The Hateful Eight: The Conversation Part 2

Chapter 4: The Turn.

INT. LESTER’S DINER - MORNING

A WAITRESS, in her 50s, brings the bill to the booth where Gerry, Ed and Carlos sit. Carols takes it and passes it to Gerry, who passes it to Ed.

GERRY

I really liked coming back from intermission to have it directly referenced by the VO. It managed to somehow simultaneously call attention to the fact that we were watching a movie and yet these characters exist while we’re away. It's a bit of a tightrope walk. I'm curious how that bit plays out in the digital version.

CARLOS

I personally liked the VO, but I can see why it would irk some. It's not needed, but it's what I come to expect from Tarantino's interest in keeping you off your toes narratively.

ED

(absently, looking at the bill)

Agreed on VO - the characters exist without audience.

They stand and walk toward the cashier, by the front door. There is no line. Ed pays while Gerry and Carlos stand by.

CARLOS

This also feels to me like two different movies, split by the intermission. The first plays like more of a western, the second feels almost like a whodunit/horror piece. Which is one of the things I like about Tarantino, how he plays with genre so effortlessly. Reminded me a little of From Dusk Til Dawn, which is not a good film yet has that same sense of gonzo attitude.

GERRY

I hated From Dusk Til Dawn, but yeah, I see that. Though here it's very seamless, maybe because we stay with the same characters and it really did build from the events in the first half. It's more of an elaborate set up than two movies in a way.

ED

It was weird and I want to see the regular version too now.

As Ed puts his wallet back in his pocket, we see that it does not say anything on it. At all.

CARLOS

One thing we didn't talk about was Jennifer Jason Leigh.

ED

Her character and the sheriff are the ones who I remember the best.

GERRY

She's always great.

CARLOS

Let's talk about her character tomorrow.

GERRY

(clearly lying)

Yeah let's do that.

They exit the diner.

Chapter 5: Ed. (Carlos interrupts)

BLACK SCREEN

ED

I despise them all.  

INT. TAP ROOM - DAY

There is a crowd gathered at the bar. Ed is behind the bar, serving up beers. They all look delicious as he pours them from the vast multitude of taps behind him, all in proper glasses. He speaks to nobody in particular.

ED

Sure, Sam Jackson’s Major Marquis Warren comes off as the hero initially, careful with his words and sizing up everyone, knowing his situation is not safe, but as we come to know all the others with their dirty pasts and nasty words, you come to see the dark sides of everyone you trust and the good sides of those you don’t.  

He takes one freshly poured glass, inspects in the light, and takes a sip. He looks satisfied.

ED

Walton Goggins as Chris Mannix spits racism right from the start, yet surprises us with a story about being the new sheriff and eventually a slight sense of trust as situations turn from bad to dangerous later on in the movie.  

As he gives one glass to a nearby patron, we see that it is Carlos, who takes the dark, frothy beverage and sips it, leaving a foam mustache in place, which he does not wipe away.

CARLOS

What about that glorious Ennio Morricone score? I thought the soundtrack was amazing, perfectly capturing the mood of the film, particularly during the overture. Morricone's main theme speaks to the inevitable fate of the characters. Once I heard those descending strings, I knew everyone in this film (or almost everyone) would certainly die. Violently.

Ed makes a dismissive face at Carlos, nods his head and turns back to the taps.

TIGHT CLOSE UP - ED

ED

We don’t know who to trust or who to like, and our allegiances turn as the genre of the movie turns.  I’d spend even more time in this cabin in the snow with these awful antiheroes if they released an even longer, uncut version of this danger.  Great characters, great vile, vicious humanity spit in our faces once again by our master chef of character, Q.

Chapter 6: Hype and Fanboys.

EXT. LESTER’S PARKING LOT - MORNING

Gerry, Ed and Carlos walk out of the diner.

CARLOS

The other day I read an interview with Tarantino where he commented on his greatness as a filmmaker, saying his plan was to film only ten films and go out in a blaze of glory. That his films would be seen by kids 100 years from now, celebrated by students of the form. He sounded like a complete douche. I have no idea whether or not he was joking – maybe he's a pretentious asshole. But it's hard to argue with the statement. He's probably one of the most vital American filmmakers alive.

GERRY

He'll make more than that. He's been saying that for some time. It's just nonsense.

ED

He's believed in his hype. And I don't know that I blame him. He’s larger than life now, I guess.

CARLOS

Even better. I'm definitely in line for the next two.

Epilogue: Gerry and Quentin.

INT. NIGHTCLUB - NIGHT

It's a high end, South Beach type club filled with fancy looking people in fancy looking clothes. There is 90s house music playing. We follow various people through the crowd.

GERRY (V.O.)

Back in 96, I was in film school. I had just wrapped my first production assistant gig on a low budget indie film and was invited to the wrap party at a local high end restaurant and cigar club. As it turned out, one of the producers of the film had also worked on Curdled which was executive produced by Quentin Tarantino and at one point, while I was drunk and uncharacteristically dancing with strangers, someone told us Quentin was next door and there was no way the night was ending without at least a glance at QT.

We come to Gerry in his mid 20s, dressed in slacks, fancy shirt and sport coat, dancing and clearly drunk among the crowd, near the bar. A random person from the crowd steps up and yells something in his ear and he follows them and few others towards a door in the back.

GERRY (V.O.)

The quest to crash the VIP party next door was a haze since I was pretty drunk and I think it involved going through a kitchen, like some low grade version of Goodfellas.

INT. HIGH CLASS RESTAURANT/CIGAR CLUB - NIGHT

Gerry follows the group from the previous scene in via a side door. This is different from the previous club. It's clearly a VIP type place and looks vaguely like a den. There is a large bar and waiting area with a separate dining area visible through a doorway, guarded by a Maitre D at a podium. Sitting at a large table behind the Maitre D is a large group of people. Among them is QUENTIN TARANTINO, possibly wearing a loud Hawaiian shirt which stands out in the fancy surroundings. He is about to have dinner.

Someone Gerry is with points over to Quentin, showing Gerry. There is a moment of pause before, Gerry looks to his side and spots SOME GIRL, who he grabs by the hand (uncharacteristically) and leads her towards where Quentin sits.

GERRY (V.O.)

Once I saw him, I think I just acted. I don't know, but since I was drunk, I think I grabbed some girl that was with us and walked straight for him. Or maybe she grabbed me.

As they walk, the Girl stops, rips Gerry's hand off of her arm and then grabs his arm and begins leading him toward where Quentin sits. Gerry nods as if saying this makes more sense. She stops at the Maitre D and talks to him for a brief moment, before just barging through anyway, dragging Gerry behind her.

GERRY (V.O.)

It was that rude imposition you always hear celebs talk about as we interrupted his dinner, but I remember telling him he was the reason I was in film school, which was at least partially true. He was super gracious and didn't seem to be annoyed at all.

 CUT TO: LATER THAT NIGHT

Gerry stands against a column, apparently barely conscious, staring at Quentin a few feet away, lighting a cigar.

GERRY (V.O.)

Later that night, I was hanging out, still in a haze because it was open bar for us, and there he was lighting a cigar.

Suddenly, Quentin looks over and seems to notice Gerry. He seems to recognize him from earlier and smiles at him.

QUENTIN TARANTINO 

Hey buddy.  How you doing?

Gerry just looks at him, about to say something, but he's not sure if he can do so and remain standing.

GERRY (V.O.)

And I can't really remember what I said other than "yeah." Then we both nodded knowingly, acknowledging how drunk I was before he walked off. Maybe if I hadn't been so drunk there would have been a long conversation leading to a job. Or not, but maybe. 

 Quentin walks away. Gerry stands there for a second, then begins talking directly to the camera.

GERRY

So the moral of the story is don't drink and meet your heroes, I guess. But the real point is I'm a Tarantino groupie. Have been ever since I saw Reservoir Dogs and sort of decided to go to film school. I wanted to make movies before then, but that movie and the indie film movement of the 90s finally pushed me. It never worked out, but that's a different story for another time.

FADE OUT