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10 points, 1 list, #16 Darth Geek

"Don't trust any man. I've had five of 'em, and I know!"

Chickens Come Home was a remake of Love Em' And Weep, a silent Allstar comedy made three years earlier. Laurel and Hardy even used the same script, although eventually making changes for the remake. In the original, Jim Finlayson was the star, and was the politician being blackmailed. Both Stan Laurel and Mae Busch had the same roles of Finlayson's assistant and blackmailing ex respectively. And Oliver Hardy only had a minor role as a guest at Finlayson's party. In the remake, Finlayson took the smaller role as Hardy's butler. In just three years Hardy went from bit player to star, while Finlayson's fortunes went the opposite way.

Lets go all the way back to 1986. Everyone was having fun, everyone was Wang Chung, or doin' the  Super Bowl Shuffle.    Oprah Winfrey and  Phantom of the Opera  had their first shows. Mike Tyson won his first championship  Americans tried to form a human chain from the Atlantic to Pacific in the Hands Across America event, and completely forgot this country had hundreds of miles of desert.  Mike Tyson won his first championship. The FOX network was launched with a woman in prison sitcom, and another show about a werewolf. A Gerbil needed to be rescued from inside a celebrity's ass, allegedly.  And somewhere on the MGM lot they were just getting around to cleaning out the old movie vault that had been gathering those pesky cans of film since the 1920s. They were about to throw out some cans marked "L&H - Spanish" when someone suggested they should contact the Hal Roach library and see if they wanted them. Of course why would the Hal Roach library want Laurel and Hardy films dubbed in Spanish? They were about to tell MGM to go ahead and dump em, when someone at Hal Roach suggested they first call up film historian Richard W Bann and ask if he thought they had any value. The second Bann heard that prints of the Spanish Laurel and Hardy films were extant, he yelled over the phone not to throw them out, that they were indeed valuable. Little did Bann realize how valuable they were. He knew that in the early sound era, studios would reshoot scenes in foreign languages for the markets that didn't speak English, in effect making slightly different versions of the same film. Most of these were lost over time, and replaced with dubbed versions. He though the Laurel and Hardy Spanish films would only give us a slightly different performance from Laurel and Hardy, and would have them speaking in Spanish rather than English. But little did he know....

For the first time since the 1930s the Spanish versions of the Laurel and Hardy films were screened. And to the shock of the historians watching them, they realized the Spanish versions were quite different. Some of them were longer. They had gags that the American versions didn't have. They sometimes had entirely different endings. The Spanish version of Pardon Us, for example, ends with a prison fire and Stan and Ollie rescuing the warden's daughter, while the ending on the American version has Stan and Ollie in a prison riot. ( NOTE: The version on the Essentials Collection is a hybrid of footage from both the Spanish and American versions, keeping the fire from the Spanish version instead of Stan and Ollie stopping the riot, but missing the final scene from the Spanish version where Stan and Ollie have left the prison and are planning to bootleg again. ) But perhaps the biggest shock was that some of the shorts were turned into feature films. Mostly by combining two half hour shorts into a single feature film. But then there was Politiquerias, the Spanish language version of Chickens Come Home which was expanded into a full length feature film.  It was filmed and released a few months before Pardon Us, making it  Laurel and Hardy's first feature film.
So, as already mentioned, the three reel short Chickens Come Home is a remake of a two reel silent short called Love Em' And Weep. As the two reel plot was already expanded an extra reel, how was it further expanded to a full 57 minutes? Well, there are a few extra lines that don't exist in the American version, and a couple of extra gags here and there. But the bulk of the padding happens during Ollie's dinner party. He announces to his guests that he has arranged entertainment, and brings out a magician ( A. J. Cantu ) who performs his entire act for about ten minutes, at one point getting a reluctant Finlayson involved. Next Ollie invites his guests to dance, and for the next five minutes everyone dances while Ollie tries to sneak out the door. Finally, Ollie announces he has more entertainment, and a professional regurgitator ( Hadji Ali ) does his entire act for another ten minutes. 
Two Tars  ( 1928 )
9 points, 1 list, #41 Stethacantus

"The fleets in! Its the front and reer admiral themselves!"

Sailors on shore leave Stan and Ollie rent a car, and shortly after meet two girls attracted to their uniforms. They spend a wonderful day together, but it all comes to an abrupt end when their car gets stuck in a traffic jam. Attempting to back out, they collided with another vehicle. The girls instigate a fight with the other driver, and before long Stan and Ollie are in a reciprocal destruction fight. Other motorists het involved, and soon everyone in the jam is destroying each other's cars.

Hal Roach needed a traffic jam. He had an isolated road the city was willing to close off for a few days, but no cars. So he put the word out to his entire staff, every actor, writer, director, and even those in the front office, to bring their cars in so they could be used in Two Tars for the jam. He paid for the vehicles that would be damaged, and for those who ended up as extras in the picture, paid for whatever clothing was damaged. Thomas Roberts, a construction worker at the lot who's job was to build the sets, ended up being used on screen. He played one of the characters who gets hit with a rotten tomato. Roberts later claimed the studio gave him money to buy new clothing to replace the ones stained by the tomatoes, but instead he kept the money and had his clothing washed.


Perhaps the hardest gag to pull off was the crushing of a cops motorcycle which is run over by a heavy truck.  Director James Parrott wanted a flattened motorcycle.  So a duplicate cycle was brought to a construction site and they paid for a steamroller to run over it. The cycle nearly broke the steamroller, and the only thing that ended up flattened was the handle bars.  The only thing left to do was to build a flattened motorcycle from scratch, with custom made flattened parts. Thy also had made a flimsy motorcycle out of tin that was designed to flatten on scree when the truck ran over it.

When Two Tars was released to theaters, one theater manager reported that after screening it, the audience demanded that they run it again. When he told the chanting crowd that if they run the short again, then they will have to cancel the feature film, the audience still insisted they replay Two Tars. So he did.

Some censorship boards across the country had Two Tars banned for a single scene where one of the characters takes out a knife and cuts open a tire, causing the innertube to expand through the gap and explode. The censors complained that this would show teenagers and hoodlums how to puncture tires.
So, after years of hearing about how it rubbed a lot of viewers the wrong way, I decided to watch Teen Titans Go for myself.  And I actually kind of liked it.  So I watched it for a while.  And there are some actually pretty funny episodes.  Then I dunno if I hit a lull or something, but I got tired of it hard.  The big problem for me is that it often goes to a weird "guys drooling over girls" humour that feels weird and out-of-date.  There are things that make me think that there's some good stuff down the line (isolated clips and episode descriptions and such) but for me, my viewing of it is on an indefinite hiatus.

Also She-Ra season three came out recently and it is pretty great.  Really, it's more like the second half of season two, but I guess that's how Netflix is breaking things up now.  Even Hordak, who has been pretty underdeveloped so far, becomes a much more sympathetic character, someone desperately searching for acceptance (granted, from his fascist space empire overlords) and somehow accidentally stumbling into a real friend.  The fallout of the season finale is definitely setting up some cool character dynamics for next season.
General (Off-Topic) Discussion / Re: WWWWWOOOOOOOOOO!!!!!
« Last post by Pak-Man on Today at 03:25:12 PM »
I watch Amazon Prime through my Wii U because I'm an ancient relic forever shrouded in the past, and Amazon finally took pity on me and sent me an Email saying, "Wow. You still use the Wii U for this? Look, it's going to stop working soon, so here's $25 so you can buy a Fire Stick."

Now I have a Fire Stick, and my Fire Stick gets Pluto TV, so now I can watch the MST3K and Rifftrax channels on my main TV whenever I want. It's pretty awesome.


I will be using the term "reciprocal destruction" often in this LoC, and I suspect very few of you have any idea what it means. The term describes a trope found in slapstick comedies where two or more characters take turns causing each other damage. The term was coined by Stan Laurel when being interviewed by John McCabe for the book Mr Laurel & Mr Hardy. The trope had existed for three decades, yet had never been assigned a name, so Laurel had to think of something on the spot. The name stuck ever since.

In a more precise description of reciprocal destruction, character A and character B are having some sort of verbal argument. Character A decides to inflicted some sort of indignity on character B, usually in the form of throwing some sort of food or mud on him, but other times in the form of minor vandalism, like ripping a button off his shirt. Character B retaliates by inflicting slightly more damage on character A. Character A retaliates back with slightly more damage, and so on. Eventually everything escalates to the point where each character is causing major damage, which usually only ends with the arrival of a police officer to break it up. Perhaps the oddest characteristic of reciprocal destruction is how each character seemingly takes turns. When character A inflicts his damage, character B just stands there and allows it to happen. Then character A calmly awaits character B's response.

In an interview with Peter Bogdanovich, director Leo McCarey took credit for inventing the trope. One night he, Hal Roach and Mable Norman had plans to spend an evening at a nightclub. Leo was really bad at tying bowties and had asked Hal for help. But Mable not only talked Hal out of helping Leo, because she thought it was funny, but talked him into leaving Leo behind and going to the Club without him. Leo had to call a friend on the phone to instruct him how to tie the bowtie. When he arrived at the club late, Mable thought it would be funny to reach over and pull his tie out, undoing it completely. Hal began laughing at what happened, so Leo pulled his tie out. One of Hal's friends started laughing so Hal pulled his tie out.

Soon every man in the night club was pulling out each other's bowties. When there were no bowties left undone, someone thought of ripping out shirt collars, and soon the whole club was doing that. When every shirt collar had been pulled out, the crowd switched to the far more destructive cutting the back of a jacket with a table knife. From that experience, ( if it ever really happened, ) McCarey invented two major comedy tropes; reciprocal destruction, and the melee where some sort of vandalism or indignity caused by one character to another leads to an entire crowd dragged into the battle and doing the same to each other.

Laurel and Hardy were the masters of reciprocal destruction, filming the four greatest masterpieces of the trope; Two Tars, Big Business, Them Thar Hills and Tit For Tat. There were also minor reciprocal destruction flare-ups in Double Whoopee, A Perfect Day and a few other films. But perhaps their most celebrated instance of reciprocal destruction was limited to a single prop, raw eggs.  In the movie Hollywood Party Ollie returns a lost shoe to Lupe Velez, only to have her repay him by clubbing him over the head with the same shoe. But the bar she is sitting at conveniently has an entire bowl full of uncooked eggs, so naturally Stan retaliates by cracking open one of the eggs and dumping it's contents into her shoe. And from there the fight is on, with each taking turns finding different ways to egg each other. While Hollywood Party would go on to be a colossal flop, the egg fight would be remembered for years. Or at least another ten years when in 1945 writers at 20th Century Fox decided to recreate the scene in The Bullfighters. Comparing both versions you can see how reciprocal destruction was not just something anyone could pull off. When it was done in 1934 MGM gave Laurel and Hardy all the time they needed to perfect the scene on film, which meant hundreds of retakes of different variations of the fight with Velez until they had something that fit Stan's high standards for humor. Although the 1945 version had a lot more gags added, this time around Laurel and Hardy had to shoot from a script and couldn't properly pace it. The 1945 version is nowhere as funny. The director adding goofy chicken sound effects every time someone got hit with an egg only made things worse.

Reciprocal destruction didn't end with Laurel and Hardy. But it has bloated into something nearly unrecognizable. I just saw an example the other day with a rerun of M*A*S*H. It was season 10 episode 6 Communication's Breakdown where  a missing newspaper causes a riff between Major Winchester and the rest of the camp, which eventually devolves into someone playing a practical joke on Winchester, and Winchester retaliating with a practical joke against the camp. Eventually Colonel Potter steps in to put a stop to the pranks just as Winchester is about to pull the entire mess hall tent down with a rope and jeep while the rest of the camp is dining.  This is a perfect example of how the trope is treated today. Unlike with Laurel and Hardy and any other slapstick comedian in a reciprocal destruction battle, retaliation is not immediate. In the M*A*S*H episode, for example, enough time passes between pranks that the episode fits in a touching B story where Pierce ( who is amazingly not part of the battle, at least in the edited version I saw on basic cable ) is able to reunite two brothers who ended up as soldiers on opposite sides of the Korean civil war.  Or take for example Revenge of the Nerds ( 1984 ), which is bloated with so many side plots that it is barely recognizable as a reciprocal destruction battle between nerds and jocks. Invented by Leo McCarey and perfected by Laurel and Hardy, and then padded out to the point where it is unrecognizable,  the reciprocal destruction trope is still a major part of comedy.

Well, I finished watching The Boys too. I knew of the comparisons to Watchmen, but I didn't realize to what extent. One is in its execution of content & philosophy (gory, doesn't hold back, hard-R, and the line of good/bad is ultra-thin). But also everything from cinematography/color grading to dialogue and character development made it fit very much in-universe. Right down to DC comics using equivalents (Rorshach=The Question, Nite Owl=Blue Beetle :: Homelander=Superman, Queen Maeve=Wonder Woman). And yeah, funny because there's an HBO Watchmen tv series now.

What I liked most was its very real look at the world of celebrity; namely actors, politicians, and athletes. The allusions get pretty thick in a few places. If there *were* superheroes, The Boys is 100% how it would play out in the real world: i.e. corporatization. As one character deftly points out, "No one is famous alone." What I particularly like about this is how it develops themes of
Spoiler (click to show/hide)

My favorite character is actually not one of the leads and not one of The Boys either. It's Homelander, i.e. the perfect blend of Captain America and Superman. And, well, if you've seen the show, I can't describe his character better than this:
Spoiler (click to show/hide)

In any case, I thought it was pretty good for the most part. So should you watch it? If you like gritty hard-R or deconstructed superhero movies or Watchmen, then yeah. And it's only 8 episodes. But if not, then maybe give it a pass.
Be Big  ( 1930 )
9 points, 1 list, #17 Darth Geek

"There's nothing to getting a boot off. You don't have to drag me around the room."

While preparing to go to Atlantic City with their wives, Ollie gets a phone call from his and Stan's lodge that they are having a wild party that night. Faking a nervous breakdown, Ollie tells the wives to go on to Atlantic City while he and Stan will join them in the morning after his nerves calm down. The plan goes well, until Ollie puts on Stan's boots by mistake and can't get them off.

For the Mexican and other Spanish language markets, a version where the cast speaks in Spanish was produced. Normally the reason for this was so the foreign audience could hear their favorite actors voices, but at the same time still understand what they are saying. But as it turned out, actress Anita Garvin was unable to learn her lines in Spanish. So Roach found a sound alike vocal actress who spoke Spanish, and had her stand off screen and speak Anita's lines into a microphone while Anita mouthed her lines. The deception was not caught until decades later when Anita admitted to it during an interview.

Hal Roach's first wife Margaret decided she wanted to be a costume designer, and Hal had little choice but to humor her. Her costumes  for the female cast members made their debut in Be Big. Not only were they Unflattering, but apparently Margaret chose to use wool, which made them itchy and uncomfortable as well.

This was Anita Garvin's final film with Laurel and Hardy before retiring. She had just married Clifford Stanley, and wanted to settle down and become a housewife. Stan Laurel tried to talk her out of it, but Mrs Roach making her wear uncomfortable goofy clothing was not helping his cause. Laurel did manage to talk her into returning to the screen briefly in 1940 for A Chump At Oxford , but otherwise this was her final film.
Our Relations ( 1936 )
5 Points, 1 list, #21 George-2.0

"Bring me two nice clean straws that haven't been used."

Ollie receives a letter from his mother containing a childhood picture of him and his twin brother Bert, and Stan and his twin brother Alf. Both twins ran away from home long ago and became sailors.  In the letter his mother says that she heard Alf and Bert were involved in an attempted mutiny, and were hung. Ollie tells Stan not to tell their wives because he doesn't want them to know there were criminals in their family. The rumors of Alf and Bert's demise turn out not to be true, as both are alive and well, and have just arrived in town on a ship. Unaware their twin brothers are living in that town, Alf and Bert go on shore leave. The captain has given them a pearl ring he wants delivered. But while in a beer garden, Alf and Bert meet two women who join them, and order a lot of food for themselves. Unable to pay the bill, Bert gives the proprietor the ring as collateral while he goes back to the ship for the money. Meanwhile Stan and Ollie show up at the same beer hall where they are accosted by the proprietor for the money they owe him, and upon paying it are given the ring.  What follows is a series of mistaken identity incidents as Alf and Bert search for the now missing ring, and both the Captain and some gangsters are after the same ring. All the time Ollie and Stan trying to convince their wives that they are not responsible for the chaos Alf and Bert have caused.

Now that Laurel and Hardy were making feature films exclusively, Hal Roach began assuming more and more creative control as the feature films cost more money to make. This lead to friction between him and Stan Laurel, as Stan was only interested in having comedy in their films, while Roach insisted they also have the elements that made feature films successful, namely musical numbers and romance ( almost always with a B plot involving co-stars and not Laurel and Hardy. ) The feature films were usually a compromise between what Roach wanted, and what Stan wanted, with neither fully happy with the results.  Wanting full creative control, Stan began demanding to be producer of the Laurel and Hardy feature films, much like how Chaplin and Lloyd were the producers of their films. Roach was quick to point out that both Chaplin and Lloyd also financed their films with their own money, and the Laurel and Hardy films were being financed by Hal Rach Studios. Never-the-less, Stan formed Stan Laurel Productions with the intent of the company producing all Laurel and Hardy films. It never really happened. Roach continued to be the producer on the films they made at his studio. However, on two films Roach allowed Stan Laurel Productions to be credited. This was the first film, and Way Out West was the second. In both cases the producer title was nothing more than a title, as Roach continued to own the films and their copyrights. During the period when Laurel temporarily left Hal Roach Studio for a year, Stan Laurel Productions actually produced a few films, all of them B Westerns that Stan didn't have much to do with other than lending his name.  When both Laurel and Hardy left Hal Roach for good, they formed a new production company, Laurel & Hardy Feature Productions, which had even less success in producing their films.

Our Relations was based on a short story called The Money Box written by author W.W. Jacobs. He is best known for his horror story The Monkey's Paw, which a mummified monkey hand grants whoever possesses it three wishes, but each wish has some sort of terrible unforeseen consequence.  The story was so popular that by the time Our Relations came out, it had already been adapted as a feature film three times, and would be adapted again in 1948 and 2013. In addition, it was used as a segment in the British horror anthology film Tales From The Crypt, which is unrelated to HBO's Tales From The Crypt, although an episode of that series also adapted The Monkey's Paw. It was also used for an episode of Are You Afraid of the Dark, and  the original Twilight Zone where the paw was replaced with a genie. Parodies of the story appeared on the Simpson's Treehouse of Horror, an episode of Adventure Time, an episode of Rick and Morty, an episode of Ripping Yarns, and even an episode of The Monkees. The story was even used for an episode of Buffy the Vampire Slayer. The ironic thing is, that although W.W. Jacobs will go down in history as one of the greatest horror writers because of this story, he actually wrote very few horror tales. Most of his work was writing humorous tales.

Hal Roach was phasing out shorts from his studio. Theaters stopped booking shorts in favor of booking two full length features for a double feature bill. MGM owned theaters still showed shorts, but they were too few. While MGM could afford to make their own shorts and recoup the costs with the feature film, Roach was beginning to loose money. He had discontinued making Laurel and Hardy shorts, and by 1936 the only shorts Roach Studios were still making were Charlie Chase and Our Gang. Roach had wanted to end Our Gang, but MGM studio head Louis B Mayer loved the series and persuaded Roach to continue making them. Which he did, but cutting them to one reel for the remainder of their run. In 1938 Roach sold the Our Gang franchise to MGM, which then proceeded to ruin it . Meanwhile, a decision was made not to renew Charlie Chase's contract with the studio. They had already made a Charlie Chase feature film which did poorly at the box office, an a second attempt at a feature film with the working title Bank Night wound up never being completed due to production problems. On The Wrong Trek was to be Chase's final short for the studio. Wanting to pay tribute to their friend, Laurel and Hardy took a break in shooting Our Relations to shoot a cameo in Chase's final short, where they are both briefly seen hitchhiking. It ended up not being his final short as footage from Bank Night was edited into a 20 minute film called Neighborhood House and became the final Hal Roach produced Charlie Chase short. Chase moved to Columbia Pictures where he made cheap two reelers for their theater chain.

A lot of modern day viewers are convinced the actor who played The Skipper from Gilligan's Island is in this film as the owner of the beer hall.  He looks exactly the same, sounds the same, and even has the same name, Alan Hale. Actually, he is the father of The Skipper, who's professional name is Alan Hale Jr. The son is so identical to his father that he was even cast as Porthos in Lady in the Iron Mask ( 1952 ) a semi sequel to Man in the Iron Mask ( 1939 ) where his father played Porthos. Also in 1952, Alan Hale Jr. played the son of Porthos in At Sword's Point, and Porthos again in the remake of Man in the Iron Mask called The Fifth Musketeer ( 1979 ).  Alan Hale ( the father ) began his acting career in the silent era, with roles in such classics as Four Horsemen of the Apocalypse ( 1921 ) and The Covered Wagon ( 1923 ). In the sound era he had featured roles in It Happened One Night ( 1934 ), Great Expectations ( 1934 ), The Last Days of Pompeii ( 1935 ), The Adventures of Don Juan ( 1948 ), and The Inspector General ( 1949 ). But perhaps his best known role was as Little John, which he played in the Douglas Fairbanks version of Robin Hood ( 1922 ), the Erroly Flynn remake The Adventures of Robin Hood ( 1938 ), and reprised the role of Little John for a third time in a sequel to one of the Robin Hood films , Rogues of Sherwood Forest ( 1950 ) which turned out to be his last role as he died soon after filming of a viral infection.  His son also had an impressive movie career, starring in The Giant Spider Invasion ( 1975 ).
TWICE TWO ( 1933 )
5 points, 1 list, #21 Darth Geek

"Lets go down to Fu Young's and get some Sucky Yacky"

It is the one year anniversary of when Ollie married Stan's sister Sandy, and Stan married Ollie's sister Fanny, both who look uncannily like their brothers. Instead of going out to celebrate, both couples decide to stay at home and have a quiet dinner. But Fanny and Sandy don't just resemble their brothers, but have an equal personality, resulting in anything but a quiet dinner.

One plot point that has confused audiences over the years is the "surprise" for Ollie that is announced early in the film, and mentioned again near the ending. Stan was not to mention to Ollie that there would be a surprise, so naturally he does. Eventually Ollie gets so impatient waiting for the meal to end so he can find out what the surprise is, that he blurts out that he is expecting it. Another squabble breaks out between Fanny and Sandy, Ollie decides he and his wife should leave, and the film ends without revealing what the surprise was. ( And no, it wasn't the cake. ) Twice Two was heavily compromised due to Laurel and Hardy needing to switch back and fourth between roles throughout filming. As usual, the entire film was shot in sequence, and gags were ad libbed on the set. But the ad libbing was limited due to the need to stick to the script in order to get the effects right, which included the occasional split screen. Also compromised was the planned ending. The surprise was to be a film projector given to Ollie as a gift. Ollie attempts to project a film, but each time the picture is either upside-down, or reversed, or the film is running backwards. Ollie finally gets the projector to work correctly, but the film being projected is a lion charging the screen. Stan panics, knocking into Ollie who in turn knocks the projector over. It continues to project the lion, which appears to chase Stan around the room. Special effects expert Roy Seawright had the duty of figuring out how to make the scene happen. The problem was that the projected image would need to be optically printed on the same film with split screen effects. Even the part of the scene where Ollie can't figure out how to use the projector would need to optically print  the projected film onto a split screen film. Inevitably Seawright figured out how to achieve the effects, but it would have taken months to shoot. So they decided to end the short at two reels and scrap the entire projector, including any mention of it.

A good director would have realized the projector scene was too complicated for a shot that was already complicated to begin with. And Twice Two had a good director, George Marshall. At least he was during preproduction. That's when he was notified that his contract with the studio was cancelled. It was all part of yet another series of firings due to budget cuts. Marshall was replaced with James Parrott, who was a capable director. And I mean "was". By 1933 Parrott had become an alcoholic, and it was effecting his work. While he just managed to complete this film, it would be the last the studio allowed him to direct. Still kept on salary ( because he was the brother of one of the studio's stars Charley Chase, ) he was reduced to writing scripts.

Despite some claims that Laurel and Hardy's voices were sped up or altered when they played their sisters, they were actually dubbed by two vocal actresses. May Wallace who dubbed Hardy was also a bit player at Roach Studios, and is best remembered as the head nurse in County Hospital. Carol Tevis who dubbed Stan Laurel would later be one of the vocal actors who dubbed the voices of The Munchkins in The Wizard of Oz. ( The 1939 musical, not the 1925 Larry Semon version with Hardy. )

Watching through my ten disk L&H set I started to notice the recurring actors after a while, and this guy was my favorite. His best role is definitely Colonel Buckshot in Another Fine Mess.

That film has one of my all time favorite Finlayson moments. Buckshot returns to his home to find Ollie wearing his clothing. He asks Ollie "Who are you?" To which Ollie replies "I'm Col. Buckshot." Finlayson does this great double take where he sticks his head out the door for a split second to check and see if he is at the right address, as if that would make a difference.
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