Part III: Monthelie, Auxey Duresses, and St Romain

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3.1 Driving Through Monthelie and Auxey Duresses

Brenna (Narration): Just South of Volnay, there’s a huge break in the slope – a major valley cuts back into the Cote, creating the opportunity for vineyards with unusual orientations…

If we were to continue south we would abruptly plunge into Chardonnay vines and the village of Meursault Instead we choose to continue on the D973, which wraps around the same slope as Clos des Chênes, and continues due west –off the beaten path of the east facing Côte d’Or –into the quiet villages of Monthelie and Auxey Duresses, and the dramatic cliffs of St Romain…

::piano plays and Paul Wasserman’s voice fades in::

Paul Wasserman: So, you have a choice here. You can go through Monthelie, Auxey to St Romain.

Brenna: It’s a beautiful view

Paul: It is beautiful

Brenna: What are we looking into?

Paul Wasserman: Auxey Duresses, Monthelie and the Valley of Monthelie… 

::Paul Wassweman’s voice fades into the background::

Paul Wasserman: Monthelie produces a tiny bit of white, but it's mostly a red wine village. Clos des Chênes is already a pretty tannic vineyard especially for Volnay, it’s a little chunky, a little structured. It gets more so when you hit Monthelie. So, the structure gets really amped up. They used to be considered a little rustic, but with changes in climate, farming and winemaking, but really climate, I think, they’ve really rounded out. Juicy, the structure is tasting more crunchy. 

Brenna (Narration): Monthelie is an interesting balance of a few factors: there’s the cool air from the combe, contrasted with the afternoon warmth of the south facing slopes

Françoise has also pointed out that the geology of Monthelie is dominated by white marl…

All of this is quite reminiscent of the hill of Corton…

These white marls continue deeper into the valley toward the village of Auxey Duresses, where chardonnay plantings become a bit more common, and much more well known.

::Car driving in the background::

Paul Wasserman: So, Auxey, the thing about Auxey and it’s reputation and why it can certainly taste that way, is its high content in limestone. Here there is a minerality as violent as Chablis. 

Brenna: Right, which is what a lot of nerds are into right?

Paul Wasserman: Yeah

Brenna: Ok, huh, I didn’t really know that, I really don’t know much about Auxey

Paul Wasserman: Well, nor does the rest of the world!

::Introspective music plays::

Brenna (Narration): In short, active limestone refers to the Calcium carbonate in the soil that is actively available to the plant, this means that it can easily increase the pH of the soil and that the Ca is readily available to the plant. A lot of active lime can actually be a harsh environment for the plant, and can make it difficult for the plant to take up other nutrients, such as Fe – remember the calcium encrusted roots that we saw at the top of Corton in our last episode? 

Paul Wasserman: Auxey, I tend to consider a white wine producing village because the white wines are getting all the attention. The reason for this is that at the south of the village the hillside is the continuation of Meursault. So, the first vineyards when you leave Meursault and hit Auxey are up against really, really, exceptional Meursault village; that whole group of lieux-dits on both sides are exceptional.  There’d some famous producers there: Roulot makes Auxey Blanc. It’s not just that side, and of course there is Leroy with d'Auvenay les Boutonniers, which is great. And will cost you the price of a small car. North of the village, on the other side and facing south: you have a handful of primer crus that face south except for a few. And there are very very striking wines there. Almost Chablis-like minerality in whites, almost white wine minerality in reds and this great, great crunchiness

Françoise Vannier: So, you have the Volney, Meursault, Auxey and Monthelies and there are some faults parallel to the valley but there are also faults into the valley. Even if from place to place you can have the same limestone you will also have this change in exposure. In Auxey I love this village because it is quiet… 

::Introspective piano plays and driving car noises fade over the music::

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Brenna (Narration): As we make our way further into the valley, the elevation begins to climb, and the soft, broad topography of the Côte de Beaune gets steeper and more dramatic…and off in the distance, appear the white, vertical cliffs of Saint Romain.

Brenna: That’s dramatic!

Paul Wasserman: It’s almost kind of like an amphitheater. This is where Sous le Chateau, literally “under the castle” is that slope, we are gonna get a better view of it. And this was where Combe Bazin is. This is a good place to show geology people.

Brenna: Yeah!

Brenna (Narration): We see the vineyards of Saint Romain before we get into the village itself…The elevation at the lowest part of the slope here are still over 300 meters, or higher than the Village of Volna and the vines at the top of the steep slopes, such as Sous le Chateau, are well over 400 hundred meters.

Paul Wasserman: We are going to go into St. Romain and go up into St Romain le aux, because that is also where the Wassermans started.

::transitional music plays::

Brenna (Narration): The village of St Romain sits cozy and protected beneath the towering cliffs above,  stone houses with tiled roofs and baby blue shutters line the steep little roads…Although it is remote and relatively unknown, there is a lot of heart in St Romain–locals come from all over the Côte for the scenery and the quiet…the experience of being here is authentic to Burgundy, but encapsulates the aspects of terroir that go beyond the vineyards and the wines. With that in mind, it’s time for a cup of coffee…

3.2 St. Romain Coffee 

::Espresso machine and coffee grinder sounds::

Matt McClune: So, for me, this is a classic Yirgacheffe. It’s a washed coffee, grown at high altitude, like 200 meters in the forest. 

Brenna (Narration): This is Matt McClune. Matt is a talented artist, now turned artist/coffee roaster and the owner of St Romain coffee. Matt and his wife Megan came to Burgundy almost 20 years ago. Matt had been working in restaurants in Boston, where he met Alex Gambal –one of the early Americans to start his own small negociant business here in Burgundy. Shortly after their meeting, Alex encouraged Matt to come and work a harvest…

::Espresso machine finishes pulling a shot::

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Matt McClune: So, I worked with Alex and came back every year after. In 2004, I convinced my girlfriend to move and have an adventure, for a year or so. And that was seventeen years ago. What an experience! It was nice coming from Boston, to the center of Beaune, and you know at night you could hear the glasses clinking on the tables and its like: Ah France!

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Brenna: So, what did you do when you first got here? How did you pay the bills?

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Matt McClune: As it turned out, Alex actually, just bought a building in Beaune and he needed a site manager for the renovation. And he was like, “Yeah, Matt you can figure that stuff out right? You should be my foreman!” And like I don’t have the construction experience, nor do I have the french skills, but there I was. Everyday I was there on the job site talking to these like old school artisans. I was super great! Really sink or swim french, except that I was the bad words and the slang and the like. So then, I would go to the bank, to like try and get a bank account, and I would speak as well as I could. But, from their reaction I could tell that maybe what I was saying was not how you would say it in this situation. 

Brenna: Like, “Give me a goddamn loan!”

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Matt McClune: Yeah, yeah yeah! It was kind of like that! Right, right.

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::everyone laughs::

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Brenna (Narration): And so, they stayed. Megan worked with a few wineries on the business side of things directing sales, and exports, while Matt continued working and focusing on his art. As we stand here tasting through his delicate and precise coffees, it's hard to believe he started this project less than 2 years ago, not to mention in the middle of a strict COVID lockdown.

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Matt McClune: Yeah, what got me through the lockdown was diving into a project. Just twelve hours a day for months, looking on the internet and researching. So I learned that a Loring roaster would maybe give me an edge for one thing. And then I researched who I could train with, like the best person. So, I found the head judge of the nordic roast competitions and I messaged him. Then after some discussion he was like, “Hey, yeah, you can come train with me.” So I was up in Copenhagen for a week with this guy, awesome. 

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At this point I think everybody was reassessing what, and how they do things. What ecological impact we have, you know. So more people are composting, and thinking about buying local. So I thought: If i am starting this project now I could start to address all of these things from the get-go. So the first reason for Ethiopia for me was because it was the shortest circuit to France, ironically is Djibouti. Then as I was looking into Ethiopia I found out that, oh my god, it's the birthplace of coffee! You know, that all coffee originally comes from Ethiopia, there's thousands of varieties of coffee. You have an incredible range of terroirs in Ethiopia. Burgundy, for a lot of the world, is home to this light, delicate red wine. That can be super expressive but really light and pretty. Someone should do this with coffee, and I believe that Ethiopia is the right place to do this.  

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Brenna (Narration): All of Matt’s coffees come from Ethiopia he focuses on terroir-specific regions within Ethiopia such as Yirgacheffe, Sidamo, and Bokasso and experiments with both washed and natural methods; which have a lot of similarities to traditional and natural winemaking methods.

Matt McClune: Natural process is where the arabica cherries are picked at peak ripeness. They are brought to the processing area, where the cherries get spread out onto these raised beds and over the course of two to three and a half weeks they dry them out very regularly. There is a little bit of fermentation that happens, the fruit degrades a bit, but evolves in terms of its flavor profile. You will have potentially more cooked fruits or more florals. And these flavors are obviously penetrate the seed. And the phenolic ripeness of the seed continues to evolve and so then you get a little bit less acidity. So, you can have coffee that has a lot more flavor, fruity flavors or wacky flavors depending on how the drying goes. So that is natural process. 

Washed process is much more safe, but it is a bit more work. You pick the cherries, then put them immediately through a depulper, which smashes them up a bit. Then you wash off the mucilage, and then you let them dry. So, it is basically like the phenolic ripeness of the cherries that you pick during picking whatever you have in the seed at that point, acid level and all that? You keep it at that point. So, then you have a coffee that is more pure, straightforward, clean and brighter acidity. 

Brenna (Narration):The real skill he has been mastering however, is the roasting itself…

Matt McClune: A lot of people talk about roasting coffee like it's cooking a steak, for example. There are different ways that you can cook a steak and end up with different results. The same thing holds true with coffee.

::Drum riff::

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Matt McClune: And depending on the coffee you might want a different heat or a different way, the thing is at the end you want to end up with 205 degrees Celcius. So that means that here we want to meet up here. We will preheat the oven, introduce the coffee, which is room temperature. So, we drop the green coffee in and the temperature will dip a bit, because you have just put in five kilos of cold coffee. And then, at about  four minutes the temperature starts to rise again. Now, the trick is: how do you bring it from here to here? Do you do it slow and low? That will give a certain outcome with the coffee. Or do you like, hit it with heat? Cause that will pop the fruit. You can do different things. The shape of this curve does everything: texture, sweetness, fruit, all that stuff.

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::Drum riff stops::

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Matt McClune: We are in Burgundy with light, delicate, expressive Pinot Noir and I thought: “Ok, if we are going to do something like this here, the coffee should be in line  with this.” So, I thought that training in Copenhagen and learning to do a nordic roast would be the right way to go, you know? But the interesting thing is that Nordic countries get even less sun than we do here, than Burgundy. So their palettes are totally used to high acidity fruits. So of course, they can really appreciate subtle play of different acidities in coffee. And then to bring it here to Burgundy, maybe that was, maybe a little too far. I learned to do a Nordic roast, but I am trying to give it more silkyness and body. 

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Brenna (Narration): He’s an artist, with a new artform. Constantly changing and adjusting his methods to fit both the individual terroirs of the beans, while trying to match the local, consumer taste and terroir here in Burgundy…

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Matt McClune: I started the project thinking this roast was right way to show Ethiopian coffee here in Burgundy. We are so used to talking about these things like acidity and balance but then not everyone can make a nordic roast, easily. It’s asking too much. So, it is a balance– how can you make a beautiful coffee that you think makes sense here in a place like this, but everyone has access too. 

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Brenna: So what is the reception of that? 

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Matt McClune: It is super fun. It is great to go to the market and have great winemakers from Burgundy come by and taste coffee. And being able to talk about terroir with something other than wine but still being able to use the same language and skills, like tasting skills, you know. It’s fun! 

::bell ringing and music fades in::

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3.3 Saint Romain Overlook 

Brenna (Narration): Now that we’ve had a few too many coffees, we make our way up to the top of the central hill of St Romain in an attempt to burn off some caffeine… It's a steep slope with the ruins of an old chateau at the very top. There is a small park here, with a picnic area, and some of the most stunning views in all of the Côte d’Or. The cliffs are still behind us, illuminating the valley in the warmth of their reflected light…

Françoise explained to me that up close these cliffs of Bajocian-aged limestone rock aren’t as white as they seem, and are made up of fossils of ancient sea lilies, or crinoids. It is the same hard limestone you find to the south in the Maconnais, or to the east in the Jura, and just north of us in the little village of Bouilland, where the Wasserman's live today. I’ve always thought it was interesting that the Wassermans were drawn to both Bouilland and Saint Romain and have come to my own conclusion that there must have been something comforting, or inspiring, about these striking cliffs.  

Brenna: This view especially underscores the width of the valleys of the Côte de Beaune. 

Paul Wasserman: Mhmm.

Brenna (Narration): As we sit here, overlooking the valley and the route we have just driven… Paul explains the early days of his family’s history in Burgundy, and some of his earliest memories…

Paul Wasserman: When we moved permanently to Burgundy in 1968. We had rented a house in Saint Romain and that’s where we lived for four years and I was one and a half, so I don't have memories that predate Saint Romain. I went to kindergarten there…

Brenna (Narration): Paul also told me that they had the only bathtub in the village, and that sometimes the Inn next door would send over their fanciest guests for a luxurious bath

Paul Wasserman: And where we lived just opposite was the Tonnellerie François Frères which was small at the time, They’d never exported barrels. That's where we first had people like the D’Villaines come to our house. It was Aubert first, he wasn’t married yet, the Hansens: Anthony and Rosie Hansen who were starving young people in Burgundy. I think it was very entertaining for the Burgundians to see these strange creatures. My father had long hair which was not the fashion back then at all. Always walked bare feet. A lot of the French were amused and sometimes frightened. I’ve pretty fond memories of that part of my childhood actually. And we started the wine collection, we started putting wines in the cellar and in St. Romain is where my parents met the Mugnerets. My mom wasn’t into the wine yet…they loved the wine. Actually, incidentally Becky ( Wasserman) wasn't really allowed to go. Back then it was mostly my father going to taste. And once she went down to taste in the village and she hadn’t learned how to spit. And she came back up basically, clinging on the walls of the streets of St. Romain and her mother, who was quite stern and was living with us, gave her a lot of shit. Told her it was not proper for a lady to behave that way and things like that. And that’s basically Becky’s beginning in the world of wine: house wife, cooking, cleaning glasses, receiving all these people that were coming through. 

Brenna (Narration): Not long after their time in Saint Romain. Becky realized she needed to leave her marriage for the sake of herself and her children. It was her connections to the wine industry in Saint Romain that gave her the encouragement and independence to do so.

Paul Wasserman:  Well it was her first professional entrance into the world of barrels, not even wine yet. I think it was Jean Francois who approached her and said, “Hey you speak the language, do you want to see if you can sell some of my barrels  in the US?” So she started selling barrels. By then we were already living in Bouillon, and by then we had wonderful characters coming to visit us  Andre Chelachif, Selma Long, The Ponsi’s, The Letz from Eyrie vineyards. And Peter and I… My brother Peter and I were sent as teens to translate in the cellars and I remember taking a bus of American winemakers to Domaine de la Romanée Conti when I was maybe 13. Being handed a glass and told I could taste. Which was also a fond memory. 

::town bell ringing:: 

Paul Wasserman: I mean they are big memories, the hearing of the barrels. (imitates the noise of a barrel being rolled and pounded) I mean it was a constant soundtrack to my life. The smell… It's  a big part of my first memories.

Brenna: That explains why you’re into experimental jazz …you know…the banging on stuff…

::instrumentals::

3.4 François Frères

Brenna (Narration): For our next and final stop of the day, that’s exactly where we’re headed: The Tonnellerie François Frères… another absolutely definitive piece of Burgundian history and terroir. As we arrive, we’re greeted by our host, Max.

Max Gigandet: My name is Max Gigandet and I’m the general manager for François Frères.

Brenna (Narration): Max is cheerful, instantly likable, and a bit of a legend to winemakers around the world who use François Frères barrels. It’s my first time at a tonnellerie and we’re here for the full tour.

Max Gigandet: Yes, I think it’s easier to follow all of the different steps. So we use only oak… French oak, that we purchased from the French government. These trees are around 100 - 150 years, and when we buy wood, we can buy at the auction. So the idea is to get trees that grow slowly. All of our customers are looking for what they call tight grains.

Brenna (Narration): The tightness of the grain is defined by the tightness of the spacing of the tree's growth rings.

Max Gigandet: As you see, what we need to make the staves is only the bottom part of the tree – as soon as you’ve got branches, we can not use the wood to produce the staves. We will cut them, say 1 meter long, then we have to split the wood to produce the stave. When the staves are produced, after, we have to store them outside for what we call in French the “séchage”. In English, “seasoning” but in fact it is more like a maturation. We need the wood to be washed by the rain to eliminate all the bitterness and the sappienses. Also some mold that grows on the wood and change the component on the wood. And for François Frères we really believe about the natural seasoning. We are in Burgundy so we love to talk about terroir, as you do, we always say there is a micro-climate in Saint-Romain. It is what it is, but it works very well for the seasoning. In fact we have wind from the little valley, in winter we have some snow, sometimes fog, but the main thing also we are far away from any pollution. The wood is like a sponge, you want a clean environment here. 

So now we will go…

Brenna (Narration): After seasoning, the wood is brought into the workshop.

Max Gigandet: So, on the back we’ve got the first machine that we use to cut the end of the staves, to eliminate any defect that may happen during the seasoning, and then after we have a planer, a jointing machine. And also the main thing is the side to keep smooth, just to avoid any leakage, because when we make the barrels all the pieces of wood are assembled with hoops, and of course there is no glue, there is nothing, it’s only wood and the hoops, to keep them assembled.

Brenna (Narration): Customers can make several choices in order to customize their barrels including the size, shape, length of seasoning, tightness of grain, and of course, the toast.

Max Gigandet: So we can have a look to the toasting room…

::Sounds of hammers on wood and metal:: 

Max Gigandet: You know, so when the barrels are built like this we put the barrels on the fire. We keep a very high fire because we need to warm the wood. At this stage we also spray water on the outside and inside of the barrels. The water will help to smooth the wood, so the wood would be easier to bend… heat and water help for the bending. You can see we use all the off cuts of wood from the staves to make the fire. I told you, nothing is wasted…

::Sounds of sliding wood, metal, hammers::

Max Gigandet: So here we keep the fire for the toasting, you see the intensity is much lower. When we produce a light toast we will keep a low fire, and if we produce a heavy toast the intensity of the fire would be much higher.

Brenna (Narration): Typically the timing of the toast is the same, but the intensity of the fire changes.

Max Gigandet: Right now he is making, the customer requested, medium-light, if you want, because it’s not medium. He wants to be between medium and light so we call it “moyen/moins”

::Sounds of hammers on wood, light percussion music…::

Max Gigandet: Quality is very important, for us, but mostly for our clients, and consistency is the key. When you buy a barrel you expect to get the same quality year after year. The machine there, just make the chime and make the grove? How do you call that? The groove? 

Brenna: *agreeing*

Max Gigandet: Yeah okay. And also the bung hole here. And after the Coopers they put some  flour mixed with water inside the groove, just like when you cook a pie. At the beginning, we use temporary hoops, and then step by step we will put the final hoops on the barrels.

Brenna (Narration): The barrels are slowly formed as they rotate from station to station around the workshop.

::more barrel sounds, sawing, pounding of the hoops::

Max Gigandet: When the heads are on the barrels we have to check that there is no leakage. So, you can see we put some water inside the barrels to make sure there is no leakage.

::Sounds of hammers and light percussion::

Brenna (Narration): If any leaks are found, the barrel is repaired by replacing the entire faulty stave.

Max Gigandet: So all of the quality control is done step by step. This one is okay, so after we drain the water and let the barrel dry long enough, before to finish the project.

Brenna (Narration): Next, the temporary hoops are replaced with shiny new ones – so, more pounding.

::more pounding::

Max Gigandet: You can get galvanized hoops like these, or on request you can have pre-painted, you know, the black hoops.

Brenna (Narration): Finally, the barrel specifications and producer label are burned into the wood using a fancy laser, and the barrels are packed up and prepared to ship.

::laser sounds::

Max Gigandet: So this barrel is going to South Africa to the Domaine Hamilton Russell.

Brenna (Narration): These custom barrels are all made to order, so they do not sit in the factory for long before they’re shipped off to their new homes.

Max Gigandet: In fact, we try to avoid to store the barrel for too long and usually we load one container every day.

Brenna: Okay, wow.

::Musical transition…::

Brenna (Narration): Many wineries around the world use exclusively François Frères barrels… and of course they have many local fans as well including legendary domaines such as Domaine de la Romanée Conti, Coche Dury, Meo Camuzet and many others.

Max Gigandet: At the end, this is what our clients are looking for… all this detail, that make a barrel different. And I say, if you make wine in New Zealand or if you make wine in Australia, it’s quite different -  it could be sometimes the same variety but the expectations are not the same… they may have different needs. There is some changes, not huge changes. But uh, and for sure for us we have to listen what our customer are looking for. We like to evolve and do a smooth evolution just to match the wine made today.

Max Gigandet: You’ve got to weigh the new generation coming on board, and they like to do something a little different. So instead, to buy two year seasoned wood, they will ask for three year seasoned wood, lighter toast. In terms of capacity, years ago we were not producing that many big barrels and now we do produce more barrels like 500L, or things like this. I don’t want to say it’s a new trend, I think it’s just a smooth evolution. You know, maybe it could be with the global warming, they look for something a little different, and the touch of oak that could be also different. All these little things, we have to fine tune the recipe.

Brenna: Do you find that even within one producer range that certain terroirs absorb the same oak in different ways?

Max Gigandet: Always, yes - I’m convinced about that. We see this everyday. You know some Grand Cru in Burgundy are aged for 18 months in new wood, and the wood disappears.

Brenna: People always say that it’s that underlying, finesse that you get from the appropriate use of oak… and that’s from… like, how is the tannin structure different from what you’re getting?

Max Gigandet: I think that, I really believe that, it’s from the understanding of the winemakers to play with new and older wood and to do what they have to do. It is their own job… us, our job is really to supply a barrel which is consistent, year after year, and as I said before you have different options… about tannin structure, you can go for longer seasoning of wood, you will probably get finer tannins, if you also combine that with very tight grain, again, you will expect the much finer tannins than with real open grain… so it’s all these details that make the difference.

::Musical transition…::

Brenna (Narration): Artisanal coffee, cliffside picnics, and custom-made barrels may not be the first images that come to mind when you think about Burgundy, but we believe they are essential to understanding the heart of this place… Burgundy is the home of terroir–but it is also where the human and physical elements of the place have become the most seamless…

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3.5 Auxey Morons Night Cap

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::car driving on a gravel road::

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Brenna (Narration): At the end of another very long day we head to the outskirts of the village. Its pitch black outside, but we’re following directions from Matt earlier in the day –we take a turn onto a gravel side road, cross a small bridge, and drive into a grassy lawn where we park

::car door shuts, footsteps in grass::

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Brenna (Narration): Here we get out and turn on our flashlights in order to find and cross another small footbridge. The hidden house in front of us is Matt’s art studio, which doubles as a practice studio in the evenings for the local band the Auxey Morons… get it?

::Auxey Morons’s music plays, drums, harmonica, and base::

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Brenna (Narration): The band was started by Chris Santini, who plays guitar and lives and makes wine in Auxey Duresses… The band consists of a group of mostly ex-pats who have made their life here, and are all involved in the world of wine one way or another…

They play mostly rock and the blues…swapping out instruments and vocalists as they feel like it…We’re late, so practice has already begun…but there is a table full of pizza, and a dozen or so open bottles of wine … between songs we mess around with the mics and talk about the wines …At first it seems like a stark contrast from our aristocratic morning with the Comte Armand and Marquis D’Angerville…but everyone here is connected by the wines and their attachment to this place 

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Chis had also started the Auxey collective, a bit of a wine co-op ...and hub of a few rebellious winemakers politely shaking things up in Burgundy I think about the Wassermans who arrived in St Romain over 50 years ago…and their casual dinner party’s with the de Villain’s and the Mugnerets and Jean-Francois …

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…although we’re well off the beaten path of the Côte d’Or …we can’t help but feel like we’re right in the middle of something important …

[band practice outro]

OUTRO

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Thank you to our guests: Thomas Boulay, Guillaume D’Angerville, Frederic and Clothilde Lafarge, Matt McClune, Max Gigonas (jee-gone-day)  and Francoise Vannier…With commentary by Paul Wasserman, Jasper Morris and Daniel Johnnes, and the Auxey Morons.

This episode is made possible by our Season 2 partners: Becky Wasserman & Co, La Paulee, and Acker Wines…

Roadside Terroir is hosted and produced by me, Brenna Quigley

Recording and sound engineering by Nick Canepa

and original music and sound design by Jeff Alvarez

If you liked this episode, please share it and give us a review–it really does make a difference!

This season wouldn’t be possible without the support from all of you–Check out our website roadsideterroir.com to learn how you can stay in touch, and how to help support this season by donating, sponsoring, or becoming a Roadside Insider.

Thank you to Esa Eslami, Michael Sager, Ali Massie, Jerusha Frost, Julia Wiggin, and Peter Burrows, and everyone else who helped make this episode a reality.

Blooper Clip: 

Max Gigandet: It is also a service we can provide. You know, sometimes we have some guy out in the middle of Australia, and I mean, sometimes we have to shoot the guy, it is easier…

::everyone laughs::

END OF EPISODE 3