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1
00:00:00,984 --> 00:00:02,986
DEVIL ON THE CAN--
2
00:00:02,986 --> 00:00:05,488
DEVIL ON THE CANVAS,
12 APPLE, TAKE 1.
3
00:00:05,989 --> 00:00:06,489
ACTION!
4
00:00:06,990 --> 00:00:08,491
I WILL DESTROY HIM!
5
00:00:08,491 --> 00:00:10,276
CUT! CUT! CUT! CUT!
6
00:00:10,276 --> 00:00:13,363
DEVIL ON THE CANVAS,
12 APPLE, TAKE 2.
7
00:00:13,363 --> 00:00:14,864
ACTION!
8
00:00:14,864 --> 00:00:16,366
I WILL DESTROY HIM!
9
00:00:16,366 --> 00:00:17,667
CUT! CUT!
10
00:00:19,119 --> 00:00:20,003
ROLLING!
11
00:00:20,003 --> 00:00:22,505
DEVIL ON THE CANVAS,
12 APPLE, TAKE 4.
12
00:00:23,006 --> 00:00:23,506
ACTION!
13
00:00:24,007 --> 00:00:26,009
I WILL DESTROY HIM!
14
00:00:26,509 --> 00:00:27,510
CUT! CUT! CUT!
15
00:00:27,510 --> 00:00:29,929
DEVIL ON THE CANVAS,
12 APPLE, TAKE 5.
16
00:00:29,929 --> 00:00:32,432
I WILL DESTROY HIM!
17
00:00:32,432 --> 00:00:33,933
12 APPLE, TAKE 6.
18
00:00:33,933 --> 00:00:35,935
I WILL DESTROY HIM!
19
00:00:35,935 --> 00:00:38,054
12 APPLE, TAKE 7.
20
00:00:38,054 --> 00:00:39,556
I WILL DESTROY HIM!
21
00:00:39,556 --> 00:00:41,057
12 BAKER, TAKE 1.
22
00:00:41,057 --> 00:00:45,061
I WILL DESTROY HIM!
23
00:00:45,061 --> 00:00:46,563
AAH!
24
00:00:48,565 --> 00:00:50,950
AAH!
25
00:00:50,950 --> 00:00:52,902
AAH!
26
00:00:52,902 --> 00:00:53,903
AAH!
27
00:00:53,903 --> 00:00:55,905
12 CHARLIE, TAKE 1.
28
00:00:55,905 --> 00:00:57,207
AAH!
AAH!
29
00:00:57,207 --> 00:00:59,042
AAH!
AAH!
30
00:00:59,042 --> 00:01:00,210
TAKE 2.
31
00:01:00,210 --> 00:01:02,629
AAH!
AAH!
32
00:01:03,129 --> 00:01:04,998
2...
33
00:01:04,998 --> 00:01:06,166
TAKE 7.
34
00:01:06,166 --> 00:01:08,885
AAH!
AAH!
35
00:01:08,885 --> 00:01:10,220
2...
36
00:01:10,220 --> 00:01:12,756
AAH!
AAH!
37
00:01:12,756 --> 00:01:14,391
AAH!
AAH!
38
00:01:14,391 --> 00:01:15,925
AAH!
AAH!
39
00:01:15,925 --> 00:01:18,178
AAH!
AAH!
40
00:01:18,178 --> 00:01:20,897
AAH!
41
00:01:21,000 --> 00:01:24,074
Subtitles downloaded from www.OpenSubtitles.org
42
00:01:43,253 --> 00:01:44,754
ORPHAN.
43
00:01:44,754 --> 00:01:46,256
DAME.
44
00:01:48,291 --> 00:01:49,759
FRONT DESK.
45
00:01:49,759 --> 00:01:51,261
HELLO, CHET?
46
00:01:51,261 --> 00:01:53,263
THIS IS BARTON FINK
IN ROOM 621.
47
00:01:53,263 --> 00:01:55,265
COULD YOU TRY
A NUMBER FOR ME
IN HOLLYWOOD?
48
00:01:55,265 --> 00:01:58,268
SLAUSON 6-4304.
49
00:01:58,268 --> 00:01:59,769
RIGHT AWAY, SIR.
50
00:02:01,271 --> 00:02:02,272
[RING]
51
00:02:02,272 --> 00:02:03,773
PICK IT UP.
PICK IT UP.
52
00:02:03,773 --> 00:02:04,774
HELLO.
53
00:02:04,774 --> 00:02:06,276
AUDREY, I NEED HELP.
54
00:02:06,276 --> 00:02:08,778
I KNOW I SHOULDN'T
BE CALLING YOU
LIKE THIS.
55
00:02:08,778 --> 00:02:11,281
I WOULDN'T HAVE
IF I COULD SEE
ANY ALTERNATIVE.
56
00:02:11,281 --> 00:02:13,783
I'M SORRY.
LISTEN, HOW ARE YOU?
57
00:02:13,783 --> 00:02:15,285
YOU DOING OKAY?
58
00:02:15,285 --> 00:02:16,786
WHO IS THIS?
59
00:02:16,786 --> 00:02:19,289
BARTON! I'M SORRY.
IT'S BARTON FINK.
60
00:02:19,289 --> 00:02:22,208
BARTON, I'M AFRAID
IT'S NOT A GOOD TIME.
61
00:02:22,208 --> 00:02:24,711
I'M SORRY. I JUST
FEEL LIKE I NEED--
62
00:02:24,711 --> 00:02:26,713
I KNOW
I SHOULDN'T ASK.
63
00:02:26,713 --> 00:02:29,716
I JUST NEED
SOME KIND OF HELP.
64
00:02:29,716 --> 00:02:32,218
I HAVE
A DEADLINE TOMORROW.
65
00:02:32,218 --> 00:02:33,720
ALL RIGHT, BARTON.
66
00:02:33,720 --> 00:02:35,722
I'LL SEE
IF I CAN SLIP AWAY.
67
00:02:35,722 --> 00:02:37,223
OH, IF YOU COULD--
68
00:02:37,223 --> 00:02:39,225
IF I CAN.
69
00:02:39,225 --> 00:02:41,227
HE--HE GETS JEALOUS.
70
00:02:41,227 --> 00:02:42,729
I NEED HELP, AUDREY.
71
00:02:42,729 --> 00:02:44,230
[MAYHEW SHOUTING]
72
00:02:44,230 --> 00:02:45,732
I'LL TRY TO SLIP OUT
73
00:02:45,732 --> 00:02:49,235
IF HE QUIETS DOWN,
PASSES OUT.
74
00:02:49,235 --> 00:02:51,738
I'M AFRAID HE THINKS...
75
00:02:51,738 --> 00:02:54,741
WELL, HE SAID YOU WERE
A BUFFOON, BARTON.
76
00:02:54,741 --> 00:02:55,742
UH-HUH.
77
00:02:55,742 --> 00:02:57,243
HE BECOMES IRRATIONAL.
78
00:02:57,243 --> 00:02:58,745
[SHOUTING]
79
00:02:58,745 --> 00:02:59,746
UH-HUH, UH-HUH.
80
00:02:59,746 --> 00:03:01,247
I'LL TRY
AND SLIP AWAY.
81
00:03:01,247 --> 00:03:02,999
[MAYHEW]
WHO IS THAT?
82
00:03:13,343 --> 00:03:14,677
[KNOCK ON DOOR]
83
00:03:20,016 --> 00:03:23,019
AUDREY, THANK YOU
FOR COMING.
84
00:03:23,520 --> 00:03:24,020
THANK YOU.
85
00:03:24,521 --> 00:03:25,021
HELLO, BARTON.
86
00:03:25,522 --> 00:03:27,023
I'M SORRY TO BE...
87
00:03:27,524 --> 00:03:30,026
SUCH A...SUCH A...
88
00:03:31,528 --> 00:03:32,028
THANK YOU.
89
00:03:32,028 --> 00:03:34,864
THAT'S ALL RIGHT,
BARTON.
90
00:03:34,864 --> 00:03:37,567
EVERYTHING'S
GOING TO BE ALL RIGHT.
91
00:03:37,567 --> 00:03:39,452
YES. THANK YOU.
92
00:03:39,452 --> 00:03:40,735
THANK YOU.
93
00:03:40,735 --> 00:03:43,204
YES. THANK YOU.
94
00:03:45,206 --> 00:03:46,540
HOW'S BILL?
95
00:03:46,540 --> 00:03:49,493
OH, HE'S, UH...
96
00:03:49,994 --> 00:03:50,995
HE DRIFTED OFF.
97
00:03:51,495 --> 00:03:53,998
HE'LL SLEEP
FOR A WHILE NOW.
98
00:03:55,499 --> 00:03:57,835
WHAT IS IT
YOU HAVE TO DO EXACTLY?
99
00:03:57,835 --> 00:04:02,306
WELL, I HAVE TO
COME UP WITH AN OUTLINE,
100
00:04:02,306 --> 00:04:04,308
I GUESS YOU CALL IT,
101
00:04:04,308 --> 00:04:07,311
THE WHOLE GODDAMN STORY,
SOUP TO NUTS, THREE ACTS,
102
00:04:07,311 --> 00:04:09,063
THE WHOLE GODDAMN--
103
00:04:09,063 --> 00:04:10,397
THAT'S ALL RIGHT,
BARTON.
104
00:04:10,397 --> 00:04:12,733
YOU DON'T HAVE TO
WRITE ACTUAL SCENES.
105
00:04:12,733 --> 00:04:16,687
NO, BUT THE WHOLE
GODDAMN...
106
00:04:18,189 --> 00:04:20,191
AUDREY...
107
00:04:20,191 --> 00:04:23,444
HAVE YOU EVER READ
ANY OF BILL'S
WRESTLING SCENARIOS?
108
00:04:23,444 --> 00:04:26,163
YES, I'M AFRAID
I HAVE.
109
00:04:26,163 --> 00:04:29,667
WHAT ARE THEY LIKE?
WHAT ARE THEY ABOUT?
110
00:04:30,167 --> 00:04:31,669
WELL...
111
00:04:31,669 --> 00:04:35,456
USUALLY THEY'RE
SIMPLE MORALITY TALES.
112
00:04:35,456 --> 00:04:39,376
THERE'S A GOOD WRESTLER
AND A BAD WRESTLER,
113
00:04:39,376 --> 00:04:41,378
WHOM HE CONFRONTS
AT THE END.
114
00:04:41,378 --> 00:04:43,881
IN BETWEEN,
THE GOOD WRESTLER
HAS A LOVE INTEREST
115
00:04:43,881 --> 00:04:46,884
OR A SMALL CHILD
HE HAS TO PROTECT.
116
00:04:46,884 --> 00:04:48,385
BILL WOULD USUALLY MAKE
THE GOOD WRESTLER
117
00:04:48,385 --> 00:04:50,888
A BACKWARDS TYPE
OR A CONVICT,
118
00:04:50,888 --> 00:04:54,308
AND SOMETIMES,
INSTEAD OF A WAIF,
119
00:04:54,308 --> 00:04:58,312
HE'D HAVE THE WRESTLER
PROTECTING AN IDIOT
MAN-CHILD.
120
00:04:58,312 --> 00:05:01,315
THE STUDIO
ALWAYS HATED THAT.
121
00:05:01,315 --> 00:05:03,818
SOME OF THE SCRIPTS
WERE SO...
122
00:05:03,818 --> 00:05:05,319
SPIRITED.
123
00:05:09,740 --> 00:05:13,744
BARTON, LOOK, IT'S
REALLY JUST A FORMULA.
124
00:05:13,744 --> 00:05:16,247
YOU DON'T HAVE TO TYPE
YOUR SOUL INTO IT.
125
00:05:16,247 --> 00:05:18,749
WE'LL INVENT SOME NAMES
AND A NEW SETTING.
126
00:05:18,749 --> 00:05:20,668
I'LL HELP YOU. IT WON'T
TAKE ANY TIME AT ALL.
127
00:05:20,668 --> 00:05:23,170
I DID IT FOR BILL
SO MANY TIMES.
128
00:05:23,170 --> 00:05:25,005
YOU DID WHAT
FOR BILL?
129
00:05:25,005 --> 00:05:28,175
WELL...THIS.
130
00:05:28,175 --> 00:05:31,345
YOU WROTE HIS SCRIPTS
FOR HIM?
131
00:05:34,265 --> 00:05:38,519
WELL, THE BASIC IDEAS
WERE FREQUENTLY HIS.
132
00:05:38,519 --> 00:05:42,356
YOU WROTE
BILL'S SCRIPTS?
133
00:05:42,356 --> 00:05:43,858
JESUS, YOU WROTE HIS...
134
00:05:43,858 --> 00:05:45,826
WELL, WHAT ABOUT
BEFORE THAT?
135
00:05:45,826 --> 00:05:46,827
BEFORE WHAT?
136
00:05:46,827 --> 00:05:49,830
BEFORE BILL CAME
TO HOLLYWOOD.
137
00:05:49,830 --> 00:05:52,833
BILL WAS ALWAYS
THE AUTHOR,
SO TO SPEAK.
138
00:05:52,833 --> 00:05:55,786
WHAT DO YOU MEAN,
"SO TO SPEAK"?
139
00:05:55,786 --> 00:05:59,790
AUDREY, HOW LONG
HAVE YOU BEEN HIS...
140
00:05:59,790 --> 00:06:01,091
SECRETARY?
141
00:06:01,091 --> 00:06:03,878
LET'S CONCENTRATE
ON OUR LITTLE PROJECT.
142
00:06:03,878 --> 00:06:06,347
I WANT TO KNOW HOW MANY
OF BILL'S BOOKS YOU WROTE!
143
00:06:06,847 --> 00:06:07,681
I WANT TO KNOW!
144
00:06:07,681 --> 00:06:10,134
BARTON, HONESTLY...
145
00:06:12,636 --> 00:06:14,471
ONLY THE LAST COUPLE.
146
00:06:14,939 --> 00:06:15,940
HAH!
147
00:06:15,940 --> 00:06:20,361
AND MY INPUT WAS MOSTLY
EDITORIAL, REALLY,
148
00:06:20,361 --> 00:06:21,862
AFTER HE HAD
BEEN DRINKING.
149
00:06:22,363 --> 00:06:23,147
I'LL BET.
150
00:06:23,480 --> 00:06:27,484
JESUS, "THE GRAND
PRODUCTIVE DAYS"!
151
00:06:27,484 --> 00:06:29,486
WHAT A GODDAMN PHONY.
152
00:06:29,486 --> 00:06:31,488
W.P. MAYHEW--
153
00:06:31,488 --> 00:06:33,824
WILLIAM GODDAMN PHONY
MAYHEW!
154
00:06:34,241 --> 00:06:35,626
ALL HIS GUFF
ABOUT ESCAPE!
155
00:06:36,126 --> 00:06:39,129
I'LL SAY HE ESCAPED!
156
00:06:40,631 --> 00:06:42,466
WE DON'T HAVE
MUCH TIME.
157
00:06:46,670 --> 00:06:49,173
IT'LL BE FINE.
158
00:06:49,173 --> 00:06:52,676
DON'T JUDGE HIM,
BARTON.
159
00:06:53,677 --> 00:06:57,181
DON'T CONDESCEND TO HIM.
160
00:06:57,181 --> 00:07:01,685
I HELP BILL MOST
BY UNDERSTANDING HIM,
161
00:07:01,685 --> 00:07:03,687
BY APPRECIATING HIM.
162
00:07:05,689 --> 00:07:09,193
WE ALL NEED
UNDERSTANDING,
BARTON--
163
00:07:09,193 --> 00:07:12,196
EVEN YOU TONIGHT.
164
00:07:12,196 --> 00:07:14,698
IT'S ALL
YOU REALLY NEED.
165
00:08:27,071 --> 00:08:30,074
[MOANING]
166
00:08:50,094 --> 00:08:53,597
[MOANING]
167
00:08:55,599 --> 00:08:56,717
[MOANING]
168
00:09:00,220 --> 00:09:02,222
[SCREAMING]
169
00:09:12,232 --> 00:09:14,701
[MOSQUITO BUZZES]
170
00:09:26,245 --> 00:09:28,247
[MOSQUITO BUZZES]
171
00:09:34,253 --> 00:09:35,588
[BUZZING STOPS]
172
00:10:25,221 --> 00:10:26,972
AAH!
173
00:10:26,972 --> 00:10:28,724
AAH!
174
00:10:28,724 --> 00:10:30,226
AAH!
175
00:10:30,226 --> 00:10:31,427
[DOOR OPENS]
176
00:10:31,427 --> 00:10:33,512
[FOOTSTEPS]
177
00:10:33,512 --> 00:10:34,513
[DOOR CLOSES]
178
00:10:34,513 --> 00:10:36,515
[FOOTSTEPS]
179
00:10:36,515 --> 00:10:37,900
[KNOCK ON DOOR]
180
00:10:37,900 --> 00:10:38,851
BARTON?
181
00:10:39,351 --> 00:10:40,352
[KNOCK KNOCK]
182
00:10:41,854 --> 00:10:43,355
[KNOCK KNOCK]
183
00:10:51,831 --> 00:10:53,499
BARTON,
ARE YOU ALL RIGHT?
184
00:10:53,499 --> 00:10:54,366
I'M FINE, THANKS.
185
00:10:54,867 --> 00:10:55,367
YOU SURE?
186
00:10:55,868 --> 00:10:56,669
NO! NO.
187
00:11:44,083 --> 00:11:45,084
[WHIMPERS]
188
00:11:48,087 --> 00:11:49,588
[WHIMPERS]
189
00:11:49,588 --> 00:11:51,590
[WHIMPERS]
190
00:12:37,353 --> 00:12:39,855
[CART BELL RINGS]
191
00:12:44,810 --> 00:12:48,314
[CART BELL RINGS]
192
00:13:10,169 --> 00:13:12,671
BARTON.
ARE YOU ALL RIGHT?
193
00:13:12,671 --> 00:13:14,673
NO.
CAN I COME IN?
194
00:13:14,673 --> 00:13:16,675
LET'S GO TO YOUR ROOM.
195
00:13:16,675 --> 00:13:19,678
CHARLIE,
I'M IN TROUBLE.
YOU GOT TO HELP ME.
196
00:13:19,678 --> 00:13:21,680
GET A GRIP
ON YOURSELF, BROTHER.
197
00:13:21,680 --> 00:13:24,683
WHATEVER THE PROBLEM IS,
WE CAN SORT IT OUT.
198
00:13:24,683 --> 00:13:27,186
CHARLIE, I'M IN
TROUBLE. SOMETHING
HORRIBLE'S HAPPENED.
199
00:13:27,186 --> 00:13:29,188
I GOT TO CALL
THE POLICE.
200
00:13:29,188 --> 00:13:32,191
WILL YOU STAY WITH ME
TILL THEY GET HERE?
201
00:13:32,191 --> 00:13:35,027
DON'T WORRY ABOUT IT.
WE CAN WORK IT OUT.
202
00:13:35,027 --> 00:13:37,446
BEFORE YOU GO IN...
I DIDN'T DO THIS.
203
00:13:37,446 --> 00:13:40,449
I DON'T KNOW
HOW IT HAPPENED, BUT...
204
00:13:40,449 --> 00:13:41,784
I DIDN'T.
205
00:13:41,784 --> 00:13:44,203
I WANT YOU
TO KNOW THAT.
206
00:13:50,876 --> 00:13:51,877
OKAY.
207
00:13:58,801 --> 00:13:59,601
OHHH!
208
00:14:04,773 --> 00:14:05,524
OH...
209
00:14:05,524 --> 00:14:09,528
[VOMITING]
210
00:14:12,531 --> 00:14:13,532
[TOILET FLUSHES]
211
00:14:13,532 --> 00:14:14,817
OH...
212
00:14:18,987 --> 00:14:21,740
JESUS, BARTON,
WHAT THE HELL IS THIS?
213
00:14:21,740 --> 00:14:23,125
WHAT ARE WE GOING TO DO?
214
00:14:23,125 --> 00:14:24,076
CALL THE POLICE.
215
00:14:24,076 --> 00:14:25,294
HOLD ON.
216
00:14:25,294 --> 00:14:26,712
I DIDN'T DO THIS.
217
00:14:26,712 --> 00:14:28,213
I DID NOT DO THIS!
218
00:14:28,213 --> 00:14:29,164
HOLD ON!
219
00:14:29,665 --> 00:14:30,666
STOP.
220
00:14:30,666 --> 00:14:32,885
TAKE A DEEP BREATH.
TELL ME WHAT HAPPENED.
221
00:14:33,385 --> 00:14:35,754
I PASSED OUT!
I DON'T KNOW!
WON'T THE POLICE--
222
00:14:35,754 --> 00:14:38,257
STOP WITH THE POLICE!
WAKE UP!
223
00:14:38,257 --> 00:14:40,259
THIS LOOKS BAD! THEY
HANG PEOPLE FOR THIS!
224
00:14:40,259 --> 00:14:43,479
BUT I DIDN'T DO IT.
DON'T YOU BELIEVE ME?
225
00:14:43,479 --> 00:14:46,598
I BELIEVE YOU!
I KNOW YOU!
WHY SHOULD THE POLICE?
226
00:14:48,600 --> 00:14:49,601
DID YOU...
227
00:14:51,103 --> 00:14:53,105
BARTON,
BETWEEN YOU AND ME,
228
00:14:53,105 --> 00:14:54,990
DID YOU HAVE
SEXUAL INTERCOURSE?
229
00:14:57,776 --> 00:14:59,661
JESUS,
THEY CAN TELL THAT.
230
00:14:59,661 --> 00:15:03,165
GOT TO BELIEVE ME!
231
00:15:03,165 --> 00:15:05,584
THEY GOT TO HAVE MERCY!
232
00:15:05,584 --> 00:15:07,086
YOU'RE IN PICTURES,
BARTON.
233
00:15:07,086 --> 00:15:09,588
EVEN IF THEY
CLEARED YOU EVENTUALLY,
234
00:15:09,588 --> 00:15:10,923
THIS WOULD RUIN YOU.
235
00:15:13,876 --> 00:15:14,376
Come on.
236
00:15:14,877 --> 00:15:16,378
Wait
in the bathroom.
237
00:15:32,194 --> 00:15:35,147
[THUMPING AND BANGING]
238
00:15:38,901 --> 00:15:42,788
[CHARLIE] OH, LORD.
OH, LORDY. OH, MY LORD.
239
00:15:42,788 --> 00:15:45,741
OH, MY LORD.
240
00:15:47,709 --> 00:15:48,710
OOH!
241
00:16:00,756 --> 00:16:02,424
YOU PASSED OUT.
242
00:16:04,927 --> 00:16:05,727
WHERE'S AUDREY?
243
00:16:05,727 --> 00:16:07,095
SHE'S DEAD, BARTON!
244
00:16:07,596 --> 00:16:09,848
SHE'S DEAD,
IF THAT WAS HER NAME!
245
00:16:09,848 --> 00:16:13,235
YOU GOT TO ACT
AS IF NOTHING
HAS HAPPENED.
246
00:16:13,235 --> 00:16:15,737
PUT THIS TOTALLY
OUT OF YOUR HEAD.
247
00:16:15,737 --> 00:16:18,740
YOUR PLAY IS TO GO
ABOUT YOUR BUSINESS
AS USUAL.
248
00:16:19,241 --> 00:16:22,327
GIVE US SOME TIME
TO SORT THIS OUT.
249
00:16:26,615 --> 00:16:28,116
[TICKING]
250
00:16:31,670 --> 00:16:34,039
BART! SO HAPPY
TO SEE YA!
251
00:16:35,507 --> 00:16:37,843
SIT. TALK.
RELAX FOR A MINUTE.
252
00:16:37,843 --> 00:16:39,344
THEN TALK.
253
00:16:39,344 --> 00:16:40,179
DRINK?
254
00:16:40,596 --> 00:16:42,097
UH...
255
00:16:42,097 --> 00:16:43,098
YEAH.
256
00:16:44,600 --> 00:16:45,384
RYE WHISKEY?
257
00:16:45,801 --> 00:16:47,803
BOY, YOU WRITERS.
WORK HARD, PLAY HARD.
258
00:16:48,303 --> 00:16:49,688
THAT'S WHAT I HEAR,
ANYWAY. LOU!
259
00:16:50,189 --> 00:16:54,193
ANYWAY, BEN GEISLER
TELLS ME THINGS
ARE GOING ALONG GREAT.
260
00:16:54,610 --> 00:16:56,612
SAYS WE GOT A REAL
WINNER IN THIS ONE.
261
00:16:57,112 --> 00:16:59,114
I'LL TELL YOU SOMETHING.
I'M COUNTING ON IT.
262
00:16:59,615 --> 00:17:02,317
I'VE TAKEN AN INTEREST.
NOTHING TO FEAR,
MIND YOU.
263
00:17:02,317 --> 00:17:04,319
HARDLY SEEMS NECESSARY
IN YOUR CASE--
264
00:17:04,319 --> 00:17:06,455
A WRITER, A STORYTELLER
OF YOUR STATURE.
265
00:17:06,955 --> 00:17:08,957
GIVE IT TO ME
IN BOLD STROKES, BART.
266
00:17:09,458 --> 00:17:10,959
GIVE ME
THE BROAD OUTLINES.
267
00:17:10,959 --> 00:17:13,295
I'M IN THE AUDIENCE,
THE LIGHTS GO DOWN,
268
00:17:13,295 --> 00:17:14,746
CAPITOL LOGO COMES UP.
269
00:17:14,746 --> 00:17:16,548
YOU'RE ON, HUH?
270
00:17:20,469 --> 00:17:21,970
YEAH.
271
00:17:21,970 --> 00:17:23,472
UH...OKAY.
272
00:17:23,472 --> 00:17:24,639
HUH?
273
00:17:26,591 --> 00:17:27,592
WELL, UH...
274
00:17:29,093 --> 00:17:30,428
WE...WE FADE IN...
275
00:17:30,428 --> 00:17:32,096
UH-HUH.
276
00:17:33,931 --> 00:17:37,185
IT'S--IT'S A TENEMENT
BUILDING ON THE LOWER
EAST SIDE.
277
00:17:37,185 --> 00:17:38,986
GREAT! HE'S POOR,
THIS WRESTLER.
278
00:17:39,487 --> 00:17:40,738
HE'S HAD TO
STRUGGLE, HUH?
279
00:17:42,607 --> 00:17:43,908
AND THEN...
280
00:17:43,908 --> 00:17:45,109
UH-HUH?
281
00:17:45,109 --> 00:17:46,994
WELL, UH...
282
00:17:49,497 --> 00:17:51,499
CAN I BE HONEST,
MR. LIPNICK?
283
00:17:51,499 --> 00:17:54,452
CAN YOU? JESUS,
YOU DAMN WELL BETTER BE!
284
00:17:54,952 --> 00:17:56,954
IF I WASN'T HONEST IN
MY BUSINESS DEALINGS--
285
00:17:56,954 --> 00:17:59,123
WELL, YOU CAN'T
ALWAYS BE HONEST,
286
00:17:59,123 --> 00:18:01,626
NOT WITH THE SHARKS
SWIMMING AROUND
THIS TOWN.
287
00:18:01,626 --> 00:18:03,127
IF I'D BEEN
TOTALLY HONEST,
288
00:18:03,127 --> 00:18:05,046
I WOULDN'T BE
NEAR THIS POOL
289
00:18:05,046 --> 00:18:06,597
UNLESS I WAS
CLEANING IT.
290
00:18:06,597 --> 00:18:09,350
BUT THAT'S NO REASON
FOR YOU NOT TO BE.
291
00:18:09,350 --> 00:18:11,719
HONEST, I MEAN.
NOT CLEANING THE POOL.
292
00:18:15,189 --> 00:18:16,190
OH.
293
00:18:17,692 --> 00:18:18,693
UH-HUH.
294
00:18:25,449 --> 00:18:27,368
TO BE HONEST, UH...
295
00:18:27,869 --> 00:18:28,870
I'M NEVER REALLY
COMFORTABLE
296
00:18:29,370 --> 00:18:31,122
DISCUSSING WORK
IN PROGRESS.
297
00:18:31,122 --> 00:18:33,958
I GOT IT ALL WORKED OUT
IN MY HEAD,
298
00:18:33,958 --> 00:18:37,461
BUT SOMETIMES,
IF YOU FORCE IT
INTO WORDS...
299
00:18:37,461 --> 00:18:39,964
PREMATURELY...
300
00:18:39,964 --> 00:18:41,465
UH, THE WRONG WORDS...
301
00:18:41,465 --> 00:18:42,967
WELL,
YOUR MEANING CHANGES,
302
00:18:42,967 --> 00:18:46,971
AND IT CHANGES
IN YOUR OWN MIND, AND
YOU NEVER GET IT BACK,
303
00:18:46,971 --> 00:18:50,808
SO I'D...
I'D JUST AS SOON
NOT TALK ABOUT IT.
304
00:18:56,430 --> 00:18:57,932
MR. FINK...
NEVER MIND ME.
305
00:18:58,432 --> 00:19:00,434
NEVER MIND
HOW LONG I'VE BEEN
IN PICTURES.
306
00:19:00,434 --> 00:19:02,436
MR. LIPNICK'S
BEEN IN PICTURES
307
00:19:02,436 --> 00:19:03,938
ABOUT SINCE
THEY WAS INVENTED.
308
00:19:03,938 --> 00:19:05,439
HE PRACTICALLY
INVENTED THEM.
309
00:19:05,439 --> 00:19:07,408
I THINK
IF HE'S INTERESTED
310
00:19:07,408 --> 00:19:09,911
IN WHAT
ONE OF HIS CONTRACT
EMPLOYEES IS DOING,
311
00:19:09,911 --> 00:19:12,780
THAT EMPLOYEE
SHOULD BE ABLE
TO TELL HIM
312
00:19:12,780 --> 00:19:16,784
IF HE WANTS TO STAY
AN EMPLOYEE.
313
00:19:16,784 --> 00:19:19,787
RIGHT NOW,
THE CONTENTS
OF YOUR HEAD
314
00:19:19,787 --> 00:19:22,290
ARE THE PROPERTY
OF CAPITOL PICTURES.
315
00:19:23,291 --> 00:19:25,293
IF I WAS YOU...
316
00:19:25,293 --> 00:19:26,794
I WOULD SPEAK UP.
317
00:19:26,794 --> 00:19:28,796
AND PRETTY
GODDAMN FAST.
318
00:19:31,933 --> 00:19:38,389
YOU LOUSY KIKE...
SON OF A BITCH.
319
00:19:38,389 --> 00:19:40,975
YOU'RE TELLING
THIS MAN--
THIS ARTIST--
320
00:19:40,975 --> 00:19:42,276
WHAT TO DO?
321
00:19:42,727 --> 00:19:43,728
MR. LIPNICK, I--
322
00:19:44,228 --> 00:19:45,529
HE CREATES
FOR A LIVING!
323
00:19:45,529 --> 00:19:48,566
THANK HIM,
YOU SON OF A BITCH,
OR YOU'RE FIRED!
324
00:19:48,566 --> 00:19:51,402
MR. LIPNICK, THAT'S
REALLY NOT NECESSARY.
325
00:19:51,402 --> 00:19:53,788
GET DOWN
ON YOUR KNEES,
YOU SON OF A BITCH!
326
00:19:53,788 --> 00:19:55,122
KISS THIS
MAN'S FEET!
327
00:19:55,573 --> 00:19:57,375
MR. LIPNICK, PLEASE.
328
00:19:57,375 --> 00:19:58,709
KISS THIS MAN'S FEET!
329
00:19:59,160 --> 00:20:00,411
[DOG BARKING]
330
00:20:04,215 --> 00:20:06,667
GET OUT OF HERE!
YOU UNDERSTAND ME?
331
00:20:06,667 --> 00:20:11,222
YOU'RE OUT OF HERE.
YOU'RE FIRED.
GET OUT OF MY SIGHT.
332
00:20:18,980 --> 00:20:19,730
I--
333
00:20:20,097 --> 00:20:21,098
I APOLOGIZE, BARTON.
334
00:20:21,399 --> 00:20:23,567
NO. MR. BREEZE ACTUALLY
HAS BEEN A GREAT HELP.
335
00:20:23,851 --> 00:20:27,154
YOU DON'T HAVE TO
COVER FOR HIM.
THAT'S VERY NOBLE.
336
00:20:27,154 --> 00:20:30,024
I'D FEEL MUCH BETTER
IF YOU'D JUST RECONSIDER.
337
00:20:30,024 --> 00:20:32,443
IF THAT SON OF A BITCH
WON'T APOLOGIZE TO YOU,
338
00:20:32,944 --> 00:20:34,829
THEN GODDAMN IT,
I WILL.
339
00:20:34,829 --> 00:20:37,331
I RESPECT YOUR ARTISTRY
AND YOUR METHODS.
340
00:20:37,331 --> 00:20:38,616
IF YOU CAN'T
FILL US IN YET,
341
00:20:38,616 --> 00:20:43,004
HELL, WE SHOULD BE
KISSING YOUR FEET
FOR YOUR FINE EFFORTS.
342
00:20:44,505 --> 00:20:45,289
YOU KNOW...
343
00:20:49,176 --> 00:20:52,129
IN THE OLD COUNTRY,
WE WERE TAUGHT
AS YOUNG CHILDREN
344
00:20:52,630 --> 00:20:55,132
THAT THERE'S NO SHAME
IN SUPPLICATING YOURSELF
345
00:20:55,132 --> 00:20:56,634
WHEN YOU
RESPECT SOMEONE.
346
00:20:56,634 --> 00:20:58,886
ON BEHALF
OF CAPITOL PICTURES,
347
00:20:58,886 --> 00:21:02,723
THE ADMINISTRATION,
AND ALL OF
THE STOCKHOLDERS,
348
00:21:02,723 --> 00:21:04,725
PLEASE ACCEPT THIS
349
00:21:04,725 --> 00:21:07,979
AS A SYMBOL OF OUR
APOLOGY AND RESPECT.
350
00:21:23,577 --> 00:21:25,079
[KNOCK ON DOOR]
351
00:21:35,256 --> 00:21:37,258
BARTON, CAN I COME IN?
352
00:21:49,987 --> 00:21:52,907
JESUS...YOU'RE LEAVING?
353
00:21:52,907 --> 00:21:56,160
HAVE TO, OLD-TIMER,
JUST FOR A LITTLE WHILE.
354
00:21:56,160 --> 00:21:57,995
JESUS.
355
00:21:57,995 --> 00:21:58,996
CHARLIE, I--
356
00:21:58,996 --> 00:22:00,948
EVERYTHING'S OKAY,
BELIEVE ME.
357
00:22:00,948 --> 00:22:02,950
I KNOW IT'S ROUGH
MENTALLY,
358
00:22:02,950 --> 00:22:05,286
BUT EVERYTHING'S
BEEN TAKEN CARE OF.
359
00:22:05,286 --> 00:22:08,205
CHARLIE, I GOT
NO ONE ELSE HERE.
360
00:22:08,205 --> 00:22:13,210
YOU'RE THE ONLY PERSON
I KNOW IN LOS ANGELES
361
00:22:13,210 --> 00:22:16,714
THAT I...
THAT I CAN TALK TO.
362
00:22:24,355 --> 00:22:25,689
I FEEL LIKE I'M...
363
00:22:26,190 --> 00:22:29,193
LIKE I'M LOSING MY MIND,
LIKE I'M GOING CRAZY.
364
00:22:29,693 --> 00:22:31,695
I DON'T KNOW WHAT TO DO.
365
00:22:32,196 --> 00:22:34,982
I DIDN'T DO IT, BELIEVE ME.
366
00:22:34,982 --> 00:22:36,784
I--I'M SURE OF THAT,
CHARLIE.
367
00:22:37,284 --> 00:22:39,787
YOU GOT TO GET
A GRIP ON, BROTHER.
368
00:22:40,287 --> 00:22:42,790
YOU GOT TO CARRY ON
TILL I GET BACK.
369
00:22:42,790 --> 00:22:45,793
TRY AND STAY HERE.
DON'T TALK TO ANYONE.
370
00:22:45,793 --> 00:22:48,212
WE GOT
TO KEEP OUR HEADS,
371
00:22:48,212 --> 00:22:50,047
AND WE'LL FIGURE IT OUT.
372
00:22:50,047 --> 00:22:50,915
OKAY, BUT--
373
00:22:50,915 --> 00:22:51,916
DON'T ARGUE.
374
00:22:51,916 --> 00:22:55,636
YOU ASKED ME
TO BELIEVE YOU AND I DO.
375
00:22:55,636 --> 00:22:56,921
NOW, DON'T ARGUE
WITH ME.
376
00:22:56,921 --> 00:23:01,725
LOOK, PAL, CAN YOU
DO SOMETHING FOR ME?
377
00:23:01,725 --> 00:23:04,395
KEEP THAT FOR ME
TILL I GET BACK.
378
00:23:04,395 --> 00:23:06,397
IT'S JUST A LOT
OF PERSONAL STUFF,
379
00:23:06,397 --> 00:23:09,400
BUT I DON'T WANT
TO DRAG IT WITH ME.
380
00:23:09,400 --> 00:23:10,734
FUNNY, HUH?
381
00:23:10,734 --> 00:23:13,654
WHEN EVERYTHING
THAT'S IMPORTANT TO A GUY,
382
00:23:14,155 --> 00:23:16,657
EVERYTHING HE WANTS TO KEEP
FROM A LIFETIME,
383
00:23:17,158 --> 00:23:21,662
AND HE CAN FIT IT ALL
INTO A LITTLE BOX LIKE THAT.
384
00:23:22,163 --> 00:23:24,165
I GUESS...
385
00:23:24,165 --> 00:23:26,667
I GUESS
IT'S PRETTY PATHETIC.
386
00:23:26,667 --> 00:23:28,669
IT'S MORE
THAN I'VE GOT.
387
00:23:30,171 --> 00:23:31,422
WELL, KEEP IT FOR ME.
388
00:23:31,422 --> 00:23:33,207
MAYBE IT'LL BRING YOU
GOOD LUCK.
389
00:23:33,707 --> 00:23:35,209
IT'LL HELP YOU
FINISH YOUR SCRIPT.
390
00:23:35,709 --> 00:23:37,711
YOU'LL THINK ABOUT ME.
MAKE ME YOUR WRESTLER.
391
00:23:38,212 --> 00:23:39,713
THEN YOU'LL LICK THAT STORY.
392
00:23:40,214 --> 00:23:41,215
THANKS, CHARLIE.
393
00:23:41,215 --> 00:23:42,716
YEAH, YEAH, SURE.
394
00:23:42,716 --> 00:23:45,719
I'LL SEE YOU SOON, FRIEND.
YOU'LL BE FINE.
395
00:23:45,719 --> 00:23:47,221
AND YOU'LL BE BACK?
396
00:23:47,221 --> 00:23:49,223
DON'T WORRY
ABOUT THAT,COMPADRE.
397
00:23:49,223 --> 00:23:50,724
I'LL BE BACK.
398
00:25:16,860 --> 00:25:20,563
[DOG BARKS]
399
00:26:22,542 --> 00:26:24,544
[TELEPHONE RINGS]
400
00:26:27,547 --> 00:26:28,798
[RING]
401
00:26:48,151 --> 00:26:50,153
YOU READ
THE BIBLE, PETE?
402
00:26:52,655 --> 00:26:54,157
HOLY BIBLE?
403
00:26:56,659 --> 00:26:57,660
YEAH.
404
00:26:59,162 --> 00:27:00,663
YEAH, I THINK SO.
405
00:27:02,165 --> 00:27:04,167
ANYWAY,
I'VE HEARD ABOUT IT.
406
00:27:18,564 --> 00:27:19,565
FINK?
407
00:27:19,565 --> 00:27:21,067
YEAH.
408
00:27:21,067 --> 00:27:22,568
DETECTIVE MASTRIONOTTI.
409
00:27:22,568 --> 00:27:24,437
DETECTIVE DEUTSCH.
410
00:27:24,437 --> 00:27:25,905
L.A.P.D.
411
00:27:25,905 --> 00:27:27,240
UH-HUH.
412
00:27:27,240 --> 00:27:29,659
GOT SOME QUESTIONS
WE WANT TO ASK YOU.
413
00:27:29,659 --> 00:27:32,662
JUST ROUTINE.
SIT DOWN.
414
00:27:32,662 --> 00:27:34,914
WHAT DO YOU DO,
FINK?
415
00:27:36,699 --> 00:27:38,201
I--I WRITE.
416
00:27:38,201 --> 00:27:40,203
OH, YEAH?
WHAT KIND OF WRITING?
417
00:27:40,203 --> 00:27:43,005
AS A MATTER OF FACT,
I WRITE FOR THE PICTURES.
418
00:27:43,005 --> 00:27:44,340
BIG FUCKING DEAL.
419
00:27:44,340 --> 00:27:46,626
SHOULD MY PARTNER
KISS YOUR ASS?
420
00:27:46,626 --> 00:27:47,927
I DIDN'T MEAN TO SOUND--
421
00:27:48,427 --> 00:27:49,428
WHAT DID YOU MEAN?
422
00:27:49,929 --> 00:27:52,215
I GOT RESPECT
FOR WORKING GUYS LIKE YOU.
423
00:27:52,215 --> 00:27:54,133
JESUS, AIN'T THAT
A LOAD OFF.
424
00:27:54,634 --> 00:27:55,635
YOU LIVE IN 621?
425
00:27:56,135 --> 00:27:57,136
YEAH.
426
00:27:57,136 --> 00:27:58,020
HOW LONG?
427
00:27:58,020 --> 00:28:00,022
A WEEK.
EIGHT, NINE DAYS.
428
00:28:00,022 --> 00:28:01,357
THIS MULTIPLE
CHOICE?
429
00:28:01,357 --> 00:28:03,559
YOU KNOW THIS SLOB?
430
00:28:12,785 --> 00:28:15,788
YEAH, HE LIVES
NEXT DOOR TO ME.
431
00:28:15,788 --> 00:28:17,290
THAT'S RIGHT, FINK.
432
00:28:17,290 --> 00:28:19,792
HE LIVES NEXT DOOR
TO YOU.
433
00:28:20,293 --> 00:28:22,295
YOU EVER TALK
TO HIM?
434
00:28:22,795 --> 00:28:23,796
ONCE OR TWICE.
435
00:28:23,796 --> 00:28:26,799
HIS NAME
IS CHARLIE MEADOWS.
436
00:28:26,799 --> 00:28:28,668
YEAH, AND I'M
BUCK ROGERS.
437
00:28:28,668 --> 00:28:31,170
HIS NAME'S MUNDT.
KARL MUNDT.
438
00:28:31,170 --> 00:28:33,005
ALSO KNOWN
AS MADMAN MUNDT.
439
00:28:33,005 --> 00:28:35,424
A LITTLE FUNNY
IN THE HEAD.
440
00:28:35,424 --> 00:28:36,926
WHAT DID HE--
441
00:28:36,926 --> 00:28:39,929
HE LIKES TO
VENTILATE PEOPLE
WITH A SHOTGUN
442
00:28:39,929 --> 00:28:41,430
AND CUT
THEIR HEADS OFF.
443
00:28:41,931 --> 00:28:42,932
YEAH, HE'S FUNNY
THAT WAY.
444
00:28:43,432 --> 00:28:45,434
STARTED
IN KANSAS CITY.
COUPLE OF HOUSEWIVES.
445
00:28:45,434 --> 00:28:47,903
WE GOT THE SAME M.O.
IN LOS FELIZ.
446
00:28:47,903 --> 00:28:49,905
DOCTOR. EAR, NOSE,
AND THROAT MAN.
447
00:28:49,905 --> 00:28:51,407
ALL OF WHICH
IS MISSING.
448
00:28:51,407 --> 00:28:52,908
WELL, SOME THROAT
WAS THERE.
449
00:28:52,908 --> 00:28:54,410
PHYSICIAN,
HEAL THYSELF.
450
00:28:54,910 --> 00:28:56,912
GOOD LUCK WITH
NO FUCKING HEAD.
451
00:28:56,912 --> 00:28:59,248
HOLLYWOOD PRECINCT
FINDS ANOTHER STIFF
YESTERDAY
452
00:28:59,248 --> 00:29:00,666
NOT TOO FAR
FROM HERE.
453
00:29:00,666 --> 00:29:03,419
THIS ONE'S
BETTER-LOOKING
THAN THE DOC.
454
00:29:03,419 --> 00:29:05,755
FEMALE CAUCASIAN,
ABOUT 30 YEARS OLD,
455
00:29:05,755 --> 00:29:07,256
NICE TITS, NO HEAD.
456
00:29:07,256 --> 00:29:09,759
EVER SEE MUNDT WITH ANYONE
FITS THAT DESCRIPTION?
457
00:29:09,759 --> 00:29:13,045
BUT, YOU KNOW, WITH
THE HEAD STILL ON.
458
00:29:14,380 --> 00:29:17,383
NO, I NEVER SAW HIM
WITH ANYONE ELSE.
459
00:29:17,383 --> 00:29:20,386
SO YOU DID
TALK TO MUNDT.
WHAT ABOUT?
460
00:29:20,386 --> 00:29:21,887
NOTHING, REALLY.
461
00:29:21,887 --> 00:29:24,774
HE SAID HE WAS IN
THE INSURANCE BUSINESS.
462
00:29:24,774 --> 00:29:26,726
YEAH, AND HE'S
BUCK ROGERS.
463
00:29:27,226 --> 00:29:29,729
NO REPUTABLE COMPANY
WOULD HIRE A GUY
LIKE THAT.
464
00:29:29,729 --> 00:29:31,063
THAT'S WHAT HE SAID.
465
00:29:31,063 --> 00:29:32,398
WHAT ELSE?
466
00:29:34,900 --> 00:29:37,203
I'M TRYING TO THINK.
467
00:29:37,203 --> 00:29:39,955
NOTHING, REALLY. HE...
468
00:29:40,456 --> 00:29:44,960
HE SAID HE LIKED
JACK OAKIE PICTURES.
469
00:29:44,960 --> 00:29:50,416
YOU KNOW, ORDINARILY
WE SAY ANYTHING
YOU MIGHT REMEMBER
470
00:29:50,416 --> 00:29:51,917
COULD BE HELPFUL,
471
00:29:51,917 --> 00:29:54,920
BUT I'LL BE FRANK
WITH YOU, FINK.
472
00:29:54,920 --> 00:29:56,422
THAT IS NOT HELPFUL.
473
00:29:56,922 --> 00:29:59,675
NOTICE HOW
HE'S NOT WRITING IT DOWN?
474
00:29:59,675 --> 00:30:02,144
FINK.
475
00:30:02,144 --> 00:30:04,146
THAT'S A...
476
00:30:04,647 --> 00:30:06,515
A JEWISH NAME,
ISN'T IT?
477
00:30:06,515 --> 00:30:07,817
YEAH.
478
00:30:07,817 --> 00:30:09,735
YEAH.
479
00:30:09,735 --> 00:30:12,738
I DIDN'T THINK THIS
DUMP WAS RESTRICTED.
480
00:30:12,738 --> 00:30:15,408
MUNDT
HAS DISAPPEARED.
481
00:30:15,408 --> 00:30:17,693
I DON'T THINK
HE'LL BE BACK,
482
00:30:18,194 --> 00:30:21,364
BUT GIVE ME A CALL
IF YOU SEE HIM...
483
00:30:23,582 --> 00:30:27,253
OR IF YOU REMEMBER
SOMETHING THAT ISN'T
TOTALLY IDIOTIC.
484
00:30:57,366 --> 00:30:59,869
[THUMP THUMP THUMP
THUMP THUMP]
485
00:31:46,582 --> 00:31:48,584
[TELEPHONE RINGS]
486
00:31:51,587 --> 00:31:53,589
[RING]
487
00:31:57,092 --> 00:31:58,878
[RING]
488
00:32:02,181 --> 00:32:03,682
[RING]
489
00:32:06,802 --> 00:32:08,304
[MUFFLED RING]
490
00:32:11,307 --> 00:32:12,308
[MUFFLED RING]
491
00:32:12,808 --> 00:32:13,809
"FADE IN.
492
00:32:14,310 --> 00:32:20,699
"A YOUNG HUSSY
OPENS THE DOOR...
493
00:32:20,699 --> 00:32:24,703
"TO THE BURLYMAN'S...
494
00:32:24,703 --> 00:32:25,704
"APARTMENT.
495
00:32:25,704 --> 00:32:28,207
"IF YOU WERE A MAN,
496
00:32:28,207 --> 00:32:32,328
"A REAL MAN,
497
00:32:32,461 --> 00:32:34,246
YOU'D SLAP ME."
498
00:32:35,297 --> 00:32:39,802
"I PUT MY MARK
ON YOU FIRST...
499
00:32:39,802 --> 00:32:43,806
IN...DELIBLY."
500
00:32:53,816 --> 00:32:55,818
"BOARDINGHOUSE,
501
00:32:55,818 --> 00:32:57,186
"PAINTED WOMEN,
502
00:32:57,186 --> 00:32:59,188
AND THE BURLYMAN..."
503
00:32:59,188 --> 00:33:00,689
"WHY'D YOU ARREST HIM?"
504
00:33:00,689 --> 00:33:04,693
"WITH ONE LIGHTNING MOVE
WITH HIS MIGHTY ARMS,
505
00:33:04,693 --> 00:33:05,694
THE BURLYMAN..."
506
00:33:06,195 --> 00:33:07,196
"SHE'S A GOOD WOMAN..."
507
00:33:07,696 --> 00:33:12,201
"I DON'T CARE
WHAT PEOPLE SAY..."
508
00:33:12,201 --> 00:33:16,205
"SO, BURLYMAN, WE HAVE TO
DEDUCT THOSE EXPENSES
509
00:33:16,205 --> 00:33:18,207
FROM YOUR PERSONAL..."
510
00:33:18,207 --> 00:33:22,177
"DON'T YOU CARE FOR ME
AFTER ALL THESE YEARS?"
511
00:33:22,177 --> 00:33:24,680
HOLD THE LINE, SIR.
I HAVE YOUR CALL.
512
00:33:24,680 --> 00:33:27,683
HELLO, OPERATOR!
I CAN'T--
513
00:33:28,183 --> 00:33:29,685
OH, GOD.
514
00:33:32,720 --> 00:33:34,221
AHEM. HELLO?
515
00:33:34,221 --> 00:33:35,723
GARLAND, IT'S ME.
516
00:33:35,723 --> 00:33:36,724
BARTON?
517
00:33:37,224 --> 00:33:38,726
WH-WHAT TIME IS IT?
518
00:33:39,226 --> 00:33:40,227
ARE YOU ALL RIGHT?
519
00:33:40,728 --> 00:33:41,729
YEAH, I'M--I'M FINE.
520
00:33:42,229 --> 00:33:44,231
I HAVE TO TALK
TO YOU, GARLAND.
521
00:33:44,732 --> 00:33:45,733
I'M CALLING
LONG DISTANCE.
522
00:33:46,233 --> 00:33:48,235
WHAT IS IT, BARTON?
ARE YOU OKAY?
523
00:33:48,736 --> 00:33:49,737
YEAH, I'M FINE,
GARLAND,
524
00:33:50,237 --> 00:33:51,238
BUT WE HAVE TO TALK.
525
00:33:51,739 --> 00:33:53,240
IT'S ABOUT
WHAT I'M WRITING.
526
00:33:53,741 --> 00:33:55,242
I THINK...
527
00:33:55,242 --> 00:33:56,744
IT'S REALLY...
528
00:33:58,245 --> 00:33:59,747
I THINK
IT'S REALLY BIG.
529
00:34:00,247 --> 00:34:01,749
WHAT DO YOU MEAN,
BARTON?
530
00:34:01,749 --> 00:34:04,251
NOT BIG
IN THE SENSE OF LARGE,
531
00:34:04,752 --> 00:34:05,753
ALTHOUGH IT'S THAT, TOO.
532
00:34:06,253 --> 00:34:07,755
I--I MEAN IMPORTANT.
533
00:34:07,755 --> 00:34:10,758
THIS MAY BE
THE MOST IMPORTANT WORK
534
00:34:10,758 --> 00:34:12,259
I'VE EVER DONE.
535
00:34:12,259 --> 00:34:14,762
BARTON,
IS EVERYTHING OKAY?
536
00:34:14,762 --> 00:34:17,264
YOU SOUND A LITTLE, UM...
537
00:34:17,264 --> 00:34:19,767
SOUND A LITTLE WHAT?
538
00:34:19,767 --> 00:34:21,769
YOU SOUND A LITTLE, UM...
539
00:34:21,769 --> 00:34:23,771
THANKS, GARLAND.
540
00:34:23,771 --> 00:34:26,273
THANKS FOR
ALL THE ENCOURAGEMENT.
541
00:34:28,776 --> 00:34:30,277
NITWIT.
542
00:34:35,199 --> 00:34:37,701
[TYPEWRITER CLACKING]
543
00:35:02,976 --> 00:35:05,979
[WATER RUNNING]
544
00:35:09,316 --> 00:35:12,286
[BIG BAND MUSIC PLAYS]
545
00:35:34,258 --> 00:35:35,259
WHOO!
546
00:35:35,259 --> 00:35:36,760
YOU'RE CUTE.
547
00:36:04,037 --> 00:36:06,540
EXCUSE ME, BUDDY.
MIND IF I CUT IN?
548
00:36:06,540 --> 00:36:09,676
THIS IS MY DANCE, SAILOR.
549
00:36:09,676 --> 00:36:13,130
HEY, COME ON, BUDDY.
I'M SHIPPING OUT
TOMORROW.
550
00:36:13,130 --> 00:36:15,382
I'M A WRITER
551
00:36:15,382 --> 00:36:18,218
CELEBRATING THE COMPLETION
OF SOMETHING GOOD.
552
00:36:18,218 --> 00:36:20,721
DO YOU UNDERSTAND THAT,
SAILOR?
553
00:36:20,721 --> 00:36:22,522
BEAT IT, CREEP.
554
00:36:22,522 --> 00:36:24,808
COME ON, BUDDY, GIVE
THE NAVY A DANCE.
555
00:36:25,309 --> 00:36:26,860
LET SOMEBODY ELSE
SPIN THE DAME.
556
00:36:26,860 --> 00:36:28,562
STEP ASIDE, FOUR EYES!
557
00:36:28,562 --> 00:36:30,147
4-F, TAKE A HIKE!
558
00:36:30,147 --> 00:36:32,199
GO SIT ON A TOMATO.
559
00:36:32,199 --> 00:36:35,319
I'M A WRITER,
YOU MONSTERS!
560
00:36:35,319 --> 00:36:36,320
I CREATE!
561
00:36:36,320 --> 00:36:38,322
I CREATE FOR A LIVING!
562
00:36:38,322 --> 00:36:40,324
I'M A CREATOR!
563
00:36:40,324 --> 00:36:42,125
I AM A CREATOR!
564
00:36:42,125 --> 00:36:43,043
SCREWY!
565
00:36:43,043 --> 00:36:45,879
THIS IS MY UNIFORM.
566
00:36:45,879 --> 00:36:48,582
THIS IS HOW I SERVE
THE COMMON MAN!
567
00:36:48,582 --> 00:36:50,584
THIS IS WHERE I--
568
00:36:51,885 --> 00:36:53,553
GET 'EM, BOYS!
569
00:37:27,871 --> 00:37:30,207
[VOICES IN BACKGROUND]
570
00:37:33,126 --> 00:37:34,628
"HE LEFT THIS MORNING.
571
00:37:34,628 --> 00:37:37,631
"SAID HE HAD
A JOB TO DO.
572
00:37:37,631 --> 00:37:40,634
"THERE WAS SOMETHING
IN HIS EYES,
573
00:37:40,634 --> 00:37:42,469
"SOMETHING NEW.
574
00:37:42,469 --> 00:37:45,939
MOTHER--WHAT'S
TO BECOME OF HIM?"
575
00:37:47,441 --> 00:37:48,942
"FATHER--
576
00:37:48,942 --> 00:37:52,446
"WE'LL BE HEARING
FROM THAT CRAZY WRESTLER,
577
00:37:52,446 --> 00:37:55,449
"AND I DON'T MEAN
A POSTCARD.
578
00:37:55,449 --> 00:37:57,451
"FADE OUT.
579
00:37:57,451 --> 00:37:58,952
THE END."
580
00:38:00,454 --> 00:38:02,456
I THOUGHT YOU SAID
YOU WERE A WRITER.
581
00:38:02,456 --> 00:38:05,959
I DON'T KNOW, DUKE.
I KIND OF LIKED IT.
582
00:38:05,959 --> 00:38:08,462
KEEP YOUR FILTHY EYES
OFF OF THAT.
583
00:38:09,880 --> 00:38:12,132
YOU MADE
THE MORNING PAPERS, FINK.
584
00:38:12,132 --> 00:38:14,501
SECOND ONE OF
YOUR FRIENDS TO DIE.
585
00:38:14,501 --> 00:38:17,004
YOU DO GET AROUND,
DON'T YOU?
586
00:38:17,004 --> 00:38:19,806
YOU DIDN'T TELL US
YOU KNEW THE DAME.
587
00:38:19,806 --> 00:38:22,809
SIXTH FLOOR
TOO HIGH FOR YOU, FINK?
588
00:38:22,809 --> 00:38:24,311
GIVE YOU
NOSEBLEEDS?
589
00:38:25,312 --> 00:38:27,314
JUST TELL ME ONE THING.
590
00:38:27,314 --> 00:38:29,316
WHERE'D YOU PUT THE HEADS?
591
00:38:29,316 --> 00:38:31,318
CHARLIE.
592
00:38:31,318 --> 00:38:33,320
CHARLIE'S BACK.
593
00:38:33,320 --> 00:38:34,821
NO KIDDING, BRIGHT BOY.
594
00:38:34,821 --> 00:38:37,324
WE SMELLED MUNDT
ALL OVER THIS.
595
00:38:37,324 --> 00:38:39,242
WAS HE THE IDEA MAN?
596
00:38:39,242 --> 00:38:40,744
TELL US WHERE
THE HEADS ARE.
597
00:38:40,744 --> 00:38:42,612
MAYBE THEY'LL GO
EASY ON YOU.
598
00:38:42,612 --> 00:38:44,114
ONLY
FRY YOU ONCE.
599
00:38:44,114 --> 00:38:46,033
COME BACK LATER.
IT'S TOO HOT.
600
00:38:46,033 --> 00:38:47,334
MY HEAD'S KILLING ME.
601
00:38:47,334 --> 00:38:49,202
ALL RIGHT,
FORGET THE HEADS.
602
00:38:49,703 --> 00:38:50,704
WHERE'S MUNDT, FINK?
603
00:38:50,704 --> 00:38:52,205
HE TEACH YOU
HOW TO DO IT?
604
00:38:52,205 --> 00:38:54,041
YOU TWO HAVE SOME
SICK SEX THING?
605
00:38:54,041 --> 00:38:55,008
SEX?
606
00:38:55,509 --> 00:38:56,510
HE'S A MAN.
607
00:38:57,010 --> 00:38:58,795
WE WRESTLED.
608
00:39:01,631 --> 00:39:03,433
YOU'RE A SICK FUCK,
FINK.
609
00:39:03,433 --> 00:39:05,802
CHARLIE'S BACK.
610
00:39:05,802 --> 00:39:07,304
IT'S HOT.
611
00:39:07,304 --> 00:39:08,305
HE'S BACK.
612
00:39:08,305 --> 00:39:09,639
[ELEVATOR BELL RINGS]
613
00:39:33,380 --> 00:39:35,382
FRED.
614
00:39:40,887 --> 00:39:42,806
SIT TIGHT, FINK.
615
00:39:48,395 --> 00:39:51,398
WHY'S IT SO
GODDAMN HOT OUT HERE?
616
00:39:53,400 --> 00:39:54,401
DUKE.
617
00:40:22,429 --> 00:40:24,431
MUNDT!
618
00:40:28,935 --> 00:40:29,936
MUNDT!
619
00:40:29,936 --> 00:40:32,355
SHOW YOURSELF.
620
00:40:54,161 --> 00:40:55,912
THERE'S A BOY, MUNDT.
621
00:40:57,714 --> 00:40:59,716
PUT THE POLICY CASE DOWN
622
00:40:59,716 --> 00:41:01,718
AND YOUR MITTS
IN THE AIR.
623
00:41:11,725 --> 00:41:12,977
HE'S COMPLYING.
624
00:41:17,514 --> 00:41:20,017
LOOK UPON ME!
625
00:41:20,017 --> 00:41:23,103
I'LL SHOW YOU THE LIFE
OF THE MIND!
626
00:41:23,103 --> 00:41:25,572
AAH!
627
00:41:25,572 --> 00:41:27,074
AAH!
628
00:41:27,074 --> 00:41:29,576
AAH! LOOK UPON ME!
629
00:41:29,576 --> 00:41:34,081
AAH! I'LL SHOW YOU
THE LIFE OF THE MIND!
630
00:41:34,081 --> 00:41:36,750
I'LL SHOW YOU
THE LIFE OF THE MIND!
631
00:41:36,750 --> 00:41:38,369
I'LL SHOW YOU
THE LIFE OF THE MIND!
632
00:41:38,369 --> 00:41:42,456
I WILL SHOW YOU THE LIFE
OF THE MIND!
633
00:41:43,374 --> 00:41:45,125
AAH!
634
00:42:10,651 --> 00:42:12,703
HEIL,HITLER.
635
00:42:12,703 --> 00:42:15,989
AAH!
636
00:42:15,989 --> 00:42:17,875
[GUNSHOT]
637
00:42:26,050 --> 00:42:27,468
BARTON.
638
00:42:29,503 --> 00:42:30,504
[WHISTLES]
639
00:42:30,504 --> 00:42:32,806
BROTHER, IS IT HOT.
640
00:42:34,174 --> 00:42:35,976
HOW YOU BEEN, BUDDY?
641
00:42:37,845 --> 00:42:40,848
WELL, DON'T LOOK AT ME
LIKE THAT.
642
00:42:40,848 --> 00:42:43,350
IT'S JUST ME--CHARLIE.
643
00:42:43,851 --> 00:42:45,069
I HEAR IT'S MUNDT.
644
00:42:45,069 --> 00:42:48,238
MADMAN MUNDT?
645
00:42:48,238 --> 00:42:50,657
JESUS,
PEOPLE CAN BE CRUEL.
646
00:42:50,657 --> 00:42:54,661
IF IT'S NOT MY BUILD,
IT'S MY PERSONALITY.
647
00:43:00,367 --> 00:43:03,587
THEY SAY
I'M A MADMAN, BART,
648
00:43:03,587 --> 00:43:06,423
BUT I'M NOT MAD
AT ANYONE.
649
00:43:06,423 --> 00:43:07,758
HONEST, I'M NOT.
650
00:43:07,758 --> 00:43:11,095
MOST GUYS I JUST
FEEL SORRY FOR.
651
00:43:11,545 --> 00:43:13,547
IT TEARS ME UP INSIDE
652
00:43:13,547 --> 00:43:16,550
TO THINK ABOUT WHAT
THEY'RE GOING THROUGH,
653
00:43:16,550 --> 00:43:18,552
HOW TRAPPED THEY ARE.
654
00:43:20,187 --> 00:43:21,688
I UNDERSTAND IT.
655
00:43:23,190 --> 00:43:24,691
I FEEL FOR THEM.
656
00:43:27,194 --> 00:43:30,197
SO I TRY
AND HELP THEM OUT.
657
00:43:30,197 --> 00:43:31,698
JESUS.
658
00:43:33,700 --> 00:43:34,701
YEAH.
659
00:43:34,701 --> 00:43:36,203
YEAH.
660
00:43:36,703 --> 00:43:38,705
I KNOW WHAT
IT FEELS LIKE
661
00:43:39,206 --> 00:43:41,208
WHEN THINGS GET
ALL BALLED UP
662
00:43:41,708 --> 00:43:42,709
AT THE HEAD OFFICE.
663
00:43:43,210 --> 00:43:45,712
THEY PUT YOU
THROUGH HELL, BARTON.
664
00:43:47,214 --> 00:43:49,716
SO I HELP PEOPLE OUT.
665
00:43:52,219 --> 00:43:56,223
I JUST WISH SOMEONE
WOULD DO AS MUCH FOR ME.
666
00:43:57,724 --> 00:44:00,978
JESUS, IT'S HOT.
667
00:44:04,481 --> 00:44:06,483
SOMETIMES IT GETS SO HOT
668
00:44:06,483 --> 00:44:09,853
I WANT TO CRAWL
RIGHT OUT OF MY SKIN.
669
00:44:09,853 --> 00:44:13,323
BUT, CHARLIE, WHY ME?
670
00:44:13,323 --> 00:44:14,324
WHY--
671
00:44:14,324 --> 00:44:18,078
BECAUSE
YOU DON'T LISTEN!
672
00:44:25,919 --> 00:44:27,788
JESUS.
673
00:44:27,788 --> 00:44:29,456
I'M DRIPPING AGAIN.
674
00:44:32,459 --> 00:44:34,845
COME ON, BARTON,
675
00:44:34,845 --> 00:44:38,131
YOU THINK YOU KNOW PAIN?
676
00:44:39,633 --> 00:44:42,853
YOU THINK I MADE
YOUR LIFE HELL?
677
00:44:44,188 --> 00:44:45,189
LOOK AROUND THIS DUMP.
678
00:44:45,689 --> 00:44:48,692
YOU'RE JUST A TOURIST
WITH A TYPEWRITER.
679
00:44:48,692 --> 00:44:51,195
I LIVE HERE. DON'T
YOU UNDERSTAND THAT?
680
00:44:58,452 --> 00:45:01,371
AND YOU COME
INTO MY HOME...
681
00:45:03,373 --> 00:45:05,459
AND YOU COMPLAIN
682
00:45:05,459 --> 00:45:09,463
THAT I'M MAKING
TOO MUCH NOISE.
683
00:45:20,924 --> 00:45:22,726
I'M SORRY.
684
00:45:30,017 --> 00:45:31,818
DON'T BE.
685
00:46:19,533 --> 00:46:22,536
I'LL BE NEXT DOOR
IF YOU NEED ME.
686
00:46:26,540 --> 00:46:27,824
OH...
687
00:46:28,208 --> 00:46:30,711
I DROPPED IN ON
YOUR FOLKS IN NEW YORK.
688
00:46:30,711 --> 00:46:33,714
AND UNCLE MAURY.
689
00:46:33,714 --> 00:46:34,965
GOOD PEOPLE.
690
00:46:41,588 --> 00:46:44,174
BY THE WAY,
THAT PACKAGE I GAVE YOU--
691
00:46:44,675 --> 00:46:46,176
I LIED.
692
00:46:46,176 --> 00:46:48,178
IT ISN'T MINE.
693
00:47:51,908 --> 00:47:53,210
FINK.
694
00:47:53,660 --> 00:47:55,162
SAMUEL OR LILLIAN FINK.
695
00:47:55,162 --> 00:47:56,663
85 FULTON STREET.
696
00:47:56,663 --> 00:47:58,165
OR UNCLE MAURY.
697
00:47:58,165 --> 00:48:00,667
I UNDERSTAND THAT,
BUT THERE'S STILL NO ANSWER.
698
00:48:01,168 --> 00:48:01,668
MR. FINK?
699
00:48:02,169 --> 00:48:04,671
SHALL I CHECK
FOR TROUBLE ON THE LINE?
700
00:48:10,510 --> 00:48:12,846
FINK.
701
00:48:12,846 --> 00:48:14,314
MR. LIPNICK.
702
00:48:14,314 --> 00:48:16,817
COLONEL LIPNICK--
IF YOU DON'T MIND.
703
00:48:17,317 --> 00:48:18,318
SIT DOWN.
704
00:48:18,318 --> 00:48:20,320
I WAS
COMMISSIONED YESTERDAY
IN THE ARMY RESERVE.
705
00:48:20,821 --> 00:48:23,323
HENRY MORGENTHAU
ARRANGED IT.
DEAR FRIEND.
706
00:48:23,323 --> 00:48:25,158
CONGRATULATIONS.
707
00:48:25,158 --> 00:48:26,610
IT HASN'T OFFICIALLY
GONE THROUGH YET.
708
00:48:26,610 --> 00:48:28,111
HAD WARDROBE
WHIP THIS UP.
709
00:48:28,111 --> 00:48:30,113
GOT TO PULL TEETH
TO GET ANYTHING DONE.
710
00:48:30,113 --> 00:48:32,115
CAN UNDERSTAND
RED TAPE IN PEACETIME,
711
00:48:32,616 --> 00:48:34,618
BUT NOW IT'S
ALL-OUT WARFARE
AGAINST THE JAPS.
712
00:48:34,618 --> 00:48:37,120
THEY'D LOVE TO SEE ME
SIT THIS ONE OUT.
713
00:48:37,120 --> 00:48:39,840
YES, SIR.
THEY, UH...
714
00:48:39,840 --> 00:48:43,627
ANYWAY, I HAD LOU
READ YOUR SCRIPT FOR ME.
715
00:48:43,627 --> 00:48:46,129
I GOT TO TELL YOU,
FINK...
716
00:48:46,129 --> 00:48:47,631
IT WON'T WASH.
717
00:48:47,631 --> 00:48:49,049
WITH ALL DUE RESPECT,
718
00:48:49,049 --> 00:48:51,051
I THINK IT'S
THE BEST WORK I'VE DONE.
719
00:48:51,051 --> 00:48:52,385
DON'T GAS ME, FINK.
720
00:48:52,385 --> 00:48:56,356
IF YOUR OPINION
MATTERED, I'D LET
YOU RUN THE STUDIO.
721
00:48:56,857 --> 00:48:58,859
THE LUNATICS
AREN'T GOING TO RUN
THIS PARTICULAR ASYLUM.
722
00:48:59,359 --> 00:49:01,862
LET'S PUT A STOP
TO THAT RUMOR RIGHT NOW.
723
00:49:01,862 --> 00:49:04,112
YES, SIR.
724
00:49:04,112 --> 00:49:05,530
HAD TO CALL
BEERY THIS MORNING,
725
00:49:06,030 --> 00:49:08,533
TELL HIM WE WERE PUSHING
THE PICTURE BACK.
726
00:49:08,533 --> 00:49:10,535
AFTER ALL I TOLD HIM
ABOUT QUALITY,
727
00:49:10,535 --> 00:49:12,036
ABOUT THAT BARTON FINK
FEELING,
728
00:49:12,036 --> 00:49:13,037
HOW DISAPPOINTED
WE WERE.
729
00:49:13,538 --> 00:49:16,040
WALLY WAS HEARTBROKEN.
THE MAN WAS DEVASTATED.
730
00:49:16,541 --> 00:49:18,543
I DIDN'T ACTUALLY
CALL HIM. LOU DID.
731
00:49:19,043 --> 00:49:21,412
THAT'S
A FAIR DESCRIPTION,
ISN'T IT, LOU?
732
00:49:21,412 --> 00:49:22,413
YES, COLONEL.
733
00:49:22,914 --> 00:49:26,083
I COULD TAKE YOU
THROUGH IT STEP BY STEP,
734
00:49:26,083 --> 00:49:28,085
EXPLAINING WHY
YOUR STORY STINKS,
735
00:49:28,085 --> 00:49:30,588
BUT I WON'T INSULT
YOUR INTELLIGENCE.
736
00:49:30,588 --> 00:49:31,589
WELL, ALL RIGHT.
737
00:49:31,589 --> 00:49:34,091
FIRST OF ALL, THIS
IS A WRESTLING PICTURE.
738
00:49:34,091 --> 00:49:37,595
THE AUDIENCE
WANTS TO SEE ACTION,
ADVENTURE, WRESTLING.
739
00:49:37,595 --> 00:49:40,598
THEY DON'T WANT TO SEE
A GUY WRESTLING
WITH HIS SOUL.
740
00:49:41,098 --> 00:49:42,350
ALL RIGHT,
SOME FOR THE CRITICS.
741
00:49:42,350 --> 00:49:45,236
YOU MAKE IT THE CARROT
THAT WAGS THE DOG.
742
00:49:45,236 --> 00:49:46,737
TOO MUCH,
THEY HEAD FOR THE EXITS.
743
00:49:46,737 --> 00:49:49,740
THERE'S PLENTY OF POETRY
INSIDE THAT RING, FINK.
744
00:49:50,241 --> 00:49:52,076
LOOK AT
HELL 10 FEET SQUARE.
745
00:49:52,076 --> 00:49:53,327
BLOOD, SWEAT,
AND CANVAS.
746
00:49:53,327 --> 00:49:54,612
BLOOD,
SWEAT, AND CANVAS.
747
00:49:54,612 --> 00:49:57,915
THESE ARE BIG MOVIES,
FINK, ABOUT BIG MEN.
748
00:49:57,915 --> 00:49:58,916
IN TIGHTS!
749
00:49:58,916 --> 00:50:01,419
BOTH PHYSICALLY
AND MENTALLY--
750
00:50:01,419 --> 00:50:02,920
ESPECIALLY PHYSICALLY.
751
00:50:02,920 --> 00:50:05,923
WE DON'T PUT WALLY BEERY
IN A FRUITY MOVIE
ABOUT SUFFERING.
752
00:50:05,923 --> 00:50:08,426
I THOUGHT WE WERE
TOGETHER ON THAT.
753
00:50:09,877 --> 00:50:12,180
I'M SORRY IF
I LET YOU DOWN.
754
00:50:12,463 --> 00:50:14,465
YOU DIDN'T LET ME DOWN
OR EVEN LOU.
755
00:50:14,465 --> 00:50:16,968
WE DON'T LIVE OR DIE
BY WHAT YOU SCRIBBLE.
756
00:50:17,468 --> 00:50:18,469
YOU LET
BEN GEISLER DOWN.
757
00:50:18,469 --> 00:50:20,471
HE LIKED YOU,
TRUSTED YOU.
758
00:50:20,471 --> 00:50:22,473
THAT'S WHY HE'S GONE.
HE'S FIRED.
759
00:50:22,473 --> 00:50:24,475
THAT MAN
HAD A BIG HEART.
760
00:50:24,475 --> 00:50:25,726
YOU FUCKED HIM.
761
00:50:25,726 --> 00:50:28,112
HE TRIED TO CONVINCE ME
TO FIRE YOU, TOO,
762
00:50:28,112 --> 00:50:29,614
BUT THAT'D BE TOO EASY.
763
00:50:29,614 --> 00:50:31,616
YOU'RE UNDER CONTRACT.
YOU'LL STAY THAT WAY.
764
00:50:31,616 --> 00:50:34,118
ANYTHING YOU WRITE
IS PROPERTY OF
CAPITOL PICTURES.
765
00:50:34,118 --> 00:50:37,121
CAPITOL PICTURES
WON'T PRODUCE ANYTHING
YOU WRITE--
766
00:50:37,121 --> 00:50:39,457
NOT UNTIL YOU
GROW UP A LITTLE.
767
00:50:39,457 --> 00:50:41,909
YOU AIN'T
NO WRITER, FINK.
768
00:50:42,410 --> 00:50:44,412
YOU'RE
A GODDAMN WRITE-OFF.
769
00:50:46,380 --> 00:50:49,383
I--I TRIED
TO SHOW YOU...
770
00:50:49,884 --> 00:50:50,885
SOMETHING BEAUTIFUL.
771
00:50:53,387 --> 00:50:54,889
SOMETHING ABOUT
ALL OF US.
772
00:50:55,389 --> 00:50:56,224
I...
773
00:50:56,224 --> 00:51:00,061
YOU ARROGANT
SON OF A BITCH.
774
00:51:00,061 --> 00:51:02,563
YOU THINK
YOU'RE THE ONLY WRITER
775
00:51:02,563 --> 00:51:05,066
THAT CAN GIVE ME THAT
BARTON FINK FEELING?
776
00:51:05,066 --> 00:51:07,435
I GOT 20 WRITERS
UNDER CONTRACT
777
00:51:07,435 --> 00:51:10,438
I CAN ASK FOR
A FINK-TYPE THING FROM!
778
00:51:10,438 --> 00:51:11,856
YOU SWELL-HEADED
HYPOCRITE.
779
00:51:12,356 --> 00:51:13,357
YOU DON'T GET IT.
780
00:51:13,357 --> 00:51:14,859
YOU THINK
THE WHOLE WORLD
781
00:51:14,859 --> 00:51:16,360
REVOLVES AROUND
WHATEVER RATTLES
782
00:51:16,360 --> 00:51:19,363
INSIDE THAT LITTLE
KIKE HEAD OF YOURS.
783
00:51:19,864 --> 00:51:21,949
GET HIM OUT
OF MY SIGHT, LOU!
784
00:51:22,450 --> 00:51:23,951
I WANT HIM IN TOWN,
THOUGH.
785
00:51:23,951 --> 00:51:25,453
HE'S STILL
UNDER CONTRACT.
786
00:51:25,453 --> 00:51:29,757
I WANT YOU IN TOWN
AND OUT OF MY SIGHT.
787
00:51:29,757 --> 00:51:32,093
NOW, GET LOST.
788
00:51:32,093 --> 00:51:33,594
THERE'S A WAR ON.
789
00:52:32,153 --> 00:52:34,155
IT'S A BEAUTIFUL DAY.
790
00:52:34,155 --> 00:52:35,606
HUH?
791
00:52:41,996 --> 00:52:44,498
I SAID
IT'S A BEAUTIFUL DAY.
792
00:52:44,498 --> 00:52:45,950
YES.
793
00:52:45,950 --> 00:52:47,752
IT IS.
794
00:52:50,671 --> 00:52:52,506
WHAT'S IN THE BOX?
795
00:52:54,342 --> 00:52:56,177
I DON'T KNOW.
796
00:52:57,595 --> 00:52:59,347
ISN'T IT YOURS?
797
00:53:04,635 --> 00:53:06,470
I DON'T KNOW.
798
00:53:12,309 --> 00:53:14,645
YOU'RE VERY BEAUTIFUL.
799
00:53:19,650 --> 00:53:21,485
ARE YOU IN PICTURES?
800
00:53:22,953 --> 00:53:24,955
DON'T BE SILLY.
1928
00:53:25,000 --> 00:53:28,050
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