It’s a genre-defining classic this time round as we get into Scorsese and his gangster epic, Goodfellas.
Goodfellas was released in 1990 and revered as an almost instant classic of the gangster genre. Directed by Martin Scorsese, it tells the real life story of Henry Hill, a New York mobster who climbed his way up the wiseguy ranks over 25 years. Starring Ray Liotta as Hill -as well as some Scorsese regulars in Robert De Niro and Joe Pesci – the film was nnominated for Oscars and gone down as very possibly Scorsese’s most popular film.
The ATRM crew are here to dive into Scorsese’s world of exuberance and violence to tell the behind the scenes story and analyse what makes the movie tick. All delivered with the standard ATRM laughs, of course.
This episode is delivered in three part. You can find each of them below.
Part 1 – Introduction and The Director
Part 2 – The Writing and The Cast
Part 3 – The Highlight and The Rating
Hello, welcome to The Cutting Room – the movie show from All The Right Movies. I’m John and the couple of wise guys here with me are Westy no nose… and Matty two times.
This episode, as you can probably guess, we’re getting into one of the biggest directors biggest films as we talk Martin Scorsese and his gangster epic, Goodfellas.
Westy, this was your choice. Not a surprise really – you’ve been breaking balls for decades. So, why Goodfellas?
Yeah, I mean, we were always going to get here at some point, surely?. We’ve got Scorsese, one of his most beloved films. Big names in the cast, big names in the crew, big names on the soundtrack. Based on a bonkers real life story. And, Goodfellas, they make bloody good frozen pizzas as well.
We’re gonna be talking talking about all of that stuff – maybe not the pizzas. So yeah, the question I think is why wouldn’t we talk about Goodfellas? So let’s do it.
And Matt? Goodfellas? You’re a pepperoni man, right?
Great, okay then. Make that coffee to go cos, it’s Goodfellas…
Becoming entangled with the mob in 1950s New York, Henry Hill lives his life as a wise guy and climbs the ranks. Starting as a lifestyle of luxury, wealth, and respect, Henry’s life spirals out of control through cycles of violence, jail time and drug addiction.
Better than living your life as a schnook though, surely?
Released in 1990, Goodfellas was directed by Martin Scorsese, written by Scorsese and Nicolas Pileggi, produced by Warner Bros and stars Ray Liotta as Henry, Robert De Niro as Jimmy Conway, Joe Pesci as Tommy DeVito, and Lorraine Bracco as Karen Hill.
So, as we always do, we’re going to talk in some detail about the direction, the writing, the cast, our own highlights, and then we’ll give Goodfellas a rating out of 10.
First it’s the director – and what a director – it’s Scoresese.
Martin “Marty” Scorsese. One of the most acclaimed Hollywood filmmakers and prior to Goodfellas he’d made some of the great films of the 1970s and 1980s.
We’re talking 90s Scorsese, though. So, question for you Matt… who do you think you are? Frankie Valli? Some kinda big shot?
Matt? – How Scorsese balances the lifestyle being alluring but also demonstrating the pitfalls
Matt to mention Scorsese lost out at the Oscars for Best Director to Kevin Costner for Dances With Wolves.
I mean Scorsese, bringing his A-game, losing out to Kevin Costner for Best Director is madness.
Yeah, this is one of Scorsese’s most acclaimed films critically. It’s one of his most popular films generally. And to me, it’s the definitive Scorsese film. For a few reasons.
Obviously there’s the subject matter – gangland New York. There’s the major collaborators – De Niro. Pesci. Editor Thelma Schoonmaker. Director of Photography Michael Ballhaus. Themes of violence and masculinity. A huge soundtrack of 50s, 60s and 70s pop songs. All of that is classic Scorsese.
But also, this is the one where Scorsese throws everything he’s got at the screen. He unleashes his full creative arsenal on us so we get freeze frames. We get voiceover narration. We get tracking shots. We get creeping POVs. There’s Focus pulls. We get dolly zooms. There’s jump cuts. Characters break the fourth wall. We get harks back to old Hollywood where Scorsese takes shots directly from his influences – he goes even further back than old Hollywood at one point.
And the result is a period piece that pulls you into the world it’s presenting as effectively as any other film set in a specific time period I’ve ever seen.
As good as any other Scorsese film for me, his definitive film, like I say, and when you see footage of him on the set, he seemed to be having a wonderful time making it as well. Loving it.
Scorsese grew up in Little Italy in New York in and lived among real wiseguys. His best friend was actually the son of the mob boss there, so he knew how to make the world as realistic as possible:
Some real life mobsters were hired as extras on some scenes.
Yeah, apparently the mobsters gave Warner Bros. fake Social Security numbers, and no one knows how they received their paychecks. Absolute chancers these wise guys.
And Ray Liotta said that Scorsese would tie Liotta’s tie for him to make sure it was done properly.
like a toddler.Those shirts Henry wears are crazy -those collars! Can’t even see the tie.
Well, Scorsese became interested in doing Goodfellas when he read Wiseguy, a non fiction novel by by Nicholas Pileggi – and wanted to adapt it – we’ve got more on that later. But, originally, Scorsese was told he shouldn’t make Goodfellas by a Hollywood legend. You know who that was?
Marlon Brando tried to persuade Scorsese not to make Goodfellas and said he’d just be repeating his work on Mean Streets and Raging Bull. What’s it gotta do with him?! ‘Scorsese should have said, well I don’t think you should do the Island of Dr Moreau… but you still will.’
The film is a classic now but the studio were worried about it at first because it had really bad test screenings.
One screening in California had 70 walkouts due to the violence in the film and another ended with the film team hiding in a bowling alley due to an angry mob.
Yeah, apparently the first screening Scorsese went to, he picked up a comment card at the end and all it said was “fuck you.” Fuck you, pay me.
The preview response was the lowest scoring in the history of Warner Brothers. Scorsese said “the numbers were so low, it was funny.”
I bet the studio were in stitches yeah!
And, actually, we’re calling Scorsese the director of Goodfellas, but there was one sequence he didn’t direct at all. Do you know which sequence that is?
So, the Morrie’s Wigs commercial. Scorsese was inspired by a really low-budget TV ad he saw for a window fitting company. He rang the company and spoke to the owner – a guy called Stephen Pacca. Scorsese asked who did the ad and Pacca said “I did. I wrote it and shot it myself.” So Scorsese commissioned Stephen Pacca to write, direct and edit the Morrie’s Wigs TV ad. That’s why it looks so authentic.
Morrie’s wigs don’t come off. Unless you’re being throttlled by Jimmy Conway with a telephone cable.
We can’t talk about Goodfellas and not talk about the famous Copa shot – the long tracking shot through the bowels of the Copacabana. The scene was so precisely choreographed that it had 400 timing moments they had to hit. They nailed it really quickly and it only took 8 takes. Scorses said it signified Henry and Karen being seduced into the lifestyle.
Every time, you two! That’s the bit for me. Also, have you noticed that Henry and Karen walk through the kitchen door and after that they turn left then basically walk round in a full circle and come out the same door they went in? Henry’s had too many lines, I think. Going round in circles.
Right at the end, when they’re in their seats, the camera pans from Henry and Karen to the stage, where we see a comedian called Henry Youngman. Just before the camera pans, Henry points at the stage. That was actually a cue for Larry McConkey the camera operator because Henry Youngman was an old guy and on some takes he’d missed his cue so McConkey said to Liotta – when he’s in place, give me a signal.
Nice that’s pretty clever. It’s not in the book either, the Copa scene. Or it is, but it’s literally just a few lines… and Scorsese turned those few lines into this incredible 2 minute tracking shot. Some director eh?
Also, we can’t not talk about the music – Goodfellas is scored entirely by killer pop songs. I know that in choosing the songs, Scorsese set himself two rules:
First, the words of the song had to describe the scene.
And second, the song had to be released at or before the time the scene was set.
So it feels authentic. And I mean, Sunshine of Your Love by Cream as Jimmy is contemplating murder. That riff is a monster…. when it comes in. And the words are relevant.
And when they shot the Layla montage when the bodies start turning up, Scorsese played the song on the set so the camera operators could move in sync with the music.
Yeah, you can tell as well – works great. Only track I don’t like is Sid Vicious’ version of My Way. Scorsese wanted to use the Sinatra version but couldn’t get the rights so for some reason decided to go with one of music’s most loathsome characters instead. A pretty major mis-step for me, to be honest.
Scorsese’s direction, then. Throws everything he has at Goodfellas – which is a lot – and he’s our Best Director for that year?
And, we’re at the end of Part 1. That’s far from it, though. Check out the rest of the episode where we’ll be talking about Goodfellas in even more detail by analysing the writing, the main cast, our highlights from the movie and giving our final ratings out of 10 for the film. We’ll see you there?
Hello, and welcome back to The Cutting Room. We’re still John, Westy, and Matt… Matty two times.
And we’re on Part 2 of our Goodfellas analysis. You can get Part 1 here if you’ve not seen it yet, where we talk about what the film means to us and the director. And in this part we’re getting into the Writing of the film, and the Cast, aren’t we?
Let’s get into it then – next up, the writing.
Goodfellas was co-written by Martin Scorsese and Nicholas Pileggi. Scorsese’s third writing credit after Who’s That Knocking At My Door (1967) and Mean Streets (1973) and it was Nicholas Pileggi’s debut as a screenwriter.
How did they do as a writing team, Westy?
Considering how inexperienced Scorsese and Pileggi were as screenwriters, I think they do an astonishing job. And what I’m going to talk about is the script as a book-to-movie adaptation.
The novel, Wise Guy, is a pretty big sprawling book that covers 25 years of Henry Hill’s life. What’s surprising is just how faithful an adaptation it is.
Aside from one major sequence, everything that happens in the film is in the book, and is almost always almost exactly like it’s described in the book. Even smaller moments like young Henry blowing up the rival cab stand to put them out of business. Or Tuddy threatening the mailman – when he says “into the oven you’re gonna go head first” – which is hilarious, not for the mailman.
And Henry’s narration, it’s amazing just how much of that is taken directly from words spoken by the real Henry when Nicholas Pileggi interviewed him for the book. Yes, he really is that outrageous.
What Scorsese and Pileggi do a great job with is understanding it’s not just about putting the biggest moments from the book on the screen, it’s about telling a story.
There’s one storyline in the novel – the 70s scandal where they paid players of the Boston College Basketball team to shave points. It’s the biggest scheme Henry was involved in after the Lufthansa heist, but it’s dropped from the film entirely, which was the right choice – it would’ve unbalanced the narrative I think. The Boston scandal is referenced in the film though, have you noticed?
Yeah not long before Morrie is killed for being a ball breaker he says, “Did you hear about the points we were shaving up in Boston?”
But an extraordinary source novel. And Scorsese and Nicholas Pileggi do a very good job in reining it all in to form a 2 hour 26 minute movie.
And Matt? How’s the writing for you?
Goodfellas is based on Wise Guy by Nicholas Pileggi, which was published in 1985. What Scorsese liked is that it wasn’t all about the made men, it was about the people at the lower levels and what their lives were like. Scorsese called Pileggi as soon as he’d finished the book and said:
“I’ve been waiting for this book my entire life”
And Pileggi said:
“I’ve been waiting for this phone call my entire life.”
How romantic. But it’s no wonder Scorsese wanted to adapt it. Henry Hill lived a life so extraordinary it required next to no embellishment to turn it into a Hollywood classic.
Scorsese encouraged the actors to improvise too, and lots of that is in the film:
The dinner scene at Tommy’s mother’s house was almost completely improvised. Scorsese just said to his mother, Catherine – who plays Tommy’s mother – “your son and his friends are coming for dinner and you want to cook for them.”
That painting that Tommy’s mother gets out – it was actually painted by Nicholas Pileggis’s mother. And it was based on a real photograph from the National Geographic. “One dog goes one way. The other dog goes the other way.” say what you see Tommy. It’s not catch phrase.
The scene where Tommy shoots Spider was almost entirely improvised. The only line that was scripted was Spider’s “Why don’t you go fuck yourself, Tommy?”
The one line he shouldn’t have said. Should’ve improvised that one.
The scene when Paulie confronts Henry after Henry comes out of prison. Paul Sorvino improvised the slap to Ray Liotta’s face, which is why Liotta looks so surprised.
Yeah, apparently what Scorsese would do was encourage the actors to improvise and then take the bits he liked and put it into the script.
Also, Paulie. Think he looks like Baron Greenback from Danger Mouse? Never see them in the same room, do you?
The screenplay for Goodfellas may have been a first time collaboration between Scorsese and Nicholas Pileggi but, it doesn’t feel like it I don’t think?
There’s a big wider cast in Goodfellas and a pretty big main cast, too. We’re talking about the main players now and picking one each to talk about, so…
Who you going for Westy?
Ray Liotta as Henry Hill
Westy to mention: Ray Liotta’s mother died of cancer during filming, and he said that he used his anger and devastation for certain scenes in the film, like the pistol-whipping scene.
One of the most violent scenes out there, I think.. Smashes his nose to shit. The sound of the gun is just brutal.
He is very good. Not just his acting, but his narration work is really good, too. I know that Liotta said he did that by talking his narration to another person in the room to make it more natural, which clearly worked.
Liotta was far from a shoo-in for the part though, and some other big names were considered for Henry. You know any of those names?
Tom Cruise was discussed. I guess on the back of The Color of Money (1986), where he is really good. Also, apparently, Sean Penn was considered. Alec Bladwin was considered. John Travolta was considered. And whatever you think of Henry Hill, just be thankful that Nicholas Cage didn’t get the part.
And Val Kilmer was so eager to play Henry that he made a short film to convince Scorsese to cast him. Which didn’t work.
The casting process for Liotta took over a year. He’d sent an audition tape but Scorsese wasn’t convinced by him and hadn’t watched it. Then, Liotta bumped into Scorsese at the Venice Film Festival. Scorsese was surrounded by bodyguards because The Last Temptation Of Christ had recently been released and Scorsese received death threats on the back of it. Liotta tried to talk to Scorsese, but the bodyguards were having none of it and, in Liotta’s words “they wanted to kick the shit out of me.” Scorsese saw all this and was impressed with how calm Liotta stayed. He knew Henry was going to often play peacemaker in Goodfellas, so finally watched his audition tape. He liked it, but the producer Irwin Winkler wasn’t convinced. Then, one night, Liotta bumped into Winkler at a restaurant in LA. He spoke to him, and managed to convince Winkler he was the right guy. The next day, Winkler called Scorsese and said “I see what you mean, let’s get him in.”
Absolute stalker Liotta. Chasing people down the street like Pepe LePew.
Once Liotta was cast he did do some prep for the role. He listened to interviews between Nicholas Pileggi and the real Henry Hill and wanted to meet him, but Scorsese wouldn’t allow it because he didn’t want Liotta to be too influenced by Hill.
Yeah Liotta said that, in these interviews, the real Henry Hill would be talking about murders and robberies while scoffing fast food and snacks. Munching on potato chips.
We like Ray Liotta as Henry Hill then – his career-defining role, surely?
And Matt, who are you going to talk about in the cast?
Robert De Niro as Jimmy Conway
Matt to mention that Jimmy was based on real-life gangster Jimmy Burke and apparently they softened him up for the film. They changed his name for legal reasons. Conway was the surname of Jimmy Burke’s mother. Mention this in your answer somewhere.
Matt to mention that the role was originally offered to Al Pacino, but he turned it down. Mention this last.
Yeah, Pacino turned it down but the same year he played Big Boy Caprice in Dick Tracy! Terrible choice.
There were some other names up for the part as well. William Petersen could have been Jimmy. And John Malkovich apparently turned the role down, which is also a terrible choice.
De Niro is a method actor, and was no different on Goodfellas:
The first time we see Jimmy, he’s handing out money to everyone. De Niro wanted to use real money because he didn’t like the way fake money felt in his hands. The prop master gave De Niro $5,000 of his own money and at the end of each take, no one was allowed to leave the set until all the money was counted.
5 grand? How much are these props masters getting paid? We’re in the wrong job.
For the diner scene at Tommy’s mother’s, De Niro asked Henry Hill how the real Jimmy apply his ketchup. And HEnry Hill said De Niro would call him 7 or 8 times a day asking him things like “how did Jimmy comb his hair?” or “how would Jimmy hold a cigarette?”
I dont care how method you are, Pissing off a real life wise guy is not a good idea. Youl get whacked.
So yeah, De Niro the method man as always, and excellent as Jimmy?
Joe Pesci as Tommy DeVito
For my cast member, I’m going to talk about Joe Pesci as Tommy DeVito – the angriest man – ever? – in films.
Also based on a real life mobster – called Tommy DeSimone – the real Tommy was actually about 6’3” and in his 20s whereas Pesci was 5.3” and in his forties – but Henry Hill said that , in terms of his character, Pesci’s portrayal was about 95% accurate to the real guy, which is a terrifying thought.
They changed the surname to DeVito for legal reasons – Tommy DeVito was actually the guitarist in The Four Seasons, who Pesci knew. Not named after Danny DeVito, unfortunately.
Pesci, though, I wouldn’t go so far as to say he steals the film, but he certainly steals more scenes than anybody else.
I mean, it’s not exactly a complex character. He’s a total psychopath and always either on the verge of kicking off, or actually kicking off. But what makes him a good character, I think, is that they also make him funny. And skating that line between violent thug and comic relief is no mean feat but Pesci pulls it off. I don’t think there’s many out there that could’ve done it to this level. Fantastic.
Scorsese originally offered Pesci the role of Paulie, as Pesci was too old for Tommy. Pesci wanted the part of Tommy though, and wore lots of makeup to convince Scorsese.
And somehow that worked, even though he definitely does not look 28 in the film.
Pesci won Best ACtor at the Oscars for his performance as Tommy, and his speech is the sixth shortest in Oscars history. He just said “It is my privilege, thank you.”
For anybody interested, the shortest speech is by Patty Duke who won Best Supporting Actress for The Miracle Worker. She just said “Thank you.” There’s a hell of an opportunity here for somebody to just say “Thanks”… or nothing.
Then, in 1998, Joe Pesci milked every last drop out of Goodfellas and released a song called Wiseguy, in which he seriously raps about being a Wiseguy. Have you heard it? Well, for those that haven’t, here it is…
“Her mother didn’t like me, I never gave a fuck/Her brother didn’t like me so I hit him with a truck”
They should’ve played that over the end credits on The Irishman.
Joes Pesci though, again, probably the role he’s most known for? Well that and Harry in Home Alone obviously.
That’s the wise guys, but we should also mention Lorraine Bracco, who plays Henry’s long-suffering wife, Karen Hill. She was nominated for an Oscar for the film, Lorraine Bracco. Is she good as Karen?
Lorraine Braco as Karen Hill
Lorraine Bracco also went a bit method for the part. She demanded real jewellery be used for Karen’s outfit. She said to Scorsese “if you want me to portray a princess, treat me like one.”
She is brilliant. Fiery Italian and she’s great in those scenes where she’s had enough of Henry’s shit. Also, Bracco did some improvising of her own. She said she improvised this – the bit where Karen gives Henry a BJ – she didn’t tell Ray Liotta she was going to do it so his reaction’s improvised as well.
There’s an even bigger cast in Goodfellas too, Paul Sorvino as Paulie, Catherine Scorsese as Tommy’s mother, Frank Vincent as Billy Batts and Michael Imperioli as Spider all have their moments, but in those main 4 – excellent work from the cast?
And, That’s all for part 2. You don’t want to stop here though. Join us again for the concluding Part 3 where we’ll be talking about our highlights from the film and giving our final scores out of 10. Nobody wants to miss that surely?
Hello, and welcome back for the final part of Goodfellas on The Cutting Room. I’m John, and with me are Westy and Matt.
You can get the previous parts here and we’re now onto Part3, where we’ll be talking about our individual highlights for the movie and then bringing it home by rating the film out of 10. Yeah?
So, here we go… with our Highlights..
With the narrative structure being what it is, Goodfellas is like one long string of highlights. We’ve managed to pick one each to talk about, though.
Westy, which are you going for?
The “Funny how?” scene
Westy to mention that the scene is largely ad-libbed between Liotta and Pesci. The supporting cast sitting round them didn’t know they were going to do it.
The ad-libbing with the other wise guys is great. “Whoa, Antony. He’s a big boy. He knows what he said, what’d you say?”
This scene is based on something that actually happened to Joe Pesci for real. Pesci used to work in a restaurant in New York. One day he said to a wise guy “hey, you’re a funny guy” and it did not go down well. Pesci told this story to Scorsese and he loved it as an introduction to Tommy.
It is something they added to the film but the part where Sonny comes to ask for his money – 7 fuckin’ big ones – and Tommy goes wild – that is based on reality where Hernry Hill said they’d run up huge tabs and go crazy when they were asked about it. Not sure if they kicked the bar owners in the pants, though, like Tommy does.
Tommy kills Billy Batts
For my highlight, I’m going for the Billy Batts murder that takes place in Henry’s bar.
So… Billy Batts has been in prison, right?. He’s served his time and not ratted anybody out like a good Wise Guy. He’s a made man. And there’s still only about 5 people turn up for his welcome home party? I’d be furious as well.
But the scene is… absolute dynamite. Billy is being a total prick to be fair – massive wind up merchant. And the tension is almost unbearable – we know Tommy could go off at any minute.
And the line that makes him blow: “go home and get your fucking shine box.”
In a film full of absolute zingers , that might be the best one.
Atlantis by Donovan on the jukebox is great. The beating is horrific. I’ve heard Henry Hill talk about this… and he said when it really happened, Tommy hit Billy with the gun so hard that the gun came apart…. Scorsese replicates thatin the film.
But as horrific and shocking as it is, Scorsese makes sure it never seems gratuitous with the quality of the filmmaking and the way it’s all shot and put together. I mean, excellent. Once seen, never forgotten.
Frank Vincent said that before he was cast as Billy Batts, he met Scorsese and Irwin Winkler about being in the film. Scorsese gave him the script and asked him which character he wanted to play, and Vincent said Paulie. Scorsese said “what about Billy Batts?” and Vincent said “yeah, he’s good, but I have ideas for Paulie.” And Scorsese turned to Winkler, clapped his hands together and said “we have our Billy Batts!”
He only gets one scene, but what a mark he leaves, Frank Vincent. He later said: “Wherever I go, anytime I go anywhere, they tell me to go home and get my shine box.”
And Matt, what’s your highlight from the film?
Henry’s last day as a wise guy
Some of them are: Memo From Turner by Mick Jagger, Magic Bus by The Who, What Is Life by George Harrison, Mannish Boy by Muddy Waters. Scorsese wanted it to portray the “fragmented, haphazard mind of somebody who is paranoid and off their head”.
I mean, he’s been off his head for the whole film, to be fair. Obviously by this point, Henry’s life is all over the place. He’s a sweaty, anxious mess and a drug addict. Making his mind into mush.
And I love how Scorsese reflects that in the film by breaking the rules he’s set up. The camera becomes more erratic, and out of nowhere, Henry breaks the fourth wall. It makes everything feel like chaos, which is obviously the intention. Got to give credit to Thelma Schoonmaker for that too – and the whole film. Her editing is just superb.
Another great scene at this point is in the restaurant where Henry thinks Jimmy’s gonna whack him. Scorsese gets that dolly zoom shot in there where Henry and Jimmy don’t move in the frame, but the background seems to get closer, symbolising Henry’s paranoia – feeling that the walls are closing in. Just outstanding stuff, that.
The scene where Henry and Karen meet with the witness protection officer. He’s called Edward McDonald – he’s the real officer that worked with Henry Hill. So he’s basically re-enacting scenes he’d played out with Henry for real 10 years earlier. And the real Henry was kicked out of witness protection for breaking its rules too many times.
Yeah, that’s cool, and you can find footage where Edward McDonald is talking about why Henry failed the witness protection program. And it cuts to Henry Hill saying “Can’t use the phone?! Go fuck yourself”
So a lot of scenes that could’ve been our highlights in Goodfellas. I think we made three solid choices though?
Westy, this was your pick so you first. Summary and score out of 10 for Goodfellas, please?
A film I loved when I was a teenager the first time I saw it, and still love now. Funny and horrifically violent in equal parts. The filmmaking is exceptional. The performances are career-defining for probably every cast member except De Niro and as a book adaptation, it’s a great example of one.
It’s in the subject matter where it really excels for me. Or rather, how Scorsese pulls us into the subject matter and puts us in that gangland world of exuberance, murder, and non-stop anxiety. Whenever I watch Goodfellas I feel like I’ve been sucked into the screen. Feel like I know what it would be like to be a gangster in 1960s New York. Obviously I don’t, but it feels like I do, and that’s Scorsese.
Scorsese’s definitive film. One of his very best films so it has to be a 10 out of 10.
And Matt? What’s your summary and score for Goodfellas?
So overall, that leaves Goodfellas with a score of 30 out of 30. Fuck you, pay me.
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We are at the end, however, and we’re all gonna go home and get our shineboxes. So until next time, it’s goodbye.
The beginning of a beautiful friendship
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