Name: Harvey Pekar Isn't A Showbiz Phony | Letterman
Uploaded: 2022-04-14T21:50:16.000Z
Description: Watch the stand-up comedy video 'Harvey Pekar Isn't A Showbiz Phony | Letterman' from Letterman on Comedy Buff. Published 2022-04-14. Transcript available.

Watch the stand-up comedy video 'Harvey Pekar Isn't A Showbiz Phony | Letterman' from Letterman on Comedy Buff. Published 2022-04-14. Transcript available.

- Thank you boys.
Our next guest tonight works as a file clerk
at a Cleveland hospital.
He also writes comic books,
which deal with his day-to-day pains and pleasures.
And this is an anthology of the nine of those comics.
It's entitled "American Splendor."
From off the streets of Cleveland, folks,
please say hello to Harvey Pekar.
Harvey, come out here.
Hi, Harvey.
You have to come around here, good.
Have a seat.
What do you mean calling me curious, you know?
I mean, I met you before the show, you know?
- I meant curious in a fascinating way.
- Oh, all right.
- A man who has the presence of one who is quite fascinating.
- Okay, 'cause I met you before the show.
I thought you were a pretty nice guy, you know?
- Yeah, well, I think you're--
- I thought, man, I might be nursing a viper in my pussy.
You know, something like that.
- You're a little defensive about this, huh?
- Yeah, I am, man.
I'm waiting for those Cleveland jokes, you know?
Go ahead.
- All right, settle down, Harvey.
- Yeah, all right, I'm not mad, I'm not mad.
- Now, let's explain to folks who may not be familiar
with your work what it is you do here exactly.
You have comic books about you in your daily life in Cleveland.
- That's right.
- And are they embellished at all,
or is it pretty much factual?
- No, it's all true, all true.
- Yeah, and how long have you been doing this?
- What, writing comics?
- Yeah.
- Well, for about 14 years.
That's, you know, but I've been publishing
my own stuff for about 11.
- Yeah, and you also have a regular job in Cleveland
working at a hospital.
- That's right, that's right.
- Now, it seems to me that you're--
- Aiding the sick, yes.
- Aiding the sick, well, that's certainly noble work.
- Thank you, thank you.
- But it seems to me, Harvey,
that you have a very successful career here.
This is being published by a major publishing company,
Doubleday.
- That's right.
- And why do you maintain the day job?
- To make a living.
I don't make a living as a writer.
- Yeah.
- I've been around for many years, David.
Maybe more years than you've been alive, you know?
And I, yeah, I know, I know that my youthful appearance
belies, you know, my actual age.
- Yeah.
- But I've been around for a long time.
- But I have a feeling, though, if you wanted to,
you could probably get by on what you make selling your work,
because I know people are after you to write other things,
and you're publishing this anthology.
- I'm telling you who, what people?
What people?
What are you talking about?
- Well, I know that, I know that you, you, you,
you, you know, that people--
- I'm no showbiz pony.
I'm telling the truth.
- Now you-- - Go on, man.
- Now you can't--
- I don't want to make you look bad, tell me about--
- You mean to tell me that other people
haven't contacted you about writing literary criticism
for various publications?
- Well, I mean, you know, like--
- You could make a living as a writer.
- What are you talking, what do you mean?
How do you know all that stuff?
- I can't.
Man, I've been writing, I've been writing
since I was 19 years old, man.
I'm now 47, for nationally, you know,
you don't believe me, I'm eight years older than you, man.
I don't look it, man.
You look eight years older than me, man.
You look bad.
- I look bad?
- You look bad compared to me, yeah.
- I look bad compared to you.
- Yeah, yeah.
- That's, that's the hair piece.
- Mixed, mixed, yeah, well.
- Okay, now let's--
- This is mine, it ain't that much,
but it's all mine.
I don't rely on any, you know, prostheses
or anything like that.
That's a technical rule.
- Have you thought about a decaffeinated coffee?
Next thing you know, it's gonna be,
you know, like urinalysis.
- No, no, now, come on, no.
But I'm serious, you have the magazine--
- I can't make a living at it, right?
- Okay, all right, you can't make a living.
- I can't make a living at it.
I can't make a living as a writer.
- But see, I think maybe,
and this is only me conjecturing here,
that what you're unwilling to get,
you don't wanna lose the daily activity
and the daily contact with ordinary people.
- Yes, that's right.
- So it's not so much the money--
- Where'd you find that out?
- It's not so much the--
that you can't get by without the day job.
You just, you like the contact with everyday people.
- I can't get by without the day job.
That's the God's truth.
I can't.
What do you want?
You know, like when I was writing for Donnelly,
I was getting like four bucks for a record review, okay?
A lot of people I write for, I get nothing for.
I wrote, I finally had a book review in the New York Times.
I got $2.50 for it, okay?
I shouldn't have said that.
I'd probably queer myself at the time.
- Okay.
- How do you know what I--
- Okay, now, let's talk about it.
- Okay, now, let's talk about it.
- Okay, now, let's talk about it.
- Okay, now, let's go on to other matters.
- All right.
- You've proven your point,
and I'm sorry if I touched the sore spot with you.
- All right, that's okay.
No, it's all right, David.
I'm a big man, I can shrug it on.
- All right, now, good.
Now, you, the people you work with
appear as characters in your work, don't they?
- That's right.
- Now, do they know that they're in the comic books?
- Most of them do, yeah.
- And how do they feel about that?
- They love it.
- Yeah.
- They like it, you know what I mean?
Like, they like to be on your show, too.
- They're flattered about the--
- They're flattered, you know?
- People like publicity, think it's a big thing, you know?
- And do all of them that are in the books
know they're in the books, or some don't have any idea?
- A few of them don't, most of them do, you know?
I mean, there's not really, you know,
very, very many unflattering portraits
that I've done of people.
You know, I do stuff accurately.
A lot of the stuff is pretty serious, actually.
But some of it's humorous.
When I'm trying, you know, I'm focusing on everyday life,
you know, rather than the highs and lows
of people's, you know, like, lives and--
- Sure.
Why did you select comic books as a forum for that?
Why couldn't it have been a series of essays
or articles or whatever?
- Because it's a, you know, it just goes along.
You know, it's a wonderful medium.
It's as good an artistic medium as any other medium.
It's, you know, it's words and pictures,
and you can do anything you want with words and pictures.
It doesn't-- there's no limit to how good the words can be.
There's no limit to how good the pictures can be.
And-- but it's, you know, considered a junk medium
because it's always been aimed at a lowest--
you know, a common denominator of audience.
- Right, sure.
- But, you know, I mean, it's, you know, very--
you know, the potential of it has just, you know,
you know, been-- hasn't been--
hasn't been exploited to any extent.
- Would you-- do you ever one day see yourself
writing a screenplay or writing something
that might reach a broader audience?
Television show, have you ever written a TV script?
- No, I haven't.
I had a play based on my comic book, so--
but a screenplay or, you know, a theater play
is, you know, very similar to, you know,
my comic book stuff, you know, or a comic book script
because what it involves is it involves writing dialogue.
- Yeah.
- And it involves, you know, instructions
either to the actors--
- Sure.
- Or to the, yeah, sure.
Yeah, or to the, or to--
- Relax, relax.
- All right, don't worry about it.
- I know, I'm not worried about it.
You don't worry about it.
- I'm not worried about it, either.
- I just, I want to try to--
- I got a job, you know.
- I'm trying to, I know you've got a job.
I've got a job.
We're both very lucky.
We both have jobs.
- All right, okay.
- Well, what's the matter?
- All right.
Look, man.
- You gotta, you gotta go.
Harvey, I like you.
I'm on your side.
- All right, man.
- I enjoy the comic books.
- Okay.
- Tell us about the little doll here.
- My wife made it.
- You're okay.
And they're, and they're, uh--
- What am I, am I giving you a hard time?
- No, you're not giving me a hard time.
- Are you making me nervous?
- No, you're not making me nervous.
We have to go now.
And I just wanted to mention that these are for sale.
- Yes.
- They're made out of your old clothing.
- That's right.
- Yeah, and what do these go for?
- 34 bucks.
- $34?
$34 for this?
- What, are you cheap?
You're cheaper than me?
- Well, no, but 30, 30.
- Would you pay $34 for that?
- No, but I'm not asking it.
My wife is, you know?
- Oh, I see.
We'll, uh, we'll, excuse me, we'll do a commercial.
We'll be back here with Harvey.
You gotta stick around.
- Hey, we're back with, uh, Harvey Peacar
from off the streets of Cleveland.
You mentioned your wife, she was making those dolls,
and I imagine you're probably selling those.
Are you, are you an easy man to be married to,
do you think?
- Yeah, I think so.
The problem is my wives haven't thought so.
- How many times have you been married, Harvey?
- Three times.
- Three times.
And, uh, how long have they lasted?
- First one about 12 years.
The next one about three.
This, this one's, you know,
it's like three years and counting, you know?
- Uh-huh.
- And I'm a good guy, you know?
- You're a nice guy?
Easy going?
- I think so, yeah.
- You're cheap though, aren't you?
You're cheap.
- I'm a little tight, yeah, a little tight.
- And, uh, uh, you eat a lot of junk food, probably?
- Yeah, I eat a lot of, not on this show though,
you guys just got liquid stuff out there.
You don't have anything.
- So you came here looking for handouts,
didn't you?
- I love it.
It's good.
I got them, I got them.
You thought maybe we'd have finger sandwiches
or crackers and patés?
- You know anything, man.
You know donuts or anything.
- This is the big time, look.
Listen, man, I, you know, in Cleveland
at least I get donuts.
- You get donuts in Cleveland.
- I get, you know, something, man.
- Well, Brokaw, I ate all the donuts, I'm sorry.
- Is that right?
I thought he only ate fish.
- Now, on the, uh, on the cover of your, uh,
on the cover of your, uh, anthology here,
it has a little, uh, scenario, you on a talk show
and that's you. - That's right.
- And you're saying, geez, I never, nine years ago
when I started, never imagined being on a talk show.
Well, now you're on a talk show.
What do you think?
- Well, first of all, that idea came from a guy
who worked with Doubleday, the general idea,
I wrote the dialogue, but a guy named Mike Barson,
you know, who put this thing over with Doubleday,
thought up that idea.
- Yeah.
- So what do I think about it?
- Yeah.
- I don't know, man.
It's a way to, you know, publicize the thing.
Look, what's the big deal, you know?
I don't wanna be a celebrity.
- Yeah, you don't wanna be a celebrity.
- Don't you think there's problems in being a celebrity?
- There's problems, do you like being a celebrity?
- There's problems at all levels of existence.
- Let me interview you, man.
There's some questions I've been meaning to ask.
- Oh, yeah.
Have you ever even seen this show, Harvey?
- I've seen it twice.
Hey, shut up, man.
- You're just, you're just playing with him, aren't you?
You're just playing with him a little bit.
Yeah, it's just, yeah, yeah.
- No, look. - Now how are things in Cleveland going?
- What do you mean, how are things?
They're going all right, you know?
You think that, how are things in Indianapolis going?
- Pretty well, pretty darn well.
- All right, they're going pretty darn well in Cleveland.
I'm doing all right, man, you know?
I got a job.
- You got a job.
I work with nice people.
- When do you retire from your job at the hospital?
- Did somebody ask you to ask me?
- No, I just want to know, because I have a feeling,
you mentioned you're cheap.
The fact you're probably--
- I got nine years to go and I get a pension.
- Yeah, you're squirreling away a lot of money
on this book deal, but you don't want to give up the pension.
Isn't that it?
- I don't want to give up the pension, no, man.
- Yeah.
- I worked there 20 years.
- Yeah, yeah.
- You think I'm stupid?
I might make, you know, maybe last year
I made two grand on comics.
- Yeah.
- That was the first year I ever broke even on 'em.
- But see, Harvey, you're the embodiment
of the American dream.
- Who said that?
Who said that?
Look, man, admittedly, I should be the embodiment
of the American dream.
- Well, I think you are.
You're a man from the heartland of America who--
- Which is you, yeah.
- Yeah, but you--
- Who's your wit since Herb Schreiner?
- Herb Schreiner was a terrific man.
- He was a great man.
- Yeah.
- He talked different from you at Twang.
He was from a rural area.
- Well, that's, so what?
We all talk a little--
- No, I'm sorry, I'm just making a point.
I'm a great admirer of, you know who I like a lot?
George Aide.
- George Aide, yeah.
- You know him?
- Yeah, I know of him, but don't know him.
- You know him?
- Sure.
- You're from Indiana?
- Yeah.
- I'm reading a biography about Theodore Dreiser now
that I'm supposed to review.
- Yeah, how much are you making for that?
- I don't know, I'm at 65 bucks, maybe.
It's the truth, folks.
- All right, Harvey.
- He told me to come out here and do anything I wanted.
I don't care, man.
- Well, that's the same thing NBC tells me every night.
- Yeah.
- But I feel pretty much the same way you do.
- We're both making a living, that's all right.
- We're all both doing all right.
- We're doing all right.
- All right, now, Harvey, let me ask you something.
Will you come back and talk with us again sometime,
or is this it for you?
- Yeah, I'll come back if you pay for my plane fare,
my hotel room.
Should I tell him how much I make on this thing?
- No, sure, tell him how much you make.
- All right, I make a hundred bucks on this thing.
- You're making more than a hundred bucks on this thing.
- What are you talking about?
- Harvey's making a hundred bucks?
How do we get Harvey for a hundred bucks?
- A hundred bucks.
- Oh, because you're pushing them.
- You're pushing them, you're pushing them.
- Hey, Shelly Rome 1, come here, man.
- No, no, that's right.
- Come here.
It's a hundred bucks.
- It's a hundred bucks, but you also get a chance
to advertise your doll, which goes for--
- Well, we'll see how it moves.
We'll see how it moves.
We'll see how it moves.
- Okay.
We'll be right back.
- We've got to cover this.
- Okay, my apologies to Drake Sather,
young comedian who was to be with us tonight.
We ran out of time.
Gosh, I wonder why, and he'll be back
as soon as we can find an opening from him.
A very funny young man from Seattle.
Also, my thanks to Tom Brokaw.
That's all right.
We'll have donuts next time we come in.
Tomorrow, Paulina Partskova,
John Waters, and Bonnie Raitt.
Have a nice night, folks.
Thank you very much.
- We'll see you next time. - Bye.
- Bye. - Bye.
- Bye. - Bye.

Harvey Pekar Isn't A Showbiz Phony | Letterman

- Thank you boys.
Our next guest tonight works as a file clerk
at a Cleveland hospital.
He also writes comic books,
which deal with his day-to-day pains and pleasures.
And this is an anthology of the nine of those comics.
It's entitled "American Splendor."
From off the streets of Cleveland, folks,
please say hello to Harvey Pekar.
Harvey, come out here.
Hi, Harvey.
You have to come around here, good.
Have a seat.
What do you mean calling me curious, you know?
I mean, I met you before the show, you know?
- I meant curious in a fascinating way.
- Oh, all right.
- A man who has the presence of one who is quite fascinating.
- Okay, 'cause I met you before the show.
I thought you were a pretty nice guy, you know?
- Yeah, well, I think you're--
- I thought, man, I might be nursing a viper in my pussy.
You know, something like that.
- You're a little defensive about this, huh?
- Yeah, I am, man.
I'm waiting for those Cleveland jokes, you know?
Go ahead.
- All right, settle down, Harvey.
- Yeah, all right, I'm not mad, I'm not mad.
- Now, let's explain to folks who may not be familiar
with your work what it is you do here exactly.
You have comic books about you in your daily life in Cleveland.
- That's right.
- And are they embellished at all,
or is it pretty much factual?
- No, it's all true, all true.
- Yeah, and how long have you been doing this?
- What, writing comics?
- Yeah.
- Well, for about 14 years.
That's, you know, but I've been publishing
my own stuff for about 11.
- Yeah, and you also have a regular job in Cleveland
working at a hospital.
- That's right, that's right.
- Now, it seems to me that you're--
- Aiding the sick, yes.
- Aiding the sick, well, that's certainly noble work.
- Thank you, thank you.
- But it seems to me, Harvey,
that you have a very successful career here.
This is being published by a major publishing company,
Doubleday.
- That's right.
- And why do you maintain the day job?
- To make a living.
I don't make a living as a writer.
- Yeah.
- I've been around for many years, David.
Maybe more years than you've been alive, you know?
And I, yeah, I know, I know that my youthful appearance
belies, you know, my actual age.
- Yeah.
- But I've been around for a long time.
- But I have a feeling, though, if you wanted to,
you could probably get by on what you make selling your work,
because I know people are after you to write other things,
and you're publishing this anthology.
- I'm telling you who, what people?
What people?
What are you talking about?
- Well, I know that, I know that you, you, you,
you, you know, that people--
- I'm no showbiz pony.
I'm telling the truth.
- Now you-- - Go on, man.
- Now you can't--
- I don't want to make you look bad, tell me about--
- You mean to tell me that other people
haven't contacted you about writing literary criticism
for various publications?
- Well, I mean, you know, like--
- You could make a living as a writer.
- What are you talking, what do you mean?
How do you know all that stuff?
- I can't.
Man, I've been writing, I've been writing
since I was 19 years old, man.
I'm now 47, for nationally, you know,
you don't believe me, I'm eight years older than you, man.
I don't look it, man.
You look eight years older than me, man.
You look bad.
- I look bad?
- You look bad compared to me, yeah.
- I look bad compared to you.
- Yeah, yeah.
- That's, that's the hair piece.
- Mixed, mixed, yeah, well.
- Okay, now let's--
- This is mine, it ain't that much,
but it's all mine.
I don't rely on any, you know, prostheses
or anything like that.
That's a technical rule.
- Have you thought about a decaffeinated coffee?
Next thing you know, it's gonna be,
you know, like urinalysis.
- No, no, now, come on, no.
But I'm serious, you have the magazine--
- I can't make a living at it, right?
- Okay, all right, you can't make a living.
- I can't make a living at it.
I can't make a living as a writer.
- But see, I think maybe,
and this is only me conjecturing here,
that what you're unwilling to get,
you don't wanna lose the daily activity
and the daily contact with ordinary people.
- Yes, that's right.
- So it's not so much the money--
- Where'd you find that out?
- It's not so much the--
that you can't get by without the day job.
You just, you like the contact with everyday people.
- I can't get by without the day job.
That's the God's truth.
I can't.
What do you want?
You know, like when I was writing for Donnelly,
I was getting like four bucks for a record review, okay?
A lot of people I write for, I get nothing for.
I wrote, I finally had a book review in the New York Times.
I got $2.50 for it, okay?
I shouldn't have said that.
I'd probably queer myself at the time.
- Okay.
- How do you know what I--
- Okay, now, let's talk about it.
- Okay, now, let's talk about it.
- Okay, now, let's talk about it.
- Okay, now, let's go on to other matters.
- All right.
- You've proven your point,
and I'm sorry if I touched the sore spot with you.
- All right, that's okay.
No, it's all right, David.
I'm a big man, I can shrug it on.
- All right, now, good.
Now, you, the people you work with
appear as characters in your work, don't they?
- That's right.
- Now, do they know that they're in the comic books?
- Most of them do, yeah.
- And how do they feel about that?
- They love it.
- Yeah.
- They like it, you know what I mean?
Like, they like to be on your show, too.
- They're flattered about the--
- They're flattered, you know?
- People like publicity, think it's a big thing, you know?
- And do all of them that are in the books
know they're in the books, or some don't have any idea?
- A few of them don't, most of them do, you know?
I mean, there's not really, you know,
very, very many unflattering portraits
that I've done of people.
You know, I do stuff accurately.
A lot of the stuff is pretty serious, actually.
But some of it's humorous.
When I'm trying, you know, I'm focusing on everyday life,
you know, rather than the highs and lows
of people's, you know, like, lives and--
- Sure.
Why did you select comic books as a forum for that?
Why couldn't it have been a series of essays
or articles or whatever?
- Because it's a, you know, it just goes along.
You know, it's a wonderful medium.
It's as good an artistic medium as any other medium.
It's, you know, it's words and pictures,
and you can do anything you want with words and pictures.
It doesn't-- there's no limit to how good the words can be.
There's no limit to how good the pictures can be.
And-- but it's, you know, considered a junk medium
because it's always been aimed at a lowest--
you know, a common denominator of audience.
- Right, sure.
- But, you know, I mean, it's, you know, very--
you know, the potential of it has just, you know,
you know, been-- hasn't been--
hasn't been exploited to any extent.
- Would you-- do you ever one day see yourself
writing a screenplay or writing something
that might reach a broader audience?
Television show, have you ever written a TV script?
- No, I haven't.
I had a play based on my comic book, so--
but a screenplay or, you know, a theater play
is, you know, very similar to, you know,
my comic book stuff, you know, or a comic book script
because what it involves is it involves writing dialogue.
- Yeah.
- And it involves, you know, instructions
either to the actors--
- Sure.
- Or to the, yeah, sure.
Yeah, or to the, or to--
- Relax, relax.
- All right, don't worry about it.
- I know, I'm not worried about it.
You don't worry about it.
- I'm not worried about it, either.
- I just, I want to try to--
- I got a job, you know.
- I'm trying to, I know you've got a job.
I've got a job.
We're both very lucky.
We both have jobs.
- All right, okay.
- Well, what's the matter?
- All right.
Look, man.
- You gotta, you gotta go.
Harvey, I like you.
I'm on your side.
- All right, man.
- I enjoy the comic books.
- Okay.
- Tell us about the little doll here.
- My wife made it.
- You're okay.
And they're, and they're, uh--
- What am I, am I giving you a hard time?
- No, you're not giving me a hard time.
- Are you making me nervous?
- No, you're not making me nervous.
We have to go now.
And I just wanted to mention that these are for sale.
- Yes.
- They're made out of your old clothing.
- That's right.
- Yeah, and what do these go for?
- 34 bucks.
- $34?
$34 for this?
- What, are you cheap?
You're cheaper than me?
- Well, no, but 30, 30.
- Would you pay $34 for that?
- No, but I'm not asking it.
My wife is, you know?
- Oh, I see.
We'll, uh, we'll, excuse me, we'll do a commercial.
We'll be back here with Harvey.
You gotta stick around.
- Hey, we're back with, uh, Harvey Peacar
from off the streets of Cleveland.
You mentioned your wife, she was making those dolls,
and I imagine you're probably selling those.
Are you, are you an easy man to be married to,
do you think?
- Yeah, I think so.
The problem is my wives haven't thought so.
- How many times have you been married, Harvey?
- Three times.
- Three times.
And, uh, how long have they lasted?
- First one about 12 years.
The next one about three.
This, this one's, you know,
it's like three years and counting, you know?
- Uh-huh.
- And I'm a good guy, you know?
- You're a nice guy?
Easy going?
- I think so, yeah.
- You're cheap though, aren't you?
You're cheap.
- I'm a little tight, yeah, a little tight.
- And, uh, uh, you eat a lot of junk food, probably?
- Yeah, I eat a lot of, not on this show though,
you guys just got liquid stuff out there.
You don't have anything.
- So you came here looking for handouts,
didn't you?
- I love it.
It's good.
I got them, I got them.
You thought maybe we'd have finger sandwiches
or crackers and patés?
- You know anything, man.
You know donuts or anything.
- This is the big time, look.
Listen, man, I, you know, in Cleveland
at least I get donuts.
- You get donuts in Cleveland.
- I get, you know, something, man.
- Well, Brokaw, I ate all the donuts, I'm sorry.
- Is that right?
I thought he only ate fish.
- Now, on the, uh, on the cover of your, uh,
on the cover of your, uh, anthology here,
it has a little, uh, scenario, you on a talk show
and that's you. - That's right.
- And you're saying, geez, I never, nine years ago
when I started, never imagined being on a talk show.
Well, now you're on a talk show.
What do you think?
- Well, first of all, that idea came from a guy
who worked with Doubleday, the general idea,
I wrote the dialogue, but a guy named Mike Barson,
you know, who put this thing over with Doubleday,
thought up that idea.
- Yeah.
- So what do I think about it?
- Yeah.
- I don't know, man.
It's a way to, you know, publicize the thing.
Look, what's the big deal, you know?
I don't wanna be a celebrity.
- Yeah, you don't wanna be a celebrity.
- Don't you think there's problems in being a celebrity?
- There's problems, do you like being a celebrity?
- There's problems at all levels of existence.
- Let me interview you, man.
There's some questions I've been meaning to ask.
- Oh, yeah.
Have you ever even seen this show, Harvey?
- I've seen it twice.
Hey, shut up, man.
- You're just, you're just playing with him, aren't you?
You're just playing with him a little bit.
Yeah, it's just, yeah, yeah.
- No, look. - Now how are things in Cleveland going?
- What do you mean, how are things?
They're going all right, you know?
You think that, how are things in Indianapolis going?
- Pretty well, pretty darn well.
- All right, they're going pretty darn well in Cleveland.
I'm doing all right, man, you know?
I got a job.
- You got a job.
I work with nice people.
- When do you retire from your job at the hospital?
- Did somebody ask you to ask me?
- No, I just want to know, because I have a feeling,
you mentioned you're cheap.
The fact you're probably--
- I got nine years to go and I get a pension.
- Yeah, you're squirreling away a lot of money
on this book deal, but you don't want to give up the pension.
Isn't that it?
- I don't want to give up the pension, no, man.
- Yeah.
- I worked there 20 years.
- Yea