? Business. Business. Business? Business, yeah. And what kind of business? We're selling motorcycles. I see.

1:01:51

Well, it's time for us now to go down to do some business, right? Let's go to the bedroom to create some atmosphere. What? Let's go to the bedroom next door. Bathroom? Bedroom. Oh, bedroom. Do you have any baggage?

1:03:25

You'll be there, my sister. My sister won't touch it, you know? Bring the beer instead of being a bunch of assholes. I'll finish it, bring me a can at a time. Where did she find you?

1:03:42

Guys, you're completely stupid. Your mother has already passed me a couple of times. You're still messing with your beer. You're your sister.

1:04:00

Where are you going? Where are you going? Where are you going? Look, it's better that we leave here seriously. Your friend said you have to stay here. Rome is a mess. Rome is a mess. They went to the taxi in 5 minutes. He went to that side. He said he was coming back immediately. So, in 5 minutes he will be here. They put the taxi, there's nothing around. He said you have to stay with us.

1:04:24

So what do they want? I told them to take care of you while I get a taxi. They're cool guys. He reminds me of Mike and uh... What's his name? Gary. Gary and Mike Boulware.

1:05:32

Yeah, Mike Malware and uh... Look at that, from Beaverton. That guy from Beaverton. Right, right. You know the guy who deals uh... with uh... the speed? Uh, no. Frank? What? Wow. Scusa. Is this your house? La tua casa? No, this is my uncle's house. But he's not here now. My name is Scott.

1:08:21

My name is Carmilla. How do you do? How do you do? Good. An American woman? Yeah. Do you know her? Yeah. But it's not true that she lives here. It isn't true? No, she... She lived a long time back to America. Was she your friend? She lived here and...

1:09:13

Because I wanted to learn English, she taught it to me. Oh, this is my friend. This is Mike. Mike? Michael. Carmina. Hi. She knows your mom. Really? Where? No, she's... I'll be right back. Oh, God, I've been so selfish, man. I've been so... Oh, I quit. It's okay. Even though my mother's house was blue.

1:10:48

Oh, fuck, it was green. Blue-green, maybe. I just feel homesick, you know? I'm not the only one, though, I know that. I just want to go back. I'm ready to go back. I'm ready to leave whenever you are. I got you, bro. So stupid. As if I would find her. I really thought, you know. Man, chance. Capisce? And I love that about her. Oh. Oh, hi. How are you? I'm doing fine myself. Where have you been?

1:12:20

Really? I like your hair color. Does that mean that you like mine? I could change it for you if you'd like. But I won't. Why? Oh, because I'm me. And you're you. Bibbidi-bobbidi-boo. Put it together and what do you got? A fucked up face. Hey. Yeah. Where am I? I'm in the corner. I'm in the corner. What? I'm in the corner. I'm in the corner.

1:16:52

Are you hungry? How much hunger do you have? How much hunger do you have? Oh, no, that's good. More? More? Thank you. Sorry. What? Hunger. Hunger? It's hungry. Are you hungry? Yes. Hungry? Yes. More? More. How many times? What? How many times? No more.

1:19:03

My Italian is not bad. -Italian is good. -What? -What? -There's nothing. I'll tell you a story. -A story? Yeah. Tell me a story. -So the story is about a house. And it's a house far away. And in that house live a man, a woman, and a child. Then the child grows up. And the man begins to

1:23:21

to look her for and to spy her on. And one night he comes into her bed, and many other nights, and during the day too. And he teaches her all. The woman lives, and the man and the girl, they stay alone. Then one day a boy comes, a beautiful boy, a love, and she begins to make him all these things she has learned from that man. But she's not bad.

1:24:16

No, she's not bad. What's this? It's inside. It's inside. You're inside. You can eat it. You can eat this? Yeah. Why? No. No? You can cook it. You can cook it? Yeah. How do you cook it? Water. Oh, so you boil it? Huh. That's a nice story. Nice. Nice. Good. If I could tell a story like that, I would. If I could tell a story like that, I would.

1:25:08

I don't understand what you said. If I could tell a story, if I could say... Okay. Yeah? I think I fell in love. Yeah? Are you really in love? Huh? Are you in love? Good. I'm gonna take some time off, Mike. I mean, maybe I'll run into you down the road. I fell in love, Mike. I'm sorry. I'm really sorry we didn't find your mother. Take care of yourself, okay? Yeah, I'll take care of myself. You take care of yourself. Thanks, Mike.

1:27:18

You're here to stay here? What's your name? What's up? What have you done? I don't understand. Not speaking Italian. Don't you like Italy? Huh? Do you like Italy? A little bit. Speak Spanish. Very good. You speak many languages. Huh? You speak many languages. You speak many languages. Are you nervous? Take off your jacket. Take off your jacket. Let me see your physique. I see you have a nice physique.

1:31:17

We are in the Portland Airport. What? We are in the Portland Airport, sir. I know. We're in Portland. In the airport in Portland. I'm sorry, I was late yesterday.

1:33:17

...that are stored in the head. Then, there are combinations of the two, which is basic inference, which we discussed in a previous program. Kathy has developed categories of questions based on the sources of information Mary just identified. The categories are right there, think and search, or putting it together as the children say when they can understand this procedure, online, and authoring you.

1:33:43

Oh yeah, I'm gonna be doing a lot of things now. That's not funny. There you go, that'd be three bucks.

1:35:09

Hey Gary, what's up man? Hey Michael, how are you man? Pretty good, pretty good. I heard something about this but I didn't think that, you know. Yeah, well you know it's different, you know. That's cool. You want a hot dog man? Sure, I'll take some dead pig, yeah. Normally they're a buck, but for you, 50 cents. Can I have a hot dog too please? Yeah, I'll be right with you man. Thank you man, that's wonderful. Hey man, that'll be a buck. Alright. So uh, I heard you quit smoking. Yeah, where'd you hear that from? It's true.

1:35:43

I did, I quit smoking. See, um, you think that, um... Oh, no, no, no. I thought you said you quit smoking. No, it's cool, it's cool. Well, I'll take a drag, huh? Let me have a drag, man. Here. It's a little mugged, you know. That's okay, I don't mind the wetness. Nice weather here, huh? Yeah, you look good. Thank you, you look good too. Yeah, I feel so much better since I quit smoking. I feel so much better. I can breathe, you know? Yeah? Yeah. Smoke till you drop those, all right? That's cool. You'll get around to it one day, you'll learn.

1:36:13

I quit one thing at a time, you know, one thing at a time. How you doing, man? Pretty good. What do you need? I don't know. What have you got? We have a three-piece special. Shit, it comes with JoJo's. You can even get the secret sauce with that. Secret sauce with that? Yeah. Oh. Yeah, we even have chicken strips, corn dogs. What do you want? Gary just fed me, so I'm kind of doing all right. I want something to drink, though. Man, man.

1:36:56

What's that? I mean, what do you want to drink? Oh, um, root beer. Root beer? Or, no, no, no. Cranberry juice. Cranberry juice. Yeah. It's not supposed to be good for female body parts. It's not supposed to be good for... Yeah, right, right. It's good for your vagina. Right here. Do you have, like, any Valium still? Do you have some Valium? No. My friend down the street said he can get Percudan. Percudan? Yeah. Oh, fuck, that's good. I got my wisdom tooth coming in.

1:37:31

I'm just like puncturing through my gum. - Oh man. - It's like swollen up. - Yeah. - Maybe if I have a bad infection I could get some. - Yeah. I can't leave here though. You can talk to the guy down the street on the corner in a leather jacket. - Yeah? - Yeah. That's some good stuff.

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