Eli Wallach is sitting in some office or another, which Cal enters. Cal says that Eli's not in any trouble; Cal just wants to get him home safe, and to do that he's gonna need Eli's name. Eli seniles around for a bit before giving the name "Bessie Biberman." Cal scrambles to write this down, but Eli's got another name for him: "Scott Trumbo." Cal's confused, but not nearly as confused as this addled old man, who's got another one for him: "Cole Lardner." Cal figures that a wallet might be better help to him than the human name game here, so he tells Eli that he's going to find a witness before he shakes the old man down for some ID; this way everything's above-board. Eli goes back to excitedly repeating "great deal" over and over again, and Cal leaves to find his witness. Once Cal has gone, Eli's enthusiasm gives way to a shaky and fearful sight, and I've gotta say -- despite how clichéd and "Cosby Show jazz musician grandpa" this storyline gets -- Eli Wallach is acting the hell out of this part.
Cal runs down Danny backstage, mentions the old guy, and explains that "Tars and Spars" is an old reference Sid Caesar used to make in his act. He then tells Danny the three names Eli gave: Bessie Biberman, Scott Trumbo, and Cole Lardner. Danny kind of snorts a laugh and explains that these aren't three full names, they're six last names, all of them belonging to members of the Hollywood Ten. As the audience at home draws all the necessary conclusions and begins mentally writing the rest of this storyline themselves, since it's pretty obvious now what's going on, Cal concludes that the old man is "playing" him, and Danny must agree, because he advises Cal to "let Security deal with him." Doesn't he realize that there's a lesson waiting to be learned?!
Speaking of which, Tom the Boy Grandpa is once again trying to educate his parents on the rich and significant History Of Comedy, this time getting to the era of the Talkies. Tom name-drops The Jazz Singer, and Mom seems to recognize that one (big Neil Diamond fan, eh Mrs. J?), but she can't get credit for it, because Tom's dropping anvils about how that movie was about a son whose father didn't approve of his show-business profession. Even Dad gets that one, and says so, calling Tom "Mark" in the process. Tom wearily corrects him, though if I were Tom and had parents who were functionally retarded Ohioans, I'd be happy my dad could form whole sentences without drooling. More History Channel crap about the studio and its "art deco fixtures" being bought by NBS and turned into a house for radio plays, then through the era of awkwardly named corporate-sponsored shows like The Colgate Comedy Hour and The Philco Comedy Hour from Studio 60. Tom does get synergy points by dropping some blacklist knowledge on his sandwich-boarded parents, who nod their vacant heads and daydream of tractor pulls and voting Republican.