Only Chuck Norris has the ability to drive Chuck Norris's car.

Chuck Norris has a specially designed vehicle that is powered by roundhouse kicks.

I was contemplating covering a plain ol' photo album in a kicky Southwest themed fabric this weekend.

Watching Chuck Norris's roundhouse kicks is like watching the Ballet, only slightly less girly.

Tim, I watched Fritz Lang's classic noir The Big Heat twice in the last three days. It's the most genderific noir ever, and I think you should have watched it before you did "Billy." That's all.

Also? Gloria Grahame? Hot. Damaged. Vulnerable. Iloveher.

Also also: Did you ever notice that the band plays a bit of "Put the Blame On Mame" during one of the nightclub scenes? Noir Continuitygasm!

The pilot for Drive will be sponsored by Total Gym. Chuck Norris's vehicle will be a special Ford F-150 that's been tricked out by the crew at West Coast Customs.

At random intervals during the pilot, Chuck Norris will pull over to the side of the road so he can demonstrate how The Total Gym is a total body workout by using The Total Gym that has been installed on the flatbed of his Ford F-150.

The Total Gym looks like the physical manisfestation of Murphy's Law.

Looking at the old Bowflex machines with those giant rubber bands always made me envision an accident that leaves the user strung up like that guy in the spiderweb at the end of The Fly.

The old-fashioned leg machines that have wrist and ankle cuffs always looked like torture devices to me. (Um, non-consensual torture devices. This paragraph isn't getting any better, is it?)

Anyway, the new exotic machines we have at work don't offer any possibilities for getting trapped, and I am good with that. "Press 60 or die in here!" "Okay, I'll just die then."

You guys had much longer road trips than we ever had. Of course, you also have much more of a length of those roads to travel through them, so I guess that makes sense. Also, we have just the one state, so practically no options for any licence-plate games.

So instead of going on an 18-hour drive, I went back to Kristen's link and read the second script. And did the not-really-watch-and-post-but-read-me-ramble thing. Allyson, the thread would be a few posts shorter after that, I think, as the definition of "rambling" goes.

Um, first, if I remember correctly - that's not the second episode that was broadcast, right? There's no episode named "Hide and Seek" on the episodes list, so how did it end up being named? And where in the order of broadcast did it end up?

I love the nice little twist with the file and the picture, the "not show Web", how it's an ultrasound picture and not something out of a murder scene - it's still rebellious, but in a completely different way than not showing the scary-undecipherable boss something work related, it cuts straight to the fact that Paul and Web have an interesting relationship, shows that Rebecca is somewhat out of touch and distant, and even tying life (and the beginning of it) and death (and what comes afterwards) together in format, so to speak. And all in what, five lines? probably not even a minute on screen? Neat.

I still hear Jayne in Danny (the whole talking about cakes and breakfasts, in between the serious discussion of Paul and Carla about having a 'real' life). Did it sound Jayne-ish at all?

And I also like how Rebecca's background is hinted in what she sees as being safe and protection to the child - show the world as it is, bring him to the FBI building, trust that he's tough - exactly her defense mechanism, or at least so it seems now, in regards to her difficult past.

And it ties right to the murder - Paul says that building better walls would protect the child, but we see what may be the best description of a protected home, with the lawns and the home-made breakfast and even a fence around a pool, but still, nothing helped, and that poor mother had to see the body of her poor kid. And the description - the pink water, moving the point of view to the underwater angle - was really chilling to read.

So, again, it's not just about a murder case and solving it and "who did it" and how to trick them - it's about the issues at the core heart of the crew, about what concerns them and fills their lives, *outside* of their job. I love that.

Some stuff is printed in blue - does that mean they were cut from the script, or at least changed, at its final stage? Or from the shooting of the show? Or is it just something wrong with the pdf file, and I'm trying to find meaning where there's none? After all, it's not like Web typed these things or something, right?

Hmm, does Web have some secret agenda in taking a case with a dead child? Surely, he knows the stage of Paul's wife pregnancy, and therefore that Paul doesn't talk with him about it, and therefore that Paul tries to protect his future child from these aspects of the world? Because I think - based on the former episode - that Web can pretty much have whatever several-reasons-together to do what he does, at least one of them concerns his crew. For both better and worse, sometimes at the same time.

And Rebecca is still not realizing the difficulties for Paul in this case (offering to look at the parents first, with Paul being a future parent and already worried for the safety of his child from the life that he himself leads).

Rebecca thinks all this safety is a lie, because none of these safety measures worked for herself as a child, and later, as a grownup, never helped her leave her past behind, right? For her, it seems like the truth - facing the horror in all its gore, finding the answers - is what helps, then? So it's the opposite of Paul.

(continued...)