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1
00:00:10,211 --> 00:00:13,814
Sometimes
the world looks perfect
2
00:00:13,881 --> 00:00:16,217
Nothing to rearrange
3
00:00:16,284 --> 00:00:19,253
Sometimes you just
get a feeling
4
00:00:19,320 --> 00:00:22,390
Like you need
some kinda change
5
00:00:23,691 --> 00:00:27,361
No matter what the odds
are this time
6
00:00:27,428 --> 00:00:29,463
Nothing's gonna
stand in my way
7
00:00:29,530 --> 00:00:32,800
This flame in my heart
like a long lost friend
8
00:00:32,866 --> 00:00:37,271
Gives every dark street
a light at the end
9
00:00:38,606 --> 00:00:41,209
Standing tall
10
00:00:41,275 --> 00:00:45,045
On the wings of my dream
11
00:00:45,113 --> 00:00:47,881
Rise and fall
12
00:00:47,948 --> 00:00:51,719
On the wings of my dream
13
00:00:51,785 --> 00:00:53,254
The rain and thunder
14
00:00:53,321 --> 00:00:55,055
The wind and haze
15
00:00:55,123 --> 00:00:58,292
I'm bound for better days
16
00:00:58,359 --> 00:01:01,762
It's my life and my dream
17
00:01:01,829 --> 00:01:04,565
Nothing's gonna
stop me now
18
00:01:21,749 --> 00:01:24,985
Where is he?
Has he been
down here yet?
19
00:01:25,052 --> 00:01:26,687
Who are you talking about?
20
00:01:26,754 --> 00:01:28,589
Who am I talking about?
21
00:01:28,656 --> 00:01:31,825
Well, if you don't know,
how can I help you?
22
00:01:31,892 --> 00:01:35,329
I am talking about
the Director, Joel Berry.
23
00:01:35,396 --> 00:01:38,299
He's makin'
the television commercial
for the Chronicle.
24
00:01:38,366 --> 00:01:40,134
I heard something
about that.
25
00:01:40,201 --> 00:01:41,869
He has been scouring
the building looking
26
00:01:41,935 --> 00:01:44,705
for the perfect
Chronicle employee
to star in it.
27
00:01:44,772 --> 00:01:47,875
But he hasn't
found me yet.
28
00:01:47,941 --> 00:01:50,878
Well, in that dress,
I don't think
how he can miss you.
29
00:01:52,012 --> 00:01:53,247
Do you like it?
30
00:01:53,314 --> 00:01:55,183
Oh, I hope
Mr. Berry does.
31
00:01:55,249 --> 00:01:56,917
I followed him around
all morning,
32
00:01:56,984 --> 00:01:59,287
but I wasn't able
to catch his eye.
33
00:01:59,353 --> 00:02:02,423
You would think
that a nationally
syndicated columnist
34
00:02:02,490 --> 00:02:05,759
would be able to
attract his attention,
but no!
35
00:02:08,696 --> 00:02:11,699
So I ran out
and got this dress.
36
00:02:11,765 --> 00:02:12,766
It's an original.
37
00:02:12,833 --> 00:02:14,735
One of a kind.
38
00:02:25,078 --> 00:02:26,747
I better be
lookin' in a mirror.
39
00:02:29,049 --> 00:02:31,919
They told me mine
was the only one like this.
40
00:02:31,985 --> 00:02:33,687
In your size maybe.
41
00:02:35,589 --> 00:02:38,292
Oh, Harriette,
just between you and me,
42
00:02:38,359 --> 00:02:40,228
I don't think
that's your color.
43
00:02:41,362 --> 00:02:42,796
Today it is.
44
00:02:44,498 --> 00:02:46,066
That could be Mr. Berry.
45
00:02:46,133 --> 00:02:47,568
Oh, look at that stain.
46
00:02:47,635 --> 00:02:48,702
What stain?
47
00:02:51,872 --> 00:02:53,641
Damn. She's good.
48
00:03:05,753 --> 00:03:08,422
Maybe the director
will notice you,
49
00:03:08,489 --> 00:03:10,658
and then... And then he will
put you in the commercial
50
00:03:10,724 --> 00:03:12,393
and you will
become a star,
51
00:03:12,460 --> 00:03:14,795
and start living
the lifestyle of
the rich and famous.
52
00:03:14,862 --> 00:03:20,468
And then, that guy
will say about you,
53
00:03:20,534 --> 00:03:22,436
"A man with
no ability at all
54
00:03:22,503 --> 00:03:26,006
"parlayed it into
spectacular screen success
55
00:03:26,073 --> 00:03:28,041
"and a fabulous dream villa
56
00:03:28,108 --> 00:03:31,912
"in pulsating
Puerto Vallarta.
57
00:03:31,979 --> 00:03:33,881
"Has success ruined him?
58
00:03:33,947 --> 00:03:35,783
"Well, of course not.
Don't be ridiculous."
59
00:03:35,849 --> 00:03:37,718
Balki!
"We'll be--"
60
00:03:44,958 --> 00:03:46,427
Now, he's not gonna pick me.
61
00:03:46,494 --> 00:03:48,396
He'll probably find
62
00:03:48,462 --> 00:03:49,963
whoever he's looking for
on one of the upper floors.
63
00:03:50,030 --> 00:03:51,732
That's where
all the glamor jobs are.
64
00:03:51,799 --> 00:03:53,834
What is the matter
with you, Miles?
65
00:03:53,901 --> 00:03:55,869
I mean, showing me
a loading dock.
66
00:03:55,936 --> 00:03:59,172
Now we're not shooting
a Bekins commercial, Miles!
67
00:03:59,239 --> 00:04:00,774
Well, what is this place?
68
00:04:00,841 --> 00:04:02,643
I mean,
it looks like a basement.
69
00:04:03,544 --> 00:04:05,245
It is a basement.
70
00:04:05,313 --> 00:04:06,547
Oh.
71
00:04:08,416 --> 00:04:09,750
Is that the director?
72
00:04:09,817 --> 00:04:10,951
I think it is.
73
00:04:11,018 --> 00:04:12,720
Well, if he's a director
74
00:04:12,786 --> 00:04:14,722
he might know
Wayne Newton.
75
00:04:14,788 --> 00:04:16,457
Balki.
76
00:04:16,524 --> 00:04:18,426
Balki, he's a very busy man.
77
00:04:18,492 --> 00:04:45,886
I'm sure he doesn't
wanna be bothered.
Yes, but--
78
00:04:45,953 --> 00:04:47,821
Here's your mail, cousin.
Thanks.
79
00:04:48,789 --> 00:04:50,691
I don't believe it, Miles.
80
00:04:50,758 --> 00:04:54,362
Two people
who are actually working
instead of auditioning.
81
00:04:54,428 --> 00:04:56,163
Can I see that again?
82
00:04:56,229 --> 00:04:58,466
Can you see what again?
Uh, give him the mail.
83
00:04:58,532 --> 00:05:00,668
I just did.
Oh.
84
00:05:00,734 --> 00:05:04,505
I know, but would you
just mind going through
the motions again?
85
00:05:11,078 --> 00:05:12,346
Uh, no, no, no.
86
00:05:12,413 --> 00:05:15,349
Uh, just... Just walk
to the desk, huh?
87
00:05:15,416 --> 00:05:18,251
Walk, walk, walk.
88
00:05:18,318 --> 00:05:19,520
Stop!
89
00:05:20,454 --> 00:05:26,527
That's it!
90
00:05:26,594 --> 00:05:27,895
Balki, did you hear that?
91
00:05:27,961 --> 00:05:31,832
I think you're gonna be
in the commercial.
92
00:05:31,899 --> 00:05:33,000
But you.
93
00:05:34,968 --> 00:05:36,570
You're my star.
94
00:05:40,040 --> 00:05:41,842
There he is. Hit it.
95
00:05:41,909 --> 00:05:43,544
BOTH:
Wherever we go
96
00:05:43,611 --> 00:05:45,613
Whatever we do
97
00:05:45,679 --> 00:05:49,249
We're gonna go
through it together
98
00:05:49,316 --> 00:05:51,051
We may not go far
99
00:05:51,118 --> 00:05:53,020
But sure as a star
100
00:05:56,189 --> 00:05:58,158
JENNIFER: Too bad
we're gonna miss you
film your commercial.
101
00:05:58,225 --> 00:05:59,660
It sounds exciting.
102
00:05:59,727 --> 00:06:02,663
Yeah. We have to fly
to boring old Paris.
103
00:06:02,730 --> 00:06:04,264
I'd love to see you act.
104
00:06:04,331 --> 00:06:13,807
Well, you may
get your chance.
105
00:06:13,874 --> 00:06:15,108
What?
106
00:06:15,175 --> 00:06:16,444
Thespian.
107
00:06:19,480 --> 00:06:20,748
What?
108
00:06:23,751 --> 00:06:24,752
Okay.
109
00:06:25,419 --> 00:06:27,287
Actor. Actor.
110
00:06:27,354 --> 00:06:31,459
I was just kicking around
the idea of
doing some theater.
111
00:06:31,525 --> 00:06:34,227
You know, local stuff,
then, uh,
112
00:06:34,294 --> 00:06:36,730
who knows,
maybe Tinseltown.
113
00:06:36,797 --> 00:06:39,767
Cousin, you're going
to Santa's village?
114
00:06:42,369 --> 00:06:44,171
Hollywood.
115
00:06:44,237 --> 00:06:47,074
Well, uh,
we have to get to
the airport early.
116
00:06:49,276 --> 00:06:50,511
Good luck.
117
00:06:51,244 --> 00:06:52,546
Thanks.
118
00:06:52,613 --> 00:06:54,247
Good night, Balki.
119
00:06:54,314 --> 00:06:55,849
Good night, Mary Anne.
120
00:06:59,252 --> 00:07:04,692
And don't worry.
121
00:07:04,758 --> 00:07:06,527
I won't forget
the little people.
122
00:07:07,795 --> 00:07:10,464
The people
who believed in me.
123
00:07:11,899 --> 00:07:15,769
The people who said,
"Larry, you've got a dream.
124
00:07:18,371 --> 00:07:20,007
The people who--
Larry,
125
00:07:21,609 --> 00:07:23,611
I have to do my hair
in the morning.
126
00:07:25,078 --> 00:07:26,547
I'm sorry.
127
00:07:26,614 --> 00:07:28,549
See you when
you get back.
Bye.
128
00:07:30,551 --> 00:07:32,553
Good night.
Good night.
129
00:07:35,188 --> 00:07:36,590
Well,
130
00:07:37,491 --> 00:07:39,026
big day tomorrow.
131
00:07:39,092 --> 00:07:42,362
Guess I'll turn in.
132
00:07:42,429 --> 00:07:43,697
Balki, come here.
133
00:07:46,567 --> 00:07:48,702
We have got
a lot of work to do.
134
00:07:48,769 --> 00:07:51,304
I wanna prepare you
for the commercial.
135
00:07:51,371 --> 00:07:52,973
So, let's rehearse your part.
136
00:07:53,040 --> 00:07:54,374
Well, what is there
to rehearse?
137
00:07:54,441 --> 00:07:56,644
I just walk up
to you like this
138
00:07:56,710 --> 00:07:58,879
and say, "Here's your mail,
Mr. Appleton" and...
139
00:08:00,848 --> 00:08:02,950
That's how you're going
to do it tomorrow?
140
00:08:04,552 --> 00:08:07,020
But that's how
I do it every day.
141
00:08:07,087 --> 00:08:11,491
Balki, every day,
you're a person
delivering the mail.
142
00:08:11,559 --> 00:08:14,227
But tomorrow,
you'll be an actor
143
00:08:14,294 --> 00:08:19,399
playing the part
of a person
delivering the mail.
144
00:08:19,466 --> 00:08:21,602
Two completely
different things.
145
00:08:21,669 --> 00:08:24,938
One is a job,
the other is acting.
146
00:08:26,373 --> 00:08:27,675
No, cousin.
147
00:08:27,741 --> 00:08:29,710
One is delivering
the mail
148
00:08:29,777 --> 00:08:33,046
and the other is
delivering the mail.
149
00:08:36,449 --> 00:08:38,285
Balki, Balki, Balki.
150
00:08:40,520 --> 00:08:43,456
I know a little bit
about acting.
151
00:08:43,523 --> 00:08:46,827
Oh, why be modest?
I know a lot
about acting.
152
00:08:46,894 --> 00:08:50,163
In high school,
I built the sets
for West Side Story.
153
00:08:53,634 --> 00:08:55,202
I love that one.
154
00:08:55,268 --> 00:08:58,205
Tomorrow, tomorrow
155
00:08:58,271 --> 00:09:02,710
I love you tomorrow...
156
00:09:02,776 --> 00:09:04,978
I wouldn't want you to be
embarrassed tomorrow
157
00:09:05,045 --> 00:09:07,047
because you wouldn't
let me help you tonight.
158
00:09:07,114 --> 00:09:09,349
I don't want to be
embarrassed tomorrow.
159
00:09:09,416 --> 00:09:12,586
No, I didn't think
you would. Here.
Let's get started.
160
00:09:12,653 --> 00:09:15,889
Let's pretend
that this is my desk.
161
00:09:15,956 --> 00:09:18,391
Your work space
is over here.
162
00:09:18,458 --> 00:09:22,262
You cross to me
and hand me the mail.
163
00:09:27,267 --> 00:09:28,335
Go.
164
00:09:29,036 --> 00:09:30,237
Wrong!
165
00:09:34,007 --> 00:09:35,943
But I, I haven't
done anything yet.
166
00:09:37,344 --> 00:09:41,048
Balki, my high school
drama teacher always said,
167
00:09:41,114 --> 00:09:45,919
"Acting is just concentration
and relaxation."
168
00:09:53,226 --> 00:09:57,130
Concentrate on relaxing.
169
00:09:58,832 --> 00:10:00,768
All right.
Ready, let's try it.
170
00:10:04,237 --> 00:10:05,338
Go.
171
00:10:09,643 --> 00:10:11,244
Relax your feet.
172
00:10:13,814 --> 00:10:15,282
Relax your knees.
173
00:10:19,152 --> 00:10:21,054
Relax your hips.
174
00:10:22,389 --> 00:10:24,091
Swing those arms.
175
00:10:24,157 --> 00:10:25,759
Yes. Head up.
176
00:10:25,826 --> 00:10:27,961
Shoulders back.
Not that far back.
177
00:10:36,269 --> 00:10:37,337
Not bad.
178
00:10:40,340 --> 00:10:41,709
All right.
179
00:10:41,775 --> 00:10:43,243
Let's work
on your line.
180
00:10:44,978 --> 00:10:46,346
Here's your mail,
Mr. Appleton.
181
00:10:46,413 --> 00:10:47,748
Mail.
182
00:10:49,082 --> 00:10:51,084
You've got to
emphasize "mail."
183
00:10:51,151 --> 00:10:52,853
That's the important word.
184
00:10:52,920 --> 00:10:54,755
Now try it again.
185
00:10:54,822 --> 00:10:56,757
Here's your mail!
Mail!
186
00:11:01,361 --> 00:11:02,362
Mail.
187
00:11:05,298 --> 00:11:08,869
BOTH: M-m-mail.
188
00:11:12,806 --> 00:11:14,407
M-mail-l-l.
189
00:11:14,474 --> 00:11:15,675
Uh, yeah.
190
00:11:15,743 --> 00:11:19,212
M-m-mail-l-l.
191
00:11:21,348 --> 00:11:25,418
BOTH: M-mail-l-l.
192
00:11:29,790 --> 00:11:31,725
Okay, let's put it
all together.
193
00:11:41,601 --> 00:11:43,103
LARRY:
All right. Ready...
194
00:11:45,038 --> 00:11:46,039
Go.
195
00:11:49,843 --> 00:11:51,411
Relax the feet.
196
00:11:51,478 --> 00:11:53,080
Relax the knees.
197
00:11:53,580 --> 00:11:54,915
Hips.
198
00:11:54,982 --> 00:11:57,384
Swing those arms.
Head up.
199
00:11:57,450 --> 00:11:58,752
Shoulders back.
200
00:12:04,758 --> 00:12:09,262
Here's your
m-m-mail-l-l,
201
00:12:10,330 --> 00:12:11,799
Mr. Appleton.
202
00:12:18,738 --> 00:12:20,007
Better.
203
00:12:28,448 --> 00:12:30,918
JOEL: Ready on the set.
Stand by.
204
00:12:32,385 --> 00:12:34,421
Uh, listen up, everybody.
205
00:12:34,487 --> 00:12:35,789
We are ready to roll.
206
00:12:35,856 --> 00:12:41,228
Uh, Balki, coming in.
207
00:12:41,294 --> 00:12:44,397
so we're going to do it
without a rehearsal.
208
00:12:46,266 --> 00:12:47,901
This is a take.
209
00:12:49,436 --> 00:12:51,038
Roll tape.
210
00:12:51,104 --> 00:12:53,040
Settle. Everyone settle.
211
00:12:54,407 --> 00:12:56,944
And action.
212
00:13:04,952 --> 00:13:06,553
Uh, cut.
213
00:13:08,488 --> 00:13:09,957
Uh, Balki, come here.
214
00:13:11,558 --> 00:13:13,093
Are your legs okay?
215
00:13:14,895 --> 00:13:16,663
Well, I, I don't
mean to brag,
216
00:13:16,729 --> 00:13:19,232
but on Mypos,
they're the talk
of the village.
217
00:13:22,202 --> 00:13:23,570
Joel, could I
have a second?
218
00:13:26,039 --> 00:13:28,108
Uh, don't worry.
He'll get it.
219
00:13:28,175 --> 00:13:30,543
I've been working
with him myself.
220
00:13:30,610 --> 00:13:34,882
Just tell him,
"Less knees, more hips."
That should do it.
221
00:13:35,748 --> 00:13:38,285
Less knees, more hips.
222
00:13:38,952 --> 00:13:40,453
Got it.
223
00:13:40,520 --> 00:13:41,588
Thanks, babe.
224
00:13:45,758 --> 00:13:49,729
Balki, uh,
225
00:13:49,796 --> 00:13:52,299
Oh, yes. He has
been very helpful.
226
00:13:52,365 --> 00:13:55,635
He taught me
the difference between
just delivering the mail,
227
00:13:55,702 --> 00:13:58,939
and being an actor
who is playing the part
228
00:13:59,006 --> 00:14:02,209
of a person delivering
the m-mail-l-l.
229
00:14:04,711 --> 00:14:07,147
I see, uh...
230
00:14:07,214 --> 00:14:10,217
Balki, just forget
everything he told you,
all right.
231
00:14:10,283 --> 00:14:13,186
And just simply,
just simply
deliver the mail.
232
00:14:16,924 --> 00:14:18,358
Roll tape.
233
00:14:25,298 --> 00:14:27,434
Here's your mail,
Mr. Appleton.
234
00:14:27,500 --> 00:14:30,503
I did it! I did it!
Didn't I do it?
235
00:14:31,771 --> 00:14:33,440
Cut.
236
00:14:33,506 --> 00:14:36,409
Balki, you said
your line very well.
237
00:14:36,476 --> 00:14:38,912
But now you have
to let me do my part.
238
00:14:38,979 --> 00:14:42,049
Uh, that is
why we're here.
239
00:14:42,115 --> 00:14:44,617
Of course.
Oh, I'm sorry.
You're right.
240
00:14:44,684 --> 00:14:47,154
No, no, no, no, no.
It's fine. It's fine.
Come on over here.
241
00:14:47,220 --> 00:14:50,157
Here we go.
Back to the table
and the mail.
242
00:14:50,757 --> 00:14:52,993
All right, and...
243
00:14:53,060 --> 00:14:54,827
Roll tape.
244
00:14:54,894 --> 00:14:57,530
Larry, that's my job.
245
00:14:59,032 --> 00:15:00,633
Then let's
get with it, Miles.
246
00:15:04,037 --> 00:15:05,338
Roll tape.
247
00:15:06,940 --> 00:15:09,042
And action.
248
00:15:11,979 --> 00:15:13,947
Here's your mail,
Mr. Appleton.
249
00:15:14,014 --> 00:15:15,615
Thanks, Balki.
250
00:15:17,084 --> 00:15:19,519
Here, at
the Chicago Chronicle,
251
00:15:19,586 --> 00:15:21,588
we work hard every day.
252
00:15:21,654 --> 00:15:22,956
Cut!
253
00:15:25,792 --> 00:15:27,294
What the hell was that?
254
00:15:29,997 --> 00:15:33,500
Oh, no, no, no, no.
Not, not, not you, him.
255
00:15:33,566 --> 00:15:35,368
Uh, what was that voice?
256
00:15:35,435 --> 00:15:37,104
What happened
to your regular voice?
257
00:15:37,170 --> 00:15:39,439
That was my regular voice,
258
00:15:39,506 --> 00:15:42,175
modulated to
performance level.
259
00:15:44,911 --> 00:15:46,779
Well, don't modulate.
260
00:15:46,846 --> 00:15:48,548
Just... Just speak.
261
00:15:51,851 --> 00:15:53,186
Okay.
262
00:15:54,321 --> 00:15:56,556
If that's what you want.
263
00:15:56,623 --> 00:15:58,025
Indulge me, hmm?
264
00:15:58,091 --> 00:15:59,926
Okay, Balki,
here we go.
265
00:15:59,993 --> 00:16:01,594
Back to the table.
266
00:16:01,661 --> 00:16:04,331
And the mail.
All right.
267
00:16:07,434 --> 00:16:08,901
From the top.
268
00:16:08,968 --> 00:16:11,104
Roll tape. And settle.
269
00:16:15,542 --> 00:16:17,377
Here's your mail,
Mr. Appleton.
270
00:16:20,113 --> 00:16:21,948
Here at
the Chicago Chronicle,
271
00:16:22,015 --> 00:16:24,051
we work hard every day.
272
00:16:24,117 --> 00:16:25,752
But, hey,
273
00:16:25,818 --> 00:16:28,821
that doesn't mean
we're not fun people.
274
00:16:28,888 --> 00:16:31,058
Cut! Cut! Cut!
275
00:16:32,925 --> 00:16:35,695
Uh, where did those
words come from?
276
00:16:35,762 --> 00:16:38,065
You see, "fun people"
isn't in my script.
277
00:16:38,131 --> 00:16:42,469
Yeah, but they...
278
00:16:42,535 --> 00:16:45,238
They didn't pop.
279
00:16:47,507 --> 00:16:50,777
Just say the lines
the way they are written.
280
00:16:50,843 --> 00:16:52,045
Hmm?
281
00:16:54,381 --> 00:16:57,550
One more time.
And the mail.
282
00:17:02,355 --> 00:17:04,724
Let's try it
one more time.
283
00:17:04,791 --> 00:17:06,393
Roll tape again.
284
00:17:07,060 --> 00:17:09,462
And action.
285
00:17:12,665 --> 00:17:14,101
There's your mail,
Mr. Appleton.
286
00:17:14,167 --> 00:17:15,768
Cut.
No! No!
287
00:17:17,870 --> 00:17:19,706
No, you can't say "cut."
288
00:17:19,772 --> 00:17:22,442
You see, that's...
That's my job.
289
00:17:23,210 --> 00:17:24,911
Yes, but
290
00:17:24,977 --> 00:17:26,513
he said,
"There's your mail"
291
00:17:26,579 --> 00:17:28,615
instead of,
"Here's your mail."
Oh. Oh.
292
00:17:28,681 --> 00:17:31,050
And I thought
we were sticking
to the script.
293
00:17:31,118 --> 00:17:33,420
Oh! Oh! Oh!
I'm so sorry!
294
00:17:33,486 --> 00:17:37,023
No. Balki, Balki, Balki,
you're doing fine.
295
00:17:37,090 --> 00:17:41,528
Larry. Let's take
a break, huh?
296
00:17:41,594 --> 00:17:44,364
I think I need
a creative meeting
over here.
297
00:17:47,367 --> 00:17:49,169
Look, I think
I have a solution.
298
00:17:51,171 --> 00:17:54,574
Lar, I think I have
a solution of my own.
299
00:17:54,641 --> 00:17:58,278
So we really
won't need you
for this meeting. Hmm?
300
00:18:08,721 --> 00:18:11,724
Okay. We'll try it
your way first.
301
00:18:18,331 --> 00:18:20,867
The director seems
upset with someone.
302
00:18:20,933 --> 00:18:22,302
I'm doing my best, cousin.
303
00:18:22,369 --> 00:18:24,337
Don't you worry, Balki.
304
00:18:24,404 --> 00:18:27,807
If they decide
not to use you in
this commercial, I walk.
305
00:18:39,786 --> 00:18:42,722
Well, Mary Anne,
let's help clean up
before we go.
306
00:18:42,789 --> 00:18:44,857
Oh, no, no, no!
No, no. No, no.
307
00:18:44,924 --> 00:18:47,727
We do that.
308
00:18:47,794 --> 00:18:50,129
Cousin, it's our commercial!
Uh.
309
00:18:50,197 --> 00:18:52,865
Uh, we don't need
to see that.
310
00:18:52,932 --> 00:18:54,367
We haven't seen it yet.
311
00:18:56,803 --> 00:18:59,138
Here's your mail,
Mr. Appleton.
312
00:18:59,206 --> 00:19:01,341
Hi. I'm Balki Bartokomous.
313
00:19:01,408 --> 00:19:02,942
And I just
delivered the mail
314
00:19:03,009 --> 00:19:05,111
to a reporter
here at the Chronicle.
315
00:19:05,178 --> 00:19:06,846
And If he were
not so busy
316
00:19:06,913 --> 00:19:08,548
writing an article
for today's paper,
317
00:19:08,615 --> 00:19:10,883
he would tell you that
here at the Chronicle,
318
00:19:10,950 --> 00:19:13,853
we work hard every day
to bring you the news
319
00:19:13,920 --> 00:19:15,722
with a friendly touch.
320
00:19:15,788 --> 00:19:18,391
So, join our
friendly family
321
00:19:18,458 --> 00:19:20,460
every morning
with the Chronicle.
322
00:19:20,527 --> 00:19:22,429
ANNOUNCER ON TV:
The Chicago Chronicle.
323
00:19:22,495 --> 00:19:25,265
News with a friendly touch.
324
00:19:27,400 --> 00:19:30,337
Balki, you were wonderful!
Oh, I...
325
00:19:30,403 --> 00:19:31,904
Cousin Larry was good.
326
00:19:33,139 --> 00:19:34,674
Was Larry in it?
327
00:19:37,977 --> 00:19:40,280
Of course he was.
328
00:19:40,347 --> 00:19:42,148
And you were very good, too.
329
00:19:42,215 --> 00:19:45,552
I mean, it's hard
to just sit there
and not say anything.
330
00:19:47,920 --> 00:19:49,756
I mean,
but what we could
see in your face
331
00:19:49,822 --> 00:19:53,493
expressed this
whole kind of a...
A range of emotion.
332
00:19:53,560 --> 00:19:55,962
And the way
you took the mail,
333
00:19:56,028 --> 00:19:57,564
you made it
look so easy.
334
00:20:01,568 --> 00:20:03,002
Do you think
we should go now?
335
00:20:03,069 --> 00:20:04,371
Yes, I do.
336
00:20:06,339 --> 00:20:08,375
Thanks for
a great evening.
337
00:20:08,441 --> 00:20:09,509
It was a great night.
338
00:20:09,576 --> 00:20:12,379
And, Larry,
you were great.
339
00:20:14,146 --> 00:20:15,448
Good night.
340
00:20:31,864 --> 00:20:34,967
Cousin, you're upset.
No, I'm fine.
341
00:20:38,271 --> 00:20:41,341
Now, cousin, ever since
we finished making
that commercial,
342
00:20:41,408 --> 00:20:43,676
you've been
on an antacid binge.
343
00:20:45,745 --> 00:20:49,916
Don't you think it would
make you feel better
to talk about it?
344
00:20:49,982 --> 00:20:51,651
When Jennifer
and Mary Anne
left for Paris,
345
00:20:51,718 --> 00:20:54,053
I was Larry Appleton, star.
346
00:20:54,120 --> 00:20:57,990
By the time they
got back, I was
Larry Appleton, bit player.
347
00:20:58,057 --> 00:21:00,827
Cousin, you're at least
a two-bit player.
348
00:21:03,530 --> 00:21:07,700
Balki, I told everyone
I was gonna be a big star.
349
00:21:07,767 --> 00:21:09,669
I even practiced
my autograph.
350
00:21:10,503 --> 00:21:12,305
"Love ya. Larry A."
351
00:21:14,907 --> 00:21:17,977
I lost my part
in the first
five minutes.
352
00:21:18,044 --> 00:21:20,847
But, cousin, that's just
because they "went
a different way" with it.
353
00:21:24,116 --> 00:21:26,753
Balki, that's Hollywood talk
for getting fired.
354
00:21:30,289 --> 00:21:32,024
Larry Appleton, the jerk.
355
00:21:34,293 --> 00:21:35,695
Cousin, you...
356
00:21:36,596 --> 00:21:39,466
You underestimate
your friends.
357
00:21:39,532 --> 00:21:44,036
We don't see
that ridiculous
Larry Appleton.
358
00:21:44,103 --> 00:21:46,539
Not for a second.
359
00:21:46,606 --> 00:21:48,341
You don't?
Well, maybe for a second.
360
00:21:48,408 --> 00:21:50,410
Uh-huh.
But...
361
00:21:50,477 --> 00:21:52,144
Cousin, when your friends
look at you,
362
00:21:52,211 --> 00:21:56,583
we see Larry Appleton,
the good friend,
363
00:21:56,649 --> 00:21:58,918
and Larry Appleton,
the kind person.
364
00:21:58,985 --> 00:22:03,823
And Larry Appleton
who is always there
when you need him.
365
00:22:03,890 --> 00:22:10,262
And... And Larry Appleton
who never tears the tags
off of mattresses.
366
00:22:10,329 --> 00:22:14,200
And Larry Appleton--
Thanks, Balki. I feel better.
367
00:22:14,266 --> 00:22:17,970
You know, I have to admit
you were pretty good
in that commercial.
368
00:22:18,037 --> 00:22:20,907
Uh...
369
00:22:20,973 --> 00:22:23,275
Even just
the way you said,
"Here's the mail."
370
00:22:23,342 --> 00:22:25,044
Mail.
371
00:22:25,111 --> 00:22:29,882
That's what I said.
372
00:22:29,949 --> 00:22:31,017
Mail.
373
00:22:33,219 --> 00:22:34,454
Better.
374
00:22:36,756 --> 00:22:40,427
What I'm trying to say is,
I'm proud of you.
375
00:22:40,493 --> 00:22:43,029
And I'll bet,
you'll get a kick out of
seeing your picture
376
00:22:43,095 --> 00:22:45,264
on every bus in Chicago.
377
00:22:45,331 --> 00:22:48,768
Well, you've got a surprise
coming your way, cousin.
378
00:22:49,936 --> 00:22:51,070
What is it?
379
00:22:52,639 --> 00:22:55,742
Balki, what's...
What's the surprise?
380
00:22:55,808 --> 00:22:57,009
No, no.
381
00:22:57,076 --> 00:22:58,478
Tell me.
26199
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