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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:00,000 --> 00:01:19,678 >> [ GASPING ] OH! GOD! [ ALARM BEEPING ] 2 00:01:19,680 --> 00:01:21,547 OH! GOD! [ ALARM BEEPING ] [ BREATHING HEAVILY ] 3 00:01:21,549 --> 00:01:50,342 [ SCOFFS ] OH, MY GOD. 4 00:01:50,344 --> 00:02:05,924 >> NO RESTAURANT! HEY! YOU BUY, YOU TAKE AWAY! >> MAN, SHE MEANER THAN YOUR 5 00:02:05,926 --> 00:02:06,458 YOU BUY, YOU TAKE AWAY! >> MAN, SHE MEANER THAN YOUR MAMA. 6 00:02:06,460 --> 00:02:07,759 >> MAN, SHE MEANER THAN YOUR MAMA. >> MAN, NOBODY MEANER THAN MY 7 00:02:07,761 --> 00:02:08,293 MAMA. >> MAN, NOBODY MEANER THAN MY MAMA. 8 00:02:08,295 --> 00:02:09,628 >> MAN, NOBODY MEANER THAN MY MAMA. >> YOU GOT SOMETHING FOR UNDER 9 00:02:09,630 --> 00:02:10,929 MAMA. >> YOU GOT SOMETHING FOR UNDER 5 BUCKS THAT'S NOT GONNA KILL 10 00:02:10,931 --> 00:02:11,396 >> YOU GOT SOMETHING FOR UNDER 5 BUCKS THAT'S NOT GONNA KILL ME? 11 00:02:11,398 --> 00:02:12,598 5 BUCKS THAT'S NOT GONNA KILL ME? >> MM. 12 00:02:12,600 --> 00:02:13,765 ME? >> MM. [ SPEAKS INDISTINCTLY ] 13 00:02:13,767 --> 00:02:14,399 >> MM. [ SPEAKS INDISTINCTLY ] >> OHH. 14 00:02:14,401 --> 00:02:15,968 [ SPEAKS INDISTINCTLY ] >> OHH. >> VERY GOOD STUFF! 15 00:02:15,970 --> 00:02:20,739 >> OHH. >> VERY GOOD STUFF! IT'S, UH, $4.29, PLUS TAXES. 16 00:02:20,741 --> 00:02:23,876 >> VERY GOOD STUFF! IT'S, UH, $4.29, PLUS TAXES. OKAY. VERY GOOD, VERY GOOD. 17 00:02:23,878 --> 00:02:26,645 IT'S, UH, $4.29, PLUS TAXES. OKAY. VERY GOOD, VERY GOOD. NOW, TELL ME SOMETHING, HUH? 18 00:02:26,647 --> 00:02:29,414 OKAY. VERY GOOD, VERY GOOD. NOW, TELL ME SOMETHING, HUH? NICE GIRL LIKE YOU. 19 00:02:29,416 --> 00:02:31,383 NOW, TELL ME SOMETHING, HUH? NICE GIRL LIKE YOU. HOW COME YOU DRESS LIKE THAT? 20 00:02:31,385 --> 00:02:32,985 NICE GIRL LIKE YOU. HOW COME YOU DRESS LIKE THAT? DON'T YOU WANT A HUSBAND? 21 00:02:32,987 --> 00:02:34,453 HOW COME YOU DRESS LIKE THAT? DON'T YOU WANT A HUSBAND? >> [ Laughing ] A HUSBAND? 22 00:02:34,455 --> 00:02:35,420 DON'T YOU WANT A HUSBAND? >> [ Laughing ] A HUSBAND? [ SCOFFS ] YEAH. 23 00:02:35,422 --> 00:02:36,321 >> [ Laughing ] A HUSBAND? [ SCOFFS ] YEAH. YOU MARRY HER? 24 00:02:36,323 --> 00:02:36,955 [ SCOFFS ] YEAH. YOU MARRY HER? >> MARRY HER? 25 00:02:36,957 --> 00:02:38,690 YOU MARRY HER? >> MARRY HER? I WOULDN'T EVEN FUCK HER -- NOT 26 00:02:38,692 --> 00:02:39,791 >> MARRY HER? I WOULDN'T EVEN FUCK HER -- NOT EVEN WITH YOUR DICK. 27 00:02:39,793 --> 00:02:42,394 I WOULDN'T EVEN FUCK HER -- NOT EVEN WITH YOUR DICK. >> [ CHUCKLES ] HEY. HEY! 28 00:02:42,396 --> 00:02:43,862 EVEN WITH YOUR DICK. >> [ CHUCKLES ] HEY. HEY! YOU'D NEED A MICROSCOPE TO FIND 29 00:02:43,864 --> 00:02:44,363 >> [ CHUCKLES ] HEY. HEY! YOU'D NEED A MICROSCOPE TO FIND IT. 30 00:02:44,365 --> 00:02:45,998 YOU'D NEED A MICROSCOPE TO FIND IT. >> [ LAUGHS ] 31 00:02:46,000 --> 00:02:47,232 IT. >> [ LAUGHS ] >> NO, NO, NO. HEY! 32 00:02:47,234 --> 00:02:48,467 >> [ LAUGHS ] >> NO, NO, NO. HEY! HEY, MY DICK AIN'T LACKING 33 00:02:48,469 --> 00:02:49,902 >> NO, NO, NO. HEY! HEY, MY DICK AIN'T LACKING NOTHING IN THE SIZE DEPARTMENT, 34 00:02:49,904 --> 00:02:51,370 HEY, MY DICK AIN'T LACKING NOTHING IN THE SIZE DEPARTMENT, BABY. 35 00:02:51,372 --> 00:02:57,743 >> HIYA. >> HEY. YOU'RE LATE TONIGHT, HONEY. 36 00:02:57,745 --> 00:02:59,311 >> HEY. YOU'RE LATE TONIGHT, HONEY. >> YEAH, THAT'S THE STORY OF MY 37 00:02:59,313 --> 00:02:59,645 YOU'RE LATE TONIGHT, HONEY. >> YEAH, THAT'S THE STORY OF MY LIFE. 38 00:02:59,647 --> 00:03:01,280 >> YEAH, THAT'S THE STORY OF MY LIFE. >> WELL, BETTER LATE THAN NEVER, 39 00:03:01,282 --> 00:03:01,580 LIFE. >> WELL, BETTER LATE THAN NEVER, HUH? 40 00:03:01,582 --> 00:03:03,782 >> WELL, BETTER LATE THAN NEVER, HUH? [ COUGHING ] 41 00:03:03,784 --> 00:03:04,516 HUH? [ COUGHING ] >> DOLORES. 42 00:03:04,518 --> 00:03:05,918 [ COUGHING ] >> DOLORES. THOSE CIGARETTES ARE GONNA KILL 43 00:03:05,920 --> 00:03:06,685 >> DOLORES. THOSE CIGARETTES ARE GONNA KILL YOU ONE DAY. 44 00:03:06,687 --> 00:03:07,719 THOSE CIGARETTES ARE GONNA KILL YOU ONE DAY. YOU KNOW THAT, RIGHT? 45 00:03:07,721 --> 00:03:08,820 YOU ONE DAY. YOU KNOW THAT, RIGHT? >> SOMETHING'S GOT TO. 46 00:03:08,822 --> 00:03:10,022 YOU KNOW THAT, RIGHT? >> SOMETHING'S GOT TO. >> [ Chuckling ] OH, GOD. 47 00:03:10,024 --> 00:03:11,890 >> SOMETHING'S GOT TO. >> [ Chuckling ] OH, GOD. >> SEE YOU. 48 00:03:11,892 --> 00:03:24,836 >> MADAME? ANNA? AH! 49 00:03:24,838 --> 00:03:26,038 ANNA? AH! ANNA KARENINA. 50 00:03:26,040 --> 00:03:27,272 AH! ANNA KARENINA. >> [ GROANS, CHUCKLES ] 51 00:03:27,274 --> 00:03:28,273 ANNA KARENINA. >> [ GROANS, CHUCKLES ] >> OH! 52 00:03:28,275 --> 00:03:30,609 >> [ GROANS, CHUCKLES ] >> OH! YOU LOOK RAVISHING... 53 00:03:30,611 --> 00:03:31,276 >> OH! YOU LOOK RAVISHING... >> OH. 54 00:03:31,278 --> 00:03:33,712 YOU LOOK RAVISHING... >> OH. >> ...THIS EVENING, MY DEAR! 55 00:03:33,714 --> 00:03:34,680 >> OH. >> ...THIS EVENING, MY DEAR! OH. 56 00:03:34,682 --> 00:03:35,948 >> ...THIS EVENING, MY DEAR! OH. WHAT COULD YOU HAVE IN THAT BAG, 57 00:03:35,950 --> 00:03:36,515 OH. WHAT COULD YOU HAVE IN THAT BAG, MY DEAR? 58 00:03:36,517 --> 00:03:36,982 WHAT COULD YOU HAVE IN THAT BAG, MY DEAR? >> NOTHING. 59 00:03:36,984 --> 00:03:38,016 MY DEAR? >> NOTHING. IT'S NOTHING, PROFESSOR. 60 00:03:38,018 --> 00:03:38,750 >> NOTHING. IT'S NOTHING, PROFESSOR. >> [ LAUGHS ] 61 00:03:38,752 --> 00:03:39,952 IT'S NOTHING, PROFESSOR. >> [ LAUGHS ] >> IT'S DOMESTIC. 62 00:03:39,954 --> 00:03:41,320 >> [ LAUGHS ] >> IT'S DOMESTIC. >> BUT NOT UNDRINKABLE! 63 00:03:41,322 --> 00:03:41,954 >> IT'S DOMESTIC. >> BUT NOT UNDRINKABLE! AM I CORRECT? 64 00:03:41,956 --> 00:03:43,355 >> BUT NOT UNDRINKABLE! AM I CORRECT? >> WELL -- [ CHUCKLES ] 65 00:03:43,357 --> 00:03:44,856 AM I CORRECT? >> WELL -- [ CHUCKLES ] >> WELL, AND YOU'RE NOT GOING TO 66 00:03:44,858 --> 00:03:45,757 >> WELL -- [ CHUCKLES ] >> WELL, AND YOU'RE NOT GOING TO ENJOY IT ALONE! 67 00:03:45,759 --> 00:03:47,693 >> WELL, AND YOU'RE NOT GOING TO ENJOY IT ALONE! PLEASE, SIT! PLEASE! 68 00:03:47,695 --> 00:03:48,560 ENJOY IT ALONE! PLEASE, SIT! PLEASE! >> NO. 69 00:03:48,562 --> 00:03:50,562 PLEASE, SIT! PLEASE! >> NO. UH, YOU ARE. HERE. 70 00:03:50,564 --> 00:03:51,063 >> NO. UH, YOU ARE. HERE. >> OH -- 71 00:03:51,065 --> 00:03:53,999 UH, YOU ARE. HERE. >> OH -- >> COME ON. 72 00:03:54,001 --> 00:03:56,501 >> OH -- >> COME ON. >> THANK YOU, MY DEAR. 73 00:03:56,503 --> 00:03:58,670 >> COME ON. >> THANK YOU, MY DEAR. >> YEAH. 74 00:03:58,672 --> 00:03:59,471 >> THANK YOU, MY DEAR. >> YEAH. >> ANNA? 75 00:03:59,473 --> 00:04:00,572 >> YEAH. >> ANNA? >> MM? 76 00:04:00,574 --> 00:04:01,773 >> ANNA? >> MM? >> DON'T DO ANYTHING STUPID. 77 00:04:01,775 --> 00:04:03,642 >> MM? >> DON'T DO ANYTHING STUPID. >> [ CHUCKLES ] 78 00:04:03,644 --> 00:04:48,954 >> LEON? AS YOU WERE. [ BIRD CHIRPS ] 79 00:04:48,956 --> 00:05:09,141 WHAT DO YOU THINK, LEON? GONNA KILL ME? [ BIRD CHIRPS ] 80 00:05:09,143 --> 00:05:11,143 GONNA KILL ME? [ BIRD CHIRPS ] [ SNIFFS, GROANS ] 81 00:05:11,145 --> 00:05:12,611 [ BIRD CHIRPS ] [ SNIFFS, GROANS ] [ THUMP ] 82 00:05:12,613 --> 00:06:01,593 "MARLENE HAD A TENDENCY TO USE HER NARCISSISM AS THE LONG END OF THE WEDGE." 83 00:06:01,595 --> 00:06:03,462 HER NARCISSISM AS THE LONG END OF THE WEDGE." [ SIGHS ] 84 00:06:03,464 --> 00:06:13,004 [ METAL GRATING ] 85 00:06:13,006 --> 00:06:20,679 GIVE IT YOUR BEST SHOT. 86 00:06:20,681 --> 00:06:45,937 >> [ Muffled ] OOH. OH, SO GOOD. KEEP GOING, BABY. KEEP GOING. THAT'S RIGHT. 87 00:06:45,939 --> 00:06:48,840 KEEP GOING, BABY. KEEP GOING. THAT'S RIGHT. OH, YEAH. THAT'S THE G-SPOT. 88 00:06:48,842 --> 00:06:50,709 KEEP GOING. THAT'S RIGHT. OH, YEAH. THAT'S THE G-SPOT. MMM. MM-HMM! 89 00:06:50,711 --> 00:06:52,811 OH, YEAH. THAT'S THE G-SPOT. MMM. MM-HMM! OH, YOU SON OF A BITCH! 90 00:06:52,813 --> 00:06:54,246 MMM. MM-HMM! OH, YOU SON OF A BITCH! YOU BIG, BEAUTIFUL SON OF A 91 00:06:54,248 --> 00:06:55,881 OH, YOU SON OF A BITCH! YOU BIG, BEAUTIFUL SON OF A BITCH! 92 00:06:55,883 --> 00:06:57,048 YOU BIG, BEAUTIFUL SON OF A BITCH! GUESS WHO JUST WALKED IN THE 93 00:06:57,050 --> 00:06:58,116 BITCH! GUESS WHO JUST WALKED IN THE DOOR. 94 00:06:58,118 --> 00:06:59,251 GUESS WHO JUST WALKED IN THE DOOR. DELILAH. 95 00:06:59,253 --> 00:07:01,019 DOOR. DELILAH. YOU WANT TO SAY HELLO? 96 00:07:01,021 --> 00:07:01,820 DELILAH. YOU WANT TO SAY HELLO? MM-HMM. 97 00:07:01,822 --> 00:07:03,755 YOU WANT TO SAY HELLO? MM-HMM. SHE'S SITTING RIGHT HERE, 98 00:07:03,757 --> 00:07:06,625 MM-HMM. SHE'S SITTING RIGHT HERE, GETTING VERY, VERY HORNY JUST 99 00:07:06,627 --> 00:07:08,059 SHE'S SITTING RIGHT HERE, GETTING VERY, VERY HORNY JUST THINKING ABOUT YOU. 100 00:07:08,061 --> 00:07:11,563 GETTING VERY, VERY HORNY JUST THINKING ABOUT YOU. UH-HUH. AREN'T YOU, HONEY? 101 00:07:11,565 --> 00:07:14,633 THINKING ABOUT YOU. UH-HUH. AREN'T YOU, HONEY? YOU STILL THERE, BABY? 102 00:07:14,635 --> 00:07:16,001 UH-HUH. AREN'T YOU, HONEY? YOU STILL THERE, BABY? MM. 103 00:07:16,003 --> 00:07:17,536 YOU STILL THERE, BABY? MM. DO IT, HANK. 104 00:07:17,538 --> 00:07:20,505 MM. DO IT, HANK. DO IT HARD. OH, YEAH. 105 00:07:20,507 --> 00:07:21,840 DO IT, HANK. DO IT HARD. OH, YEAH. THAT'S THE SPOT. 106 00:07:21,842 --> 00:07:23,909 DO IT HARD. OH, YEAH. THAT'S THE SPOT. OH, RIGHT THERE. 107 00:07:23,911 --> 00:07:26,144 THAT'S THE SPOT. OH, RIGHT THERE. OOH. KEEP GOING! 108 00:07:26,146 --> 00:07:28,180 OH, RIGHT THERE. OOH. KEEP GOING! OH, RIGHT -- RIGHT THERE. 109 00:07:28,182 --> 00:07:30,282 OOH. KEEP GOING! OH, RIGHT -- RIGHT THERE. OOH, YOU BE A STUD, AND YOU FUCK 110 00:07:30,284 --> 00:07:31,583 OH, RIGHT -- RIGHT THERE. OOH, YOU BE A STUD, AND YOU FUCK ME, BABY! 111 00:07:31,585 --> 00:07:34,820 OOH, YOU BE A STUD, AND YOU FUCK ME, BABY! OH, FUCK ME! OH, YEAH! 112 00:07:34,822 --> 00:07:37,155 ME, BABY! OH, FUCK ME! OH, YEAH! OH! DON'T STOP! 113 00:07:37,157 --> 00:07:38,623 OH, FUCK ME! OH, YEAH! OH! DON'T STOP! DON'T STOP! 114 00:07:38,625 --> 00:07:40,725 OH! DON'T STOP! DON'T STOP! OH! HARDER! 115 00:07:40,727 --> 00:07:42,994 DON'T STOP! OH! HARDER! HARDER! OH, YEAH! 116 00:07:42,996 --> 00:07:43,695 OH! HARDER! HARDER! OH, YEAH! [ MOANS ] 117 00:07:43,697 --> 00:07:43,962 HARDER! OH, YEAH! [ MOANS ] NO! 118 00:07:43,964 --> 00:07:45,297 [ MOANS ] NO! THAT'S THE SPOT RIGHT THERE, 119 00:07:45,299 --> 00:07:46,264 NO! THAT'S THE SPOT RIGHT THERE, BABY! 120 00:07:46,266 --> 00:07:48,166 THAT'S THE SPOT RIGHT THERE, BABY! HARDER... 121 00:07:48,168 --> 00:07:49,568 BABY! HARDER... HARDER... 122 00:07:49,570 --> 00:07:50,902 HARDER... HARDER... DON'T STOP! 123 00:07:50,904 --> 00:07:53,071 HARDER... DON'T STOP! OH, THAT'S THE SPOT! 124 00:07:53,073 --> 00:07:54,005 DON'T STOP! OH, THAT'S THE SPOT! THAT'S IT! 125 00:07:54,007 --> 00:07:55,774 OH, THAT'S THE SPOT! THAT'S IT! THAT'S IT! RIGHT THERE! 126 00:07:55,776 --> 00:07:57,209 THAT'S IT! THAT'S IT! RIGHT THERE! THAT'S HOW I LIKE IT! 127 00:07:57,211 --> 00:07:58,944 THAT'S IT! RIGHT THERE! THAT'S HOW I LIKE IT! [ MOANS INDISTINCTLY ] 128 00:07:58,946 --> 00:07:59,911 THAT'S HOW I LIKE IT! [ MOANS INDISTINCTLY ] DON'T STOP! 129 00:07:59,913 --> 00:08:03,215 [ MOANS INDISTINCTLY ] DON'T STOP! [ MOANING LOUDLY ] 130 00:08:03,217 --> 00:08:07,719 DON'T STOP! [ MOANING LOUDLY ] [ YELLS ] 131 00:08:07,721 --> 00:08:09,688 [ MOANING LOUDLY ] [ YELLS ] OH, YEAH! 132 00:08:09,690 --> 00:08:11,723 [ YELLS ] OH, YEAH! ALL RIGHT! 133 00:08:11,725 --> 00:08:14,159 OH, YEAH! ALL RIGHT! OOH! 134 00:08:14,161 --> 00:08:17,162 ALL RIGHT! OOH! OH. 135 00:08:17,164 --> 00:08:19,764 OOH! OH. HANK? YOU STILL THERE, BABY? 136 00:08:19,766 --> 00:08:21,566 OH. HANK? YOU STILL THERE, BABY? HANK? 137 00:08:21,568 --> 00:08:24,002 HANK? YOU STILL THERE, BABY? HANK? HANK. 138 00:08:24,004 --> 00:08:26,137 HANK? HANK. HANK! 139 00:08:26,139 --> 00:08:27,772 HANK. HANK! UGH! 140 00:08:27,774 --> 00:08:29,140 HANK! UGH! I CANNOT STAND IT WHEN THEY DO 141 00:08:29,142 --> 00:08:29,875 UGH! I CANNOT STAND IT WHEN THEY DO THAT. 142 00:08:29,877 --> 00:08:30,909 I CANNOT STAND IT WHEN THEY DO THAT. [ SIGHS ] 143 00:08:30,911 --> 00:08:32,177 THAT. [ SIGHS ] >> WHAT DO YOU WANT THEM TO 144 00:08:32,179 --> 00:08:33,845 [ SIGHS ] >> WHAT DO YOU WANT THEM TO DO -- HOLD YOU AND SAY THEY LOVE 145 00:08:33,847 --> 00:08:34,145 >> WHAT DO YOU WANT THEM TO DO -- HOLD YOU AND SAY THEY LOVE YOU? 146 00:08:34,147 --> 00:08:35,780 DO -- HOLD YOU AND SAY THEY LOVE YOU? >> WELL, THEY COULD SAY GOODBYE, 147 00:08:35,782 --> 00:08:36,781 YOU? >> WELL, THEY COULD SAY GOODBYE, FOR CHRIST'S SAKE. 148 00:08:36,783 --> 00:08:38,183 >> WELL, THEY COULD SAY GOODBYE, FOR CHRIST'S SAKE. THAT'S THE LEAST THEY COULD DO. 149 00:08:38,185 --> 00:08:39,951 FOR CHRIST'S SAKE. THAT'S THE LEAST THEY COULD DO. >> POST COITUM OMNE ANIMAL 150 00:08:39,953 --> 00:08:42,654 THAT'S THE LEAST THEY COULD DO. >> POST COITUM OMNE ANIMAL TRISTE EST. 151 00:08:42,656 --> 00:08:43,255 >> POST COITUM OMNE ANIMAL TRISTE EST. >> HUH? 152 00:08:43,257 --> 00:08:45,657 TRISTE EST. >> HUH? >> IT MEANS "AFTER SEX, MEN ARE 153 00:08:45,659 --> 00:08:45,957 >> HUH? >> IT MEANS "AFTER SEX, MEN ARE SAD." 154 00:08:45,959 --> 00:08:46,324 >> IT MEANS "AFTER SEX, MEN ARE SAD." >> HUH. 155 00:08:46,326 --> 00:08:47,792 SAD." >> HUH. YOU'D THINK FOR ONCE, THEY'D BE 156 00:08:47,794 --> 00:08:48,126 >> HUH. YOU'D THINK FOR ONCE, THEY'D BE HAPPY. 157 00:08:48,128 --> 00:08:49,594 YOU'D THINK FOR ONCE, THEY'D BE HAPPY. >> YEAH, WELL, THAT'S WHY THEY 158 00:08:49,596 --> 00:08:50,862 HAPPY. >> YEAH, WELL, THAT'S WHY THEY ALWAYS WANT TO ROLL OVER AND GO 159 00:08:50,864 --> 00:08:51,830 >> YEAH, WELL, THAT'S WHY THEY ALWAYS WANT TO ROLL OVER AND GO TO SLEEP AFTERWARDS. 160 00:08:51,832 --> 00:08:52,931 ALWAYS WANT TO ROLL OVER AND GO TO SLEEP AFTERWARDS. THEY'RE DEEPLY DEPRESSED. 161 00:08:52,933 --> 00:08:54,199 TO SLEEP AFTERWARDS. THEY'RE DEEPLY DEPRESSED. >> YOU WERE SUPPOSED TO BE HERE 162 00:08:54,201 --> 00:08:55,233 THEY'RE DEEPLY DEPRESSED. >> YOU WERE SUPPOSED TO BE HERE AT MIDNIGHT, YOU KNOW. 163 00:08:55,235 --> 00:08:56,201 >> YOU WERE SUPPOSED TO BE HERE AT MIDNIGHT, YOU KNOW. >> I KNOW. I'M SORRY. 164 00:08:56,203 --> 00:08:57,636 AT MIDNIGHT, YOU KNOW. >> I KNOW. I'M SORRY. >> SO, THERE'S THIS GUY IN MY 165 00:08:57,638 --> 00:08:59,838 >> I KNOW. I'M SORRY. >> SO, THERE'S THIS GUY IN MY BUILDING, AND HE'S KIND OF SHY 166 00:08:59,840 --> 00:09:01,940 >> SO, THERE'S THIS GUY IN MY BUILDING, AND HE'S KIND OF SHY AND PUDGY AND FUNNY-LOOKING, 167 00:09:01,942 --> 00:09:04,276 BUILDING, AND HE'S KIND OF SHY AND PUDGY AND FUNNY-LOOKING, WITH HAIR FALLING IN HIS EYES. 168 00:09:04,278 --> 00:09:05,877 AND PUDGY AND FUNNY-LOOKING, WITH HAIR FALLING IN HIS EYES. I BET YOU HE CALLS PLACES LIKE 169 00:09:05,879 --> 00:09:07,312 WITH HAIR FALLING IN HIS EYES. I BET YOU HE CALLS PLACES LIKE THIS. 170 00:09:07,314 --> 00:09:08,179 I BET YOU HE CALLS PLACES LIKE THIS. HE'S THE TYPE. 171 00:09:08,181 --> 00:09:10,081 THIS. HE'S THE TYPE. YOU KNOW WHAT I MEAN? 172 00:09:10,083 --> 00:09:11,283 HE'S THE TYPE. YOU KNOW WHAT I MEAN? I MEAN, DON'T YOU THINK ABOUT 173 00:09:11,285 --> 00:09:13,084 YOU KNOW WHAT I MEAN? I MEAN, DON'T YOU THINK ABOUT WHAT THEY'RE LIKE, THESE GUYS, 174 00:09:13,086 --> 00:09:14,719 I MEAN, DON'T YOU THINK ABOUT WHAT THEY'RE LIKE, THESE GUYS, WHEN YOU'RE TALKING TO THEM? 175 00:09:14,721 --> 00:09:15,387 WHAT THEY'RE LIKE, THESE GUYS, WHEN YOU'RE TALKING TO THEM? >> NO. NEVER. 176 00:09:15,389 --> 00:09:17,889 WHEN YOU'RE TALKING TO THEM? >> NO. NEVER. >> I DO, ESPECIALLY WHEN I GET A 177 00:09:17,891 --> 00:09:19,291 >> NO. NEVER. >> I DO, ESPECIALLY WHEN I GET A NICE-SOUNDING VOICE ON THE 178 00:09:19,293 --> 00:09:21,092 >> I DO, ESPECIALLY WHEN I GET A NICE-SOUNDING VOICE ON THE LINE -- YOU KNOW, SHY, LIKE THIS 179 00:09:21,094 --> 00:09:22,394 NICE-SOUNDING VOICE ON THE LINE -- YOU KNOW, SHY, LIKE THIS GUY IN MY BUILDING. 180 00:09:22,396 --> 00:09:25,163 LINE -- YOU KNOW, SHY, LIKE THIS GUY IN MY BUILDING. I WANT TO TELL THEM TO GO JOIN A 181 00:09:25,165 --> 00:09:28,967 GUY IN MY BUILDING. I WANT TO TELL THEM TO GO JOIN A CLUB OR GO ON FACEBOOK... 182 00:09:28,969 --> 00:09:30,402 I WANT TO TELL THEM TO GO JOIN A CLUB OR GO ON FACEBOOK... OR SOMETHING! 183 00:09:30,404 --> 00:09:32,971 CLUB OR GO ON FACEBOOK... OR SOMETHING! OR JUST ASK SOMEONE! 184 00:09:32,973 --> 00:09:35,106 OR SOMETHING! OR JUST ASK SOMEONE! I MEAN, MAYBE SOMEONE WILL SAY 185 00:09:35,108 --> 00:09:36,207 OR JUST ASK SOMEONE! I MEAN, MAYBE SOMEONE WILL SAY YES! 186 00:09:36,209 --> 00:09:37,943 I MEAN, MAYBE SOMEONE WILL SAY YES! YOU NEVER KNOW! 187 00:09:37,945 --> 00:09:39,411 YES! YOU NEVER KNOW! BUT GETTING OFF OVER THE PHONE 188 00:09:39,413 --> 00:09:42,013 YOU NEVER KNOW! BUT GETTING OFF OVER THE PHONE SEEMS...SO LONELY. 189 00:09:42,015 --> 00:09:43,315 BUT GETTING OFF OVER THE PHONE SEEMS...SO LONELY. >> UH-HUH. 190 00:09:43,317 --> 00:09:44,983 SEEMS...SO LONELY. >> UH-HUH. >> WHAT DID MEN DO BEFORE 191 00:09:44,985 --> 00:09:47,052 >> UH-HUH. >> WHAT DID MEN DO BEFORE TELEPHONES, LIKE IN THE 192 00:09:47,054 --> 00:09:48,720 >> WHAT DID MEN DO BEFORE TELEPHONES, LIKE IN THE 19th CENTURY? 193 00:09:48,722 --> 00:09:50,155 TELEPHONES, LIKE IN THE 19th CENTURY? >> THEY PATRONIZED WHORES. 194 00:09:50,157 --> 00:09:51,856 19th CENTURY? >> THEY PATRONIZED WHORES. >> WELL...WE'RE NOT WHORES. 195 00:09:51,858 --> 00:09:53,725 >> THEY PATRONIZED WHORES. >> WELL...WE'RE NOT WHORES. >> NO. THAT'S RIGHT. WE'RE NOT. 196 00:09:53,727 --> 00:09:55,026 >> WELL...WE'RE NOT WHORES. >> NO. THAT'S RIGHT. WE'RE NOT. WE ARE -- 197 00:09:55,028 --> 00:09:56,394 >> NO. THAT'S RIGHT. WE'RE NOT. WE ARE -- WE'RE FANTASY FACILITATORS, AND 198 00:09:56,396 --> 00:09:57,796 WE ARE -- WE'RE FANTASY FACILITATORS, AND THAT'S THE PROBLEM WITH THE 199 00:09:57,798 --> 00:09:58,797 WE'RE FANTASY FACILITATORS, AND THAT'S THE PROBLEM WITH THE WORLD TODAY, GINNY. 200 00:09:58,799 --> 00:10:00,065 THAT'S THE PROBLEM WITH THE WORLD TODAY, GINNY. THERE ARE NO COMPETENT WHORES 201 00:10:00,067 --> 00:10:00,765 WORLD TODAY, GINNY. THERE ARE NO COMPETENT WHORES OUT THERE! 202 00:10:00,767 --> 00:10:02,067 THERE ARE NO COMPETENT WHORES OUT THERE! THERE'S -- THERE ARE NO WHORES 203 00:10:02,069 --> 00:10:03,435 OUT THERE! THERE'S -- THERE ARE NO WHORES WHO, YOU KNOW, THEY REALLY CARE 204 00:10:03,437 --> 00:10:05,203 THERE'S -- THERE ARE NO WHORES WHO, YOU KNOW, THEY REALLY CARE ABOUT THEIR WORK! 205 00:10:05,205 --> 00:10:06,338 WHO, YOU KNOW, THEY REALLY CARE ABOUT THEIR WORK! BUT GIVEN THE STATE OF THE 206 00:10:06,340 --> 00:10:07,739 ABOUT THEIR WORK! BUT GIVEN THE STATE OF THE PROFESSION, I GUESS PHONE SEX 207 00:10:07,741 --> 00:10:08,974 BUT GIVEN THE STATE OF THE PROFESSION, I GUESS PHONE SEX IS... 208 00:10:08,976 --> 00:10:10,842 PROFESSION, I GUESS PHONE SEX IS... A BETTER IDEA. 209 00:10:10,844 --> 00:10:12,043 IS... A BETTER IDEA. >> I'LL SEE YOU TOMORROW! 210 00:10:12,045 --> 00:10:14,212 A BETTER IDEA. >> I'LL SEE YOU TOMORROW! >> MM-HMM. OKAY. 211 00:10:14,214 --> 00:10:16,915 >> I'LL SEE YOU TOMORROW! >> MM-HMM. OKAY. >> AND COULD YOU TRY NOT TO BE 212 00:10:16,917 --> 00:10:18,883 >> MM-HMM. OKAY. >> AND COULD YOU TRY NOT TO BE LATE, PLEASE? 213 00:10:18,885 --> 00:10:20,752 >> AND COULD YOU TRY NOT TO BE LATE, PLEASE? >> YES. RIGHT. 214 00:10:20,754 --> 00:10:34,399 [ DOOR SHUTS ] [ TELEPHONE RINGING ] >> 7...? 215 00:10:34,401 --> 00:10:43,475 DUFFY'S TAVERN, WHERE THE ELITE MEET TO EAT. >> This is George Papandreou. 216 00:10:43,477 --> 00:10:44,909 MEET TO EAT. >> This is George Papandreou. >> MR. PAPANDREOU! 217 00:10:44,911 --> 00:10:46,244 >> This is George Papandreou. >> MR. PAPANDREOU! HOW'S IT GOING? 218 00:10:46,246 --> 00:10:47,312 >> MR. PAPANDREOU! HOW'S IT GOING? YOU GOT A NEW NUMBER! 219 00:10:47,314 --> 00:10:48,079 HOW'S IT GOING? YOU GOT A NEW NUMBER! [ CHUCKLES ] 220 00:10:48,081 --> 00:10:49,381 YOU GOT A NEW NUMBER! [ CHUCKLES ] >> You're behind on the rent 221 00:10:49,383 --> 00:10:49,948 [ CHUCKLES ] >> You're behind on the rent again! 222 00:10:49,950 --> 00:10:52,951 >> You're behind on the rent again! >> UH, THE RENT? 223 00:10:52,953 --> 00:10:54,352 again! >> UH, THE RENT? WHAT DO YOU ME-- THE RENT? 224 00:10:54,354 --> 00:10:56,755 >> UH, THE RENT? WHAT DO YOU ME-- THE RENT? OH. HERE'S WHAT HAPPENED. 225 00:10:56,757 --> 00:10:58,023 WHAT DO YOU ME-- THE RENT? OH. HERE'S WHAT HAPPENED. I GOT A NEW BANK ACCOUNT, AND 226 00:10:58,025 --> 00:10:59,791 OH. HERE'S WHAT HAPPENED. I GOT A NEW BANK ACCOUNT, AND THEY SENT ME THE WRONG CHECKS. 227 00:10:59,793 --> 00:11:01,326 I GOT A NEW BANK ACCOUNT, AND THEY SENT ME THE WRONG CHECKS. I-I ASKED -- I HAD ASKED FOR A 228 00:11:01,328 --> 00:11:02,460 THEY SENT ME THE WRONG CHECKS. I-I ASKED -- I HAD ASKED FOR A COAT OF ARMS. 229 00:11:02,462 --> 00:11:03,895 I-I ASKED -- I HAD ASKED FOR A COAT OF ARMS. DID YOU KNOW MY FAMILY HAS A 230 00:11:03,897 --> 00:11:05,764 COAT OF ARMS. DID YOU KNOW MY FAMILY HAS A COAT OF ARMS? 231 00:11:05,766 --> 00:11:25,850 JESUS, I'M TALKING TO A FUCKING BIRD. AH, FUCK. 232 00:11:25,852 --> 00:11:31,022 [ SIGHS ] 233 00:11:31,024 --> 00:11:40,865 "SWEET TALK." 234 00:11:40,867 --> 00:11:47,806 SWEET TALK. [ CHUCKLES ] 235 00:11:47,808 --> 00:12:13,732 [ Dialing ] 236 00:12:13,734 --> 00:12:25,210 [ TELEPHONE RINGING ] 237 00:12:25,212 --> 00:12:38,289 >> [ Breathy ] HELLO. SWEET TALK. >> WHO'S THIS? 238 00:12:38,291 --> 00:12:39,424 SWEET TALK. >> WHO'S THIS? >> THIS IS DELILAH. 239 00:12:39,426 --> 00:12:41,259 >> WHO'S THIS? >> THIS IS DELILAH. YOU WANT TO TALK? 240 00:12:41,261 --> 00:12:42,260 >> THIS IS DELILAH. YOU WANT TO TALK? >> About what? 241 00:12:42,262 --> 00:12:45,263 YOU WANT TO TALK? >> About what? >> UH, YOU NAME IT, BABY. 242 00:12:45,265 --> 00:12:46,297 >> About what? >> UH, YOU NAME IT, BABY. ANYTHING. 243 00:12:46,299 --> 00:12:47,031 >> UH, YOU NAME IT, BABY. ANYTHING. >> ANYTHING? 244 00:12:47,033 --> 00:12:48,299 ANYTHING. >> ANYTHING? >> Anything -- the hotter, the 245 00:12:48,301 --> 00:12:51,569 >> ANYTHING? >> Anything -- the hotter, the better. 246 00:12:51,571 --> 00:12:53,438 >> Anything -- the hotter, the better. >> WHAT ABOUT DANCING? 247 00:12:53,440 --> 00:12:54,839 better. >> WHAT ABOUT DANCING? CAN WE DANCE? 248 00:12:54,841 --> 00:12:56,040 >> WHAT ABOUT DANCING? CAN WE DANCE? >> WE CAN DO WHATEVER YOU WANT 249 00:12:56,042 --> 00:12:58,576 CAN WE DANCE? >> WE CAN DO WHATEVER YOU WANT TO DO. 250 00:12:58,578 --> 00:13:00,211 >> WE CAN DO WHATEVER YOU WANT TO DO. Oh, hey. Come on. Don't be shy. 251 00:13:00,213 --> 00:13:01,913 TO DO. Oh, hey. Come on. Don't be shy. No one's gonna bite you...unless 252 00:13:01,915 --> 00:13:05,083 Oh, hey. Come on. Don't be shy. No one's gonna bite you...unless you want to be bitten. 253 00:13:05,085 --> 00:13:08,586 No one's gonna bite you...unless you want to be bitten. Hello? 254 00:13:08,588 --> 00:13:10,155 you want to be bitten. Hello? HEY. 255 00:13:10,157 --> 00:13:11,923 Hello? HEY. HE-HEY, DON'T HANG UP. 256 00:13:11,925 --> 00:13:12,624 HEY. HE-HEY, DON'T HANG UP. >> I'm here. 257 00:13:12,626 --> 00:13:15,059 HE-HEY, DON'T HANG UP. >> I'm here. >> OKAY. 258 00:13:15,061 --> 00:13:16,127 >> I'm here. >> OKAY. >> What do I have to do? 259 00:13:16,129 --> 00:13:17,262 >> OKAY. >> What do I have to do? >> WHAT DO YOU HAVE TO DO? 260 00:13:17,264 --> 00:13:18,163 >> What do I have to do? >> WHAT DO YOU HAVE TO DO? >> Well, uh, yeah. 261 00:13:18,165 --> 00:13:19,464 >> WHAT DO YOU HAVE TO DO? >> Well, uh, yeah. I've never done this before, so 262 00:13:19,466 --> 00:13:20,565 >> Well, uh, yeah. I've never done this before, so you're gonna have to help 263 00:13:20,567 --> 00:13:21,599 I've never done this before, so you're gonna have to help explain how this works. 264 00:13:21,601 --> 00:13:22,367 you're gonna have to help explain how this works. >> ALL RIGHT. 265 00:13:22,369 --> 00:13:23,334 explain how this works. >> ALL RIGHT. THAT'S NOT A PROBLEM. 266 00:13:23,336 --> 00:13:24,202 >> ALL RIGHT. THAT'S NOT A PROBLEM. WHAT'S YOUR NAME? 267 00:13:24,204 --> 00:13:25,203 THAT'S NOT A PROBLEM. WHAT'S YOUR NAME? >> J-- [ CLEARS THROAT ] 268 00:13:25,205 --> 00:13:26,337 WHAT'S YOUR NAME? >> J-- [ CLEARS THROAT ] JOHN. 269 00:13:26,339 --> 00:13:26,871 >> J-- [ CLEARS THROAT ] JOHN. JOHN. 270 00:13:26,873 --> 00:13:27,505 JOHN. JOHN. >> OKAY, JOHN. 271 00:13:27,507 --> 00:13:28,540 JOHN. >> OKAY, JOHN. HERE'S HOW IT WORKS. 272 00:13:28,542 --> 00:13:30,141 >> OKAY, JOHN. HERE'S HOW IT WORKS. WE CAN TALK ABOUT...ANYTHING YOU 273 00:13:30,143 --> 00:13:31,476 HERE'S HOW IT WORKS. WE CAN TALK ABOUT...ANYTHING YOU WANT FOR AS LONG AS YOU WANT, 274 00:13:31,478 --> 00:13:32,210 WE CAN TALK ABOUT...ANYTHING YOU WANT FOR AS LONG AS YOU WANT, AND THEN -- 275 00:13:32,212 --> 00:13:33,411 WANT FOR AS LONG AS YOU WANT, AND THEN -- >> How much does it cost? 276 00:13:33,413 --> 00:13:34,512 AND THEN -- >> How much does it cost? >> I'M GETTING TO THAT. 277 00:13:34,514 --> 00:13:36,147 >> How much does it cost? >> I'M GETTING TO THAT. >> JUST WANT TO KNOW WHAT I'M IN 278 00:13:36,149 --> 00:13:36,447 >> I'M GETTING TO THAT. >> JUST WANT TO KNOW WHAT I'M IN FOR. 279 00:13:36,449 --> 00:13:37,081 >> JUST WANT TO KNOW WHAT I'M IN FOR. >> Okay. 280 00:13:37,083 --> 00:13:38,883 FOR. >> Okay. We charge 20 bucks to start out, 281 00:13:38,885 --> 00:13:40,218 >> Okay. We charge 20 bucks to start out, and then $2.99 a minute goes 282 00:13:40,220 --> 00:13:41,519 We charge 20 bucks to start out, and then $2.99 a minute goes automatically on your credit 283 00:13:41,521 --> 00:13:42,053 and then $2.99 a minute goes automatically on your credit card. 284 00:13:42,055 --> 00:13:43,454 automatically on your credit card. UNLESS, OF COURSE, YOU WANT TO 285 00:13:43,456 --> 00:13:45,056 card. UNLESS, OF COURSE, YOU WANT TO DO SOMETHING...MORE UNUSUAL -- 286 00:13:45,058 --> 00:13:46,291 UNLESS, OF COURSE, YOU WANT TO DO SOMETHING...MORE UNUSUAL -- THAT'S GONNA BE A BIT MORE 287 00:13:46,293 --> 00:13:46,991 DO SOMETHING...MORE UNUSUAL -- THAT'S GONNA BE A BIT MORE EXPENSIVE. 288 00:13:46,993 --> 00:13:48,426 THAT'S GONNA BE A BIT MORE EXPENSIVE. >> WHAT DO YOU MEAN BY UNUSUAL? 289 00:13:48,428 --> 00:13:50,295 EXPENSIVE. >> WHAT DO YOU MEAN BY UNUSUAL? >> WELL, THERE'S, UH -- UH, 290 00:13:50,297 --> 00:13:51,429 >> WHAT DO YOU MEAN BY UNUSUAL? >> WELL, THERE'S, UH -- UH, THERE'S FRENCH. 291 00:13:51,431 --> 00:13:52,664 >> WELL, THERE'S, UH -- UH, THERE'S FRENCH. THERE'S... 292 00:13:52,666 --> 00:13:53,932 THERE'S FRENCH. THERE'S... Greek. 293 00:13:53,934 --> 00:13:56,935 THERE'S... Greek. There's threesomes. 294 00:13:56,937 --> 00:13:58,069 Greek. There's threesomes. >> MAKE IT JUST STRAIGHT. 295 00:13:58,071 --> 00:14:01,172 There's threesomes. >> MAKE IT JUST STRAIGHT. UM, YOUR BASIC FACE-TO-FACE 296 00:14:01,174 --> 00:14:04,576 >> MAKE IT JUST STRAIGHT. UM, YOUR BASIC FACE-TO-FACE MISSIONARY POSITION IS 20 BUCKS 297 00:14:04,578 --> 00:14:07,345 UM, YOUR BASIC FACE-TO-FACE MISSIONARY POSITION IS 20 BUCKS PLUS WHATEVER -- $2.99? 298 00:14:07,347 --> 00:14:08,213 MISSIONARY POSITION IS 20 BUCKS PLUS WHATEVER -- $2.99? >> Yes. Right. 299 00:14:08,215 --> 00:14:09,581 PLUS WHATEVER -- $2.99? >> Yes. Right. >> EVERYTHING ELSE IS EXTRA? 300 00:14:09,583 --> 00:14:10,248 >> Yes. Right. >> EVERYTHING ELSE IS EXTRA? >> Yeah. 301 00:14:10,250 --> 00:14:11,683 >> EVERYTHING ELSE IS EXTRA? >> Yeah. >> WHAT'S MY CREDIT CARD GONNA 302 00:14:11,685 --> 00:14:13,384 >> Yeah. >> WHAT'S MY CREDIT CARD GONNA SAY -- LIKE, "JERK-OFF SERVICES" 303 00:14:13,386 --> 00:14:14,586 >> WHAT'S MY CREDIT CARD GONNA SAY -- LIKE, "JERK-OFF SERVICES" OR SOMETHING LIKE THAT? 304 00:14:14,588 --> 00:14:15,486 SAY -- LIKE, "JERK-OFF SERVICES" OR SOMETHING LIKE THAT? >> [ CHUCKLES ] 305 00:14:15,488 --> 00:14:16,921 OR SOMETHING LIKE THAT? >> [ CHUCKLES ] NO, IT'LL SAY "UNIVERSAL 306 00:14:16,923 --> 00:14:19,090 >> [ CHUCKLES ] NO, IT'LL SAY "UNIVERSAL COMMUNICATIONS, INCORPORATED." 307 00:14:19,092 --> 00:14:20,391 NO, IT'LL SAY "UNIVERSAL COMMUNICATIONS, INCORPORATED." >> That's all? 308 00:14:20,393 --> 00:14:23,161 COMMUNICATIONS, INCORPORATED." >> That's all? >> THAT IS ALL. 309 00:14:23,163 --> 00:14:25,096 >> That's all? >> THAT IS ALL. SO, JOHN... 310 00:14:25,098 --> 00:14:26,698 >> THAT IS ALL. SO, JOHN... WE GONNA PARTY, YOU AND ME? 311 00:14:26,700 --> 00:14:29,534 SO, JOHN... WE GONNA PARTY, YOU AND ME? HMM? 312 00:14:29,536 --> 00:14:30,702 WE GONNA PARTY, YOU AND ME? HMM? >> WHAT DO YOU LOOK LIKE? 313 00:14:30,704 --> 00:14:32,070 HMM? >> WHAT DO YOU LOOK LIKE? >> JOHN, I LOOK TERRIFIC. 314 00:14:32,072 --> 00:14:33,104 >> WHAT DO YOU LOOK LIKE? >> JOHN, I LOOK TERRIFIC. TAKE MY WORD FOR IT. 315 00:14:33,106 --> 00:14:34,472 >> JOHN, I LOOK TERRIFIC. TAKE MY WORD FOR IT. BUT WE'RE GONNA HAVE TO GET THE 316 00:14:34,474 --> 00:14:35,673 TAKE MY WORD FOR IT. BUT WE'RE GONNA HAVE TO GET THE FORMALITIES OUT OF THE WAY 317 00:14:35,675 --> 00:14:37,275 BUT WE'RE GONNA HAVE TO GET THE FORMALITIES OUT OF THE WAY BEFORE WE CAN GO ANY FURTHER, SO 318 00:14:37,277 --> 00:14:38,610 FORMALITIES OUT OF THE WAY BEFORE WE CAN GO ANY FURTHER, SO I AM GOING TO NEED YOUR CREDIT 319 00:14:38,612 --> 00:14:40,144 BEFORE WE CAN GO ANY FURTHER, SO I AM GOING TO NEED YOUR CREDIT CARD NUMBER AND THE EXPIRATION 320 00:14:40,146 --> 00:14:40,511 I AM GOING TO NEED YOUR CREDIT CARD NUMBER AND THE EXPIRATION DATE. 321 00:14:40,513 --> 00:14:41,579 CARD NUMBER AND THE EXPIRATION DATE. >> YOU KNOW WHAT? 322 00:14:41,581 --> 00:14:42,614 DATE. >> YOU KNOW WHAT? [ CLEARS THROAT ] 323 00:14:42,616 --> 00:14:44,249 >> YOU KNOW WHAT? [ CLEARS THROAT ] I THINK I'M GONNA CALL BACK 324 00:14:44,251 --> 00:14:44,649 [ CLEARS THROAT ] I THINK I'M GONNA CALL BACK LATER. 325 00:14:44,651 --> 00:14:46,284 I THINK I'M GONNA CALL BACK LATER. >> I may not be here later. 326 00:14:46,286 --> 00:14:48,586 LATER. >> I may not be here later. I MIGHT BE ASLEEP, ALL ALONE IN 327 00:14:48,588 --> 00:14:52,090 >> I may not be here later. I MIGHT BE ASLEEP, ALL ALONE IN MY BIG BED WITH SATIN SHEETS. 328 00:14:52,092 --> 00:14:53,291 I MIGHT BE ASLEEP, ALL ALONE IN MY BIG BED WITH SATIN SHEETS. >> DO YOU LIVE ALONE? 329 00:14:53,293 --> 00:14:54,125 MY BIG BED WITH SATIN SHEETS. >> DO YOU LIVE ALONE? >> I do. 330 00:14:54,127 --> 00:14:56,127 >> DO YOU LIVE ALONE? >> I do. Uh, it's just me -- well, and 331 00:14:56,129 --> 00:14:58,396 >> I do. Uh, it's just me -- well, and you, if you want to join me. 332 00:14:58,398 --> 00:15:14,012 >> 4-0-0-3-4... [ KEYBOARD CLACKING ] 7-6-7... 333 00:15:14,014 --> 00:15:16,114 [ KEYBOARD CLACKING ] 7-6-7... 7-8-12 -- 334 00:15:16,116 --> 00:15:17,482 7-6-7... 7-8-12 -- HOW DO YOU KNOW THIS IS A REAL 335 00:15:17,484 --> 00:15:18,082 7-8-12 -- HOW DO YOU KNOW THIS IS A REAL NUMBER? 336 00:15:18,084 --> 00:15:19,484 HOW DO YOU KNOW THIS IS A REAL NUMBER? >> I PUT IT IN MY MOUTH, AND IF 337 00:15:19,486 --> 00:15:21,452 NUMBER? >> I PUT IT IN MY MOUTH, AND IF IT GETS HARD, I KNOW IT'S REAL. 338 00:15:21,454 --> 00:15:22,453 >> I PUT IT IN MY MOUTH, AND IF IT GETS HARD, I KNOW IT'S REAL. >> [ SCOFFS SOFTLY ] 339 00:15:22,455 --> 00:15:23,421 IT GETS HARD, I KNOW IT'S REAL. >> [ SCOFFS SOFTLY ] That's pretty funny! 340 00:15:23,423 --> 00:15:24,689 >> [ SCOFFS SOFTLY ] That's pretty funny! >> THIS IS YOUR LAST CHANCE, 341 00:15:24,691 --> 00:15:26,224 That's pretty funny! >> THIS IS YOUR LAST CHANCE, SWEETIE -- I HAVE TO HANG UP ON 342 00:15:26,226 --> 00:15:27,458 >> THIS IS YOUR LAST CHANCE, SWEETIE -- I HAVE TO HANG UP ON YOU IF YOU DON'T GIVE ME THE 343 00:15:27,460 --> 00:15:28,026 SWEETIE -- I HAVE TO HANG UP ON YOU IF YOU DON'T GIVE ME THE NUMBER. 344 00:15:28,028 --> 00:15:29,027 YOU IF YOU DON'T GIVE ME THE NUMBER. >> [ CLEARS THROAT ] 345 00:15:29,029 --> 00:15:33,364 NUMBER. >> [ CLEARS THROAT ] 4-0-3-4-7-1-0-3... 346 00:15:33,366 --> 00:15:38,569 >> [ CLEARS THROAT ] 4-0-3-4-7-1-0-3... 2-5-0-4-2-2-4-6. 347 00:15:38,571 --> 00:15:42,240 4-0-3-4-7-1-0-3... 2-5-0-4-2-2-4-6. EXPIRATION -- 348 00:15:42,242 --> 00:15:44,075 2-5-0-4-2-2-4-6. EXPIRATION -- What if it was already expired? 349 00:15:44,077 --> 00:15:45,310 EXPIRATION -- What if it was already expired? >> I'M COUNTING TO 3. 350 00:15:45,312 --> 00:15:46,611 What if it was already expired? >> I'M COUNTING TO 3. 1, 2 -- 351 00:15:46,613 --> 00:15:48,446 >> I'M COUNTING TO 3. 1, 2 -- >> SEPTEMBER 2015. 352 00:15:48,448 --> 00:15:50,415 1, 2 -- >> SEPTEMBER 2015. >> THANK YOU. 353 00:15:50,417 --> 00:15:52,283 >> SEPTEMBER 2015. >> THANK YOU. >> You're welcome. 354 00:15:52,285 --> 00:16:02,360 Now what? >> NOW, JOHN... WE'RE IN BUSINESS. 355 00:16:02,362 --> 00:16:04,629 >> NOW, JOHN... WE'RE IN BUSINESS. SO...WHY DON'T YOU TELL ME WHAT 356 00:16:04,631 --> 00:16:07,098 WE'RE IN BUSINESS. SO...WHY DON'T YOU TELL ME WHAT YOU LIKE? 357 00:16:07,100 --> 00:16:08,366 SO...WHY DON'T YOU TELL ME WHAT YOU LIKE? >> HMM. 358 00:16:08,368 --> 00:16:15,740 YOU KNOW WHAT I'D REALLY LIKE? >> What's that? >> OH, BOY. I DON'T KNOW. 359 00:16:15,742 --> 00:16:16,808 >> What's that? >> OH, BOY. I DON'T KNOW. IT'S KIND OF WEIRD. 360 00:16:16,810 --> 00:16:18,109 >> OH, BOY. I DON'T KNOW. IT'S KIND OF WEIRD. >> [ Chuckling ] OH. 361 00:16:18,111 --> 00:16:19,744 IT'S KIND OF WEIRD. >> [ Chuckling ] OH. COME ON, JOHN. 362 00:16:19,746 --> 00:16:22,246 >> [ Chuckling ] OH. COME ON, JOHN. DON'T BE SHY. 363 00:16:22,248 --> 00:16:26,084 COME ON, JOHN. DON'T BE SHY. >> Okay. 364 00:16:26,086 --> 00:16:27,485 DON'T BE SHY. >> Okay. I'D LIKE TO BE GENE KELLY IN 365 00:16:27,487 --> 00:16:29,620 >> Okay. I'D LIKE TO BE GENE KELLY IN "SINGIN' IN THE RAIN." 366 00:16:29,622 --> 00:16:31,155 I'D LIKE TO BE GENE KELLY IN "SINGIN' IN THE RAIN." >> WHY'D YOU CALL THIS LINE, 367 00:16:31,157 --> 00:16:31,489 "SINGIN' IN THE RAIN." >> WHY'D YOU CALL THIS LINE, JOHN? 368 00:16:31,491 --> 00:16:33,057 >> WHY'D YOU CALL THIS LINE, JOHN? I MEAN, YOU KNOW, YOU C-- YOU 369 00:16:33,059 --> 00:16:34,125 JOHN? I MEAN, YOU KNOW, YOU C-- YOU CAN BE GENE KELLY IN 370 00:16:34,127 --> 00:16:35,493 I MEAN, YOU KNOW, YOU C-- YOU CAN BE GENE KELLY IN "SINGIN' IN THE RAIN" WITHOUT 371 00:16:35,495 --> 00:16:35,760 CAN BE GENE KELLY IN "SINGIN' IN THE RAIN" WITHOUT ME. 372 00:16:35,762 --> 00:16:38,129 "SINGIN' IN THE RAIN" WITHOUT ME. >> MM, YEAH, BUT... 373 00:16:38,131 --> 00:16:39,530 ME. >> MM, YEAH, BUT... IT'S NOT AS MUCH FUN. 374 00:16:39,532 --> 00:16:41,466 >> MM, YEAH, BUT... IT'S NOT AS MUCH FUN. >> Do you like girls, John? 375 00:16:41,468 --> 00:16:43,301 IT'S NOT AS MUCH FUN. >> Do you like girls, John? >> YEAH! 376 00:16:43,303 --> 00:16:45,636 >> Do you like girls, John? >> YEAH! >> What type? 377 00:16:45,638 --> 00:16:46,804 >> YEAH! >> What type? >> TYPE? 378 00:16:46,806 --> 00:16:49,507 >> What type? >> TYPE? >> YEAH. 379 00:16:49,509 --> 00:16:50,708 >> TYPE? >> YEAH. >> You know what gets me? 380 00:16:50,710 --> 00:16:52,410 >> YEAH. >> You know what gets me? >> What's that? 381 00:16:52,412 --> 00:16:55,480 >> You know what gets me? >> What's that? >> THE WAY A WOMAN LOOKS AT YOU. 382 00:16:55,482 --> 00:16:58,683 >> What's that? >> THE WAY A WOMAN LOOKS AT YOU. HER EYES. 383 00:16:58,685 --> 00:16:59,784 >> THE WAY A WOMAN LOOKS AT YOU. HER EYES. TAKE JEANNE MOREAU IN 384 00:16:59,786 --> 00:17:03,154 HER EYES. TAKE JEANNE MOREAU IN "JULES AND JIM." 385 00:17:03,156 --> 00:17:05,156 TAKE JEANNE MOREAU IN "JULES AND JIM." YOU SEEN IT? 386 00:17:05,158 --> 00:17:07,558 "JULES AND JIM." YOU SEEN IT? Doesn't matter. 387 00:17:07,560 --> 00:17:12,230 YOU SEEN IT? Doesn't matter. SHE HAS A WHOLE HISTORY OF... 388 00:17:12,232 --> 00:17:14,632 Doesn't matter. SHE HAS A WHOLE HISTORY OF... BOOZE AND CIGARETTES AND BAD 389 00:17:14,634 --> 00:17:17,502 SHE HAS A WHOLE HISTORY OF... BOOZE AND CIGARETTES AND BAD LOVE AFFAIRS ALL IN HER EYES. 390 00:17:17,504 --> 00:17:23,875 I MEAN, YOU GET THE FEELING THAT YOU COULD FUCK HER FOR THREE DAYS AND NIGHTS STRAIGHT, AND 391 00:17:23,877 --> 00:17:25,576 YOU COULD FUCK HER FOR THREE DAYS AND NIGHTS STRAIGHT, AND SHE WOULDN'T SMILE ONCE. 392 00:17:25,578 --> 00:17:26,778 DAYS AND NIGHTS STRAIGHT, AND SHE WOULDN'T SMILE ONCE. >> [ SIGHS ] 393 00:17:26,780 --> 00:17:28,246 SHE WOULDN'T SMILE ONCE. >> [ SIGHS ] HAVE YOU EVER CALLED A FANTASY 394 00:17:28,248 --> 00:17:29,280 >> [ SIGHS ] HAVE YOU EVER CALLED A FANTASY SEX LINE BEFORE, JOHN? 395 00:17:29,282 --> 00:17:30,181 HAVE YOU EVER CALLED A FANTASY SEX LINE BEFORE, JOHN? >> NO. I TOLD YOU. 396 00:17:30,183 --> 00:17:31,516 SEX LINE BEFORE, JOHN? >> NO. I TOLD YOU. >> WELL, YOU MIGHT WANT TO SAVE 397 00:17:31,518 --> 00:17:32,750 >> NO. I TOLD YOU. >> WELL, YOU MIGHT WANT TO SAVE YOUR MONEY, BECAUSE THIS IS A 398 00:17:32,752 --> 00:17:34,185 >> WELL, YOU MIGHT WANT TO SAVE YOUR MONEY, BECAUSE THIS IS A LINE FOR GUYS WHO LIKE TO GET 399 00:17:34,187 --> 00:17:34,485 YOUR MONEY, BECAUSE THIS IS A LINE FOR GUYS WHO LIKE TO GET OFF. 400 00:17:34,487 --> 00:17:35,486 LINE FOR GUYS WHO LIKE TO GET OFF. >> I like to get off. 401 00:17:35,488 --> 00:17:36,687 OFF. >> I like to get off. WHAT MAKES YOU THINK I DON'T 402 00:17:36,689 --> 00:17:37,555 >> I like to get off. WHAT MAKES YOU THINK I DON'T LIKE TO GET OFF? 403 00:17:37,557 --> 00:17:38,790 WHAT MAKES YOU THINK I DON'T LIKE TO GET OFF? >> Great! Then let's get off! 404 00:17:38,792 --> 00:17:39,390 LIKE TO GET OFF? >> Great! Then let's get off! >> OKAY! 405 00:17:39,392 --> 00:17:42,260 >> Great! Then let's get off! >> OKAY! >> Okay! What do you want to do? 406 00:17:42,262 --> 00:17:44,495 >> OKAY! >> Okay! What do you want to do? >> [ EXHALES SOFTLY ] 407 00:17:44,497 --> 00:17:45,663 >> Okay! What do you want to do? >> [ EXHALES SOFTLY ] >> "I DON'T KNOW, ANGIE. 408 00:17:45,665 --> 00:17:48,766 >> [ EXHALES SOFTLY ] >> "I DON'T KNOW, ANGIE. WHAT DO YOU WANT TO DO?" 409 00:17:48,768 --> 00:17:51,469 >> "I DON'T KNOW, ANGIE. WHAT DO YOU WANT TO DO?" >> UH -- [ SCOFFS ] 410 00:17:51,471 --> 00:17:53,337 WHAT DO YOU WANT TO DO?" >> UH -- [ SCOFFS ] ERNEST BORGNINE FROM "MARTY"? 411 00:17:53,339 --> 00:18:02,213 >> YES! >> Yeah, you like old movies? >> YEAH! I DO! 412 00:18:02,215 --> 00:18:03,648 >> Yeah, you like old movies? >> YEAH! I DO! I MEAN...ONLY THE GOOD ONES! 413 00:18:03,650 --> 00:18:05,316 >> YEAH! I DO! I MEAN...ONLY THE GOOD ONES! I'VE SEEN "CITIZEN KANE" LIKE 414 00:18:05,318 --> 00:18:06,284 I MEAN...ONLY THE GOOD ONES! I'VE SEEN "CITIZEN KANE" LIKE 15 TIMES. 415 00:18:06,286 --> 00:18:08,853 I'VE SEEN "CITIZEN KANE" LIKE 15 TIMES. >> SO, SHOULD I GET UNDRESSED? 416 00:18:08,855 --> 00:18:10,254 15 TIMES. >> SO, SHOULD I GET UNDRESSED? >> WHAT ARE YOU WEARING? 417 00:18:10,256 --> 00:18:11,289 >> SO, SHOULD I GET UNDRESSED? >> WHAT ARE YOU WEARING? >> Not a whole lot. 418 00:18:11,291 --> 00:18:11,889 >> WHAT ARE YOU WEARING? >> Not a whole lot. >> Anything? 419 00:18:11,891 --> 00:18:13,391 >> Not a whole lot. >> Anything? >> MM, WELL, I'M WEARING A 420 00:18:13,393 --> 00:18:14,525 >> Anything? >> MM, WELL, I'M WEARING A TEDDY, BUT IT'S SHEER. 421 00:18:14,527 --> 00:18:17,395 >> MM, WELL, I'M WEARING A TEDDY, BUT IT'S SHEER. YOU CAN SEE...RIGHT THROUGH IT. 422 00:18:17,397 --> 00:18:26,604 >> DO YOU HAPPEN TO HAVE A FUR COAT IN YOUR CLOSET? >> A FUR COAT? 423 00:18:26,606 --> 00:18:27,939 COAT IN YOUR CLOSET? >> A FUR COAT? >> Uh, yeah. 424 00:18:27,941 --> 00:18:29,540 >> A FUR COAT? >> Uh, yeah. >> YEAH! 425 00:18:29,542 --> 00:18:31,175 >> Uh, yeah. >> YEAH! SURE! DOESN'T EVERYBODY? 426 00:18:31,177 --> 00:18:32,310 >> YEAH! SURE! DOESN'T EVERYBODY? >> I WANT YOU TO TAKE OFF 427 00:18:32,312 --> 00:18:33,644 SURE! DOESN'T EVERYBODY? >> I WANT YOU TO TAKE OFF EVERYTHING ELSE AND GO GET YOUR 428 00:18:33,646 --> 00:18:36,247 >> I WANT YOU TO TAKE OFF EVERYTHING ELSE AND GO GET YOUR FUR COAT AND PUT IT ON. 429 00:18:36,249 --> 00:18:37,782 EVERYTHING ELSE AND GO GET YOUR FUR COAT AND PUT IT ON. >> UH, I'M GOING TO THE CLOSET 430 00:18:37,784 --> 00:18:40,318 FUR COAT AND PUT IT ON. >> UH, I'M GOING TO THE CLOSET NOW, AND... 431 00:18:40,320 --> 00:18:41,853 >> UH, I'M GOING TO THE CLOSET NOW, AND... I'M OPENING THE DOOR, AND -- OH, 432 00:18:41,855 --> 00:18:45,323 NOW, AND... I'M OPENING THE DOOR, AND -- OH, THERE IT IS, THE SABLE COAT. 433 00:18:45,325 --> 00:18:46,491 I'M OPENING THE DOOR, AND -- OH, THERE IT IS, THE SABLE COAT. I'M, UH -- 434 00:18:46,493 --> 00:18:48,359 THERE IT IS, THE SABLE COAT. I'M, UH -- I'M SLIPPING OFF MY TEDDY AND 435 00:18:48,361 --> 00:18:49,727 I'M, UH -- I'M SLIPPING OFF MY TEDDY AND PUTTING THE COAT ON. 436 00:18:49,729 --> 00:18:50,661 I'M SLIPPING OFF MY TEDDY AND PUTTING THE COAT ON. >> Okay, good. 437 00:18:50,663 --> 00:18:51,562 PUTTING THE COAT ON. >> Okay, good. BUTTON IT UP. 438 00:18:51,564 --> 00:18:52,830 >> Okay, good. BUTTON IT UP. >> I'm buttoning it up. 439 00:18:52,832 --> 00:18:56,200 BUTTON IT UP. >> I'm buttoning it up. >> TIGHT. BUTTON IT UP TIGHT. 440 00:18:56,202 --> 00:18:57,935 >> I'm buttoning it up. >> TIGHT. BUTTON IT UP TIGHT. >> ALL RIGHT. NOW WHAT? 441 00:18:57,937 --> 00:18:59,403 >> TIGHT. BUTTON IT UP TIGHT. >> ALL RIGHT. NOW WHAT? >> NOW I WANT YOU IN A TRAIN 442 00:18:59,405 --> 00:19:01,506 >> ALL RIGHT. NOW WHAT? >> NOW I WANT YOU IN A TRAIN STATION... 443 00:19:01,508 --> 00:19:03,608 >> NOW I WANT YOU IN A TRAIN STATION... IN EUROPE. 444 00:19:03,610 --> 00:19:06,477 STATION... IN EUROPE. BUDAPEST. 445 00:19:06,479 --> 00:19:08,813 IN EUROPE. BUDAPEST. OR PRAGUE. WHAT DO YOU THINK? 446 00:19:08,815 --> 00:19:10,348 BUDAPEST. OR PRAGUE. WHAT DO YOU THINK? >> I-I THINK IT'S YOUR DIME, 447 00:19:10,350 --> 00:19:11,315 OR PRAGUE. WHAT DO YOU THINK? >> I-I THINK IT'S YOUR DIME, BUDDY. 448 00:19:11,317 --> 00:19:13,284 >> I-I THINK IT'S YOUR DIME, BUDDY. >> BUDAPEST... 449 00:19:13,286 --> 00:19:15,153 BUDDY. >> BUDAPEST... RIGHT BEFORE WORLD WAR I. 450 00:19:15,155 --> 00:19:27,498 I WANT YOU ON ONE OF THOSE HARD, WOODEN BENCHES. THE TRAIN STATION IS DESERTED. 451 00:19:27,500 --> 00:19:29,834 WOODEN BENCHES. THE TRAIN STATION IS DESERTED. YOU'RE ALL ALONE. 452 00:19:29,836 --> 00:19:31,702 THE TRAIN STATION IS DESERTED. YOU'RE ALL ALONE. IT'S THE MIDDLE OF THE NIGHT. 453 00:19:31,704 --> 00:19:41,846 IT'S WINTER. IT'S SNOWING OUTSIDE. IT'S -- IT'S BITTER COLD! 454 00:19:41,848 --> 00:19:43,481 IT'S SNOWING OUTSIDE. IT'S -- IT'S BITTER COLD! BUT THE COLD -- IT DOESN'T 455 00:19:43,483 --> 00:19:45,349 IT'S -- IT'S BITTER COLD! BUT THE COLD -- IT DOESN'T BOTHER YOU. 456 00:19:45,351 --> 00:19:47,919 BUT THE COLD -- IT DOESN'T BOTHER YOU. IT EXCITES YOU. 457 00:19:47,921 --> 00:19:50,388 BOTHER YOU. IT EXCITES YOU. THERE'S SOMETHING EROTIC ABOUT 458 00:19:50,390 --> 00:19:52,957 IT EXCITES YOU. THERE'S SOMETHING EROTIC ABOUT BEING THERE ALONE, NAKED UNDER 459 00:19:52,959 --> 00:19:54,659 THERE'S SOMETHING EROTIC ABOUT BEING THERE ALONE, NAKED UNDER YOUR FUR COAT, IN THE MIDDLE OF 460 00:19:54,661 --> 00:19:56,894 BEING THERE ALONE, NAKED UNDER YOUR FUR COAT, IN THE MIDDLE OF THE NIGHT, IN THE MIDDLE OF THE 461 00:19:56,896 --> 00:20:00,932 YOUR FUR COAT, IN THE MIDDLE OF THE NIGHT, IN THE MIDDLE OF THE WINTER. 462 00:20:00,934 --> 00:20:03,701 THE NIGHT, IN THE MIDDLE OF THE WINTER. YOU CAN FEEL THE SILK LINING OF 463 00:20:03,703 --> 00:20:05,436 WINTER. YOU CAN FEEL THE SILK LINING OF THE FUR COAT AGAINST YOUR BARE 464 00:20:05,438 --> 00:20:07,538 YOU CAN FEEL THE SILK LINING OF THE FUR COAT AGAINST YOUR BARE SKIN. 465 00:20:07,540 --> 00:20:10,608 THE FUR COAT AGAINST YOUR BARE SKIN. IT TURNS YOU ON. 466 00:20:10,610 --> 00:20:11,876 SKIN. IT TURNS YOU ON. Your nipples start to harden. 467 00:20:11,878 --> 00:20:12,543 IT TURNS YOU ON. Your nipples start to harden. >> JOHN -- 468 00:20:12,545 --> 00:20:13,878 Your nipples start to harden. >> JOHN -- >> Oh, no, no! Wait, wait, wait! 469 00:20:13,880 --> 00:20:16,447 >> JOHN -- >> Oh, no, no! Wait, wait, wait! DON'T TALK! DON'T TALK! 470 00:20:16,449 --> 00:20:18,583 >> Oh, no, no! Wait, wait, wait! DON'T TALK! DON'T TALK! YOUR HANDS START TO WANDER 471 00:20:18,585 --> 00:20:21,285 DON'T TALK! DON'T TALK! YOUR HANDS START TO WANDER BENEATH YOUR COAT. 472 00:20:21,287 --> 00:20:22,587 YOUR HANDS START TO WANDER BENEATH YOUR COAT. You can't stop from touching 473 00:20:22,589 --> 00:20:23,054 BENEATH YOUR COAT. You can't stop from touching yourself. 474 00:20:23,056 --> 00:20:23,921 You can't stop from touching yourself. >> JOHN, LOOK. 475 00:20:23,923 --> 00:20:25,356 yourself. >> JOHN, LOOK. I'M -- I'M ACTUALLY -- I'M 476 00:20:25,358 --> 00:20:28,960 >> JOHN, LOOK. I'M -- I'M ACTUALLY -- I'M REALLY NOT INTO THIS, SO... 477 00:20:28,962 --> 00:20:32,496 I'M -- I'M ACTUALLY -- I'M REALLY NOT INTO THIS, SO... >> Try. 478 00:20:32,498 --> 00:20:34,365 REALLY NOT INTO THIS, SO... >> Try. Just try. 479 00:20:34,367 --> 00:20:54,785 YOU GO TO WARM YOURSELF. BUT YOU'RE NOT COLD ANYMORE. YOU'RE BURNING UP. 480 00:20:54,787 --> 00:20:56,487 BUT YOU'RE NOT COLD ANYMORE. YOU'RE BURNING UP. YOU'RE SO HOT, YOU FEEL LIKE 481 00:20:56,489 --> 00:20:58,022 YOU'RE BURNING UP. YOU'RE SO HOT, YOU FEEL LIKE RUNNING OUT INTO THE SNOW AND 482 00:20:58,024 --> 00:20:59,890 YOU'RE SO HOT, YOU FEEL LIKE RUNNING OUT INTO THE SNOW AND DIVING IN. 483 00:20:59,892 --> 00:21:22,647 YOUR SKIN IS SO SENSITIVE, IT HURTS. YOU CAN'T BEAR TO HAVE ANYTHING 484 00:21:22,649 --> 00:21:24,949 HURTS. YOU CAN'T BEAR TO HAVE ANYTHING TOUCHING IT, NOW, CAN YOU? 485 00:21:24,951 --> 00:21:27,051 YOU CAN'T BEAR TO HAVE ANYTHING TOUCHING IT, NOW, CAN YOU? >> NO. 486 00:21:27,053 --> 00:21:31,355 TOUCHING IT, NOW, CAN YOU? >> NO. >> YOU LET YOUR COAT SLIDE DOWN 487 00:21:31,357 --> 00:21:33,758 >> NO. >> YOU LET YOUR COAT SLIDE DOWN JUST OFF YOUR SHOULDERS... 488 00:21:33,760 --> 00:21:34,859 >> YOU LET YOUR COAT SLIDE DOWN JUST OFF YOUR SHOULDERS... JUST ENOUGH TO GET THE 489 00:21:34,861 --> 00:21:39,430 JUST OFF YOUR SHOULDERS... JUST ENOUGH TO GET THE STATION MASTER'S ATTENTION. 490 00:21:39,432 --> 00:21:40,564 JUST ENOUGH TO GET THE STATION MASTER'S ATTENTION. YOU DON'T KNOW WHAT'S GONNA 491 00:21:40,566 --> 00:21:41,632 STATION MASTER'S ATTENTION. YOU DON'T KNOW WHAT'S GONNA HAPPEN, BUT YOU KNOW THAT 492 00:21:41,634 --> 00:21:44,802 YOU DON'T KNOW WHAT'S GONNA HAPPEN, BUT YOU KNOW THAT SOMETHING HAS TO. 493 00:21:44,804 --> 00:21:46,671 HAPPEN, BUT YOU KNOW THAT SOMETHING HAS TO. YOU'VE GONE TOO FAR. 494 00:21:46,673 --> 00:21:57,448 SO, WHO'S IT GONNA BE? THE STATION MASTER -- A MAN WITH NO PRESENT AND NO 495 00:21:57,450 --> 00:21:59,417 THE STATION MASTER -- A MAN WITH NO PRESENT AND NO PAST, A MAN WHO SITS AT A TICKET 496 00:21:59,419 --> 00:22:01,385 A MAN WITH NO PRESENT AND NO PAST, A MAN WHO SITS AT A TICKET WINDOW OF A TRAIN STATION WHERE 497 00:22:01,387 --> 00:22:04,555 PAST, A MAN WHO SITS AT A TICKET WINDOW OF A TRAIN STATION WHERE NO TRAINS STOP... 498 00:22:04,557 --> 00:22:05,890 WINDOW OF A TRAIN STATION WHERE NO TRAINS STOP... WAITING FOR SOMEONE TO SHOW UP 499 00:22:05,892 --> 00:22:09,927 NO TRAINS STOP... WAITING FOR SOMEONE TO SHOW UP IN A FUR COAT? 500 00:22:09,929 --> 00:22:13,164 WAITING FOR SOMEONE TO SHOW UP IN A FUR COAT? IF NOT HIM, WHO? 501 00:22:13,166 --> 00:22:14,532 IN A FUR COAT? IF NOT HIM, WHO? I'M GONNA LET YOU CHOOSE, 502 00:22:14,534 --> 00:22:15,900 IF NOT HIM, WHO? I'M GONNA LET YOU CHOOSE, BECAUSE THIS IS VERY IMPORTANT. 503 00:22:15,902 --> 00:22:16,801 I'M GONNA LET YOU CHOOSE, BECAUSE THIS IS VERY IMPORTANT. DO YOU KNOW WHY? 504 00:22:16,803 --> 00:22:17,835 BECAUSE THIS IS VERY IMPORTANT. DO YOU KNOW WHY? BECAUSE AFTERWARDS... 505 00:22:17,837 --> 00:22:19,036 DO YOU KNOW WHY? BECAUSE AFTERWARDS... [ LIGHTER CLICKS, ECHOES ] 506 00:22:19,038 --> 00:22:20,638 BECAUSE AFTERWARDS... [ LIGHTER CLICKS, ECHOES ] ...WHEN YOU LIGHT THAT CIGARETTE 507 00:22:20,640 --> 00:22:21,972 [ LIGHTER CLICKS, ECHOES ] ...WHEN YOU LIGHT THAT CIGARETTE AND THE PERSPIRATION STARTS TO 508 00:22:21,974 --> 00:22:23,941 ...WHEN YOU LIGHT THAT CIGARETTE AND THE PERSPIRATION STARTS TO DRY... 509 00:22:23,943 --> 00:22:26,510 AND THE PERSPIRATION STARTS TO DRY... YOU'RE GONNA BE ALL ALONE AGAIN. 510 00:22:26,512 --> 00:22:27,712 DRY... YOU'RE GONNA BE ALL ALONE AGAIN. THAT FATEFUL MOMENT WHEN YOU'RE 511 00:22:27,714 --> 00:22:30,014 YOU'RE GONNA BE ALL ALONE AGAIN. THAT FATEFUL MOMENT WHEN YOU'RE BACK DOWN ON EARTH, SURROUNDED 512 00:22:30,016 --> 00:22:31,649 THAT FATEFUL MOMENT WHEN YOU'RE BACK DOWN ON EARTH, SURROUNDED BY THE SADNESS OF IT ALL -- LIKE 513 00:22:31,651 --> 00:22:33,818 BACK DOWN ON EARTH, SURROUNDED BY THE SADNESS OF IT ALL -- LIKE THE MAN SAID, POST COITUM OMNE 514 00:22:33,820 --> 00:22:35,519 BY THE SADNESS OF IT ALL -- LIKE THE MAN SAID, POST COITUM OMNE ANIMAL TRISTE EST. 515 00:22:35,521 --> 00:22:36,721 THE MAN SAID, POST COITUM OMNE ANIMAL TRISTE EST. >> WHAT? 516 00:22:36,723 --> 00:22:38,122 ANIMAL TRISTE EST. >> WHAT? >> It means "After sex, all men 517 00:22:38,124 --> 00:22:39,990 >> WHAT? >> It means "After sex, all men are sad." 518 00:22:39,992 --> 00:22:41,592 >> It means "After sex, all men are sad." Are women? 519 00:22:41,594 --> 00:22:43,027 are sad." Are women? Are w-- are they sad, too? 520 00:22:43,029 --> 00:22:44,862 Are women? Are w-- are they sad, too? >> WHY -- WHY DID YOU SAY THAT? 521 00:22:44,864 --> 00:22:45,563 Are w-- are they sad, too? >> WHY -- WHY DID YOU SAY THAT? >> What? 522 00:22:45,565 --> 00:22:46,864 >> WHY -- WHY DID YOU SAY THAT? >> What? >> THAT THING IN LATIN. 523 00:22:46,866 --> 00:22:48,099 >> What? >> THAT THING IN LATIN. WHY DID YOU SAY THAT? 524 00:22:48,101 --> 00:22:50,735 >> THAT THING IN LATIN. WHY DID YOU SAY THAT? >> Because it's true. 525 00:22:50,737 --> 00:22:52,937 WHY DID YOU SAY THAT? >> Because it's true. BUT WOMEN AREN'T SAD, ARE THEY? 526 00:22:52,939 --> 00:22:53,971 >> Because it's true. BUT WOMEN AREN'T SAD, ARE THEY? WHY WOULD THEY BE SAD? 527 00:22:53,973 --> 00:22:55,506 BUT WOMEN AREN'T SAD, ARE THEY? WHY WOULD THEY BE SAD? THEY'RE TRIUMPHANT! 528 00:22:55,508 --> 00:22:56,841 WHY WOULD THEY BE SAD? THEY'RE TRIUMPHANT! I MEAN, THEY GOT US TO GO SQUIRT 529 00:22:56,843 --> 00:22:58,042 THEY'RE TRIUMPHANT! I MEAN, THEY GOT US TO GO SQUIRT WITH THE WATER PISTOL RIGHT 530 00:22:58,044 --> 00:22:58,943 I MEAN, THEY GOT US TO GO SQUIRT WITH THE WATER PISTOL RIGHT WHERE THEY WANTED. 531 00:22:58,945 --> 00:22:59,977 WITH THE WATER PISTOL RIGHT WHERE THEY WANTED. WHY WOULD THEY BE SAD? 532 00:22:59,979 --> 00:23:00,878 WHERE THEY WANTED. WHY WOULD THEY BE SAD? >> WELL, THEY ARE. 533 00:23:00,880 --> 00:23:01,846 WHY WOULD THEY BE SAD? >> WELL, THEY ARE. TAKE MY WORD FOR IT. 534 00:23:01,848 --> 00:23:02,480 >> WELL, THEY ARE. TAKE MY WORD FOR IT. [ SIGHS ] 535 00:23:02,482 --> 00:23:02,880 TAKE MY WORD FOR IT. [ SIGHS ] >> What? 536 00:23:02,882 --> 00:23:03,814 [ SIGHS ] >> What? >> UM, I'M -- HEY! 537 00:23:03,816 --> 00:23:04,615 >> What? >> UM, I'M -- HEY! I'M HANGING UP. 538 00:23:04,617 --> 00:23:05,716 >> UM, I'M -- HEY! I'M HANGING UP. I-I HOPE YOU GOT OFF. 539 00:23:05,718 --> 00:23:06,984 I'M HANGING UP. I-I HOPE YOU GOT OFF. >> WAIT, YOU CAN'T HA-- YOU 540 00:23:06,986 --> 00:23:08,486 I-I HOPE YOU GOT OFF. >> WAIT, YOU CAN'T HA-- YOU DON'T -- YOU DON'T HANG UP! 541 00:23:08,488 --> 00:23:09,920 >> WAIT, YOU CAN'T HA-- YOU DON'T -- YOU DON'T HANG UP! I'M -- WE'RE IN A TRAIN STATION! 542 00:23:09,922 --> 00:23:11,088 DON'T -- YOU DON'T HANG UP! I'M -- WE'RE IN A TRAIN STATION! OUR BODIES ARE BURNING! 543 00:23:11,090 --> 00:23:13,224 I'M -- WE'RE IN A TRAIN STATION! OUR BODIES ARE BURNING! WHAT ARE WE SUPPOSED TO DO? 544 00:23:13,226 --> 00:23:15,092 OUR BODIES ARE BURNING! WHAT ARE WE SUPPOSED TO DO? OH, COME ON, DELILAH. 545 00:23:15,094 --> 00:23:21,699 THERE MAY NEVER BE ANOTHER MOMENT LIKE THIS IN YOUR ENTIRE EXISTENCE. 546 00:23:21,701 --> 00:23:22,500 MOMENT LIKE THIS IN YOUR ENTIRE EXISTENCE. [ Beep ] 547 00:23:22,502 --> 00:23:24,168 EXISTENCE. [ Beep ] [ EXHALES SOFTLY ] 548 00:23:24,170 --> 00:23:37,515 >> [ EXHALES ] 549 00:23:37,517 --> 00:23:46,490 >> [ SCOFFS ] TALK GET A LITTLE TOO SWEET FOR YOU? 550 00:23:46,492 --> 00:24:02,673 >> [ SIGHS, CHUCKLES SOFTLY ] >> [ GRUNTS ] [ SIGHS ] 551 00:24:02,675 --> 00:24:04,542 >> [ GRUNTS ] [ SIGHS ] [ TELEPHONE RINGING ] 552 00:24:04,544 --> 00:24:08,846 >> [ SIGHS ] 553 00:24:08,848 --> 00:24:16,554 [ TELEPHONE CONTINUES RINGING ] 554 00:24:16,556 --> 00:24:31,135 HELLO. SWEET TALK. THIS IS DELILAH. YOU WANT TO TALK? 555 00:24:31,137 --> 00:24:35,272 THIS IS DELILAH. YOU WANT TO TALK? HELLO? ANYBODY THERE? 556 00:24:35,274 --> 00:24:37,174 YOU WANT TO TALK? HELLO? ANYBODY THERE? HI, THERE! 557 00:24:37,176 --> 00:24:41,212 HELLO? ANYBODY THERE? HI, THERE! WHAT'S YOUR NAME? 558 00:24:41,214 --> 00:24:43,314 HI, THERE! WHAT'S YOUR NAME? [ CHUCKLES ] 559 00:24:43,316 --> 00:24:47,751 WHAT'S YOUR NAME? [ CHUCKLES ] HI, MARTY. HOW YOU DOING? 560 00:24:47,753 --> 00:24:49,653 [ CHUCKLES ] HI, MARTY. HOW YOU DOING? HAVE YOU, UH -- HAVE YOU EVER 561 00:24:49,655 --> 00:24:52,623 HI, MARTY. HOW YOU DOING? HAVE YOU, UH -- HAVE YOU EVER CALLED US BEFORE, MARTY? 562 00:24:52,625 --> 00:24:54,191 HAVE YOU, UH -- HAVE YOU EVER CALLED US BEFORE, MARTY? ALL RIGHT, MARTY. 563 00:24:54,193 --> 00:24:55,226 CALLED US BEFORE, MARTY? ALL RIGHT, MARTY. FASTEN YOUR SEATBELT. 564 00:24:55,228 --> 00:24:57,294 ALL RIGHT, MARTY. FASTEN YOUR SEATBELT. HERE WE GO. 565 00:24:57,296 --> 00:24:59,864 FASTEN YOUR SEATBELT. HERE WE GO. [ British accent ] MARTY? 566 00:24:59,866 --> 00:25:01,098 HERE WE GO. [ British accent ] MARTY? WHO GAVE YOU PERMISSION TO COME 567 00:25:01,100 --> 00:25:01,832 [ British accent ] MARTY? WHO GAVE YOU PERMISSION TO COME INTO MY ROOM?! 568 00:25:01,834 --> 00:25:03,934 WHO GAVE YOU PERMISSION TO COME INTO MY ROOM?! I DIDN'T HEAR YOU KNOCK! 569 00:25:03,936 --> 00:25:06,904 INTO MY ROOM?! I DIDN'T HEAR YOU KNOCK! STOP BABBLING! 570 00:25:06,906 --> 00:25:08,072 I DIDN'T HEAR YOU KNOCK! STOP BABBLING! IF I CATCH YOU LOOKING AT ME, 571 00:25:08,074 --> 00:25:09,306 STOP BABBLING! IF I CATCH YOU LOOKING AT ME, THAT'S WHAT I'M GOING TO HAVE TO 572 00:25:09,308 --> 00:25:10,574 IF I CATCH YOU LOOKING AT ME, THAT'S WHAT I'M GOING TO HAVE TO DO -- I'M GOING TO HAVE TO 573 00:25:10,576 --> 00:25:11,642 THAT'S WHAT I'M GOING TO HAVE TO DO -- I'M GOING TO HAVE TO PUNISH YOU! 574 00:25:11,644 --> 00:25:13,110 DO -- I'M GOING TO HAVE TO PUNISH YOU! BAD BOYS GET SPANKED, MARTY! 575 00:25:13,112 --> 00:25:15,779 PUNISH YOU! BAD BOYS GET SPANKED, MARTY! TAKE DOWN YOUR TROUSERS! 576 00:25:15,781 --> 00:25:16,981 BAD BOYS GET SPANKED, MARTY! TAKE DOWN YOUR TROUSERS! [ SIGHS ] THAT'S RIGHT. 577 00:25:16,983 --> 00:25:20,751 TAKE DOWN YOUR TROUSERS! [ SIGHS ] THAT'S RIGHT. UNDERPANTS, TOO. 578 00:25:20,753 --> 00:25:21,785 [ SIGHS ] THAT'S RIGHT. UNDERPANTS, TOO. WELL, WELL, WELL. 579 00:25:21,787 --> 00:25:24,989 UNDERPANTS, TOO. WELL, WELL, WELL. WHAT HAVE WE HERE? 580 00:25:24,991 --> 00:25:26,690 WELL, WELL, WELL. WHAT HAVE WE HERE? GET YOUR HANDS OFF IT, MARTY! 581 00:25:26,692 --> 00:25:27,324 WHAT HAVE WE HERE? GET YOUR HANDS OFF IT, MARTY! DON'T TOUCH IT! 582 00:25:27,326 --> 00:25:28,325 GET YOUR HANDS OFF IT, MARTY! DON'T TOUCH IT! [ TELEPHONE RINGING ] 583 00:25:28,327 --> 00:25:29,827 DON'T TOUCH IT! [ TELEPHONE RINGING ] NAUGHTY BOYS AREN'T ALLOWED TO 584 00:25:29,829 --> 00:25:31,061 [ TELEPHONE RINGING ] NAUGHTY BOYS AREN'T ALLOWED TO TOUCH THEMSELVES DOWN THERE. 585 00:25:31,063 --> 00:25:32,596 NAUGHTY BOYS AREN'T ALLOWED TO TOUCH THEMSELVES DOWN THERE. MARTY, I-I WANT YOU TO STAND IN 586 00:25:32,598 --> 00:25:33,797 TOUCH THEMSELVES DOWN THERE. MARTY, I-I WANT YOU TO STAND IN A CORNER, AND I WANT YOU TO 587 00:25:33,799 --> 00:25:35,232 MARTY, I-I WANT YOU TO STAND IN A CORNER, AND I WANT YOU TO THINK ABOUT YOUR NICEST LITTLE 588 00:25:35,234 --> 00:25:36,834 A CORNER, AND I WANT YOU TO THINK ABOUT YOUR NICEST LITTLE BOY VOICE AND HOW YOU'RE GOING 589 00:25:36,836 --> 00:25:38,903 THINK ABOUT YOUR NICEST LITTLE BOY VOICE AND HOW YOU'RE GOING TO ASK ME, AND I DON'T WANT YOU 590 00:25:38,905 --> 00:25:40,237 BOY VOICE AND HOW YOU'RE GOING TO ASK ME, AND I DON'T WANT YOU TO TOUCH IT, OKAY? 591 00:25:40,239 --> 00:25:41,238 TO ASK ME, AND I DON'T WANT YOU TO TOUCH IT, OKAY? DON'T GO AWAY. 592 00:25:41,240 --> 00:25:44,108 TO TOUCH IT, OKAY? DON'T GO AWAY. I'LL BE RIGHT BACK. 593 00:25:44,110 --> 00:25:45,242 DON'T GO AWAY. I'LL BE RIGHT BACK. [ Breathy ] SWEET TALK. 594 00:25:45,244 --> 00:25:46,810 I'LL BE RIGHT BACK. [ Breathy ] SWEET TALK. THIS IS DELILAH. WANT TO TALK? 595 00:25:46,812 --> 00:25:47,945 [ Breathy ] SWEET TALK. THIS IS DELILAH. WANT TO TALK? >> DO YOU WANT TO TALK? 596 00:25:47,947 --> 00:25:48,979 THIS IS DELILAH. WANT TO TALK? >> DO YOU WANT TO TALK? THAT'S THE QUESTION! 597 00:25:48,981 --> 00:25:50,014 >> DO YOU WANT TO TALK? THAT'S THE QUESTION! >> [ Chuckling ] Hi. 598 00:25:50,016 --> 00:25:51,649 THAT'S THE QUESTION! >> [ Chuckling ] Hi. >> [ As Humphrey Bogart ] OF ALL 599 00:25:51,651 --> 00:25:53,050 >> [ Chuckling ] Hi. >> [ As Humphrey Bogart ] OF ALL THE PHONE-SEX JOINTS IN ALL THE 600 00:25:53,052 --> 00:25:54,652 >> [ As Humphrey Bogart ] OF ALL THE PHONE-SEX JOINTS IN ALL THE TOWNS IN ALL THE WORLD, WHY'D I 601 00:25:54,654 --> 00:25:55,619 THE PHONE-SEX JOINTS IN ALL THE TOWNS IN ALL THE WORLD, WHY'D I HAVE TO DIAL HERS? 602 00:25:55,621 --> 00:25:56,854 TOWNS IN ALL THE WORLD, WHY'D I HAVE TO DIAL HERS? >> I'M ON THE OTHER LINE. 603 00:25:56,856 --> 00:25:58,188 HAVE TO DIAL HERS? >> I'M ON THE OTHER LINE. >> YOU LEFT ME ALL ALONE IN A 604 00:25:58,190 --> 00:25:59,356 >> I'M ON THE OTHER LINE. >> YOU LEFT ME ALL ALONE IN A COLD RAILROAD STATION IN 605 00:25:59,358 --> 00:26:00,024 >> YOU LEFT ME ALL ALONE IN A COLD RAILROAD STATION IN BUDAPEST! 606 00:26:00,026 --> 00:26:01,358 COLD RAILROAD STATION IN BUDAPEST! THAT WASN'T VERY NICE OF YOU! 607 00:26:01,360 --> 00:26:02,860 BUDAPEST! THAT WASN'T VERY NICE OF YOU! >> I can't talk to you right 608 00:26:02,862 --> 00:26:03,160 THAT WASN'T VERY NICE OF YOU! >> I can't talk to you right now. 609 00:26:03,162 --> 00:26:04,728 >> I can't talk to you right now. >> I DON'T KNOW IF YOU WANT TO 610 00:26:04,730 --> 00:26:05,696 now. >> I DON'T KNOW IF YOU WANT TO TALK TO ME AT ALL! 611 00:26:05,698 --> 00:26:07,064 >> I DON'T KNOW IF YOU WANT TO TALK TO ME AT ALL! >> CAN YOU CALL ME BACK LATER? 612 00:26:07,066 --> 00:26:08,332 TALK TO ME AT ALL! >> CAN YOU CALL ME BACK LATER? >> I MIGHT NOT BE AVAILABLE 613 00:26:08,334 --> 00:26:08,899 >> CAN YOU CALL ME BACK LATER? >> I MIGHT NOT BE AVAILABLE LATER. 614 00:26:08,901 --> 00:26:10,734 >> I MIGHT NOT BE AVAILABLE LATER. I MIGHT BE ASLEEP...ALL ALONE 615 00:26:10,736 --> 00:26:12,169 LATER. I MIGHT BE ASLEEP...ALL ALONE IN MY BIG BED WITH SATIN SHEETS. 616 00:26:12,171 --> 00:26:13,671 I MIGHT BE ASLEEP...ALL ALONE IN MY BIG BED WITH SATIN SHEETS. >> Okay, call me back in five 617 00:26:13,673 --> 00:26:14,104 IN MY BIG BED WITH SATIN SHEETS. >> Okay, call me back in five minutes. 618 00:26:14,106 --> 00:26:15,005 >> Okay, call me back in five minutes. >> FIVE MINUTES? 619 00:26:15,007 --> 00:26:16,874 minutes. >> FIVE MINUTES? >> Yes. 620 00:26:16,876 --> 00:26:18,275 >> FIVE MINUTES? >> Yes. [ British accent ] MARTY, YOU 621 00:26:18,277 --> 00:26:19,109 >> Yes. [ British accent ] MARTY, YOU NAUGHTY BOY. 622 00:26:19,111 --> 00:26:20,644 [ British accent ] MARTY, YOU NAUGHTY BOY. I CAN SEE WHAT YOU'RE DOING 623 00:26:20,646 --> 00:26:23,814 NAUGHTY BOY. I CAN SEE WHAT YOU'RE DOING THERE! 624 00:26:23,816 --> 00:26:27,051 I CAN SEE WHAT YOU'RE DOING THERE! MARTY. 625 00:26:27,053 --> 00:26:29,820 THERE! MARTY. [ Normal voice ] MARTY. 626 00:26:29,822 --> 00:26:31,021 MARTY. [ Normal voice ] MARTY. >> WHAT DO YOU SAY WE MAKE HER 627 00:26:31,023 --> 00:26:32,289 [ Normal voice ] MARTY. >> WHAT DO YOU SAY WE MAKE HER WAIT A LITTLE BIT? 628 00:26:32,291 --> 00:26:33,857 >> WHAT DO YOU SAY WE MAKE HER WAIT A LITTLE BIT? HMM? 629 00:26:33,859 --> 00:26:35,726 WAIT A LITTLE BIT? HMM? PISS HER OFF? 630 00:26:35,728 --> 00:26:49,006 YOU SEE, LEON... WOMEN... WANT TO BE WOOED. 631 00:26:49,008 --> 00:26:51,408 WOMEN... WANT TO BE WOOED. THEY WANT YOU TO DO IT... 632 00:26:51,410 --> 00:26:54,111 WANT TO BE WOOED. THEY WANT YOU TO DO IT... SLOWLY... 633 00:26:54,113 --> 00:26:56,046 THEY WANT YOU TO DO IT... SLOWLY... TENDERLY... 634 00:26:56,048 --> 00:26:57,681 SLOWLY... TENDERLY... GENTLY. 635 00:26:57,683 --> 00:27:00,784 TENDERLY... GENTLY. WOMEN, LEON, WANT TO BE... 636 00:27:00,786 --> 00:27:03,954 GENTLY. WOMEN, LEON, WANT TO BE... TEASED. 637 00:27:03,956 --> 00:27:06,056 WOMEN, LEON, WANT TO BE... TEASED. AND THEN BOOM! 638 00:27:06,058 --> 00:27:07,358 TEASED. AND THEN BOOM! THEY'RE LIKE A WILD ANIMAL, 639 00:27:07,360 --> 00:27:09,693 AND THEN BOOM! THEY'RE LIKE A WILD ANIMAL, SCRATCHING AT YOUR BACK, CLAWING 640 00:27:09,695 --> 00:27:11,762 THEY'RE LIKE A WILD ANIMAL, SCRATCHING AT YOUR BACK, CLAWING AT YOUR HAIR, SCREAMING, "FUCK 641 00:27:11,764 --> 00:27:13,864 SCRATCHING AT YOUR BACK, CLAWING AT YOUR HAIR, SCREAMING, "FUCK ME, BABY!" LOUD ENOUGH TO BREAK 642 00:27:13,866 --> 00:27:16,367 AT YOUR HAIR, SCREAMING, "FUCK ME, BABY!" LOUD ENOUGH TO BREAK AN EARDRUM! 643 00:27:16,369 --> 00:27:17,835 ME, BABY!" LOUD ENOUGH TO BREAK AN EARDRUM! THEN YOU GOT THEM BACK IN THE 644 00:27:17,837 --> 00:27:21,805 AN EARDRUM! THEN YOU GOT THEM BACK IN THE CAVE. 645 00:27:21,807 --> 00:27:24,041 THEN YOU GOT THEM BACK IN THE CAVE. BUT IT ALL STARTS... 646 00:27:24,043 --> 00:27:27,111 CAVE. BUT IT ALL STARTS... BY MAKING THEM WAIT. 647 00:27:27,113 --> 00:27:28,979 BUT IT ALL STARTS... BY MAKING THEM WAIT. >> [ SIGHS SOFTLY ] 648 00:27:28,981 --> 00:27:37,655 [ TELEPHONE RINGING ] 649 00:27:37,657 --> 00:27:49,967 [ Ringing ] 650 00:27:49,969 --> 00:27:55,939 [ TELEPHONE CONTINUES RINGING ] 651 00:27:55,941 --> 00:28:04,048 >> WHY'D YOU SAY THAT THING IN LATIN? >> POST COITUM OMNE -- 652 00:28:04,050 --> 00:28:05,182 LATIN? >> POST COITUM OMNE -- >> ...animal triste est. 653 00:28:05,184 --> 00:28:06,216 >> POST COITUM OMNE -- >> ...animal triste est. Yeah. 654 00:28:06,218 --> 00:28:07,317 >> ...animal triste est. Yeah. >> WOW. 655 00:28:07,319 --> 00:28:08,786 Yeah. >> WOW. I...USUALLY SAY IT TO ALL THE 656 00:28:08,788 --> 00:28:10,087 >> WOW. I...USUALLY SAY IT TO ALL THE GIRLS ON THE FIRST DATE SO THEY 657 00:28:10,089 --> 00:28:11,088 I...USUALLY SAY IT TO ALL THE GIRLS ON THE FIRST DATE SO THEY KNOW WHAT TO EXPECT. 658 00:28:11,090 --> 00:28:12,322 GIRLS ON THE FIRST DATE SO THEY KNOW WHAT TO EXPECT. >> I had just said that exact 659 00:28:12,324 --> 00:28:13,757 KNOW WHAT TO EXPECT. >> I had just said that exact same thing to somebody right 660 00:28:13,759 --> 00:28:14,458 >> I had just said that exact same thing to somebody right before you called. 661 00:28:14,460 --> 00:28:16,026 same thing to somebody right before you called. I MEAN, THAT IS -- THAT'S REALLY 662 00:28:16,028 --> 00:28:17,394 before you called. I MEAN, THAT IS -- THAT'S REALLY WEIRD, RIGHT?! 663 00:28:17,396 --> 00:28:18,028 I MEAN, THAT IS -- THAT'S REALLY WEIRD, RIGHT?! >> Yeah! 664 00:28:18,030 --> 00:28:18,462 WEIRD, RIGHT?! >> Yeah! >> YEAH. 665 00:28:18,464 --> 00:28:19,997 >> Yeah! >> YEAH. >> IS THAT WHY YOU HUNG UP ON 666 00:28:19,999 --> 00:28:20,264 >> YEAH. >> IS THAT WHY YOU HUNG UP ON ME? 667 00:28:20,266 --> 00:28:21,899 >> IS THAT WHY YOU HUNG UP ON ME? >> NO, I HUNG UP ON YOU BECAUSE 668 00:28:21,901 --> 00:28:23,200 ME? >> NO, I HUNG UP ON YOU BECAUSE I THOUGHT YOU WERE FINISHED. 669 00:28:23,202 --> 00:28:24,401 >> NO, I HUNG UP ON YOU BECAUSE I THOUGHT YOU WERE FINISHED. >> [ SCOFFS ] 670 00:28:24,403 --> 00:28:27,171 I THOUGHT YOU WERE FINISHED. >> [ SCOFFS ] OKAY. BULLSHIT. 671 00:28:27,173 --> 00:28:27,805 >> [ SCOFFS ] OKAY. BULLSHIT. BULLSHIT! 672 00:28:27,807 --> 00:28:29,039 OKAY. BULLSHIT. BULLSHIT! I THINK THAT YOU WERE HAVING 673 00:28:29,041 --> 00:28:30,340 BULLSHIT! I THINK THAT YOU WERE HAVING TROUBLE IN THE TRAIN STATION IN 674 00:28:30,342 --> 00:28:30,974 I THINK THAT YOU WERE HAVING TROUBLE IN THE TRAIN STATION IN BUDAPEST. 675 00:28:30,976 --> 00:28:31,341 TROUBLE IN THE TRAIN STATION IN BUDAPEST. >> HEY. 676 00:28:31,343 --> 00:28:32,543 BUDAPEST. >> HEY. >> I think it was getting a 677 00:28:32,545 --> 00:28:34,078 >> HEY. >> I think it was getting a little too hot in there for you. 678 00:28:34,080 --> 00:28:35,312 >> I think it was getting a little too hot in there for you. >> Y-YEAH, I-I DO THIS FOR A 679 00:28:35,314 --> 00:28:36,180 little too hot in there for you. >> Y-YEAH, I-I DO THIS FOR A LIVING, REMEMBER? 680 00:28:36,182 --> 00:28:37,548 >> Y-YEAH, I-I DO THIS FOR A LIVING, REMEMBER? >> YEAH, UH, BUT I'M NOT TALKING 681 00:28:37,550 --> 00:28:39,083 LIVING, REMEMBER? >> YEAH, UH, BUT I'M NOT TALKING ABOUT, "OH, BOY, WHAT A BIG DICK 682 00:28:39,085 --> 00:28:39,550 >> YEAH, UH, BUT I'M NOT TALKING ABOUT, "OH, BOY, WHAT A BIG DICK YOU HAVE." 683 00:28:39,552 --> 00:28:41,218 ABOUT, "OH, BOY, WHAT A BIG DICK YOU HAVE." I'M TALKING ABOUT THE REAL 684 00:28:41,220 --> 00:28:41,552 YOU HAVE." I'M TALKING ABOUT THE REAL THING. 685 00:28:41,554 --> 00:28:42,886 I'M TALKING ABOUT THE REAL THING. >> Hey, if I want to do the 686 00:28:42,888 --> 00:28:44,154 THING. >> Hey, if I want to do the real thing, I don't have to pick 687 00:28:44,156 --> 00:28:45,189 >> Hey, if I want to do the real thing, I don't have to pick up a phone. 688 00:28:45,191 --> 00:28:46,790 real thing, I don't have to pick up a phone. >> THERE'S A LOT OF ADVANTAGES 689 00:28:46,792 --> 00:28:48,125 up a phone. >> THERE'S A LOT OF ADVANTAGES TO CONNECTING OVER THE PHONE. 690 00:28:48,127 --> 00:28:50,027 >> THERE'S A LOT OF ADVANTAGES TO CONNECTING OVER THE PHONE. >> LIKE WHAT? 691 00:28:50,029 --> 00:28:51,495 TO CONNECTING OVER THE PHONE. >> LIKE WHAT? >> WELL, YOU CAN TRAVEL TO SOME 692 00:28:51,497 --> 00:28:53,063 >> LIKE WHAT? >> WELL, YOU CAN TRAVEL TO SOME PRETTY AMAZING PLACES WITHOUT 693 00:28:53,065 --> 00:28:55,532 >> WELL, YOU CAN TRAVEL TO SOME PRETTY AMAZING PLACES WITHOUT EVER HAVING TO LEAVE YOUR ROOM! 694 00:28:55,534 --> 00:28:57,534 PRETTY AMAZING PLACES WITHOUT EVER HAVING TO LEAVE YOUR ROOM! IT'S JUST STORYTELLING. 695 00:28:57,536 --> 00:28:59,236 EVER HAVING TO LEAVE YOUR ROOM! IT'S JUST STORYTELLING. THAT'S ALL. 696 00:28:59,238 --> 00:29:00,504 IT'S JUST STORYTELLING. THAT'S ALL. AND WHO DOESN'T LOVE A GOOD 697 00:29:00,506 --> 00:29:02,506 THAT'S ALL. AND WHO DOESN'T LOVE A GOOD STORY? 698 00:29:02,508 --> 00:29:04,208 AND WHO DOESN'T LOVE A GOOD STORY? You think -- Do you think 699 00:29:04,210 --> 00:29:06,043 STORY? You think -- Do you think Scheherazade stayed alive by 700 00:29:06,045 --> 00:29:07,377 You think -- Do you think Scheherazade stayed alive by going down on the king every 701 00:29:07,379 --> 00:29:07,945 Scheherazade stayed alive by going down on the king every night? 702 00:29:07,947 --> 00:29:09,179 going down on the king every night? No, she told him stories! 703 00:29:09,181 --> 00:29:10,814 night? No, she told him stories! She took him to places that he 704 00:29:10,816 --> 00:29:11,815 No, she told him stories! She took him to places that he hadn't been before! 705 00:29:11,817 --> 00:29:13,117 She took him to places that he hadn't been before! >> LIKE A TRAIN STATION IN 706 00:29:13,119 --> 00:29:13,584 hadn't been before! >> LIKE A TRAIN STATION IN BUDAPEST. 707 00:29:13,586 --> 00:29:16,553 >> LIKE A TRAIN STATION IN BUDAPEST. >> Yeah! Why not? 708 00:29:16,555 --> 00:29:20,224 BUDAPEST. >> Yeah! Why not? SEE, DELILAH... 709 00:29:20,226 --> 00:29:21,592 >> Yeah! Why not? SEE, DELILAH... I GET THIS FEELING THAT YOU AND 710 00:29:21,594 --> 00:29:23,160 SEE, DELILAH... I GET THIS FEELING THAT YOU AND I HAVE SOME STORIES TO LIVE OUT 711 00:29:23,162 --> 00:29:25,896 I GET THIS FEELING THAT YOU AND I HAVE SOME STORIES TO LIVE OUT BETWEEN US. 712 00:29:25,898 --> 00:29:27,197 I HAVE SOME STORIES TO LIVE OUT BETWEEN US. >> WELL, I'M GONNA HAVE TO PUT 713 00:29:27,199 --> 00:29:28,232 BETWEEN US. >> WELL, I'M GONNA HAVE TO PUT YOU BACK ON THE CLOCK. 714 00:29:28,234 --> 00:29:29,967 >> WELL, I'M GONNA HAVE TO PUT YOU BACK ON THE CLOCK. MY BOSS CHECKS THE PHONES. 715 00:29:29,969 --> 00:29:31,135 YOU BACK ON THE CLOCK. MY BOSS CHECKS THE PHONES. >> That's fine with me. 716 00:29:31,137 --> 00:29:31,969 MY BOSS CHECKS THE PHONES. >> That's fine with me. >> MM. REALLY? 717 00:29:31,971 --> 00:29:33,303 >> That's fine with me. >> MM. REALLY? YOU MUST BE A PRETTY WEALTHY 718 00:29:33,305 --> 00:29:33,837 >> MM. REALLY? YOU MUST BE A PRETTY WEALTHY GUY. 719 00:29:33,839 --> 00:29:35,305 YOU MUST BE A PRETTY WEALTHY GUY. $2.99 A MINUTE STARTS TO ADD UP, 720 00:29:35,307 --> 00:29:35,973 GUY. $2.99 A MINUTE STARTS TO ADD UP, YOU KNOW. 721 00:29:35,975 --> 00:29:36,874 $2.99 A MINUTE STARTS TO ADD UP, YOU KNOW. >> [ Chuckles ] 722 00:29:36,876 --> 00:29:38,342 YOU KNOW. >> [ Chuckles ] To travel places you really want 723 00:29:38,344 --> 00:29:39,576 >> [ Chuckles ] To travel places you really want to go... 724 00:29:39,578 --> 00:29:43,147 To travel places you really want to go... IT SOUNDS PRETTY CHEAP TO ME. 725 00:29:43,149 --> 00:29:46,016 to go... IT SOUNDS PRETTY CHEAP TO ME. So... 726 00:29:46,018 --> 00:29:47,985 IT SOUNDS PRETTY CHEAP TO ME. So... SO, WHERE DO YOU WANT TO GO? 727 00:29:47,987 --> 00:29:48,886 So... SO, WHERE DO YOU WANT TO GO? >> OH. [ CHUCKLES ] 728 00:29:48,888 --> 00:29:50,053 SO, WHERE DO YOU WANT TO GO? >> OH. [ CHUCKLES ] JOHN, I THINK YOU HAVE THIS 729 00:29:50,055 --> 00:29:50,487 >> OH. [ CHUCKLES ] JOHN, I THINK YOU HAVE THIS BACKWARDS. 730 00:29:50,489 --> 00:29:51,922 JOHN, I THINK YOU HAVE THIS BACKWARDS. I'M SUPPOSED TO TAKE YOU WHERE 731 00:29:51,924 --> 00:29:52,556 BACKWARDS. I'M SUPPOSED TO TAKE YOU WHERE YOU WANT TO GO. 732 00:29:52,558 --> 00:29:54,024 I'M SUPPOSED TO TAKE YOU WHERE YOU WANT TO GO. >> WHAT DIFFERENCE DOES IT MAKE 733 00:29:54,026 --> 00:29:55,259 YOU WANT TO GO. >> WHAT DIFFERENCE DOES IT MAKE WHO TAKES WHO, JUST AS LONG AS 734 00:29:55,261 --> 00:29:56,193 >> WHAT DIFFERENCE DOES IT MAKE WHO TAKES WHO, JUST AS LONG AS WE GET THERE, RIGHT? 735 00:29:56,195 --> 00:29:56,627 WHO TAKES WHO, JUST AS LONG AS WE GET THERE, RIGHT? ALL RIGHT. 736 00:29:56,629 --> 00:29:59,062 WE GET THERE, RIGHT? ALL RIGHT. UM... 737 00:29:59,064 --> 00:30:00,264 ALL RIGHT. UM... I GOT AN IDEA. 738 00:30:00,266 --> 00:30:01,165 UM... I GOT AN IDEA. >> Yeah? What? 739 00:30:01,167 --> 00:30:02,533 I GOT AN IDEA. >> Yeah? What? >> Yeah. I, uh -- [ Sighs ] 740 00:30:02,535 --> 00:30:04,168 >> Yeah? What? >> Yeah. I, uh -- [ Sighs ] I got to get some fresh air, 741 00:30:04,170 --> 00:30:04,601 >> Yeah. I, uh -- [ Sighs ] I got to get some fresh air, though. 742 00:30:04,603 --> 00:30:05,402 I got to get some fresh air, though. I got to -- 743 00:30:05,404 --> 00:30:06,503 though. I got to -- >> WHERE YOU GOING? 744 00:30:06,505 --> 00:30:07,538 I got to -- >> WHERE YOU GOING? >> Up to the roof. 745 00:30:07,540 --> 00:30:09,406 >> WHERE YOU GOING? >> Up to the roof. >> THE ROOF? WHAT ROOF? 746 00:30:09,408 --> 00:30:27,825 >> YOU STILL THERE? >> Yeah, I'm here. 747 00:30:27,827 --> 00:30:48,111 >> I LIKE TO COME UP HERE AT NIGHT SOMETIMES AND THINK. IT'S BEAUTIFUL. 748 00:30:48,113 --> 00:30:57,354 I LIKE TO LOOK AT ALL THE DIFFERENT APARTMENTS... ALL THE PEOPLE INSIDE... 749 00:30:57,356 --> 00:30:59,389 DIFFERENT APARTMENTS... ALL THE PEOPLE INSIDE... >> [ LAUGHING ] 750 00:30:59,391 --> 00:31:02,459 ALL THE PEOPLE INSIDE... >> [ LAUGHING ] >> ...WATCHING TV, EATING, 751 00:31:02,461 --> 00:31:04,528 >> [ LAUGHING ] >> ...WATCHING TV, EATING, LAUGHING... 752 00:31:04,530 --> 00:31:06,363 >> ...WATCHING TV, EATING, LAUGHING... CRYING, ARGUING. 753 00:31:06,365 --> 00:31:08,398 LAUGHING... CRYING, ARGUING. [ CHUCKLES ] 754 00:31:08,400 --> 00:31:13,303 CRYING, ARGUING. [ CHUCKLES ] So many different stories. 755 00:31:13,305 --> 00:31:16,473 [ CHUCKLES ] So many different stories. It's amazing. 756 00:31:16,475 --> 00:31:18,008 So many different stories. It's amazing. Behind every window is a 757 00:31:18,010 --> 00:31:19,509 It's amazing. Behind every window is a different life, a whole other 758 00:31:19,511 --> 00:31:20,611 Behind every window is a different life, a whole other life! 759 00:31:20,613 --> 00:31:22,479 different life, a whole other life! Do you realize that your soul 760 00:31:22,481 --> 00:31:23,080 life! Do you realize that your soul mate... 761 00:31:23,082 --> 00:31:24,348 Do you realize that your soul mate... COULD LIVE RIGHT ACROSS THE 762 00:31:24,350 --> 00:31:26,016 mate... COULD LIVE RIGHT ACROSS THE STREET FROM YOU? 763 00:31:26,018 --> 00:31:27,718 COULD LIVE RIGHT ACROSS THE STREET FROM YOU? OR HE COULD LIVE IN BANGLADESH. 764 00:31:27,720 --> 00:31:29,953 STREET FROM YOU? OR HE COULD LIVE IN BANGLADESH. OR PITTSBURGH. 765 00:31:29,955 --> 00:31:33,390 OR HE COULD LIVE IN BANGLADESH. OR PITTSBURGH. [ CHUCKLES ] 766 00:31:33,392 --> 00:31:34,391 OR PITTSBURGH. [ CHUCKLES ] Okay! 767 00:31:34,393 --> 00:31:36,126 [ CHUCKLES ] Okay! YES. 768 00:31:36,128 --> 00:31:37,527 Okay! YES. LET'S REVERSE THE ROLES! 769 00:31:37,529 --> 00:31:39,196 YES. LET'S REVERSE THE ROLES! You pretend like you're one of 770 00:31:39,198 --> 00:31:40,597 LET'S REVERSE THE ROLES! You pretend like you're one of the guys calling Sweet Talk! 771 00:31:40,599 --> 00:31:41,498 You pretend like you're one of the guys calling Sweet Talk! >> NO. COME ON. 772 00:31:41,500 --> 00:31:43,033 the guys calling Sweet Talk! >> NO. COME ON. >> Seriously! Just try it! 773 00:31:43,035 --> 00:31:43,967 >> NO. COME ON. >> Seriously! Just try it! Just try it. 774 00:31:43,969 --> 00:31:46,503 >> Seriously! Just try it! Just try it. [ Imitates telephone ringing ] 775 00:31:46,505 --> 00:31:47,604 Just try it. [ Imitates telephone ringing ] [ Deep voice ] HI. 776 00:31:47,606 --> 00:31:48,739 [ Imitates telephone ringing ] [ Deep voice ] HI. THIS IS STUD TALK. 777 00:31:48,741 --> 00:31:50,641 [ Deep voice ] HI. THIS IS STUD TALK. JOHN SPEAKING. 778 00:31:50,643 --> 00:31:52,676 THIS IS STUD TALK. JOHN SPEAKING. >> [ CHUCKLES ] 779 00:31:52,678 --> 00:31:54,311 JOHN SPEAKING. >> [ CHUCKLES ] JOHN'S NOT REALLY YOUR NAME, IS 780 00:31:54,313 --> 00:31:54,578 >> [ CHUCKLES ] JOHN'S NOT REALLY YOUR NAME, IS IT? 781 00:31:54,580 --> 00:31:56,213 JOHN'S NOT REALLY YOUR NAME, IS IT? >> [ French accent ] IT'S A NOM 782 00:31:56,215 --> 00:31:57,681 IT? >> [ French accent ] IT'S A NOM DE GUERRE, SO TO SPEAK. 783 00:31:57,683 --> 00:32:00,317 >> [ French accent ] IT'S A NOM DE GUERRE, SO TO SPEAK. SO, TELL ME, MS. DELILAH... 784 00:32:00,319 --> 00:32:01,518 DE GUERRE, SO TO SPEAK. SO, TELL ME, MS. DELILAH... [ Normal voice ] WHAT ARE YOU 785 00:32:01,520 --> 00:32:05,389 SO, TELL ME, MS. DELILAH... [ Normal voice ] WHAT ARE YOU INTERESTED IN TALKING ABOUT? 786 00:32:05,391 --> 00:32:07,491 [ Normal voice ] WHAT ARE YOU INTERESTED IN TALKING ABOUT? >> UM...I DON'T -- 787 00:32:07,493 --> 00:32:08,258 INTERESTED IN TALKING ABOUT? >> UM...I DON'T -- I DON'T KNOW. 788 00:32:08,260 --> 00:32:09,526 >> UM...I DON'T -- I DON'T KNOW. I'M NOT REALLY -- I'M NOT VERY 789 00:32:09,528 --> 00:32:10,727 I DON'T KNOW. I'M NOT REALLY -- I'M NOT VERY GOOD AT THIS. 790 00:32:10,729 --> 00:32:12,062 I'M NOT REALLY -- I'M NOT VERY GOOD AT THIS. >> OH, COME ON! 791 00:32:12,064 --> 00:32:12,462 GOOD AT THIS. >> OH, COME ON! COME ON! 792 00:32:12,464 --> 00:32:13,697 >> OH, COME ON! COME ON! YOU WERE RIGHT THERE AT THE 793 00:32:13,699 --> 00:32:14,765 COME ON! YOU WERE RIGHT THERE AT THE TRAIN STATION WITH ME! 794 00:32:14,767 --> 00:32:15,632 YOU WERE RIGHT THERE AT THE TRAIN STATION WITH ME! I KNOW YOU WERE! 795 00:32:15,634 --> 00:32:18,702 TRAIN STATION WITH ME! I KNOW YOU WERE! JUST GO WITH IT. 796 00:32:18,704 --> 00:32:22,339 I KNOW YOU WERE! JUST GO WITH IT. >> OKAY, WHAT IF, UM -- 797 00:32:22,341 --> 00:32:23,573 JUST GO WITH IT. >> OKAY, WHAT IF, UM -- Mm, what if it was something out 798 00:32:23,575 --> 00:32:25,542 >> OKAY, WHAT IF, UM -- Mm, what if it was something out of a Russian novel? 799 00:32:25,544 --> 00:32:27,177 Mm, what if it was something out of a Russian novel? >> YES! 800 00:32:27,179 --> 00:32:29,212 of a Russian novel? >> YES! "THE BROTHERS KARAMAZOV." 801 00:32:29,214 --> 00:32:30,414 >> YES! "THE BROTHERS KARAMAZOV." >> OHH, I WAS THINKING TOLSTOY, 802 00:32:30,416 --> 00:32:31,515 "THE BROTHERS KARAMAZOV." >> OHH, I WAS THINKING TOLSTOY, ACTUALLY. 803 00:32:31,517 --> 00:32:32,249 >> OHH, I WAS THINKING TOLSTOY, ACTUALLY. >> AH! 804 00:32:32,251 --> 00:32:33,784 ACTUALLY. >> AH! FOR WHOM THE BELL "TOLSTOYS!" 805 00:32:33,786 --> 00:32:36,520 >> AH! FOR WHOM THE BELL "TOLSTOYS!" >> [ Chuckling ] GOD! 806 00:32:36,522 --> 00:32:39,623 FOR WHOM THE BELL "TOLSTOYS!" >> [ Chuckling ] GOD! >> Okay! Here's what we do! 807 00:32:39,625 --> 00:32:42,459 >> [ Chuckling ] GOD! >> Okay! Here's what we do! WE CREATE EACH OTHER. 808 00:32:42,461 --> 00:32:44,628 >> Okay! Here's what we do! WE CREATE EACH OTHER. ANYBODY WE WANT TO BE. 809 00:32:44,630 --> 00:32:47,664 WE CREATE EACH OTHER. ANYBODY WE WANT TO BE. ANYWHERE WE WANT TO GO. 810 00:32:47,666 --> 00:32:49,066 ANYBODY WE WANT TO BE. ANYWHERE WE WANT TO GO. ALL IT TAKES IS A LITTLE 811 00:32:49,068 --> 00:32:52,569 ANYWHERE WE WANT TO GO. ALL IT TAKES IS A LITTLE IMAGINATION. 812 00:32:52,571 --> 00:32:53,603 ALL IT TAKES IS A LITTLE IMAGINATION. You do this for a living, 813 00:32:53,605 --> 00:32:55,339 IMAGINATION. You do this for a living, remember? 814 00:32:55,341 --> 00:32:56,473 You do this for a living, remember? >> WELL, YEAH. 815 00:32:56,475 --> 00:32:58,508 remember? >> WELL, YEAH. BUT I DON'T USUALLY GET CALLS 816 00:32:58,510 --> 00:33:00,610 >> WELL, YEAH. BUT I DON'T USUALLY GET CALLS FROM GUYS WHO WANT TO GO TO... 817 00:33:00,612 --> 00:33:03,447 BUT I DON'T USUALLY GET CALLS FROM GUYS WHO WANT TO GO TO... train stations in Budapest. 818 00:33:03,449 --> 00:33:04,715 FROM GUYS WHO WANT TO GO TO... train stations in Budapest. >> LET'S GO BACK THERE. 819 00:33:04,717 --> 00:33:06,350 train stations in Budapest. >> LET'S GO BACK THERE. >> The train station? 820 00:33:06,352 --> 00:33:07,484 >> LET'S GO BACK THERE. >> The train station? >> YEAH! YEAH, YEAH, YEAH! 821 00:33:07,486 --> 00:33:08,819 >> The train station? >> YEAH! YEAH, YEAH, YEAH! >> First of all, what am I doing 822 00:33:08,821 --> 00:33:09,353 >> YEAH! YEAH, YEAH, YEAH! >> First of all, what am I doing there? 823 00:33:09,355 --> 00:33:10,320 >> First of all, what am I doing there? >> I don't know yet! 824 00:33:10,322 --> 00:33:11,088 there? >> I don't know yet! I don't know! 825 00:33:11,090 --> 00:33:12,322 >> I don't know yet! I don't know! We're making this up as we go 826 00:33:12,324 --> 00:33:12,656 I don't know! We're making this up as we go along. 827 00:33:12,658 --> 00:33:14,057 We're making this up as we go along. >> WELL, THEN, I'M WEARING A 828 00:33:14,059 --> 00:33:17,127 along. >> WELL, THEN, I'M WEARING A CAPE -- 829 00:33:17,129 --> 00:33:18,829 >> WELL, THEN, I'M WEARING A CAPE -- A FUR CAPE. 830 00:33:18,831 --> 00:33:21,198 CAPE -- A FUR CAPE. AND I'M -- MM -- DRIPPING IN 831 00:33:21,200 --> 00:33:22,733 A FUR CAPE. AND I'M -- MM -- DRIPPING IN EMERALDS. 832 00:33:22,735 --> 00:33:23,834 AND I'M -- MM -- DRIPPING IN EMERALDS. >> NICE. 833 00:33:23,836 --> 00:33:25,569 EMERALDS. >> NICE. >> I don't know. It's -- it's -- 834 00:33:25,571 --> 00:33:27,137 >> NICE. >> I don't know. It's -- it's -- IT'S A LITTLE DRESSY FOR A TRAIN 835 00:33:27,139 --> 00:33:28,305 >> I don't know. It's -- it's -- IT'S A LITTLE DRESSY FOR A TRAIN STATION, DON'T YOU THINK? 836 00:33:28,307 --> 00:33:29,239 IT'S A LITTLE DRESSY FOR A TRAIN STATION, DON'T YOU THINK? >> WELL, SO WHAT?! 837 00:33:29,241 --> 00:33:30,440 STATION, DON'T YOU THINK? >> WELL, SO WHAT?! IT'S YOUR RAILROAD STATION! 838 00:33:30,442 --> 00:33:31,375 >> WELL, SO WHAT?! IT'S YOUR RAILROAD STATION! PUT IT ON. 839 00:33:31,377 --> 00:33:32,442 IT'S YOUR RAILROAD STATION! PUT IT ON. >> The cape? 840 00:33:32,444 --> 00:33:34,411 PUT IT ON. >> The cape? >> YES! PUT IT ON! 841 00:33:34,413 --> 00:33:37,314 >> The cape? >> YES! PUT IT ON! AND REALLY -- REALLY PUT IT ON. 842 00:33:37,316 --> 00:33:38,648 >> YES! PUT IT ON! AND REALLY -- REALLY PUT IT ON. >> [ SIGHS ] 843 00:33:38,650 --> 00:33:41,385 AND REALLY -- REALLY PUT IT ON. >> [ SIGHS ] OKA-- I HAVE TO GO TO MY CLOSET! 844 00:33:41,387 --> 00:33:42,319 >> [ SIGHS ] OKA-- I HAVE TO GO TO MY CLOSET! >> YOU KNOW WHAT? 845 00:33:42,321 --> 00:33:43,587 OKA-- I HAVE TO GO TO MY CLOSET! >> YOU KNOW WHAT? I WANT MY VOICE IN THE ROOM. 846 00:33:43,589 --> 00:33:45,322 >> YOU KNOW WHAT? I WANT MY VOICE IN THE ROOM. PUT ME ON SPEAKERPHONE. 847 00:33:45,324 --> 00:33:48,792 I WANT MY VOICE IN THE ROOM. PUT ME ON SPEAKERPHONE. >> [ SIGHS ] OKAY, HOLD ON. 848 00:33:48,794 --> 00:33:50,460 PUT ME ON SPEAKERPHONE. >> [ SIGHS ] OKAY, HOLD ON. HOW'S THAT? 849 00:33:50,462 --> 00:33:52,295 >> [ SIGHS ] OKAY, HOLD ON. HOW'S THAT? >> THAT'S GREAT. HOW'S THAT? 850 00:33:52,297 --> 00:33:54,197 HOW'S THAT? >> THAT'S GREAT. HOW'S THAT? >> Oh! Good! 851 00:33:54,199 --> 00:33:55,232 >> THAT'S GREAT. HOW'S THAT? >> Oh! Good! >> Put on your cape! 852 00:33:55,234 --> 00:33:56,566 >> Oh! Good! >> Put on your cape! >> [ Chuckling ] OKAY, OKAY. 853 00:33:56,568 --> 00:33:58,435 >> Put on your cape! >> [ Chuckling ] OKAY, OKAY. [ Muttering ] OH, GOD... 854 00:33:58,437 --> 00:34:10,781 [ EXHALES ] IT'S ON. >> AND WHAT DO YOU GOT ON UNDER 855 00:34:10,783 --> 00:34:14,684 IT'S ON. >> AND WHAT DO YOU GOT ON UNDER THE CAPE? 856 00:34:14,686 --> 00:34:18,488 >> AND WHAT DO YOU GOT ON UNDER THE CAPE? >> UM... 857 00:34:18,490 --> 00:34:20,357 THE CAPE? >> UM... I'M WEARING... 858 00:34:20,359 --> 00:34:37,274 ...BEAUTIFUL ANTIQUE... silk underwear. WHAT ABOUT YOU, JOHN? 859 00:34:37,276 --> 00:34:40,210 silk underwear. WHAT ABOUT YOU, JOHN? WHAT ARE YOU WEARING? 860 00:34:40,212 --> 00:34:41,545 WHAT ABOUT YOU, JOHN? WHAT ARE YOU WEARING? >> A BASEBALL UNIFORM. 861 00:34:41,547 --> 00:34:43,180 WHAT ARE YOU WEARING? >> A BASEBALL UNIFORM. >> In the train station! 862 00:34:43,182 --> 00:34:44,381 >> A BASEBALL UNIFORM. >> In the train station! >> JUST THE PANTS. 863 00:34:44,383 --> 00:34:46,183 >> In the train station! >> JUST THE PANTS. >> YOU'RE WALKING AROUND THE 864 00:34:46,185 --> 00:34:48,151 >> JUST THE PANTS. >> YOU'RE WALKING AROUND THE BUDAPEST TRAIN STATION IN A PAIR 865 00:34:48,153 --> 00:34:50,520 >> YOU'RE WALKING AROUND THE BUDAPEST TRAIN STATION IN A PAIR OF BASEBALL PANTS. 866 00:34:50,522 --> 00:34:51,621 BUDAPEST TRAIN STATION IN A PAIR OF BASEBALL PANTS. >> YEAH! WHY NOT? 867 00:34:51,623 --> 00:34:54,324 OF BASEBALL PANTS. >> YEAH! WHY NOT? >> WELL...OKAY. 868 00:34:54,326 --> 00:34:56,359 >> YEAH! WHY NOT? >> WELL...OKAY. WHO ARE YOU, ANYWAY? 869 00:34:56,361 --> 00:34:59,496 >> WELL...OKAY. WHO ARE YOU, ANYWAY? >> HMM. WELL, THAT -- 870 00:34:59,498 --> 00:35:01,498 WHO ARE YOU, ANYWAY? >> HMM. WELL, THAT -- THAT WOULD DEPEND... 871 00:35:01,500 --> 00:35:03,567 >> HMM. WELL, THAT -- THAT WOULD DEPEND... ON THE WOMAN IN THE CAPE. 872 00:35:03,569 --> 00:35:05,402 THAT WOULD DEPEND... ON THE WOMAN IN THE CAPE. UH... 873 00:35:05,404 --> 00:35:07,237 ON THE WOMAN IN THE CAPE. UH... I COULD BE -- I COULD BE THE 874 00:35:07,239 --> 00:35:08,772 UH... I COULD BE -- I COULD BE THE STATION MASTER. 875 00:35:08,774 --> 00:35:10,507 I COULD BE -- I COULD BE THE STATION MASTER. I COULD BE A PROFESSIONAL 876 00:35:10,509 --> 00:35:12,342 STATION MASTER. I COULD BE A PROFESSIONAL BASEBALL PLAYER. 877 00:35:12,344 --> 00:35:14,478 I COULD BE A PROFESSIONAL BASEBALL PLAYER. I COULD BE A PASSENGER ON THE 878 00:35:14,480 --> 00:35:14,811 BASEBALL PLAYER. I COULD BE A PASSENGER ON THE TRAIN. 879 00:35:14,813 --> 00:35:16,313 I COULD BE A PASSENGER ON THE TRAIN. I COULD BE A TRAVELING SALESMAN 880 00:35:16,315 --> 00:35:17,214 TRAIN. I COULD BE A TRAVELING SALESMAN SELLING UNDERWEAR! 881 00:35:17,216 --> 00:35:18,281 I COULD BE A TRAVELING SALESMAN SELLING UNDERWEAR! I DON'T KNOW! PICK ONE! 882 00:35:18,283 --> 00:35:19,583 SELLING UNDERWEAR! I DON'T KNOW! PICK ONE! >> HOW'D YOU LIKE TO BE SOMEONE 883 00:35:19,585 --> 00:35:21,351 I DON'T KNOW! PICK ONE! >> HOW'D YOU LIKE TO BE SOMEONE DANGEROUS? 884 00:35:21,353 --> 00:35:24,221 >> HOW'D YOU LIKE TO BE SOMEONE DANGEROUS? >> COOL. YES. 885 00:35:24,223 --> 00:35:25,922 DANGEROUS? >> COOL. YES. AN ASSASSIN. 886 00:35:25,924 --> 00:35:27,591 >> COOL. YES. AN ASSASSIN. >> A-A MURDERER? 887 00:35:27,593 --> 00:35:29,759 AN ASSASSIN. >> A-A MURDERER? >> A professional murderer. 888 00:35:29,761 --> 00:35:31,895 >> A-A MURDERER? >> A professional murderer. >> LIKE A CONTRACT KILLER. 889 00:35:31,897 --> 00:35:33,463 >> A professional murderer. >> LIKE A CONTRACT KILLER. >> YES! 890 00:35:33,465 --> 00:35:33,763 >> LIKE A CONTRACT KILLER. >> YES! OKAY. 891 00:35:33,765 --> 00:35:34,965 >> YES! OKAY. NOW WE'RE STARTING TO COOK. 892 00:35:34,967 --> 00:35:36,299 OKAY. NOW WE'RE STARTING TO COOK. >> What about me? Do I -- 893 00:35:36,301 --> 00:35:37,567 NOW WE'RE STARTING TO COOK. >> What about me? Do I -- I get to choose who I want to 894 00:35:37,569 --> 00:35:38,235 >> What about me? Do I -- I get to choose who I want to be, right? 895 00:35:38,237 --> 00:35:41,304 I get to choose who I want to be, right? >> OF COURSE! ANYBODY YOU WANT. 896 00:35:41,306 --> 00:35:43,640 be, right? >> OF COURSE! ANYBODY YOU WANT. >> I want to be a contessa! 897 00:35:43,642 --> 00:35:44,941 >> OF COURSE! ANYBODY YOU WANT. >> I want to be a contessa! Yeah. 898 00:35:44,943 --> 00:35:46,877 >> I want to be a contessa! Yeah. I want to be a very... 899 00:35:46,879 --> 00:35:48,378 Yeah. I want to be a very... VERY WEALTHY CONTESSA. 900 00:35:48,380 --> 00:35:49,646 I want to be a very... VERY WEALTHY CONTESSA. >> That's awesome! Yes! 901 00:35:49,648 --> 00:35:50,780 VERY WEALTHY CONTESSA. >> That's awesome! Yes! Yes! This is great! 902 00:35:50,782 --> 00:35:51,548 >> That's awesome! Yes! Yes! This is great! ALL RIGHT. 903 00:35:51,550 --> 00:35:52,849 Yes! This is great! ALL RIGHT. WHAT DO WE HAVE SO FAR? 904 00:35:52,851 --> 00:35:55,385 ALL RIGHT. WHAT DO WE HAVE SO FAR? WE HAVE A-A WEALTHY CONTESSA 905 00:35:55,387 --> 00:35:57,420 WHAT DO WE HAVE SO FAR? WE HAVE A-A WEALTHY CONTESSA WAITING IN A TRAIN STATION FOR 906 00:35:57,422 --> 00:35:59,456 WE HAVE A-A WEALTHY CONTESSA WAITING IN A TRAIN STATION FOR AN ASSASSIN. 907 00:35:59,458 --> 00:36:01,391 WAITING IN A TRAIN STATION FOR AN ASSASSIN. IT'S SNOWING OUTSIDE. 908 00:36:01,393 --> 00:36:03,960 AN ASSASSIN. IT'S SNOWING OUTSIDE. Uh, you're wearing nothing but a 909 00:36:03,962 --> 00:36:07,230 IT'S SNOWING OUTSIDE. Uh, you're wearing nothing but a cape with antique underwear. 910 00:36:07,232 --> 00:36:15,539 What else?! What else? >> U-UM... HMM. WHAT IF THEY, UH -- 911 00:36:15,541 --> 00:36:16,873 >> U-UM... HMM. WHAT IF THEY, UH -- WHAT IF THEY HAVE, LIKE, UM -- 912 00:36:16,875 --> 00:36:17,874 HMM. WHAT IF THEY, UH -- WHAT IF THEY HAVE, LIKE, UM -- LIKE, A RENDEZVOUS? 913 00:36:17,876 --> 00:36:19,976 WHAT IF THEY HAVE, LIKE, UM -- LIKE, A RENDEZVOUS? UM, THEY'RE -- THEY'RE RUNNING 914 00:36:19,978 --> 00:36:22,445 LIKE, A RENDEZVOUS? UM, THEY'RE -- THEY'RE RUNNING AWAY TOGETHER TO VIENNA AFTER... 915 00:36:22,447 --> 00:36:24,347 UM, THEY'RE -- THEY'RE RUNNING AWAY TOGETHER TO VIENNA AFTER... >> YES. YES. AFTER WHAT? 916 00:36:24,349 --> 00:36:25,549 AWAY TOGETHER TO VIENNA AFTER... >> YES. YES. AFTER WHAT? >> After he knocks off the 917 00:36:25,551 --> 00:36:25,916 >> YES. YES. AFTER WHAT? >> After he knocks off the count! 918 00:36:25,918 --> 00:36:27,517 >> After he knocks off the count! I mean, he's an assassin, right? 919 00:36:27,519 --> 00:36:28,618 count! I mean, he's an assassin, right? He's got to assassinate 920 00:36:28,620 --> 00:36:29,286 I mean, he's an assassin, right? He's got to assassinate somebody! 921 00:36:29,288 --> 00:36:30,787 He's got to assassinate somebody! >> GOD DAMN RIGHT HE DOES! 922 00:36:30,789 --> 00:36:32,255 somebody! >> GOD DAMN RIGHT HE DOES! AND THIS GUY IS GOOD, TOO. 923 00:36:32,257 --> 00:36:32,923 >> GOD DAMN RIGHT HE DOES! AND THIS GUY IS GOOD, TOO. HE'S THE BEST. 924 00:36:32,925 --> 00:36:35,425 AND THIS GUY IS GOOD, TOO. HE'S THE BEST. HE CHARGES A LOT OF MONEY, AND 925 00:36:35,427 --> 00:36:39,396 HE'S THE BEST. HE CHARGES A LOT OF MONEY, AND HE ALWAYS GETS HIS MAN. 926 00:36:39,398 --> 00:36:41,364 HE CHARGES A LOT OF MONEY, AND HE ALWAYS GETS HIS MAN. WHAT YEAR ARE WE IN? 927 00:36:41,366 --> 00:36:43,567 HE ALWAYS GETS HIS MAN. WHAT YEAR ARE WE IN? >> [ Sighs ] 928 00:36:43,569 --> 00:36:44,801 WHAT YEAR ARE WE IN? >> [ Sighs ] 1914. 929 00:36:44,803 --> 00:36:45,902 >> [ Sighs ] 1914. IT WAS A GOOD YEAR FOR 930 00:36:45,904 --> 00:36:47,404 1914. IT WAS A GOOD YEAR FOR ASSASSINATIONS -- IT WAS THE 931 00:36:47,406 --> 00:36:48,738 IT WAS A GOOD YEAR FOR ASSASSINATIONS -- IT WAS THE YEAR ARCHDUKE FRANZ FERDINAND 932 00:36:48,740 --> 00:36:49,706 ASSASSINATIONS -- IT WAS THE YEAR ARCHDUKE FRANZ FERDINAND WAS SHOT. 933 00:36:49,708 --> 00:36:51,741 YEAR ARCHDUKE FRANZ FERDINAND WAS SHOT. >> Who? 934 00:36:51,743 --> 00:36:52,943 WAS SHOT. >> Who? >> THE HEIR PRESUMPTIVE TO THE 935 00:36:52,945 --> 00:36:56,446 >> Who? >> THE HEIR PRESUMPTIVE TO THE AUSTRO-HUNGARIAN THRONE? 936 00:36:56,448 --> 00:36:57,747 >> THE HEIR PRESUMPTIVE TO THE AUSTRO-HUNGARIAN THRONE? HIS -- HIS DEATH STARTED 937 00:36:57,749 --> 00:36:59,549 AUSTRO-HUNGARIAN THRONE? HIS -- HIS DEATH STARTED WORLD WAR I? 938 00:36:59,551 --> 00:37:00,450 HIS -- HIS DEATH STARTED WORLD WAR I? >> THIS IS GREAT. 939 00:37:00,452 --> 00:37:01,384 WORLD WAR I? >> THIS IS GREAT. THIS IS GOOD SHIT. 940 00:37:01,386 --> 00:37:02,752 >> THIS IS GREAT. THIS IS GOOD SHIT. >> YEAH, THE WHOLE WORLD WAS ON 941 00:37:02,754 --> 00:37:04,621 THIS IS GOOD SHIT. >> YEAH, THE WHOLE WORLD WAS ON THE PRECIPICE OF DISASTER. 942 00:37:04,623 --> 00:37:06,489 >> YEAH, THE WHOLE WORLD WAS ON THE PRECIPICE OF DISASTER. >> SO MUCH THE BETTER. 943 00:37:06,491 --> 00:37:14,931 HOW DOES HE KNOCK OFF THE COUNT? >> In a duel. 944 00:37:14,933 --> 00:37:22,772 >> CLEAR THROUGH THE HEART. ONE SHOT. BOOM. 945 00:37:22,774 --> 00:37:32,949 NOW -- NOW THERE'S A PRICE ON HIS HEAD. SHE'S WAITING IN THE TRAIN 946 00:37:32,951 --> 00:37:34,084 NOW THERE'S A PRICE ON HIS HEAD. SHE'S WAITING IN THE TRAIN STATION. 947 00:37:34,086 --> 00:37:36,052 SHE'S WAITING IN THE TRAIN STATION. SHE...DOESN'T KNOW IF HE'S EVEN 948 00:37:36,054 --> 00:37:37,087 STATION. SHE...DOESN'T KNOW IF HE'S EVEN GONNA SHOW UP. 949 00:37:37,089 --> 00:37:39,756 SHE...DOESN'T KNOW IF HE'S EVEN GONNA SHOW UP. SHE DOESN'T KNOW IF HE WAS 950 00:37:39,758 --> 00:37:41,958 GONNA SHOW UP. SHE DOESN'T KNOW IF HE WAS CAUGHT IN A POLICE ROADBLOCK... 951 00:37:41,960 --> 00:37:45,528 SHE DOESN'T KNOW IF HE WAS CAUGHT IN A POLICE ROADBLOCK... If he was shot in an ambush, 952 00:37:45,530 --> 00:37:46,329 CAUGHT IN A POLICE ROADBLOCK... If he was shot in an ambush, okay? 953 00:37:46,331 --> 00:37:47,998 If he was shot in an ambush, okay? >> OKAY. 954 00:37:48,000 --> 00:37:59,109 >> HE THINKS OF HER... IN HER CAPE... AND HER PALE SKIN... 955 00:37:59,111 --> 00:38:02,445 IN HER CAPE... AND HER PALE SKIN... her -- her hands... 956 00:38:02,447 --> 00:38:06,483 AND HER PALE SKIN... her -- her hands... sure and cool... 957 00:38:06,485 --> 00:38:07,884 her -- her hands... sure and cool... and her perfume. 958 00:38:07,886 --> 00:38:09,085 sure and cool... and her perfume. [ Sniffs ] 959 00:38:09,087 --> 00:38:11,454 and her perfume. [ Sniffs ] He was powerless against it. 960 00:38:11,456 --> 00:38:12,756 [ Sniffs ] He was powerless against it. [ Chuckles ] 961 00:38:12,758 --> 00:38:13,957 He was powerless against it. [ Chuckles ] That's why he provoked the 962 00:38:13,959 --> 00:38:15,392 [ Chuckles ] That's why he provoked the count. 963 00:38:15,394 --> 00:38:17,027 That's why he provoked the count. It was all because of the way 964 00:38:17,029 --> 00:38:18,828 count. It was all because of the way she smelled. 965 00:38:18,830 --> 00:38:19,629 It was all because of the way she smelled. [ CHUCKLES ] 966 00:38:19,631 --> 00:38:21,498 she smelled. [ CHUCKLES ] AND THE WAY SHE LOOKED AT HIM. 967 00:38:21,500 --> 00:38:31,074 HE KNEW -- HE KNEW SHE WOULD BE THERE WAITING FOR HIM AT THE TRAIN STATION. 968 00:38:31,076 --> 00:38:33,410 THERE WAITING FOR HIM AT THE TRAIN STATION. You athere, aren't you? 969 00:38:33,412 --> 00:38:35,378 TRAIN STATION. You athere, aren't you? >> YES. 970 00:38:35,380 --> 00:38:37,614 You athere, aren't you? >> YES. >> What's it like? 971 00:38:37,616 --> 00:38:39,482 >> YES. >> What's it like? TELL ME. 972 00:38:39,484 --> 00:38:51,661 >> IT'S OLD... AND DIMLY LIT. IT'S SO QUIET, YOU COULD HEAR 973 00:38:51,663 --> 00:38:53,163 AND DIMLY LIT. IT'S SO QUIET, YOU COULD HEAR THE SNOW FALLING OUTSIDE. 974 00:38:53,165 --> 00:38:54,130 IT'S SO QUIET, YOU COULD HEAR THE SNOW FALLING OUTSIDE. [ CRACKLING ] 975 00:38:54,132 --> 00:38:56,099 THE SNOW FALLING OUTSIDE. [ CRACKLING ] THE ONLY OTHER NOISE IS THE COAL 976 00:38:56,101 --> 00:38:57,934 [ CRACKLING ] THE ONLY OTHER NOISE IS THE COAL BURNING IN THE GRATE AND THE 977 00:38:57,936 --> 00:38:59,803 THE ONLY OTHER NOISE IS THE COAL BURNING IN THE GRATE AND THE WIND MAKING THE TIMBERS CREAK. 978 00:38:59,805 --> 00:39:06,543 THE TICKET WINDOW IS CLOSED DUE TO THE STORM. [ CLOCK TICKING ] 979 00:39:06,545 --> 00:39:07,744 TO THE STORM. [ CLOCK TICKING ] NO ONE KNOWS IF THE TRAIN WILL 980 00:39:07,746 --> 00:39:10,580 [ CLOCK TICKING ] NO ONE KNOWS IF THE TRAIN WILL STOP. 981 00:39:10,582 --> 00:39:11,781 NO ONE KNOWS IF THE TRAIN WILL STOP. NO ONE EVEN KNOWS IF THE TRAIN 982 00:39:11,783 --> 00:39:13,650 STOP. NO ONE EVEN KNOWS IF THE TRAIN WILL GET THROUGH. 983 00:39:13,652 --> 00:39:23,626 I'M ALONE. WHO ELSE WOULD BE WAITING FOR A TRAIN AT THIS HOUR? 984 00:39:23,628 --> 00:39:26,830 WHO ELSE WOULD BE WAITING FOR A TRAIN AT THIS HOUR? >> WHAT ABOUT THE ASSASSIN? 985 00:39:26,832 --> 00:39:29,499 TRAIN AT THIS HOUR? >> WHAT ABOUT THE ASSASSIN? >> HE'S ON HIS WAY... 986 00:39:29,501 --> 00:39:31,368 >> WHAT ABOUT THE ASSASSIN? >> HE'S ON HIS WAY... SLIPPING THROUGH ROADBLOCKS. 987 00:39:31,370 --> 00:39:45,215 OH, NO. OH, NO. >> WHAT? >> OH, HE'S THERE. 988 00:39:45,217 --> 00:39:46,816 >> WHAT? >> OH, HE'S THERE. >> WHO'S THERE? 989 00:39:46,818 --> 00:39:49,119 >> OH, HE'S THERE. >> WHO'S THERE? >> UH, THE MAN. 990 00:39:49,121 --> 00:39:50,186 >> WHO'S THERE? >> UH, THE MAN. >> WHAT MAN? 991 00:39:50,188 --> 00:39:51,755 >> UH, THE MAN. >> WHAT MAN? >> THE SILENT MAN. 992 00:39:51,757 --> 00:39:52,489 >> WHAT MAN? >> THE SILENT MAN. >> Who's that? 993 00:39:52,491 --> 00:39:53,189 >> THE SILENT MAN. >> Who's that? >> IT'S -- OH, GOD. 994 00:39:53,191 --> 00:39:53,923 >> Who's that? >> IT'S -- OH, GOD. IT'S THIS MAN. 995 00:39:53,925 --> 00:39:54,991 >> IT'S -- OH, GOD. IT'S THIS MAN. HE -- HE ALWAYS SHOWS UP. 996 00:39:54,993 --> 00:39:56,059 IT'S THIS MAN. HE -- HE ALWAYS SHOWS UP. >> WHAT'S HE DOING THERE? 997 00:39:56,061 --> 00:39:56,860 HE -- HE ALWAYS SHOWS UP. >> WHAT'S HE DOING THERE? >> I DON'T KNOW. 998 00:39:56,862 --> 00:39:57,727 >> WHAT'S HE DOING THERE? >> I DON'T KNOW. HE'S STARING AT ME? 999 00:39:57,729 --> 00:39:58,461 >> I DON'T KNOW. HE'S STARING AT ME? I DON'T KNOW! 1000 00:39:58,463 --> 00:39:59,529 HE'S STARING AT ME? I DON'T KNOW! WHAT THE HELL IS HE DOING? 1001 00:39:59,531 --> 00:40:00,196 I DON'T KNOW! WHAT THE HELL IS HE DOING? >> YOU DON'T KNOW? 1002 00:40:00,198 --> 00:40:01,831 WHAT THE HELL IS HE DOING? >> YOU DON'T KNOW? >> SHIT! I DON'T -- 1003 00:40:01,833 --> 00:40:02,999 >> YOU DON'T KNOW? >> SHIT! I DON'T -- I DON'T WANT HIM HERE! 1004 00:40:03,001 --> 00:40:04,234 >> SHIT! I DON'T -- I DON'T WANT HIM HERE! >> WELL, GET RID OF HIM! 1005 00:40:04,236 --> 00:40:05,702 I DON'T WANT HIM HERE! >> WELL, GET RID OF HIM! IT'S YOUR TRAIN STATION! 1006 00:40:05,704 --> 00:40:06,469 >> WELL, GET RID OF HIM! IT'S YOUR TRAIN STATION! >> I can't! 1007 00:40:06,471 --> 00:40:07,971 IT'S YOUR TRAIN STATION! >> I can't! >> TELL HIM TO GET THE FUCK OUT 1008 00:40:07,973 --> 00:40:11,474 >> I can't! >> TELL HIM TO GET THE FUCK OUT OF THERE! 1009 00:40:11,476 --> 00:40:13,076 >> TELL HIM TO GET THE FUCK OUT OF THERE! >> HEY. 1010 00:40:13,078 --> 00:40:14,944 OF THERE! >> HEY. THIS IS BUDAPEST. 1011 00:40:14,946 --> 00:40:23,453 I RUN THINGS HERE, OKAY? SO GET OUT OF HERE. 1012 00:40:23,455 --> 00:40:28,024 DO YOU HEAR ME? 1013 00:40:28,026 --> 00:40:35,064 He won't go. He's not moving. Shit! [ SIGHS ] YOU KNOW WHAT? 1014 00:40:35,066 --> 00:40:36,533 Shit! [ SIGHS ] YOU KNOW WHAT? LET'S JUST -- LET'S JUST FORGET 1015 00:40:36,535 --> 00:40:37,734 [ SIGHS ] YOU KNOW WHAT? LET'S JUST -- LET'S JUST FORGET THIS. 1016 00:40:37,736 --> 00:40:38,968 LET'S JUST -- LET'S JUST FORGET THIS. >> NO. NO, NO, NO, NO, NO. 1017 00:40:38,970 --> 00:40:40,270 THIS. >> NO. NO, NO, NO, NO, NO. DON'T ST-- WE CAN'T STOP NOW. 1018 00:40:40,272 --> 00:40:41,504 >> NO. NO, NO, NO, NO, NO. DON'T ST-- WE CAN'T STOP NOW. THIS IS JUST GETTING 1019 00:40:41,506 --> 00:40:42,071 DON'T ST-- WE CAN'T STOP NOW. THIS IS JUST GETTING INTERESTING. 1020 00:40:42,073 --> 00:40:42,972 THIS IS JUST GETTING INTERESTING. >> NO, IT'S NOT. 1021 00:40:42,974 --> 00:40:44,174 INTERESTING. >> NO, IT'S NOT. >> It is. It is! 1022 00:40:44,176 --> 00:40:45,642 >> NO, IT'S NOT. >> It is. It is! What is the silent man doing 1023 00:40:45,644 --> 00:40:46,009 >> It is. It is! What is the silent man doing there? 1024 00:40:46,011 --> 00:40:47,177 What is the silent man doing there? >> I DON'T -- HE JUST -- 1025 00:40:47,179 --> 00:40:47,944 there? >> I DON'T -- HE JUST -- I DON'T KNOW. 1026 00:40:47,946 --> 00:40:49,245 >> I DON'T -- HE JUST -- I DON'T KNOW. HE -- HE JUST APPEARS WHEN I 1027 00:40:49,247 --> 00:40:50,780 I DON'T KNOW. HE -- HE JUST APPEARS WHEN I DON'T WANT HIM TO, AND I CAN'T 1028 00:40:50,782 --> 00:40:51,648 HE -- HE JUST APPEARS WHEN I DON'T WANT HIM TO, AND I CAN'T GET RID OF HIM. 1029 00:40:51,650 --> 00:40:52,615 DON'T WANT HIM TO, AND I CAN'T GET RID OF HIM. >> LOOK. [ SIGHS ] 1030 00:40:52,617 --> 00:40:53,983 GET RID OF HIM. >> LOOK. [ SIGHS ] PEOPLE JUST DON'T WANDER INTO A 1031 00:40:53,985 --> 00:40:55,585 >> LOOK. [ SIGHS ] PEOPLE JUST DON'T WANDER INTO A TRAIN STATION IN BUDAPEST FOR NO 1032 00:40:55,587 --> 00:40:55,985 PEOPLE JUST DON'T WANDER INTO A TRAIN STATION IN BUDAPEST FOR NO REASON. 1033 00:40:55,987 --> 00:40:57,587 TRAIN STATION IN BUDAPEST FOR NO REASON. There's got to be a reason he's 1034 00:40:57,589 --> 00:40:57,921 REASON. There's got to be a reason he's there! 1035 00:40:57,923 --> 00:40:58,855 There's got to be a reason he's there! >> OH! ALL RIGHT! 1036 00:40:58,857 --> 00:41:00,690 there! >> OH! ALL RIGHT! WELL, YOU'RE A SHRINK NOW? 1037 00:41:00,692 --> 00:41:02,659 >> OH! ALL RIGHT! WELL, YOU'RE A SHRINK NOW? >> Look, I'm not -- [ Sighs ] 1038 00:41:02,661 --> 00:41:04,594 WELL, YOU'RE A SHRINK NOW? >> Look, I'm not -- [ Sighs ] I'M ON YOUR SIDE, HERE. 1039 00:41:04,596 --> 00:41:05,562 >> Look, I'm not -- [ Sighs ] I'M ON YOUR SIDE, HERE. >> RIGHT. [ SIGHS ] 1040 00:41:05,564 --> 00:41:06,162 I'M ON YOUR SIDE, HERE. >> RIGHT. [ SIGHS ] >> ALL RIGHT. 1041 00:41:06,164 --> 00:41:07,163 >> RIGHT. [ SIGHS ] >> ALL RIGHT. LET'S GO BACK THERE. 1042 00:41:07,165 --> 00:41:08,665 >> ALL RIGHT. LET'S GO BACK THERE. LET'S -- LET'S GO BACK AND SEE 1043 00:41:08,667 --> 00:41:09,265 LET'S GO BACK THERE. LET'S -- LET'S GO BACK AND SEE WHAT HAPPENS. 1044 00:41:09,267 --> 00:41:10,233 LET'S -- LET'S GO BACK AND SEE WHAT HAPPENS. >> I don't want to. 1045 00:41:10,235 --> 00:41:12,702 WHAT HAPPENS. >> I don't want to. [ TELEPHONE RINGING ] 1046 00:41:12,704 --> 00:41:15,839 >> I don't want to. [ TELEPHONE RINGING ] HOLD ON. HOLD ON! 1047 00:41:15,841 --> 00:41:17,640 [ TELEPHONE RINGING ] HOLD ON. HOLD ON! YOU HAVE THE WRONG NUMBER. 1048 00:41:17,642 --> 00:41:18,241 HOLD ON. HOLD ON! YOU HAVE THE WRONG NUMBER. SORRY! 1049 00:41:18,243 --> 00:41:21,544 YOU HAVE THE WRONG NUMBER. SORRY! >> Let's go back at dawn. 1050 00:41:21,546 --> 00:41:23,947 SORRY! >> Let's go back at dawn. THE LIGHT IS -- IS SPECIAL THEN. 1051 00:41:23,949 --> 00:41:25,215 >> Let's go back at dawn. THE LIGHT IS -- IS SPECIAL THEN. YOU'LL LOVE IT. 1052 00:41:25,217 --> 00:41:27,684 THE LIGHT IS -- IS SPECIAL THEN. YOU'LL LOVE IT. AND, BESIDES, THE -- THE TRAIN 1053 00:41:27,686 --> 00:41:28,985 YOU'LL LOVE IT. AND, BESIDES, THE -- THE TRAIN NEEDS TIME TO GET THROUGH THE 1054 00:41:28,987 --> 00:41:30,620 AND, BESIDES, THE -- THE TRAIN NEEDS TIME TO GET THROUGH THE SNOWBANKS, RIGHT? 1055 00:41:30,622 --> 00:41:33,022 NEEDS TIME TO GET THROUGH THE SNOWBANKS, RIGHT? >> ARE YOU SERIOUS? 1056 00:41:33,024 --> 00:41:34,691 SNOWBANKS, RIGHT? >> ARE YOU SERIOUS? >> IT'S THE HOUR OF DUELS AND 1057 00:41:34,693 --> 00:41:36,259 >> ARE YOU SERIOUS? >> IT'S THE HOUR OF DUELS AND EXECUTIONS, WHERE EVERYTHING IS 1058 00:41:36,261 --> 00:41:38,161 >> IT'S THE HOUR OF DUELS AND EXECUTIONS, WHERE EVERYTHING IS POSSIBLE. 1059 00:41:38,163 --> 00:41:40,630 EXECUTIONS, WHERE EVERYTHING IS POSSIBLE. We'll get some rest, and we'll 1060 00:41:40,632 --> 00:41:42,832 POSSIBLE. We'll get some rest, and we'll go back. 1061 00:41:42,834 --> 00:41:44,067 We'll get some rest, and we'll go back. Call me at dawn. 1062 00:41:44,069 --> 00:41:46,736 go back. Call me at dawn. >> I DON'T HAVE YOUR NUMBER. 1063 00:41:46,738 --> 00:41:47,637 Call me at dawn. >> I DON'T HAVE YOUR NUMBER. >> I'M IN THE BOOK. 1064 00:41:47,639 --> 00:41:49,305 >> I DON'T HAVE YOUR NUMBER. >> I'M IN THE BOOK. SAMSON. NO "P." THIRD ONE DOWN. 1065 00:41:49,307 --> 00:41:51,608 >> I'M IN THE BOOK. SAMSON. NO "P." THIRD ONE DOWN. >> Samson? 1066 00:41:51,610 --> 00:41:53,676 SAMSON. NO "P." THIRD ONE DOWN. >> Samson? SAMSON. THAT'S REALLY YOUR NAME. 1067 00:41:53,678 --> 00:41:54,844 >> Samson? SAMSON. THAT'S REALLY YOUR NAME. >> WHY DO YOU THINK I CALLED 1068 00:41:54,846 --> 00:41:57,180 SAMSON. THAT'S REALLY YOUR NAME. >> WHY DO YOU THINK I CALLED YOU? 1069 00:41:57,182 --> 00:41:58,648 >> WHY DO YOU THINK I CALLED YOU? >> WELL, I CAN'T CALL YOU. 1070 00:41:58,650 --> 00:41:59,916 YOU? >> WELL, I CAN'T CALL YOU. MY BOSS CHECKS THE PHONES. 1071 00:41:59,918 --> 00:42:00,917 >> WELL, I CAN'T CALL YOU. MY BOSS CHECKS THE PHONES. I WOULD GET FIRED. 1072 00:42:00,919 --> 00:42:02,018 MY BOSS CHECKS THE PHONES. I WOULD GET FIRED. >> WE DON'T GO ANYWHERE 1073 00:42:02,020 --> 00:42:03,253 I WOULD GET FIRED. >> WE DON'T GO ANYWHERE WORTHWHILE WITHOUT TAKING A 1074 00:42:03,255 --> 00:42:03,987 >> WE DON'T GO ANYWHERE WORTHWHILE WITHOUT TAKING A LITTLE RISK. 1075 00:42:03,989 --> 00:42:05,655 WORTHWHILE WITHOUT TAKING A LITTLE RISK. >> WHY CAN'T YOU CALL ME? 1076 00:42:05,657 --> 00:42:06,890 LITTLE RISK. >> WHY CAN'T YOU CALL ME? >> I could! 1077 00:42:06,892 --> 00:42:09,792 >> WHY CAN'T YOU CALL ME? >> I could! But I'm not going to. 1078 00:42:09,794 --> 00:42:12,195 >> I could! But I'm not going to. SAMSON. NO "P." THIRD ONE DOWN. 1079 00:42:12,197 --> 00:42:14,063 But I'm not going to. SAMSON. NO "P." THIRD ONE DOWN. SEE YOU AT DAWN. 1080 00:42:14,065 --> 00:42:23,106 >> HELLO? [ CLOCK TICKING ] [ SIGHS ] 1081 00:42:23,108 --> 00:42:55,138 [ INHALES ] [ SIGHS SOFTLY ] [ CHUCKLES SOFTLY ] 1082 00:42:55,140 --> 00:43:13,656 I DON'T FUCKING BELIEVE THIS. 1083 00:43:13,658 --> 00:43:25,902 >> [ WHISTLES ] DON'T WAIT UP, LEON. 1084 00:43:25,904 --> 00:43:38,348 OH, HEY! HEY, COME HERE! COME HERE! COME HERE! 1085 00:43:38,350 --> 00:43:39,682 COME HERE! COME HERE! COME HERE! 1086 00:43:39,684 --> 00:43:41,017 COME HERE! COME HERE! COME ON! COME ON! 1087 00:43:41,019 --> 00:43:41,918 COME HERE! COME ON! COME ON! [ DOG WHINING ] 1088 00:43:41,920 --> 00:43:43,319 [ DOG WHINING ] HOW YOU DOING? HOW YOU DOING? 1089 00:43:43,321 --> 00:43:44,354 HOW YOU DOING? HOW YOU DOING? WHAT ARE YOU DOING? 1090 00:43:44,356 --> 00:43:46,022 WHAT ARE YOU DOING? HOW YOU DOING TONIGHT, HUH? 1091 00:43:46,024 --> 00:43:47,323 HOW YOU DOING TONIGHT, HUH? HOW YOU DOING? YOU HANGING OUT? 1092 00:43:47,325 --> 00:43:48,691 HOW YOU DOING? YOU HANGING OUT? WAIT. WHERE YOU GOING? 1093 00:43:48,693 --> 00:43:49,359 WAIT. WHERE YOU GOING? [ DOG WHINES ] 1094 00:43:49,361 --> 00:43:51,194 [ DOG WHINES ] WHERE YOU GOING? 1095 00:43:51,196 --> 00:44:33,336 [ OPERA MUSIC PLAYING ] 1096 00:44:33,338 --> 00:46:12,335 [ TELEPHONE RINGING ] 1097 00:46:12,337 --> 00:46:25,148 >> GOOD MORNING. WHAT? OH. NO, NO. NO, NO. WE'RE -- WE'RE DOWN RIGHT NOW. 1098 00:46:25,150 --> 00:46:27,250 WHAT? OH. NO, NO. NO, NO. WE'RE -- WE'RE DOWN RIGHT NOW. I'M SORRY. 1099 00:46:27,252 --> 00:46:29,952 WE'RE -- WE'RE DOWN RIGHT NOW. I'M SORRY. YE-- COMPUTER MALFUNCTION. YEAH. 1100 00:46:29,954 --> 00:46:31,154 I'M SORRY. YE-- COMPUTER MALFUNCTION. YEAH. UH, WHY DON'T YOU CALL BACK AT 1101 00:46:31,156 --> 00:46:34,624 YE-- COMPUTER MALFUNCTION. YEAH. UH, WHY DON'T YOU CALL BACK AT NOON AND TALK TO GINNY? 1102 00:46:34,626 --> 00:46:36,459 UH, WHY DON'T YOU CALL BACK AT NOON AND TALK TO GINNY? [ SIGHS ] 1103 00:46:36,461 --> 00:46:37,360 NOON AND TALK TO GINNY? [ SIGHS ] TAKE A COLD SHOWER. 1104 00:46:37,362 --> 00:46:39,228 [ SIGHS ] TAKE A COLD SHOWER. [ BEEP ] 1105 00:46:39,230 --> 00:46:52,308 [ TELEPHONE RINGING ] 1106 00:46:52,310 --> 00:47:03,986 >> HELLO? >> Uh, it's me. >> YOU! 1107 00:47:03,988 --> 00:47:05,488 >> Uh, it's me. >> YOU! >> DELILAH. 1108 00:47:05,490 --> 00:47:06,589 >> YOU! >> DELILAH. REMEMBER? 1109 00:47:06,591 --> 00:47:08,558 >> DELILAH. REMEMBER? B-BUDAPEST, THE CONTESSA, TRAIN 1110 00:47:08,560 --> 00:47:09,959 REMEMBER? B-BUDAPEST, THE CONTESSA, TRAIN STATION, FUR COAT? 1111 00:47:09,961 --> 00:47:11,093 B-BUDAPEST, THE CONTESSA, TRAIN STATION, FUR COAT? >> Yes! Morning! 1112 00:47:11,095 --> 00:47:13,563 STATION, FUR COAT? >> Yes! Morning! >> HI! DID I WAKE YOU? 1113 00:47:13,565 --> 00:47:15,331 >> Yes! Morning! >> HI! DID I WAKE YOU? >> MNH-MNH! 1114 00:47:15,333 --> 00:47:16,599 >> HI! DID I WAKE YOU? >> MNH-MNH! NO! 1115 00:47:16,601 --> 00:47:18,267 >> MNH-MNH! NO! NO, I'M ALWAYS UP... 1116 00:47:18,269 --> 00:47:19,602 NO! NO, I'M ALWAYS UP... THIS EARLY WHEN A BEAUTIFUL 1117 00:47:19,604 --> 00:47:21,470 NO, I'M ALWAYS UP... THIS EARLY WHEN A BEAUTIFUL WOMAN IS WAITING FOR ME AT A 1118 00:47:21,472 --> 00:47:23,339 THIS EARLY WHEN A BEAUTIFUL WOMAN IS WAITING FOR ME AT A TRAIN STATION. 1119 00:47:23,341 --> 00:47:33,349 THE SUN'S UP. >> YEAH, LOOKS LIKE IT. SO, YOU WANT TO DO THIS? 1120 00:47:33,351 --> 00:47:36,552 >> YEAH, LOOKS LIKE IT. SO, YOU WANT TO DO THIS? >> Yeah! Yes. Yes! Absolutely! 1121 00:47:36,554 --> 00:47:38,120 SO, YOU WANT TO DO THIS? >> Yeah! Yes. Yes! Absolutely! HANG ON. 1122 00:47:38,122 --> 00:47:39,522 >> Yeah! Yes. Yes! Absolutely! HANG ON. HANG ON. [ SNIFFS ] 1123 00:47:39,524 --> 00:47:42,191 HANG ON. HANG ON. [ SNIFFS ] OKAY. YES. LET'S DO THIS. 1124 00:47:42,193 --> 00:47:43,960 HANG ON. [ SNIFFS ] OKAY. YES. LET'S DO THIS. >> OKAY. 1125 00:47:43,962 --> 00:47:45,428 OKAY. YES. LET'S DO THIS. >> OKAY. HOW DO WE START? 1126 00:47:45,430 --> 00:47:47,463 >> OKAY. HOW DO WE START? >> WE, UH -- 1127 00:47:47,465 --> 00:47:50,666 HOW DO WE START? >> WE, UH -- WE SET THE SCENE. 1128 00:47:50,668 --> 00:47:52,468 >> WE, UH -- WE SET THE SCENE. WHAT YEAR ARE WE IN AGAIN? 1129 00:47:52,470 --> 00:47:53,436 WE SET THE SCENE. WHAT YEAR ARE WE IN AGAIN? >> 1914. 1130 00:47:53,438 --> 00:47:54,403 WHAT YEAR ARE WE IN AGAIN? >> 1914. >> Yes! 1131 00:47:54,405 --> 00:47:55,938 >> 1914. >> Yes! YES. 1132 00:47:55,940 --> 00:47:57,640 >> Yes! YES. THE WORLD... 1133 00:47:57,642 --> 00:48:00,943 YES. THE WORLD... IS ON THE PRECIPICE OF DISASTER. 1134 00:48:00,945 --> 00:48:01,310 THE WORLD... IS ON THE PRECIPICE OF DISASTER. >> YES. 1135 00:48:01,312 --> 00:48:02,411 IS ON THE PRECIPICE OF DISASTER. >> YES. I'M WAITING FOR YOU IN THE 1136 00:48:02,413 --> 00:48:03,279 >> YES. I'M WAITING FOR YOU IN THE RAILROAD STATION. 1137 00:48:03,281 --> 00:48:05,381 I'M WAITING FOR YOU IN THE RAILROAD STATION. >> Wait! No, no! Slow down. 1138 00:48:05,383 --> 00:48:06,515 RAILROAD STATION. >> Wait! No, no! Slow down. WE HAVEN'T GOT THERE YET! 1139 00:48:06,517 --> 00:48:07,950 >> Wait! No, no! Slow down. WE HAVEN'T GOT THERE YET! WE HAVE TO -- WE HAVE TO MEET 1140 00:48:07,952 --> 00:48:08,284 WE HAVEN'T GOT THERE YET! WE HAVE TO -- WE HAVE TO MEET FIRST! 1141 00:48:08,286 --> 00:48:09,518 WE HAVE TO -- WE HAVE TO MEET FIRST! >> Oh. Where do we meet? 1142 00:48:09,520 --> 00:48:12,054 FIRST! >> Oh. Where do we meet? >> UH...AT A PARTY... 1143 00:48:12,056 --> 00:48:14,123 >> Oh. Where do we meet? >> UH...AT A PARTY... IN A MANSION JUST OUTSIDE OF 1144 00:48:14,125 --> 00:48:14,991 >> UH...AT A PARTY... IN A MANSION JUST OUTSIDE OF TOWN. 1145 00:48:14,993 --> 00:48:17,627 IN A MANSION JUST OUTSIDE OF TOWN. IT'S, UH -- IT'S A WINTER NIGHT. 1146 00:48:17,629 --> 00:48:20,129 TOWN. IT'S, UH -- IT'S A WINTER NIGHT. IT'S UNSEASONABLY WARM FOR 1147 00:48:20,131 --> 00:48:21,731 IT'S, UH -- IT'S A WINTER NIGHT. IT'S UNSEASONABLY WARM FOR MARCH, BUT THERE IS A SMELL OF 1148 00:48:21,733 --> 00:48:23,466 IT'S UNSEASONABLY WARM FOR MARCH, BUT THERE IS A SMELL OF SNOW IN THE AIR. 1149 00:48:23,468 --> 00:48:25,034 MARCH, BUT THERE IS A SMELL OF SNOW IN THE AIR. >> WHAT SHOULD I BE WEARING? 1150 00:48:25,036 --> 00:48:26,168 SNOW IN THE AIR. >> WHAT SHOULD I BE WEARING? >> UH... 1151 00:48:26,170 --> 00:48:28,204 >> WHAT SHOULD I BE WEARING? >> UH... HOW ABOUT SOMETHING FROM... 1152 00:48:28,206 --> 00:48:28,604 >> UH... HOW ABOUT SOMETHING FROM... CHANEL? 1153 00:48:28,606 --> 00:48:29,972 HOW ABOUT SOMETHING FROM... CHANEL? >> CHANEL WAS MORE 1920s. 1154 00:48:29,974 --> 00:48:31,641 CHANEL? >> CHANEL WAS MORE 1920s. LET'S DO SOMETHING, UM -- 1155 00:48:31,643 --> 00:48:33,175 >> CHANEL WAS MORE 1920s. LET'S DO SOMETHING, UM -- LET'S DO SOMETHING EDWARDIAN. 1156 00:48:33,177 --> 00:48:33,643 LET'S DO SOMETHING, UM -- LET'S DO SOMETHING EDWARDIAN. >> Great! 1157 00:48:33,645 --> 00:48:34,410 LET'S DO SOMETHING EDWARDIAN. >> Great! SOUNDS GREAT. 1158 00:48:34,412 --> 00:48:35,177 >> Great! SOUNDS GREAT. [ CHUCKLES ] 1159 00:48:35,179 --> 00:48:36,279 SOUNDS GREAT. [ CHUCKLES ] >> AND WHAT ABOUT YOU? 1160 00:48:36,281 --> 00:48:37,647 [ CHUCKLES ] >> AND WHAT ABOUT YOU? WHAT ARE YOU WEARING? 1161 00:48:37,649 --> 00:48:39,015 >> AND WHAT ABOUT YOU? WHAT ARE YOU WEARING? DON'T SAY BASEBALL UNIFORM. 1162 00:48:39,017 --> 00:48:39,615 WHAT ARE YOU WEARING? DON'T SAY BASEBALL UNIFORM. >> [ Chuckles ] 1163 00:48:39,617 --> 00:48:41,050 DON'T SAY BASEBALL UNIFORM. >> [ Chuckles ] I THINK I HAVE JUST THE THING. 1164 00:48:41,052 --> 00:48:44,320 >> [ Chuckles ] I THINK I HAVE JUST THE THING. >> What is it? 1165 00:48:44,322 --> 00:48:45,688 I THINK I HAVE JUST THE THING. >> What is it? >> A TUXEDO. 1166 00:48:45,690 --> 00:48:47,490 >> What is it? >> A TUXEDO. >> Ooh, classy. 1167 00:48:47,492 --> 00:48:48,658 >> A TUXEDO. >> Ooh, classy. >> YEAH. 1168 00:48:48,660 --> 00:48:50,026 >> Ooh, classy. >> YEAH. >> Do you have a sword? 1169 00:48:50,028 --> 00:48:50,760 >> YEAH. >> Do you have a sword? >> I DON'T KNOW! 1170 00:48:50,762 --> 00:48:52,061 >> Do you have a sword? >> I DON'T KNOW! AM I GONNA NEED ONE? 1171 00:48:52,063 --> 00:48:53,162 >> I DON'T KNOW! AM I GONNA NEED ONE? >> I THINK YOU MIGHT! 1172 00:48:53,164 --> 00:48:55,097 AM I GONNA NEED ONE? >> I THINK YOU MIGHT! AND I THINK IT'S GONNA HAVE TO 1173 00:48:55,099 --> 00:48:56,699 >> I THINK YOU MIGHT! AND I THINK IT'S GONNA HAVE TO BE SHARP ENOUGH TO DECAPITATE MY 1174 00:48:56,701 --> 00:48:58,434 AND I THINK IT'S GONNA HAVE TO BE SHARP ENOUGH TO DECAPITATE MY HUSBAND. 1175 00:48:58,436 --> 00:48:59,368 BE SHARP ENOUGH TO DECAPITATE MY HUSBAND. HE'S VERY JEALOUS. 1176 00:48:59,370 --> 00:49:00,770 HUSBAND. HE'S VERY JEALOUS. YOU KNOW, HE ONCE HAD A GARDENER 1177 00:49:00,772 --> 00:49:02,305 HE'S VERY JEALOUS. YOU KNOW, HE ONCE HAD A GARDENER BADLY BEATEN FOR STARING AT ME. 1178 00:49:02,307 --> 00:49:03,606 YOU KNOW, HE ONCE HAD A GARDENER BADLY BEATEN FOR STARING AT ME. >> WELL, MEN SHOULD NOT MARRY 1179 00:49:03,608 --> 00:49:05,074 BADLY BEATEN FOR STARING AT ME. >> WELL, MEN SHOULD NOT MARRY BEAUTIFUL WOMEN IF THEY DON'T 1180 00:49:05,076 --> 00:49:06,075 >> WELL, MEN SHOULD NOT MARRY BEAUTIFUL WOMEN IF THEY DON'T WANT THEM STARED AT. 1181 00:49:06,077 --> 00:49:07,376 BEAUTIFUL WOMEN IF THEY DON'T WANT THEM STARED AT. >> WELL, THE COUNT HAS FOUGHT 1182 00:49:07,378 --> 00:49:09,111 WANT THEM STARED AT. >> WELL, THE COUNT HAS FOUGHT DUELS WITH MEN YOUNGER THAN YOU, 1183 00:49:09,113 --> 00:49:10,079 >> WELL, THE COUNT HAS FOUGHT DUELS WITH MEN YOUNGER THAN YOU, AND WON. 1184 00:49:10,081 --> 00:49:12,248 DUELS WITH MEN YOUNGER THAN YOU, AND WON. >> AND THAT'S WHERE WE START -- 1185 00:49:12,250 --> 00:49:15,418 AND WON. >> AND THAT'S WHERE WE START -- THE DUEL...AT DAWN. 1186 00:49:15,420 --> 00:49:17,753 >> AND THAT'S WHERE WE START -- THE DUEL...AT DAWN. THE COUNT...HAD SURPRISED US ON 1187 00:49:17,755 --> 00:49:19,355 THE DUEL...AT DAWN. THE COUNT...HAD SURPRISED US ON THE TERRACE. 1188 00:49:19,357 --> 00:49:21,090 THE COUNT...HAD SURPRISED US ON THE TERRACE. HE THREW DOWN HIS GLOVE. 1189 00:49:21,092 --> 00:49:22,458 THE TERRACE. HE THREW DOWN HIS GLOVE. >> NO, WE CAN'T DO THAT, BECAUSE 1190 00:49:22,460 --> 00:49:23,726 HE THREW DOWN HIS GLOVE. >> NO, WE CAN'T DO THAT, BECAUSE THE CONTESSA AND THE ASSASSIN 1191 00:49:23,728 --> 00:49:24,593 >> NO, WE CAN'T DO THAT, BECAUSE THE CONTESSA AND THE ASSASSIN HAVE NOT YET MET. 1192 00:49:24,595 --> 00:49:26,128 THE CONTESSA AND THE ASSASSIN HAVE NOT YET MET. >> BUT WE HAVE TO -- WE HAVE TO 1193 00:49:26,130 --> 00:49:27,396 HAVE NOT YET MET. >> BUT WE HAVE TO -- WE HAVE TO FIGHT THE DUEL BEFORE IT GETS 1194 00:49:27,398 --> 00:49:28,064 >> BUT WE HAVE TO -- WE HAVE TO FIGHT THE DUEL BEFORE IT GETS TOO LIGHT. 1195 00:49:28,066 --> 00:49:29,332 FIGHT THE DUEL BEFORE IT GETS TOO LIGHT. >> FIRST THING'S FIRST -- THE 1196 00:49:29,334 --> 00:49:30,333 TOO LIGHT. >> FIRST THING'S FIRST -- THE PARTY. 1197 00:49:30,335 --> 00:49:32,034 >> FIRST THING'S FIRST -- THE PARTY. NOW, IF YOU'LL EXCUSE ME... 1198 00:49:32,036 --> 00:49:33,302 PARTY. NOW, IF YOU'LL EXCUSE ME... I HAVE TO GO GET DRESSED. 1199 00:49:33,304 --> 00:49:34,303 NOW, IF YOU'LL EXCUSE ME... I HAVE TO GO GET DRESSED. [ STRAUSS' "TALES FROM 1200 00:49:34,305 --> 00:49:36,572 I HAVE TO GO GET DRESSED. [ STRAUSS' "TALES FROM THE VIENNA WOODS" PLAYING ] 1201 00:49:36,574 --> 00:50:23,786 SO, WHAT DO WE SAY? >> NOTHING. EVERYTHING HAS ALREADY BEEN SAID 1202 00:50:23,788 --> 00:50:24,720 >> NOTHING. EVERYTHING HAS ALREADY BEEN SAID WITH OUR EYES. 1203 00:50:24,722 --> 00:50:26,255 EVERYTHING HAS ALREADY BEEN SAID WITH OUR EYES. >> IT'S BUDAPEST. 1204 00:50:26,257 --> 00:50:28,257 WITH OUR EYES. >> IT'S BUDAPEST. 1914. 1205 00:50:28,259 --> 00:50:30,126 >> IT'S BUDAPEST. 1914. WORDS ARE INEVITABLE. 1206 00:50:30,128 --> 00:50:39,702 THANK YOU. >> YOU'RE VERY BEAUTIFUL. >> I DON'T ACCEPT COMPLIMENTS 1207 00:50:39,704 --> 00:50:41,103 >> YOU'RE VERY BEAUTIFUL. >> I DON'T ACCEPT COMPLIMENTS FROM MEN I DON'T KNOW. 1208 00:50:41,105 --> 00:50:41,837 >> I DON'T ACCEPT COMPLIMENTS FROM MEN I DON'T KNOW. >> YOU KNOW ME. 1209 00:50:41,839 --> 00:50:44,173 FROM MEN I DON'T KNOW. >> YOU KNOW ME. >> I DO? 1210 00:50:44,175 --> 00:50:45,374 >> YOU KNOW ME. >> I DO? >> I SAW THE WAY YOU LOOKED AT 1211 00:50:45,376 --> 00:50:46,475 >> I DO? >> I SAW THE WAY YOU LOOKED AT ME. 1212 00:50:46,477 --> 00:50:47,676 >> I SAW THE WAY YOU LOOKED AT ME. >> THAT'S VERY PRESUMPTUOUS OF 1213 00:50:47,678 --> 00:50:48,644 ME. >> THAT'S VERY PRESUMPTUOUS OF YOU. 1214 00:50:48,646 --> 00:50:51,380 >> THAT'S VERY PRESUMPTUOUS OF YOU. >> PERHAPS. 1215 00:50:51,382 --> 00:50:54,750 YOU. >> PERHAPS. BUT ACCURATE. 1216 00:50:54,752 --> 00:50:56,152 >> PERHAPS. BUT ACCURATE. >> MY HUSBAND WILL NOTICE MY 1217 00:50:56,154 --> 00:50:57,887 BUT ACCURATE. >> MY HUSBAND WILL NOTICE MY ABSENCE. 1218 00:50:57,889 --> 00:50:59,755 >> MY HUSBAND WILL NOTICE MY ABSENCE. >> WHERE IS THE COUNT? 1219 00:50:59,757 --> 00:51:08,564 >> HE'S DISCUSSING WAR WITH BARON BELASKA. >> THE PEDERAST? 1220 00:51:08,566 --> 00:51:12,501 BARON BELASKA. >> THE PEDERAST? >> THE WEALTHY LANDOWNER. 1221 00:51:12,503 --> 00:51:14,603 >> THE PEDERAST? >> THE WEALTHY LANDOWNER. >> IT IS A SHAME TO DISCUSS WAR 1222 00:51:14,605 --> 00:51:16,505 >> THE WEALTHY LANDOWNER. >> IT IS A SHAME TO DISCUSS WAR ON A...NIGHT LIKE THIS. 1223 00:51:16,507 --> 00:51:17,807 >> IT IS A SHAME TO DISCUSS WAR ON A...NIGHT LIKE THIS. >> PERHAPS, BUT AS YOU KNOW, THE 1224 00:51:17,809 --> 00:51:19,308 ON A...NIGHT LIKE THIS. >> PERHAPS, BUT AS YOU KNOW, THE SERBIANS ARE ENCROACHING ON THE 1225 00:51:19,310 --> 00:51:20,242 >> PERHAPS, BUT AS YOU KNOW, THE SERBIANS ARE ENCROACHING ON THE EMPIRE'S TERRITORY. 1226 00:51:20,244 --> 00:51:21,410 SERBIANS ARE ENCROACHING ON THE EMPIRE'S TERRITORY. >> WELL, THE SERBIANS DON'T 1227 00:51:21,412 --> 00:51:22,611 EMPIRE'S TERRITORY. >> WELL, THE SERBIANS DON'T UNDERSTAND WHY THEY SHOULD BE 1228 00:51:22,613 --> 00:51:23,879 >> WELL, THE SERBIANS DON'T UNDERSTAND WHY THEY SHOULD BE UNDER THE INFLUENCE OF VIENNA. 1229 00:51:23,881 --> 00:51:25,147 UNDERSTAND WHY THEY SHOULD BE UNDER THE INFLUENCE OF VIENNA. >> POLITICS BORE ME... 1230 00:51:25,149 --> 00:51:26,682 UNDER THE INFLUENCE OF VIENNA. >> POLITICS BORE ME... [ SCHUBERT'S "AVE MARIA" 1231 00:51:26,684 --> 00:51:28,150 >> POLITICS BORE ME... [ SCHUBERT'S "AVE MARIA" PLAYING, MUFFLED ] 1232 00:51:28,152 --> 00:51:29,819 [ SCHUBERT'S "AVE MARIA" PLAYING, MUFFLED ] ...AS DO SCHUBERT LIEDER. 1233 00:51:29,821 --> 00:51:42,731 >> DO YOU KNOW... THAT YOU'RE EVEN MORE BEAUTIFUL UP CLOSE? 1234 00:51:42,733 --> 00:51:44,300 THAT YOU'RE EVEN MORE BEAUTIFUL UP CLOSE? MOST WOMEN CANNOT BEAR CLOSE 1235 00:51:44,302 --> 00:51:44,800 UP CLOSE? MOST WOMEN CANNOT BEAR CLOSE SCRUTINY. 1236 00:51:44,802 --> 00:51:46,469 MOST WOMEN CANNOT BEAR CLOSE SCRUTINY. >> DO YOU KNOW A LOT OF WOMEN? 1237 00:51:46,471 --> 00:51:48,337 SCRUTINY. >> DO YOU KNOW A LOT OF WOMEN? >> I KNOW YOU. 1238 00:51:48,339 --> 00:51:57,546 >> YOUR FACE IS HARD. YOU'VE SUFFERED GREATLY. >> NO MORE THAN IS NECESSARY IN 1239 00:51:57,548 --> 00:51:58,547 YOU'VE SUFFERED GREATLY. >> NO MORE THAN IS NECESSARY IN MY LINE OF WORK. 1240 00:51:58,549 --> 00:52:01,917 >> NO MORE THAN IS NECESSARY IN MY LINE OF WORK. >> WHICH IS...? 1241 00:52:01,919 --> 00:52:03,719 MY LINE OF WORK. >> WHICH IS...? >> LET US SAY... 1242 00:52:03,721 --> 00:52:07,223 >> WHICH IS...? >> LET US SAY... I AM A FACILITATOR... 1243 00:52:07,225 --> 00:52:08,891 >> LET US SAY... I AM A FACILITATOR... OF MEN'S FATES. 1244 00:52:08,893 --> 00:52:23,772 >> THE COUNT WILL BE WONDERING WHERE I AM. IF HE FINDS US IN A COMPROMISING 1245 00:52:23,774 --> 00:52:25,441 WHERE I AM. IF HE FINDS US IN A COMPROMISING POSITION, HE WILL THROW DOWN HIS 1246 00:52:25,443 --> 00:52:25,841 IF HE FINDS US IN A COMPROMISING POSITION, HE WILL THROW DOWN HIS GLOVE. 1247 00:52:25,843 --> 00:52:26,976 POSITION, HE WILL THROW DOWN HIS GLOVE. >> SO MUCH THE BETTER. 1248 00:52:26,978 --> 00:52:29,745 GLOVE. >> SO MUCH THE BETTER. >> MY DARLING? 1249 00:52:29,747 --> 00:52:31,614 >> SO MUCH THE BETTER. >> MY DARLING? >> GOOD EVENING, COUNT! 1250 00:52:31,616 --> 00:52:46,896 I'D BE DELIGHTED. >> THE CLEARING TO THE RIGHT OF THE STABLE. 1251 00:52:46,898 --> 00:52:48,297 >> THE CLEARING TO THE RIGHT OF THE STABLE. >> ANYWHERE YOU WISH. 1252 00:52:48,299 --> 00:52:48,898 THE STABLE. >> ANYWHERE YOU WISH. >> PISTOLS. 1253 00:52:48,900 --> 00:52:49,765 >> ANYWHERE YOU WISH. >> PISTOLS. >> OF COURSE! 1254 00:52:49,767 --> 00:52:51,300 >> PISTOLS. >> OF COURSE! >> I ASSUME YOU'LL NEED A 1255 00:52:51,302 --> 00:52:51,767 >> OF COURSE! >> I ASSUME YOU'LL NEED A SECOND. 1256 00:52:51,769 --> 00:52:53,469 >> I ASSUME YOU'LL NEED A SECOND. >> OH, I'M AFRAID I WILL. 1257 00:52:53,471 --> 00:52:55,638 SECOND. >> OH, I'M AFRAID I WILL. >> I'LL PROVIDE YOU WITH ONE. 1258 00:52:55,640 --> 00:52:59,241 >> OH, I'M AFRAID I WILL. >> I'LL PROVIDE YOU WITH ONE. TILL THEN... 1259 00:52:59,243 --> 00:53:02,778 >> I'LL PROVIDE YOU WITH ONE. TILL THEN... SIR. 1260 00:53:02,780 --> 00:53:06,482 TILL THEN... SIR. MY DARLING. 1261 00:53:06,484 --> 00:53:08,517 SIR. MY DARLING. >> DON'T WORRY. 1262 00:53:08,519 --> 00:53:10,352 MY DARLING. >> DON'T WORRY. ONE OF US WILL REMAIN ALIVE TO 1263 00:53:10,354 --> 00:53:12,421 >> DON'T WORRY. ONE OF US WILL REMAIN ALIVE TO WORSHIP YOU. 1264 00:53:12,423 --> 00:53:14,990 ONE OF US WILL REMAIN ALIVE TO WORSHIP YOU. [ SCHUBERT'S "AVE MARIA" 1265 00:53:14,992 --> 00:53:17,293 WORSHIP YOU. [ SCHUBERT'S "AVE MARIA" CONTINUES PLAYING ] 1266 00:53:17,295 --> 00:53:39,448 >> ♪ GRATIA PLENA ♪ MARIA, GRATIA PLENA >> THE COUNT HAD NO IDEA HE WAS 1267 00:53:39,450 --> 00:53:40,749 ♪ MARIA, GRATIA PLENA >> THE COUNT HAD NO IDEA HE WAS DEALING WITH A MAN WHO KNEW A 1268 00:53:40,751 --> 00:53:43,219 >> THE COUNT HAD NO IDEA HE WAS DEALING WITH A MAN WHO KNEW A THING OR TWO ABOUT PISTOLS. 1269 00:53:43,221 --> 00:54:04,807 IT STARTED TO GROW COLD AT DAWN. MY HEAD WAS STILL TIPSY FROM THE CHAMPAGNE... 1270 00:54:04,809 --> 00:54:08,510 MY HEAD WAS STILL TIPSY FROM THE CHAMPAGNE... AND THE SMELL OF YOUR PERFUME. 1271 00:54:08,512 --> 00:54:09,845 CHAMPAGNE... AND THE SMELL OF YOUR PERFUME. I TRIED TO FOCUS ON THE 1272 00:54:09,847 --> 00:54:11,547 AND THE SMELL OF YOUR PERFUME. I TRIED TO FOCUS ON THE TRAJECTORY OF THE BULLET, TO 1273 00:54:11,549 --> 00:54:13,082 I TRIED TO FOCUS ON THE TRAJECTORY OF THE BULLET, TO REDUCE IT ALL TO A TECHNICAL 1274 00:54:13,084 --> 00:54:16,852 TRAJECTORY OF THE BULLET, TO REDUCE IT ALL TO A TECHNICAL PROBLEM OF THE PROFESSION. 1275 00:54:16,854 --> 00:54:18,454 REDUCE IT ALL TO A TECHNICAL PROBLEM OF THE PROFESSION. AND WHAT WERE YOU DOING AS I WAS 1276 00:54:18,456 --> 00:54:19,822 PROBLEM OF THE PROFESSION. AND WHAT WERE YOU DOING AS I WAS CALCULATING THE COORDINATES OF 1277 00:54:19,824 --> 00:54:21,824 AND WHAT WERE YOU DOING AS I WAS CALCULATING THE COORDINATES OF YOUR HUSBAND'S HEART? 1278 00:54:21,826 --> 00:54:23,025 CALCULATING THE COORDINATES OF YOUR HUSBAND'S HEART? >> I COULD BARELY MAKE YOU OUT 1279 00:54:23,027 --> 00:54:25,394 YOUR HUSBAND'S HEART? >> I COULD BARELY MAKE YOU OUT IN THE DISTANCE. 1280 00:54:25,396 --> 00:54:26,462 >> I COULD BARELY MAKE YOU OUT IN THE DISTANCE. MY BODY WAS TREMBLING. 1281 00:54:26,464 --> 00:54:27,730 IN THE DISTANCE. MY BODY WAS TREMBLING. I WANTED IT TO BE OVER, BUT I 1282 00:54:27,732 --> 00:54:30,566 MY BODY WAS TREMBLING. I WANTED IT TO BE OVER, BUT I WANTED IT TO LAST FOREVER. 1283 00:54:30,568 --> 00:54:32,901 I WANTED IT TO BE OVER, BUT I WANTED IT TO LAST FOREVER. >> LIKE MAKING LOVE? 1284 00:54:32,903 --> 00:54:34,737 WANTED IT TO LAST FOREVER. >> LIKE MAKING LOVE? >> LIKE THE ANTICIPATION OF 1285 00:54:34,739 --> 00:54:37,973 >> LIKE MAKING LOVE? >> LIKE THE ANTICIPATION OF MAKING LOVE. 1286 00:54:37,975 --> 00:54:39,842 >> LIKE THE ANTICIPATION OF MAKING LOVE. >> THE DUEL BEGAN. 1287 00:54:39,844 --> 00:54:50,753 I WALKED AWAY FROM MY RIVAL WITHOUT EMOTION... COLDLY... 1288 00:54:50,755 --> 00:54:52,454 WITHOUT EMOTION... COLDLY... LISTENING TO THE BIRDS IN THE 1289 00:54:52,456 --> 00:54:54,123 COLDLY... LISTENING TO THE BIRDS IN THE TREES ACROSS THE LAKE. 1290 00:54:54,125 --> 00:54:55,791 LISTENING TO THE BIRDS IN THE TREES ACROSS THE LAKE. [ BIRDS CHIRPING ] 1291 00:54:55,793 --> 00:54:57,893 TREES ACROSS THE LAKE. [ BIRDS CHIRPING ] INSIDE, I WAS EMPTY. 1292 00:54:57,895 --> 00:54:59,361 [ BIRDS CHIRPING ] INSIDE, I WAS EMPTY. [ CHIRPING CONTINUES ] 1293 00:54:59,363 --> 00:55:01,664 INSIDE, I WAS EMPTY. [ CHIRPING CONTINUES ] CONCENTRATING... 1294 00:55:01,666 --> 00:55:03,432 [ CHIRPING CONTINUES ] CONCENTRATING... ON THE BUSINESS OF SQUEEZING THE 1295 00:55:03,434 --> 00:55:05,100 CONCENTRATING... ON THE BUSINESS OF SQUEEZING THE TRIGGER FIRMLY BUT SLOWLY SO 1296 00:55:05,102 --> 00:55:07,136 ON THE BUSINESS OF SQUEEZING THE TRIGGER FIRMLY BUT SLOWLY SO THAT THE BULLET WOULD NOT GO OFF 1297 00:55:07,138 --> 00:55:10,739 TRIGGER FIRMLY BUT SLOWLY SO THAT THE BULLET WOULD NOT GO OFF TARGET. 1298 00:55:10,741 --> 00:55:12,541 THAT THE BULLET WOULD NOT GO OFF TARGET. NOW, TELL ME... 1299 00:55:12,543 --> 00:55:16,645 TARGET. NOW, TELL ME... [ PISTOLS COCK ] 1300 00:55:16,647 --> 00:55:18,147 NOW, TELL ME... [ PISTOLS COCK ] ...WHAT YOU FEELING AS WE WALKED 1301 00:55:18,149 --> 00:55:19,782 [ PISTOLS COCK ] ...WHAT YOU FEELING AS WE WALKED OUR PACES? 1302 00:55:19,784 --> 00:55:21,450 ...WHAT YOU FEELING AS WE WALKED OUR PACES? >> I'M NOT GONNA TELL YOU. 1303 00:55:21,452 --> 00:55:22,985 OUR PACES? >> I'M NOT GONNA TELL YOU. >> YOU WERE WET, WEREN'T YOU? 1304 00:55:22,987 --> 00:55:27,523 >> I'M NOT GONNA TELL YOU. >> YOU WERE WET, WEREN'T YOU? >> [ LAUGHS ] 1305 00:55:27,525 --> 00:55:28,891 >> YOU WERE WET, WEREN'T YOU? >> [ LAUGHS ] >> BEFORE I FIRED, I WHISPERED 1306 00:55:28,893 --> 00:55:32,561 >> [ LAUGHS ] >> BEFORE I FIRED, I WHISPERED YOUR NAME. 1307 00:55:32,563 --> 00:55:33,595 >> BEFORE I FIRED, I WHISPERED YOUR NAME. CONTESSA. 1308 00:55:33,597 --> 00:55:35,097 YOUR NAME. CONTESSA. [ GUNSHOTS ] 1309 00:55:35,099 --> 00:55:38,801 CONTESSA. [ GUNSHOTS ] [ BIRDS CHIRPING ] 1310 00:55:38,803 --> 00:55:40,002 [ GUNSHOTS ] [ BIRDS CHIRPING ] >> I SAW THE MEN RUSHING TO MY 1311 00:55:40,004 --> 00:55:42,604 [ BIRDS CHIRPING ] >> I SAW THE MEN RUSHING TO MY HUSBAND'S SIDE. 1312 00:55:42,606 --> 00:55:43,706 >> I SAW THE MEN RUSHING TO MY HUSBAND'S SIDE. I KNOW THEY WOULDN'T HAVE RUSHED 1313 00:55:43,708 --> 00:55:44,039 HUSBAND'S SIDE. I KNOW THEY WOULDN'T HAVE RUSHED FOR YOU. 1314 00:55:44,041 --> 00:55:45,107 I KNOW THEY WOULDN'T HAVE RUSHED FOR YOU. THEY WOULD'VE LET YOU BLEED TO 1315 00:55:45,109 --> 00:55:47,576 FOR YOU. THEY WOULD'VE LET YOU BLEED TO DEATH. 1316 00:55:47,578 --> 00:56:02,491 >> WHAT'S IT LIKE... TO MAKE LOVE TO A MAN WHO HAS YOUR HUSBAND'S BLOOD ON HIS 1317 00:56:02,493 --> 00:56:02,891 TO MAKE LOVE TO A MAN WHO HAS YOUR HUSBAND'S BLOOD ON HIS HANDS? 1318 00:56:02,893 --> 00:56:03,525 YOUR HUSBAND'S BLOOD ON HIS HANDS? >> HA HA. 1319 00:56:03,527 --> 00:56:04,793 HANDS? >> HA HA. I THINK YOU'RE GETTING AHEAD OF 1320 00:56:04,795 --> 00:56:06,428 >> HA HA. I THINK YOU'RE GETTING AHEAD OF THE STORY. 1321 00:56:06,430 --> 00:56:07,930 I THINK YOU'RE GETTING AHEAD OF THE STORY. >> [ GRUNTS ] OKAY. 1322 00:56:07,932 --> 00:56:09,698 THE STORY. >> [ GRUNTS ] OKAY. OKAY, WHERE WERE WE? 1323 00:56:09,700 --> 00:56:11,100 >> [ GRUNTS ] OKAY. OKAY, WHERE WERE WE? >> WWERE AT THE TRAIN STATION. 1324 00:56:11,102 --> 00:56:12,735 OKAY, WHERE WERE WE? >> WWERE AT THE TRAIN STATION. I WAS WAITING FOR YOU SO THAT WE 1325 00:56:12,737 --> 00:56:14,103 >> WWERE AT THE TRAIN STATION. I WAS WAITING FOR YOU SO THAT WE COULD MAKE OUR ESCAPE TOGETHER. 1326 00:56:14,105 --> 00:56:15,671 I WAS WAITING FOR YOU SO THAT WE COULD MAKE OUR ESCAPE TOGETHER. >> [ SIGHS ] OKAY. 1327 00:56:15,673 --> 00:56:18,640 COULD MAKE OUR ESCAPE TOGETHER. >> [ SIGHS ] OKAY. UH [SNIFFS] THE COUNT'S BROTHER 1328 00:56:18,642 --> 00:56:19,942 >> [ SIGHS ] OKAY. UH [SNIFFS] THE COUNT'S BROTHER HAD TRUMPED-UP CHARGES FILED 1329 00:56:19,944 --> 00:56:20,676 UH [SNIFFS] THE COUNT'S BROTHER HAD TRUMPED-UP CHARGES FILED AGAINST ME. 1330 00:56:20,678 --> 00:56:21,944 HAD TRUMPED-UP CHARGES FILED AGAINST ME. HE CLAIMED I CHEATED IN THE 1331 00:56:21,946 --> 00:56:22,611 AGAINST ME. HE CLAIMED I CHEATED IN THE DUEL. 1332 00:56:22,613 --> 00:56:24,747 HE CLAIMED I CHEATED IN THE DUEL. UH, THE POLICE COMMISSIONER WAS 1333 00:56:24,749 --> 00:56:26,849 DUEL. UH, THE POLICE COMMISSIONER WAS DEEP IN THE COUNT'S POCKET, SO 1334 00:56:26,851 --> 00:56:28,617 UH, THE POLICE COMMISSIONER WAS DEEP IN THE COUNT'S POCKET, SO THEY CAME TO MY ROOM. 1335 00:56:28,619 --> 00:56:30,919 DEEP IN THE COUNT'S POCKET, SO THEY CAME TO MY ROOM. I FLED OUT THE WINDOW. 1336 00:56:30,921 --> 00:56:33,989 THEY CAME TO MY ROOM. I FLED OUT THE WINDOW. IT'S SNOWING MORE HEAVILY. 1337 00:56:33,991 --> 00:56:35,891 I FLED OUT THE WINDOW. IT'S SNOWING MORE HEAVILY. THERE'S NO WAY OF KNOWING IF THE 1338 00:56:35,893 --> 00:56:37,760 IT'S SNOWING MORE HEAVILY. THERE'S NO WAY OF KNOWING IF THE TRAIN THAT YOU'RE WAITING FOR IS 1339 00:56:37,762 --> 00:56:40,129 THERE'S NO WAY OF KNOWING IF THE TRAIN THAT YOU'RE WAITING FOR IS EVEN GONNA GET THROUGH. 1340 00:56:40,131 --> 00:56:43,632 TRAIN THAT YOU'RE WAITING FOR IS EVEN GONNA GET THROUGH. YOU HAVE STAKED YOUR LIFE ON ONE 1341 00:56:43,634 --> 00:56:46,068 EVEN GONNA GET THROUGH. YOU HAVE STAKED YOUR LIFE ON ONE WILD ROLL OF THE DICE, AND THE 1342 00:56:46,070 --> 00:56:47,970 YOU HAVE STAKED YOUR LIFE ON ONE WILD ROLL OF THE DICE, AND THE ODDS ARE AGAINST YOU. 1343 00:56:47,972 --> 00:56:51,974 WILD ROLL OF THE DICE, AND THE ODDS ARE AGAINST YOU. I AM -- I AM A WANTED MAN. 1344 00:56:51,976 --> 00:56:53,542 ODDS ARE AGAINST YOU. I AM -- I AM A WANTED MAN. AND VIENNA... 1345 00:56:53,544 --> 00:56:54,610 I AM -- I AM A WANTED MAN. AND VIENNA... [ BEEP ] 1346 00:56:54,612 --> 00:56:56,879 AND VIENNA... [ BEEP ] ...IS A LONG WAY OFF. 1347 00:56:56,881 --> 00:57:10,659 ALL THE WAY TO THE STATION, I-I WONDERED IF YOU WOULD BE THERE. IF YOU KNEW THAT SOMEHOW I WOULD 1348 00:57:10,661 --> 00:57:12,728 WONDERED IF YOU WOULD BE THERE. IF YOU KNEW THAT SOMEHOW I WOULD MEET YOU THERE. 1349 00:57:12,730 --> 00:57:15,264 IF YOU KNEW THAT SOMEHOW I WOULD MEET YOU THERE. AND WE WOULD MAKE OUR ESCAPE 1350 00:57:15,266 --> 00:57:16,799 MEET YOU THERE. AND WE WOULD MAKE OUR ESCAPE RIGHT UNDER THE NOSES OF THE 1351 00:57:16,801 --> 00:57:18,734 AND WE WOULD MAKE OUR ESCAPE RIGHT UNDER THE NOSES OF THE AUTHORITIES. 1352 00:57:18,736 --> 00:57:20,035 RIGHT UNDER THE NOSES OF THE AUTHORITIES. >> WHEN I SAW YOU STANDING THERE 1353 00:57:20,037 --> 00:57:21,537 AUTHORITIES. >> WHEN I SAW YOU STANDING THERE IN THE STATION WITH SNOW ON YOUR 1354 00:57:21,539 --> 00:57:23,672 >> WHEN I SAW YOU STANDING THERE IN THE STATION WITH SNOW ON YOUR COLLAR [INHALES DEEPLY] 1355 00:57:23,674 --> 00:57:29,011 IN THE STATION WITH SNOW ON YOUR COLLAR [INHALES DEEPLY] I RAN TO YOU. 1356 00:57:29,013 --> 00:57:31,079 COLLAR [INHALES DEEPLY] I RAN TO YOU. >> I SWEPT YOU UP IN MY ARMS. 1357 00:57:31,081 --> 00:57:37,653 I RAN TO YOU. >> I SWEPT YOU UP IN MY ARMS. >> SO DANGEROUS, SO EXCITING. 1358 00:57:37,655 --> 00:57:39,688 >> I SWEPT YOU UP IN MY ARMS. >> SO DANGEROUS, SO EXCITING. >> AND THERE... 1359 00:57:39,690 --> 00:57:41,256 >> SO DANGEROUS, SO EXCITING. >> AND THERE... THE SLEEPER TO VIENNA WAS 1360 00:57:41,258 --> 00:57:42,724 >> AND THERE... THE SLEEPER TO VIENNA WAS FINALLY PULLING IN. 1361 00:57:42,726 --> 00:57:45,561 THE SLEEPER TO VIENNA WAS FINALLY PULLING IN. >> WE HID OUT BETWEEN CARS. 1362 00:57:45,563 --> 00:57:46,895 FINALLY PULLING IN. >> WE HID OUT BETWEEN CARS. [ SIGHS ] 1363 00:57:46,897 --> 00:57:48,664 >> WE HID OUT BETWEEN CARS. [ SIGHS ] I WAS COLD. 1364 00:57:48,666 --> 00:57:49,932 [ SIGHS ] I WAS COLD. I HAD NEVER BEEN THAT COLD IN MY 1365 00:57:49,934 --> 00:57:50,232 I WAS COLD. I HAD NEVER BEEN THAT COLD IN MY LIFE. 1366 00:57:50,234 --> 00:57:51,567 I HAD NEVER BEEN THAT COLD IN MY LIFE. >> IT WAS WORTH IT, THOUGH, 1367 00:57:51,569 --> 00:57:53,135 LIFE. >> IT WAS WORTH IT, THOUGH, WASN'T IT? 1368 00:57:53,137 --> 00:57:55,971 >> IT WAS WORTH IT, THOUGH, WASN'T IT? FIRST TIME. 1369 00:57:55,973 --> 00:57:58,674 WASN'T IT? FIRST TIME. BETWEEN THE CARS. 1370 00:57:58,676 --> 00:58:00,209 FIRST TIME. BETWEEN THE CARS. >> [ BREATHING HEAVILY ] 1371 00:58:00,211 --> 00:58:03,645 BETWEEN THE CARS. >> [ BREATHING HEAVILY ] >> WITH THE -- WITH THE SNOW... 1372 00:58:03,647 --> 00:58:04,847 >> [ BREATHING HEAVILY ] >> WITH THE -- WITH THE SNOW... BLOWING IN YOUR FACE. 1373 00:58:04,849 --> 00:58:06,582 >> WITH THE -- WITH THE SNOW... BLOWING IN YOUR FACE. >> I CAN STILL FEEL YOUR MOUTH 1374 00:58:06,584 --> 00:58:07,950 BLOWING IN YOUR FACE. >> I CAN STILL FEEL YOUR MOUTH ON MY SKIN. 1375 00:58:07,952 --> 00:58:09,218 >> I CAN STILL FEEL YOUR MOUTH ON MY SKIN. >> I WAS TASTING YOU. 1376 00:58:09,220 --> 00:58:10,118 ON MY SKIN. >> I WAS TASTING YOU. >> [ SIGHS ] 1377 00:58:10,120 --> 00:58:12,154 >> I WAS TASTING YOU. >> [ SIGHS ] YOU WERE DEVOURING ME. 1378 00:58:12,156 --> 00:58:14,089 >> [ SIGHS ] YOU WERE DEVOURING ME. >> I COULDN'T GET ENOUGH OF YOU. 1379 00:58:14,091 --> 00:58:16,792 YOU WERE DEVOURING ME. >> I COULDN'T GET ENOUGH OF YOU. >> [ SIGHS ] WE WERE SO HUNGRY. 1380 00:58:16,794 --> 00:58:17,826 >> I COULDN'T GET ENOUGH OF YOU. >> [ SIGHS ] WE WERE SO HUNGRY. >> RAVENOUS! 1381 00:58:17,828 --> 00:58:18,827 >> [ SIGHS ] WE WERE SO HUNGRY. >> RAVENOUS! >> [ SIGHS ] 1382 00:58:18,829 --> 00:58:19,695 >> RAVENOUS! >> [ SIGHS ] >> IT WAS INSANE. 1383 00:58:19,697 --> 00:58:20,596 >> [ SIGHS ] >> IT WAS INSANE. >> IT WAS AMAZING! 1384 00:58:20,598 --> 00:58:21,663 >> IT WAS INSANE. >> IT WAS AMAZING! >> [ BREATHING HEAVILY ] 1385 00:58:21,665 --> 00:58:22,931 >> IT WAS AMAZING! >> [ BREATHING HEAVILY ] WE COULD'VE KILLED EACH OTHER. 1386 00:58:22,933 --> 00:58:24,233 >> [ BREATHING HEAVILY ] WE COULD'VE KILLED EACH OTHER. WE COULD'VE FALLEN DOWN THE ROW 1387 00:58:24,235 --> 00:58:24,967 WE COULD'VE KILLED EACH OTHER. WE COULD'VE FALLEN DOWN THE ROW OF CARS. 1388 00:58:24,969 --> 00:58:26,568 WE COULD'VE FALLEN DOWN THE ROW OF CARS. >> BUT WE STAYED ALIVE! 1389 00:58:26,570 --> 00:58:28,103 OF CARS. >> BUT WE STAYED ALIVE! >> IT WAS LIKE A DANCE WITH 1390 00:58:28,105 --> 00:58:32,941 >> BUT WE STAYED ALIVE! >> IT WAS LIKE A DANCE WITH DEATH! 1391 00:58:32,943 --> 00:58:35,210 >> IT WAS LIKE A DANCE WITH DEATH! [ SIGHS ] 1392 00:58:35,212 --> 00:58:58,200 HELLO? ARE YOU THERE? HEY. 1393 00:58:58,202 --> 00:58:59,201 ARE YOU THERE? HEY. HEY, HEY, HEY, HEY. 1394 00:58:59,203 --> 00:59:00,769 HEY. HEY, HEY, HEY, HEY. DON'T C-- DON'T CUT OUT ON ME 1395 00:59:00,771 --> 00:59:01,069 HEY, HEY, HEY, HEY. DON'T C-- DON'T CUT OUT ON ME NOW. 1396 00:59:01,071 --> 00:59:02,704 DON'T C-- DON'T CUT OUT ON ME NOW. YOU'RE NOT GONNA CUT OUT ON ME, 1397 00:59:02,706 --> 00:59:06,008 NOW. YOU'RE NOT GONNA CUT OUT ON ME, ARE YOU? 1398 00:59:06,010 --> 00:59:07,276 YOU'RE NOT GONNA CUT OUT ON ME, ARE YOU? >> It's over. 1399 00:59:07,278 --> 00:59:10,812 ARE YOU? >> It's over. >> WHAT? 1400 00:59:10,814 --> 00:59:11,346 >> It's over. >> WHAT? >> That's it. 1401 00:59:11,348 --> 00:59:12,314 >> WHAT? >> That's it. That's all she wrote. 1402 00:59:12,316 --> 00:59:13,782 >> That's it. That's all she wrote. >> WHAT DO YOU MEAN IT'S OVER? 1403 00:59:13,784 --> 00:59:15,083 That's all she wrote. >> WHAT DO YOU MEAN IT'S OVER? NO, WHAT ARE YOU -- WHAT -- WHAT 1404 00:59:15,085 --> 00:59:17,319 >> WHAT DO YOU MEAN IT'S OVER? NO, WHAT ARE YOU -- WHAT -- WHAT ABOUT VIENNA? 1405 00:59:17,321 --> 00:59:18,887 NO, WHAT ARE YOU -- WHAT -- WHAT ABOUT VIENNA? >> LIKE THE MAN SAID, POST 1406 00:59:18,889 --> 00:59:19,621 ABOUT VIENNA? >> LIKE THE MAN SAID, POST COITUM -- 1407 00:59:19,623 --> 00:59:20,789 >> LIKE THE MAN SAID, POST COITUM -- >> Yeah, yeah, yeah. 1408 00:59:20,791 --> 00:59:22,124 COITUM -- >> Yeah, yeah, yeah. No, I -- that's old news. 1409 00:59:22,126 --> 00:59:23,392 >> Yeah, yeah, yeah. No, I -- that's old news. I've heard that before. 1410 00:59:23,394 --> 00:59:25,661 No, I -- that's old news. I've heard that before. Slam, bam, thank you, ma'am. 1411 00:59:25,663 --> 00:59:27,996 I've heard that before. Slam, bam, thank you, ma'am. Really? 1412 00:59:27,998 --> 00:59:30,132 Slam, bam, thank you, ma'am. Really? >> HARDLY. [ BLOWS ] 1413 00:59:30,134 --> 00:59:31,733 Really? >> HARDLY. [ BLOWS ] GAVE YOU A WHOLE BALKAN WAR AS 1414 00:59:31,735 --> 00:59:34,002 >> HARDLY. [ BLOWS ] GAVE YOU A WHOLE BALKAN WAR AS FOREPLAY. 1415 00:59:34,004 --> 00:59:35,170 GAVE YOU A WHOLE BALKAN WAR AS FOREPLAY. >> WELL, THAT WASN'T ENOUGH. 1416 00:59:35,172 --> 00:59:36,371 FOREPLAY. >> WELL, THAT WASN'T ENOUGH. >> WHAT DO YOU WANT ME TO DO? 1417 00:59:36,373 --> 00:59:38,173 >> WELL, THAT WASN'T ENOUGH. >> WHAT DO YOU WANT ME TO DO? YOU WANT ME TO -- TO HOLD YOU 1418 00:59:38,175 --> 00:59:39,775 >> WHAT DO YOU WANT ME TO DO? YOU WANT ME TO -- TO HOLD YOU AND TELL YOU I LOVE YOU? 1419 00:59:39,777 --> 00:59:41,677 YOU WANT ME TO -- TO HOLD YOU AND TELL YOU I LOVE YOU? >> No, I want... 1420 00:59:41,679 --> 00:59:42,377 AND TELL YOU I LOVE YOU? >> No, I want... I WANT MORE. 1421 00:59:42,379 --> 00:59:44,179 >> No, I want... I WANT MORE. >> [ New York accent ] WE'RE 1422 00:59:44,181 --> 00:59:45,414 I WANT MORE. >> [ New York accent ] WE'RE THROUGH, SWEETHEART. 1423 00:59:45,416 --> 00:59:47,382 >> [ New York accent ] WE'RE THROUGH, SWEETHEART. [ Normal voice ] I'M CUTTING YOU 1424 00:59:47,384 --> 00:59:47,950 THROUGH, SWEETHEART. [ Normal voice ] I'M CUTTING YOU OFF. 1425 00:59:47,952 --> 00:59:49,384 [ Normal voice ] I'M CUTTING YOU OFF. >> YOU CAN'T CUT ME OFF! 1426 00:59:49,386 --> 00:59:51,253 OFF. >> YOU CAN'T CUT ME OFF! >> OH, I CAN'T? 1427 00:59:51,255 --> 00:59:52,654 >> YOU CAN'T CUT ME OFF! >> OH, I CAN'T? YOU CALLED ME, REMEMBER? 1428 00:59:52,656 --> 00:59:53,822 >> OH, I CAN'T? YOU CALLED ME, REMEMBER? >> YEAH, BUT WHO CALLED 1429 00:59:53,824 --> 00:59:55,123 YOU CALLED ME, REMEMBER? >> YEAH, BUT WHO CALLED SWEET TALK IN THE FIRST PLACE? 1430 00:59:55,125 --> 00:59:56,658 >> YEAH, BUT WHO CALLED SWEET TALK IN THE FIRST PLACE? WHO'S S-SPENDING MONEY JERKING 1431 00:59:56,660 --> 00:59:57,993 SWEET TALK IN THE FIRST PLACE? WHO'S S-SPENDING MONEY JERKING OFF OVER THE PHONE IN THE FIRST 1432 00:59:57,995 --> 00:59:59,161 WHO'S S-SPENDING MONEY JERKING OFF OVER THE PHONE IN THE FIRST PLACE, YOU FUCKING PERV?! 1433 00:59:59,163 --> 01:00:05,434 OFF OVER THE PHONE IN THE FIRST PLACE, YOU FUCKING PERV?! >> YOU FUCKING WHORE! 1434 01:00:05,436 --> 01:00:08,270 PLACE, YOU FUCKING PERV?! >> YOU FUCKING WHORE! [ BREATHES DEEPLY ] 1435 01:00:08,272 --> 01:00:09,671 >> YOU FUCKING WHORE! [ BREATHES DEEPLY ] THAT'S APPROPRIATE, RIGHT?! 1436 01:00:09,673 --> 01:00:10,205 [ BREATHES DEEPLY ] THAT'S APPROPRIATE, RIGHT?! >> OH, NICE! 1437 01:00:10,207 --> 01:00:11,440 THAT'S APPROPRIATE, RIGHT?! >> OH, NICE! WELL, AT LEAST I DON'T WALK 1438 01:00:11,442 --> 01:00:12,808 >> OH, NICE! WELL, AT LEAST I DON'T WALK AROUND PRETENDING TO SHOOT 1439 01:00:12,810 --> 01:00:17,813 WELL, AT LEAST I DON'T WALK AROUND PRETENDING TO SHOOT PEOPLE TO GET OFF! 1440 01:00:17,815 --> 01:00:21,984 AROUND PRETENDING TO SHOOT PEOPLE TO GET OFF! [ BEEP ] 1441 01:00:21,986 --> 01:00:22,985 PEOPLE TO GET OFF! [ BEEP ] >> [ SIGHS ] 1442 01:00:22,987 --> 01:00:23,819 [ BEEP ] >> [ SIGHS ] [ BEEP ] 1443 01:00:23,821 --> 01:00:26,788 >> [ SIGHS ] [ BEEP ] BASTARD. FUCK YOU! 1444 01:00:26,790 --> 01:00:44,773 [ BEEP ] [ Telephone ringing ] [ TELEPHONE RINGING ] 1445 01:00:44,775 --> 01:00:45,807 [ Telephone ringing ] [ TELEPHONE RINGING ] >> [ SCOFFS ] 1446 01:00:45,809 --> 01:00:47,209 [ TELEPHONE RINGING ] >> [ SCOFFS ] [ RINGING CONTINUES ] 1447 01:00:47,211 --> 01:00:51,313 >> [ SCOFFS ] [ RINGING CONTINUES ] [ SIGHS ] 1448 01:00:51,315 --> 01:00:52,247 [ RINGING CONTINUES ] [ SIGHS ] [ SCOFFS ] 1449 01:00:52,249 --> 01:00:53,882 [ SIGHS ] [ SCOFFS ] [ RINGING CONTINUES ] 1450 01:00:53,884 --> 01:00:55,117 [ SCOFFS ] [ RINGING CONTINUES ] SHE WANTS A RELATIONSHIP. 1451 01:00:55,119 --> 01:00:56,151 [ RINGING CONTINUES ] SHE WANTS A RELATIONSHIP. SHE WANTS A FUCKING 1452 01:00:56,153 --> 01:00:57,285 SHE WANTS A RELATIONSHIP. SHE WANTS A FUCKING RELATIONSHIP. 1453 01:00:57,287 --> 01:00:59,054 SHE WANTS A FUCKING RELATIONSHIP. [ RINGING CONTINUES ] 1454 01:00:59,056 --> 01:01:00,389 RELATIONSHIP. [ RINGING CONTINUES ] [ SIGHS ] 1455 01:01:00,391 --> 01:01:01,957 [ RINGING CONTINUES ] [ SIGHS ] [ SCOFFS, LAUGHS ] 1456 01:01:01,959 --> 01:01:03,825 [ SIGHS ] [ SCOFFS, LAUGHS ] SHE WANTS TO GO TO VIENNA. 1457 01:01:03,827 --> 01:01:04,760 [ SCOFFS, LAUGHS ] SHE WANTS TO GO TO VIENNA. [ LAUGHS ] 1458 01:01:04,762 --> 01:01:06,194 SHE WANTS TO GO TO VIENNA. [ LAUGHS ] [ RINGING CONTINUES ] 1459 01:01:06,196 --> 01:01:08,130 [ LAUGHS ] [ RINGING CONTINUES ] OH. 1460 01:01:08,132 --> 01:01:11,066 [ RINGING CONTINUES ] OH. ALL WOMEN WANT TO GO TO VIENNA. 1461 01:01:11,068 --> 01:01:17,506 OH. ALL WOMEN WANT TO GO TO VIENNA. [ Ringing continues ] 1462 01:01:17,508 --> 01:01:19,975 ALL WOMEN WANT TO GO TO VIENNA. [ Ringing continues ] [ RINGING CONTINUES ] 1463 01:01:19,977 --> 01:01:28,950 [ SIGHS ] [ BEEP ] [ Southern accent ] STUD TALK. 1464 01:01:28,952 --> 01:01:30,218 [ BEEP ] [ Southern accent ] STUD TALK. THIS IS SAMSON. WANT TO TALK? 1465 01:01:30,220 --> 01:01:31,420 [ Southern accent ] STUD TALK. THIS IS SAMSON. WANT TO TALK? >> LISTEN TO ME, YOU LITTLE 1466 01:01:31,422 --> 01:01:31,987 THIS IS SAMSON. WANT TO TALK? >> LISTEN TO ME, YOU LITTLE PRICK. 1467 01:01:31,989 --> 01:01:33,021 >> LISTEN TO ME, YOU LITTLE PRICK. >> HEY, HOLD ON, LADY. 1468 01:01:33,023 --> 01:01:34,356 PRICK. >> HEY, HOLD ON, LADY. I NEED YOUR CREDIT-CARD NUMBER 1469 01:01:34,358 --> 01:01:35,791 >> HEY, HOLD ON, LADY. I NEED YOUR CREDIT-CARD NUMBER AND EXPIRATION DATE, PLEASE. 1470 01:01:35,793 --> 01:01:37,159 I NEED YOUR CREDIT-CARD NUMBER AND EXPIRATION DATE, PLEASE. >> YOU ARE THE MOST ARROGANT SON 1471 01:01:37,161 --> 01:01:38,460 AND EXPIRATION DATE, PLEASE. >> YOU ARE THE MOST ARROGANT SON OF A BITCH I HAVE EVER MET! 1472 01:01:38,462 --> 01:01:40,062 >> YOU ARE THE MOST ARROGANT SON OF A BITCH I HAVE EVER MET! >> [ Normal voice ] OH, HAVE WE 1473 01:01:40,064 --> 01:01:40,395 OF A BITCH I HAVE EVER MET! >> [ Normal voice ] OH, HAVE WE MET? 1474 01:01:40,397 --> 01:01:41,129 >> [ Normal voice ] OH, HAVE WE MET? >> Stop it. 1475 01:01:41,131 --> 01:01:41,763 MET? >> Stop it. STOP IT! 1476 01:01:41,765 --> 01:01:43,031 >> Stop it. STOP IT! HEY, JUST FUCKING STOP IT! 1477 01:01:43,033 --> 01:01:45,033 STOP IT! HEY, JUST FUCKING STOP IT! COME ON! 1478 01:01:45,035 --> 01:01:46,234 HEY, JUST FUCKING STOP IT! COME ON! YOU CAN'T TREAT PEOPLE LIKE 1479 01:01:46,236 --> 01:01:46,868 COME ON! YOU CAN'T TREAT PEOPLE LIKE THAT! 1480 01:01:46,870 --> 01:01:48,904 YOU CAN'T TREAT PEOPLE LIKE THAT! YOU CAN'T START TO GO TO VIENNA 1481 01:01:48,906 --> 01:01:51,540 THAT! YOU CAN'T START TO GO TO VIENNA AND THEN NOT GO! 1482 01:01:51,542 --> 01:01:54,810 YOU CAN'T START TO GO TO VIENNA AND THEN NOT GO! >> VIENNA IS A STATE OF MIND. 1483 01:01:54,812 --> 01:01:56,244 AND THEN NOT GO! >> VIENNA IS A STATE OF MIND. YOU NEVER REALLY GET THERE. 1484 01:01:56,246 --> 01:01:57,379 >> VIENNA IS A STATE OF MIND. YOU NEVER REALLY GET THERE. >> How do you know? 1485 01:01:57,381 --> 01:01:58,146 YOU NEVER REALLY GET THERE. >> How do you know? >> I KNOW. 1486 01:01:58,148 --> 01:01:59,815 >> How do you know? >> I KNOW. >> WHAT'S THE WORST THAT CAN 1487 01:01:59,817 --> 01:02:00,248 >> I KNOW. >> WHAT'S THE WORST THAT CAN HAPPEN? 1488 01:02:00,250 --> 01:02:01,950 >> WHAT'S THE WORST THAT CAN HAPPEN? >> WE COULD GET PICKED UP BY THE 1489 01:02:01,952 --> 01:02:03,151 HAPPEN? >> WE COULD GET PICKED UP BY THE AUSTRIAN BORDER PATROL. 1490 01:02:03,153 --> 01:02:04,519 >> WE COULD GET PICKED UP BY THE AUSTRIAN BORDER PATROL. >> NO, THERE -- THERE WAS NO 1491 01:02:04,521 --> 01:02:05,787 AUSTRIAN BORDER PATROL. >> NO, THERE -- THERE WAS NO BORDER POLICE THEN. 1492 01:02:05,789 --> 01:02:07,255 >> NO, THERE -- THERE WAS NO BORDER POLICE THEN. AUSTRIA-HUNGARY WAS ONE COUNTRY 1493 01:02:07,257 --> 01:02:07,923 BORDER POLICE THEN. AUSTRIA-HUNGARY WAS ONE COUNTRY IN 1914. 1494 01:02:07,925 --> 01:02:09,424 AUSTRIA-HUNGARY WAS ONE COUNTRY IN 1914. >> DOESN'T MATTER BECAUSE I GET 1495 01:02:09,426 --> 01:02:12,961 IN 1914. >> DOESN'T MATTER BECAUSE I GET SHOT BY THE FIRING SQUAD. 1496 01:02:12,963 --> 01:02:14,062 >> DOESN'T MATTER BECAUSE I GET SHOT BY THE FIRING SQUAD. >> THEY SHOOT YOU? 1497 01:02:14,064 --> 01:02:16,331 SHOT BY THE FIRING SQUAD. >> THEY SHOOT YOU? [ GUNSHOT ] 1498 01:02:16,333 --> 01:02:26,808 I THOUGHT WE WERE GONNA GET TO GO TO VIENNA. >> IT'S NOT GONNA HAPPEN. 1499 01:02:26,810 --> 01:02:29,878 GO TO VIENNA. >> IT'S NOT GONNA HAPPEN. THE TRAIN IS ALL WE HAD. 1500 01:02:29,880 --> 01:02:31,947 >> IT'S NOT GONNA HAPPEN. THE TRAIN IS ALL WE HAD. A FEW STOLEN HOURS IN BETWEEN 1501 01:02:31,949 --> 01:02:34,082 THE TRAIN IS ALL WE HAD. A FEW STOLEN HOURS IN BETWEEN CARS ON THE BUDAPEST-TO-VIENNA 1502 01:02:34,084 --> 01:02:35,250 A FEW STOLEN HOURS IN BETWEEN CARS ON THE BUDAPEST-TO-VIENNA NIGHT TRAIN. 1503 01:02:35,252 --> 01:02:36,051 CARS ON THE BUDAPEST-TO-VIENNA NIGHT TRAIN. >> NO. 1504 01:02:36,053 --> 01:02:37,552 NIGHT TRAIN. >> NO. >> Come on. 1505 01:02:37,554 --> 01:02:39,354 >> NO. >> Come on. COME ON, HOW DO YOU EXPECT TWO 1506 01:02:39,356 --> 01:02:41,022 >> Come on. COME ON, HOW DO YOU EXPECT TWO PEOPLE WITH NO MONEY AND NO 1507 01:02:41,024 --> 01:02:42,524 COME ON, HOW DO YOU EXPECT TWO PEOPLE WITH NO MONEY AND NO CONNECTIONS TO ESCAPE FROM A 1508 01:02:42,526 --> 01:02:45,594 PEOPLE WITH NO MONEY AND NO CONNECTIONS TO ESCAPE FROM A COUNTRY AFTER MURDERING A 1509 01:02:45,596 --> 01:02:47,596 CONNECTIONS TO ESCAPE FROM A COUNTRY AFTER MURDERING A WELL-CONNECTED, WELL-RESPECTED 1510 01:02:47,598 --> 01:02:48,296 COUNTRY AFTER MURDERING A WELL-CONNECTED, WELL-RESPECTED COUNT? 1511 01:02:48,298 --> 01:02:49,865 WELL-CONNECTED, WELL-RESPECTED COUNT? >> IT WAS IN A DUEL. 1512 01:02:49,867 --> 01:02:51,333 COUNT? >> IT WAS IN A DUEL. >> NOT ACCORDING TO THE POLICE 1513 01:02:51,335 --> 01:02:53,268 >> IT WAS IN A DUEL. >> NOT ACCORDING TO THE POLICE CHIEF -- A MAN DEEPLY IN THE 1514 01:02:53,270 --> 01:02:55,137 >> NOT ACCORDING TO THE POLICE CHIEF -- A MAN DEEPLY IN THE POCKETS OF THE COUNT AS WE 1515 01:02:55,139 --> 01:02:57,038 CHIEF -- A MAN DEEPLY IN THE POCKETS OF THE COUNT AS WE ALREADY ESTABLISHED. 1516 01:02:57,040 --> 01:02:58,974 POCKETS OF THE COUNT AS WE ALREADY ESTABLISHED. >> WELL [SIGHS] 1517 01:02:58,976 --> 01:03:00,609 ALREADY ESTABLISHED. >> WELL [SIGHS] I MEAN, Y-YOU CAN'T JUST -- YOU 1518 01:03:00,611 --> 01:03:02,344 >> WELL [SIGHS] I MEAN, Y-YOU CAN'T JUST -- YOU CAN'T JUST ARBITRARILY DECIDE 1519 01:03:02,346 --> 01:03:05,247 I MEAN, Y-YOU CAN'T JUST -- YOU CAN'T JUST ARBITRARILY DECIDE T-THAT'S WHAT HAPPENS. 1520 01:03:05,249 --> 01:03:07,115 CAN'T JUST ARBITRARILY DECIDE T-THAT'S WHAT HAPPENS. >> You want your money back? 1521 01:03:07,117 --> 01:03:09,084 T-THAT'S WHAT HAPPENS. >> You want your money back? >> NO, I WANT TO GO TO VIENNA! 1522 01:03:09,086 --> 01:03:11,119 >> You want your money back? >> NO, I WANT TO GO TO VIENNA! >> And do what? 1523 01:03:11,121 --> 01:03:13,255 >> NO, I WANT TO GO TO VIENNA! >> And do what? LIVE HAPPILY EVER AFTER? 1524 01:03:13,257 --> 01:03:14,523 >> And do what? LIVE HAPPILY EVER AFTER? GET A NICE LITTLE APARTMENT IN A 1525 01:03:14,525 --> 01:03:15,457 LIVE HAPPILY EVER AFTER? GET A NICE LITTLE APARTMENT IN A RESPECTABLE QUARTER? 1526 01:03:15,459 --> 01:03:16,391 GET A NICE LITTLE APARTMENT IN A RESPECTABLE QUARTER? [ Telephone ringing ] 1527 01:03:16,393 --> 01:03:18,927 RESPECTABLE QUARTER? [ Telephone ringing ] Have children and a governess? 1528 01:03:18,929 --> 01:03:20,028 [ Telephone ringing ] Have children and a governess? Walk along the river? 1529 01:03:20,030 --> 01:03:21,096 Have children and a governess? Walk along the river? [ RINGING CONTINUES ] 1530 01:03:21,098 --> 01:03:22,130 Walk along the river? [ RINGING CONTINUES ] Visit Strauss? What? 1531 01:03:22,132 --> 01:03:23,231 [ RINGING CONTINUES ] Visit Strauss? What? [ RINGING CONTINUES ] 1532 01:03:23,233 --> 01:03:25,000 Visit Strauss? What? [ RINGING CONTINUES ] Aren't you gonna get your phone? 1533 01:03:25,002 --> 01:03:26,201 [ RINGING CONTINUES ] Aren't you gonna get your phone? [ RINGING CONTINUES ] 1534 01:03:26,203 --> 01:03:27,435 Aren't you gonna get your phone? [ RINGING CONTINUES ] You may as well get it. 1535 01:03:27,437 --> 01:03:32,474 [ RINGING CONTINUES ] You may as well get it. We're not going anywhere. 1536 01:03:32,476 --> 01:03:33,475 You may as well get it. We're not going anywhere. >> WHAT DO YOU WANT? 1537 01:03:33,477 --> 01:03:34,943 We're not going anywhere. >> WHAT DO YOU WANT? >> WHAT DO YOU MEAN WHAT DO I 1538 01:03:34,945 --> 01:03:35,243 >> WHAT DO YOU WANT? >> WHAT DO YOU MEAN WHAT DO I WANT? 1539 01:03:35,245 --> 01:03:36,478 >> WHAT DO YOU MEAN WHAT DO I WANT? >> WHAT DO YOU WANT TO GO TO 1540 01:03:36,480 --> 01:03:38,046 WANT? >> WHAT DO YOU WANT TO GO TO VIENNA? 1541 01:03:38,048 --> 01:03:40,549 >> WHAT DO YOU WANT TO GO TO VIENNA? >> You got a credit card? 1542 01:03:40,551 --> 01:03:43,018 VIENNA? >> You got a credit card? >> COME ON. 1543 01:03:43,020 --> 01:03:53,361 >> Okay. 1544 01:03:53,363 --> 01:04:04,573 [ SIGHS ] >> AND I WANT TO DRIVE. >> Oh, really? 1545 01:04:04,575 --> 01:04:07,509 >> AND I WANT TO DRIVE. >> Oh, really? >> MM-HMM. 1546 01:04:07,511 --> 01:04:09,010 >> Oh, really? >> MM-HMM. I WANT TO BE THE ONE WHO GETS TO 1547 01:04:09,012 --> 01:04:11,213 >> MM-HMM. I WANT TO BE THE ONE WHO GETS TO DECIDE WHAT HAPPENS THIS TIME. 1548 01:04:11,215 --> 01:04:12,581 I WANT TO BE THE ONE WHO GETS TO DECIDE WHAT HAPPENS THIS TIME. >> OKAY, BUT DON'T SAY I DIDN'T 1549 01:04:12,583 --> 01:04:15,317 DECIDE WHAT HAPPENS THIS TIME. >> OKAY, BUT DON'T SAY I DIDN'T WARN YOU. 1550 01:04:15,319 --> 01:04:17,953 >> OKAY, BUT DON'T SAY I DIDN'T WARN YOU. >> [ BREATHES HEAVILY ] 1551 01:04:17,955 --> 01:04:22,023 WARN YOU. >> [ BREATHES HEAVILY ] OKAY. 1552 01:04:22,025 --> 01:04:23,525 >> [ BREATHES HEAVILY ] OKAY. [ SIGHS ] 1553 01:04:23,527 --> 01:04:26,061 OKAY. [ SIGHS ] YOU... 1554 01:04:26,063 --> 01:04:29,164 [ SIGHS ] YOU... ARE A MAN WHO HAS... 1555 01:04:29,166 --> 01:04:30,699 YOU... ARE A MAN WHO HAS... LOST THE USE OF HIS ARMS AND 1556 01:04:30,701 --> 01:04:31,299 ARE A MAN WHO HAS... LOST THE USE OF HIS ARMS AND LEGS. 1557 01:04:31,301 --> 01:04:32,167 LOST THE USE OF HIS ARMS AND LEGS. >> OH, GOD. 1558 01:04:32,169 --> 01:04:37,172 LEGS. >> OH, GOD. >> AND HIS VOICE. 1559 01:04:37,174 --> 01:04:40,675 >> OH, GOD. >> AND HIS VOICE. IT'S VIENNA. 1560 01:04:40,677 --> 01:04:41,309 >> AND HIS VOICE. IT'S VIENNA. 1939. 1561 01:04:41,311 --> 01:04:42,978 IT'S VIENNA. 1939. >> YOU'VE GOT YOUR OWN IN 1562 01:04:42,980 --> 01:04:43,478 1939. >> YOU'VE GOT YOUR OWN IN VIENNA? 1563 01:04:43,480 --> 01:04:45,280 >> YOU'VE GOT YOUR OWN IN VIENNA? >> EVERYBODY'S GOT THEIR OWN 1564 01:04:45,282 --> 01:04:48,149 VIENNA? >> EVERYBODY'S GOT THEIR OWN VIENNA. 1565 01:04:48,151 --> 01:04:49,184 >> EVERYBODY'S GOT THEIR OWN VIENNA. IT WAS A YEAR AFTER THE 1566 01:04:49,186 --> 01:04:51,186 VIENNA. IT WAS A YEAR AFTER THE ANSCHLUSS. 1567 01:04:51,188 --> 01:04:53,221 IT WAS A YEAR AFTER THE ANSCHLUSS. There are swastikas on public 1568 01:04:53,223 --> 01:04:54,522 ANSCHLUSS. There are swastikas on public buildings. 1569 01:04:54,524 --> 01:04:56,224 There are swastikas on public buildings. Everywhere, you can hear the... 1570 01:04:56,226 --> 01:04:57,492 buildings. Everywhere, you can hear the... THE SOUND OF HOBNAIL BOOTS. 1571 01:04:57,494 --> 01:05:00,262 Everywhere, you can hear the... THE SOUND OF HOBNAIL BOOTS. THE SUMMER -- IT WAS LONG... 1572 01:05:00,264 --> 01:05:02,497 THE SOUND OF HOBNAIL BOOTS. THE SUMMER -- IT WAS LONG... AND HOT. 1573 01:05:02,499 --> 01:05:04,032 THE SUMMER -- IT WAS LONG... AND HOT. IN A RESPECTABLE PART OF THE 1574 01:05:04,034 --> 01:05:05,467 AND HOT. IN A RESPECTABLE PART OF THE CITY WHERE PEOPLE STILL TENDED 1575 01:05:05,469 --> 01:05:07,135 IN A RESPECTABLE PART OF THE CITY WHERE PEOPLE STILL TENDED TO THEIR GARDENS AS IF THE WORLD 1576 01:05:07,137 --> 01:05:09,738 CITY WHERE PEOPLE STILL TENDED TO THEIR GARDENS AS IF THE WORLD STILL MADE SENSE... 1577 01:05:09,740 --> 01:05:12,207 TO THEIR GARDENS AS IF THE WORLD STILL MADE SENSE... A WOMAN LIVES AMONGST... 1578 01:05:12,209 --> 01:05:14,542 STILL MADE SENSE... A WOMAN LIVES AMONGST... POTTED PLANTS AND OVERSTUFFED 1579 01:05:14,544 --> 01:05:16,745 A WOMAN LIVES AMONGST... POTTED PLANTS AND OVERSTUFFED FURNITURE. 1580 01:05:16,747 --> 01:05:20,982 POTTED PLANTS AND OVERSTUFFED FURNITURE. SHE WORKS AS... 1581 01:05:20,984 --> 01:05:24,486 FURNITURE. SHE WORKS AS... I WORK AT NIGHT AS A PRIVATE 1582 01:05:24,488 --> 01:05:27,622 SHE WORKS AS... I WORK AT NIGHT AS A PRIVATE NURSE FOR AN INVALID. 1583 01:05:27,624 --> 01:05:29,357 I WORK AT NIGHT AS A PRIVATE NURSE FOR AN INVALID. I RETURN HOME AS THE SUN RISES 1584 01:05:29,359 --> 01:05:30,258 NURSE FOR AN INVALID. I RETURN HOME AS THE SUN RISES OVER THE CITY. 1585 01:05:30,260 --> 01:05:32,727 I RETURN HOME AS THE SUN RISES OVER THE CITY. I SLEEP TILL NOON. 1586 01:05:32,729 --> 01:05:37,332 OVER THE CITY. I SLEEP TILL NOON. AND THEN I BATHE IN COLD WATER. 1587 01:05:37,334 --> 01:05:40,702 I SLEEP TILL NOON. AND THEN I BATHE IN COLD WATER. I POWDER MY BODY, AND I, UM... 1588 01:05:40,704 --> 01:05:41,736 AND THEN I BATHE IN COLD WATER. I POWDER MY BODY, AND I, UM... I PLAY MY CELLO. 1589 01:05:41,738 --> 01:05:45,640 I POWDER MY BODY, AND I, UM... I PLAY MY CELLO. [ CELLO PLAYING ] 1590 01:05:45,642 --> 01:05:47,142 I PLAY MY CELLO. [ CELLO PLAYING ] AS IF THESE GESTURES WOULD 1591 01:05:47,144 --> 01:05:48,576 [ CELLO PLAYING ] AS IF THESE GESTURES WOULD SOMEHOW MAKE THE HOBNAIL BOOTS 1592 01:05:48,578 --> 01:05:51,046 AS IF THESE GESTURES WOULD SOMEHOW MAKE THE HOBNAIL BOOTS DISAPPEAR. 1593 01:05:51,048 --> 01:06:04,159 I KNOW WHAT'S GOING ON. I HAVE NO MORE ILLUSIONS. IN THE WORLD I LIVE IN, THERE IS 1594 01:06:04,161 --> 01:06:05,360 I HAVE NO MORE ILLUSIONS. IN THE WORLD I LIVE IN, THERE IS NO ROOM FOR ILLUSION. 1595 01:06:05,362 --> 01:06:07,629 IN THE WORLD I LIVE IN, THERE IS NO ROOM FOR ILLUSION. [ CELLO PLAYING CONTINUES ] 1596 01:06:07,631 --> 01:06:21,743 YOU [SIGHS] ARE MY PATIENT. YOU'RE A MEMBER OF THE 1597 01:06:21,745 --> 01:06:23,178 ARE MY PATIENT. YOU'RE A MEMBER OF THE UNDERGROUND WHO'S LOST THE USE 1598 01:06:23,180 --> 01:06:26,147 YOU'RE A MEMBER OF THE UNDERGROUND WHO'S LOST THE USE OF -- OF HIS ARMS AND LEGS, AND 1599 01:06:26,149 --> 01:06:27,549 UNDERGROUND WHO'S LOST THE USE OF -- OF HIS ARMS AND LEGS, AND NOBODY KNOWS EXACTLY HOW. 1600 01:06:27,551 --> 01:06:28,817 OF -- OF HIS ARMS AND LEGS, AND NOBODY KNOWS EXACTLY HOW. IT'S -- IT'S A SECRET. 1601 01:06:28,819 --> 01:06:30,552 NOBODY KNOWS EXACTLY HOW. IT'S -- IT'S A SECRET. YOU'RE EITHER... 1602 01:06:30,554 --> 01:06:32,520 IT'S -- IT'S A SECRET. YOU'RE EITHER... YOU'RE EITHER UNWILLING OR JUST 1603 01:06:32,522 --> 01:06:37,225 YOU'RE EITHER... YOU'RE EITHER UNWILLING OR JUST UNABLE TO TELL. 1604 01:06:37,227 --> 01:06:38,626 YOU'RE EITHER UNWILLING OR JUST UNABLE TO TELL. YOU'RE ALONE [SIGHS] IN YOUR 1605 01:06:38,628 --> 01:06:41,129 UNABLE TO TELL. YOU'RE ALONE [SIGHS] IN YOUR ROOM WITH NO VOICE. 1606 01:06:41,131 --> 01:06:45,433 YOU'RE ALONE [SIGHS] IN YOUR ROOM WITH NO VOICE. ALL YOU HAVE IS YOUR EYES. 1607 01:06:45,435 --> 01:06:48,636 ROOM WITH NO VOICE. ALL YOU HAVE IS YOUR EYES. YOUR DARK... 1608 01:06:48,638 --> 01:06:51,106 ALL YOU HAVE IS YOUR EYES. YOUR DARK... FEVERISH EYES. 1609 01:06:51,108 --> 01:07:06,187 THERE ARE SEVERAL OF US, AND WE -- WE COME AND GO ON OUR SHIFTS. 1610 01:07:06,189 --> 01:07:07,589 WE -- WE COME AND GO ON OUR SHIFTS. THE OTHERS -- THEY TREAT YOU 1611 01:07:07,591 --> 01:07:09,157 SHIFTS. THE OTHERS -- THEY TREAT YOU LIKE A PLANT THAT HAS TO BE 1612 01:07:09,159 --> 01:07:13,228 THE OTHERS -- THEY TREAT YOU LIKE A PLANT THAT HAS TO BE WATERED. 1613 01:07:13,230 --> 01:07:14,629 LIKE A PLANT THAT HAS TO BE WATERED. SOMETIMES THEY DO TRY AND GET A 1614 01:07:14,631 --> 01:07:17,866 WATERED. SOMETIMES THEY DO TRY AND GET A REACTION OUT OF YOU. 1615 01:07:17,868 --> 01:07:20,635 SOMETIMES THEY DO TRY AND GET A REACTION OUT OF YOU. BUT YOU DON'T GIVE IN. 1616 01:07:20,637 --> 01:07:22,170 REACTION OUT OF YOU. BUT YOU DON'T GIVE IN. EVEN DURING YOUR SPONGE BATHES 1617 01:07:22,172 --> 01:07:23,438 BUT YOU DON'T GIVE IN. EVEN DURING YOUR SPONGE BATHES WHEN THEY TRY AND GET YOU TO 1618 01:07:23,440 --> 01:07:26,274 EVEN DURING YOUR SPONGE BATHES WHEN THEY TRY AND GET YOU TO BETRAY YOURSELF. 1619 01:07:26,276 --> 01:07:27,876 WHEN THEY TRY AND GET YOU TO BETRAY YOURSELF. YOU REFUSE TO REACT. 1620 01:07:27,878 --> 01:07:31,312 BETRAY YOURSELF. YOU REFUSE TO REACT. YOUR -- YOUR CONTEMPT IS UTTER 1621 01:07:31,314 --> 01:07:32,847 YOU REFUSE TO REACT. YOUR -- YOUR CONTEMPT IS UTTER AND COMPLETE. 1622 01:07:32,849 --> 01:07:37,552 YOUR -- YOUR CONTEMPT IS UTTER AND COMPLETE. [ FAN WHIRRING SOFTLY ] 1623 01:07:37,554 --> 01:07:38,887 AND COMPLETE. [ FAN WHIRRING SOFTLY ] I SIT AT THE END OF THE HALL. 1624 01:07:38,889 --> 01:07:40,488 [ FAN WHIRRING SOFTLY ] I SIT AT THE END OF THE HALL. UH, IT MAKES ME UNCOMFORTABLE TO 1625 01:07:40,490 --> 01:07:41,823 I SIT AT THE END OF THE HALL. UH, IT MAKES ME UNCOMFORTABLE TO BE IN THE SAME ROOM WITH YOU. 1626 01:07:41,825 --> 01:07:44,692 UH, IT MAKES ME UNCOMFORTABLE TO BE IN THE SAME ROOM WITH YOU. [ INHALES DEEPLY ] 1627 01:07:44,694 --> 01:07:50,398 BE IN THE SAME ROOM WITH YOU. [ INHALES DEEPLY ] ONCE AN HOUR, I CHECK ON YOU. 1628 01:07:50,400 --> 01:07:50,865 [ INHALES DEEPLY ] ONCE AN HOUR, I CHECK ON YOU. [ DOOR CREAKS ] 1629 01:07:50,867 --> 01:07:51,900 ONCE AN HOUR, I CHECK ON YOU. [ DOOR CREAKS ] AND I ALWAYS CATCH YOU WITH YOUR 1630 01:07:51,902 --> 01:07:54,502 [ DOOR CREAKS ] AND I ALWAYS CATCH YOU WITH YOUR EYES OPEN AS IF YOU NEVER SLEEP. 1631 01:07:54,504 --> 01:08:00,742 AND I ALWAYS CATCH YOU WITH YOUR EYES OPEN AS IF YOU NEVER SLEEP. [ FAN WHIRRING SOFTLY ] 1632 01:08:00,744 --> 01:08:03,344 EYES OPEN AS IF YOU NEVER SLEEP. [ FAN WHIRRING SOFTLY ] FEELS LIKE YOU'RE LOOKING AT ME. 1633 01:08:03,346 --> 01:08:05,480 [ FAN WHIRRING SOFTLY ] FEELS LIKE YOU'RE LOOKING AT ME. LIKE... 1634 01:08:05,482 --> 01:08:06,514 FEELS LIKE YOU'RE LOOKING AT ME. LIKE... [ SIGHS ] 1635 01:08:06,516 --> 01:08:09,717 LIKE... [ SIGHS ] LIKE YOU'RE LOOKING THROUGH ME. 1636 01:08:09,719 --> 01:08:11,686 [ SIGHS ] LIKE YOU'RE LOOKING THROUGH ME. AND I WONDER WHO YOU ARE AND -- 1637 01:08:11,688 --> 01:08:13,555 LIKE YOU'RE LOOKING THROUGH ME. AND I WONDER WHO YOU ARE AND -- AND IF YOU'RE THE SAME PERSON 1638 01:08:13,557 --> 01:08:15,457 AND I WONDER WHO YOU ARE AND -- AND IF YOU'RE THE SAME PERSON YOU'VE ALWAYS BEEN AND WHY YOU 1639 01:08:15,459 --> 01:08:19,894 AND IF YOU'RE THE SAME PERSON YOU'VE ALWAYS BEEN AND WHY YOU REFUSE TO TALK. 1640 01:08:19,896 --> 01:08:23,798 YOU'VE ALWAYS BEEN AND WHY YOU REFUSE TO TALK. I CAN'T STOP THINKING ABOUT YOU. 1641 01:08:23,800 --> 01:08:25,166 REFUSE TO TALK. I CAN'T STOP THINKING ABOUT YOU. I KEEP WONDERING IF THERE'S -- 1642 01:08:25,168 --> 01:08:26,367 I CAN'T STOP THINKING ABOUT YOU. I KEEP WONDERING IF THERE'S -- THERE'S A MAN THAT'S STILL ALIVE 1643 01:08:26,369 --> 01:08:27,602 I KEEP WONDERING IF THERE'S -- THERE'S A MAN THAT'S STILL ALIVE IN THERE AND IF THAT MAN IS ABLE 1644 01:08:27,604 --> 01:08:32,273 THERE'S A MAN THAT'S STILL ALIVE IN THERE AND IF THAT MAN IS ABLE TO BE REACHED. 1645 01:08:32,275 --> 01:08:34,275 IN THERE AND IF THAT MAN IS ABLE TO BE REACHED. ONE MORNING WHEN I, UH, WHEN I 1646 01:08:34,277 --> 01:08:39,681 TO BE REACHED. ONE MORNING WHEN I, UH, WHEN I RETURN HOME, I GO TO SLEEP. 1647 01:08:39,683 --> 01:08:42,150 ONE MORNING WHEN I, UH, WHEN I RETURN HOME, I GO TO SLEEP. AND I HAVE A DREAM ABOUT YOU. 1648 01:08:42,152 --> 01:08:53,661 IN THE DREAM, YOU COME TO LIFE. [ ROMANTIC MUSIC PLAYING ] 1649 01:08:53,663 --> 01:09:06,274 [ ROMANTIC MUSIC CONTINUES ] 1650 01:09:06,276 --> 01:09:18,686 [ ROMANTIC MUSIC CONTINUES ] 1651 01:09:18,688 --> 01:09:31,299 [ ROMANTIC MUSIC CONTINUES ] 1652 01:09:31,301 --> 01:09:41,342 [ BREATHING HEAVILY ] 1653 01:09:41,344 --> 01:09:50,418 I-I WAKE UP. MY SKIN IS F-FLUSHED, A-AND MY LEGS ARE WRAPPED AROUND A 1654 01:09:50,420 --> 01:09:50,919 MY SKIN IS F-FLUSHED, A-AND MY LEGS ARE WRAPPED AROUND A PILLOW. 1655 01:09:50,921 --> 01:09:53,388 LEGS ARE WRAPPED AROUND A PILLOW. AND... 1656 01:09:53,390 --> 01:10:04,966 AND I'M STRANDED. I'M A-- I'M ABANDONED BY THE DREAM. 1657 01:10:04,968 --> 01:10:09,904 I'M A-- I'M ABANDONED BY THE DREAM. I'M -- I'M ABANDONED BY YOU. 1658 01:10:09,906 --> 01:10:11,039 DREAM. I'M -- I'M ABANDONED BY YOU. [ SIGHS ] 1659 01:10:11,041 --> 01:10:15,310 I'M -- I'M ABANDONED BY YOU. [ SIGHS ] AND AN UNUTTERABLE SADNESS... 1660 01:10:15,312 --> 01:10:17,779 [ SIGHS ] AND AN UNUTTERABLE SADNESS... OVERCOMES ME. 1661 01:10:17,781 --> 01:10:19,547 AND AN UNUTTERABLE SADNESS... OVERCOMES ME. I FEEL SO -- I FEEL SO 1662 01:10:19,549 --> 01:10:21,749 OVERCOMES ME. I FEEL SO -- I FEEL SO DISCONNECTED AS IF -- AS IF MY 1663 01:10:21,751 --> 01:10:23,785 I FEEL SO -- I FEEL SO DISCONNECTED AS IF -- AS IF MY WIRING HAS BEEN RIPPED OUT, 1664 01:10:23,787 --> 01:10:26,054 DISCONNECTED AS IF -- AS IF MY WIRING HAS BEEN RIPPED OUT, AND -- AND ALL I CAN THINK ABOUT 1665 01:10:26,056 --> 01:10:28,823 WIRING HAS BEEN RIPPED OUT, AND -- AND ALL I CAN THINK ABOUT IS GOING TO WORK. 1666 01:10:28,825 --> 01:10:31,326 AND -- AND ALL I CAN THINK ABOUT IS GOING TO WORK. AND -- AND SEEING YOU AND THE 1667 01:10:31,328 --> 01:10:33,661 IS GOING TO WORK. AND -- AND SEEING YOU AND THE DREAM AND -- AND THE DEADNESS 1668 01:10:33,663 --> 01:10:35,930 AND -- AND SEEING YOU AND THE DREAM AND -- AND THE DEADNESS INSIDE YOU AND... 1669 01:10:35,932 --> 01:10:47,675 NO, INSIDE ME. [ BREATHES HEAVILY ] IT'S MY BIGGEST FEAR [SIGHS] 1670 01:10:47,677 --> 01:10:49,911 [ BREATHES HEAVILY ] IT'S MY BIGGEST FEAR [SIGHS] THAT I'M DEAD INSIDE... 1671 01:10:49,913 --> 01:10:51,713 IT'S MY BIGGEST FEAR [SIGHS] THAT I'M DEAD INSIDE... THAT I'M -- I'M COMPLETELY 1672 01:10:51,715 --> 01:10:53,581 THAT I'M DEAD INSIDE... THAT I'M -- I'M COMPLETELY PARALYZED, THAT I DIED YEARS 1673 01:10:53,583 --> 01:10:56,551 THAT I'M -- I'M COMPLETELY PARALYZED, THAT I DIED YEARS AGO, AND -- AND NO ONE TOLD ME. 1674 01:10:56,553 --> 01:11:14,335 ALL DAY LONG... I STARE OUT THE WINDOW, WATCHING. 1675 01:11:14,337 --> 01:11:15,770 I STARE OUT THE WINDOW, WATCHING. WATCHING THE CITY BELOW GO ABOUT 1676 01:11:15,772 --> 01:11:18,039 WATCHING. WATCHING THE CITY BELOW GO ABOUT ITS BUSINESS, LISTENING TO -- 1677 01:11:18,041 --> 01:11:19,641 WATCHING THE CITY BELOW GO ABOUT ITS BUSINESS, LISTENING TO -- T-TO SOUNDS OF LIFE I'VE NEVER 1678 01:11:19,643 --> 01:11:22,710 ITS BUSINESS, LISTENING TO -- T-TO SOUNDS OF LIFE I'VE NEVER HEARD BEFORE, DIZZY. 1679 01:11:22,712 --> 01:11:26,714 T-TO SOUNDS OF LIFE I'VE NEVER HEARD BEFORE, DIZZY. AND DISORIENTING. 1680 01:11:26,716 --> 01:11:28,116 HEARD BEFORE, DIZZY. AND DISORIENTING. WHEN NIGHT FALLS, I GO TO WORK, 1681 01:11:28,118 --> 01:11:29,617 AND DISORIENTING. WHEN NIGHT FALLS, I GO TO WORK, AND THE HOUSE IS -- IS DEAD 1682 01:11:29,619 --> 01:11:30,952 WHEN NIGHT FALLS, I GO TO WORK, AND THE HOUSE IS -- IS DEAD QUIET EXCEPT FOR THE WIND AND 1683 01:11:30,954 --> 01:11:32,787 AND THE HOUSE IS -- IS DEAD QUIET EXCEPT FOR THE WIND AND T-THE CREAKING TIMBERS. 1684 01:11:32,789 --> 01:11:35,423 QUIET EXCEPT FOR THE WIND AND T-THE CREAKING TIMBERS. I GO TO YOUR ROOM. 1685 01:11:35,425 --> 01:11:39,027 T-THE CREAKING TIMBERS. I GO TO YOUR ROOM. AND I'M AFRAID. 1686 01:11:39,029 --> 01:11:41,829 I GO TO YOUR ROOM. AND I'M AFRAID. AND I'M EXHILARATED, AND... 1687 01:11:41,831 --> 01:11:43,765 AND I'M AFRAID. AND I'M EXHILARATED, AND... AND I HAVE NO IDEA WHAT'S GONNA 1688 01:11:43,767 --> 01:11:46,034 AND I'M EXHILARATED, AND... AND I HAVE NO IDEA WHAT'S GONNA HAPPEN. 1689 01:11:46,036 --> 01:12:11,492 TALK TO ME. PLEASE. WE'RE ALL ALONE. 1690 01:12:11,494 --> 01:12:15,663 PLEASE. WE'RE ALL ALONE. IT'S JUST THE TWO OF US. 1691 01:12:15,665 --> 01:12:16,898 WE'RE ALL ALONE. IT'S JUST THE TWO OF US. I THINK YOU WANT TO COME BACK TO 1692 01:12:16,900 --> 01:12:22,837 IT'S JUST THE TWO OF US. I THINK YOU WANT TO COME BACK TO LIFE. 1693 01:12:22,839 --> 01:12:23,971 I THINK YOU WANT TO COME BACK TO LIFE. I THINK YOU NEED TO TOUCH 1694 01:12:23,973 --> 01:12:26,441 LIFE. I THINK YOU NEED TO TOUCH SOMEONE. 1695 01:12:26,443 --> 01:12:36,117 TO FEEL ANOTHER HUMAN BEING AGAINST YOUR BODY. 1696 01:12:36,119 --> 01:12:52,033 I CAN SEE A GLOW IN YOUR EYES. I CAN EVEN SEE THE BEGINNING OF A SMILE. 1697 01:12:52,035 --> 01:12:54,035 I CAN EVEN SEE THE BEGINNING OF A SMILE. I CAN SEE IT. 1698 01:12:54,037 --> 01:12:57,505 A SMILE. I CAN SEE IT. I CAN FEEL IT. 1699 01:12:57,507 --> 01:12:59,207 I CAN SEE IT. I CAN FEEL IT. I KNOW IN THE DEAD CENTER OF 1700 01:12:59,209 --> 01:13:03,444 I CAN FEEL IT. I KNOW IN THE DEAD CENTER OF YOUR BODY, THERE IS LIFE. 1701 01:13:03,446 --> 01:13:04,712 I KNOW IN THE DEAD CENTER OF YOUR BODY, THERE IS LIFE. AND YOU'VE BEEN WAITING FOR ME 1702 01:13:04,714 --> 01:13:08,383 YOUR BODY, THERE IS LIFE. AND YOU'VE BEEN WAITING FOR ME FOR A VERY LONG TIME. 1703 01:13:08,385 --> 01:13:27,935 NO. NO! NOT THIS TIME! 1704 01:13:27,937 --> 01:13:33,241 NO! NOT THIS TIME! SPEAK! 1705 01:13:33,243 --> 01:13:36,411 NOT THIS TIME! SPEAK! SAY SOMETHING, GODDAMN IT! 1706 01:13:36,413 --> 01:13:45,086 FUCK YOU. 1707 01:13:45,088 --> 01:13:56,063 [ GUNSHOT ] 1708 01:13:56,065 --> 01:14:04,772 [ BREATHES HEAVILY ] 1709 01:14:04,774 --> 01:14:33,835 I THINK WE'RE READY. [ ROMANTIC MUSIC PLAYING ] 1710 01:14:33,837 --> 01:14:46,247 [ ROMANTIC MUSIC CONTINUES ] 1711 01:14:46,249 --> 01:14:58,860 [ ROMANTIC MUSIC CONTINUES ] 1712 01:14:58,862 --> 01:15:11,272 [ ROMANTIC MUSIC CONTINUES ] 1713 01:15:11,274 --> 01:15:23,885 [ ROMANTIC MUSIC CONTINUES ] 1714 01:15:23,887 --> 01:15:36,297 [ ROMANTIC MUSIC CONTINUES ] 1715 01:15:36,299 --> 01:16:06,794 [ CART THUDDING ] [ KEYS JINGLING ] [ DOOR CLOSES ] 1716 01:16:06,796 --> 01:16:08,062 [ KEYS JINGLING ] [ DOOR CLOSES ] >> JE-SUS! 1717 01:16:08,064 --> 01:16:10,898 [ DOOR CLOSES ] >> JE-SUS! [ DIAL TONE ] 1718 01:16:10,900 --> 01:16:12,033 >> JE-SUS! [ DIAL TONE ] >> OH, SHIT. 1719 01:16:12,035 --> 01:16:15,002 [ DIAL TONE ] >> OH, SHIT. [ CLICK ] 1720 01:16:15,004 --> 01:16:17,271 >> OH, SHIT. [ CLICK ] OH, MY GOD. 1721 01:16:17,273 --> 01:16:33,120 >> [ SIGHS ] >> JESUS! >> IS IT NOON ALREADY? 1722 01:16:33,122 --> 01:16:34,322 >> JESUS! >> IS IT NOON ALREADY? >> IT'S THREE MINUTES BEFORE. 1723 01:16:34,324 --> 01:16:36,791 >> IS IT NOON ALREADY? >> IT'S THREE MINUTES BEFORE. [ SIGHS ] 1724 01:16:36,793 --> 01:16:45,833 LISTEN, IF EDDIE FINDS OUT THAT YOU'RE TAKING THE PHONES OFF THE HOOK, HE'S GONNA FIRE YOU. 1725 01:16:45,835 --> 01:16:47,969 YOU'RE TAKING THE PHONES OFF THE HOOK, HE'S GONNA FIRE YOU. YOU KNOW, HE [SIGHS] CALLS HERE 1726 01:16:47,971 --> 01:16:50,371 HOOK, HE'S GONNA FIRE YOU. YOU KNOW, HE [SIGHS] CALLS HERE SOMETIMES TO CHECK UP ON US. 1727 01:16:50,373 --> 01:16:51,439 YOU KNOW, HE [SIGHS] CALLS HERE SOMETIMES TO CHECK UP ON US. MAKE SURE WE'RE ANSWERING THE 1728 01:16:51,441 --> 01:16:53,808 SOMETIMES TO CHECK UP ON US. MAKE SURE WE'RE ANSWERING THE PHONES. 1729 01:16:53,810 --> 01:16:55,276 MAKE SURE WE'RE ANSWERING THE PHONES. I-- [SIGHS] IT'S NONE OF MY 1730 01:16:55,278 --> 01:16:58,746 PHONES. I-- [SIGHS] IT'S NONE OF MY BUSINESS, BUT... 1731 01:16:58,748 --> 01:16:59,780 I-- [SIGHS] IT'S NONE OF MY BUSINESS, BUT... WHY DO YOU HAVE YOUR CLOTHES 1732 01:16:59,782 --> 01:17:04,051 BUSINESS, BUT... WHY DO YOU HAVE YOUR CLOTHES OFF? 1733 01:17:04,053 --> 01:17:07,355 WHY DO YOU HAVE YOUR CLOTHES OFF? >> DO YOU REALLY WANT TO KNOW? 1734 01:17:07,357 --> 01:17:09,023 OFF? >> DO YOU REALLY WANT TO KNOW? >> I DON'T KNOW. 1735 01:17:09,025 --> 01:17:11,292 >> DO YOU REALLY WANT TO KNOW? >> I DON'T KNOW. DO I? 1736 01:17:11,294 --> 01:17:26,173 I-I FOLDED... THOSE FOR YOU. >> THANK YOU. 1737 01:17:26,175 --> 01:17:30,845 THOSE FOR YOU. >> THANK YOU. [ KEYS JINGLE ] 1738 01:17:30,847 --> 01:17:34,315 >> THANK YOU. [ KEYS JINGLE ] [ BREATHES HEAVILY ] 1739 01:17:34,317 --> 01:17:58,773 [ SIGHS ] 1740 01:17:58,775 --> 01:18:21,295 [ FINGERS TYPING ON TYPEWRITER ] [ DING ] [ TYPING CONTINUES ] 1741 01:18:21,297 --> 01:18:41,849 [ SIGHS ] 1742 01:18:41,851 --> 01:18:52,993 >> HAPPY NEW DAY, LEON. [ WHISTLING ] I GOT A GREAT FEELING ABOUT 1743 01:18:52,995 --> 01:18:53,294 [ WHISTLING ] I GOT A GREAT FEELING ABOUT TODAY. 1744 01:18:53,296 --> 01:18:54,195 I GOT A GREAT FEELING ABOUT TODAY. [ LEON CHIRPS ] 1745 01:18:54,197 --> 01:18:55,830 TODAY. [ LEON CHIRPS ] GOOD MORNING, LADIES AND GERMS. 1746 01:18:55,832 --> 01:18:57,231 [ LEON CHIRPS ] GOOD MORNING, LADIES AND GERMS. FUNNY THING HAPPENED TO ME ON 1747 01:18:57,233 --> 01:18:59,033 GOOD MORNING, LADIES AND GERMS. FUNNY THING HAPPENED TO ME ON THE WAY TO... 1748 01:18:59,035 --> 01:19:00,568 FUNNY THING HAPPENED TO ME ON THE WAY TO... VIENNA. 1749 01:19:00,570 --> 01:19:03,904 THE WAY TO... VIENNA. I MET A BEAUTIFUL CONTESSA... 1750 01:19:03,906 --> 01:19:06,874 VIENNA. I MET A BEAUTIFUL CONTESSA... NAMED DELILAH. 1751 01:19:06,876 --> 01:19:29,163 [ TELEPHONE RINGING ] >> HELLO -- SWEET TALK. WANT TO TALK? 1752 01:19:29,165 --> 01:19:30,331 >> HELLO -- SWEET TALK. WANT TO TALK? >> WHO'S THIS? 1753 01:19:30,333 --> 01:19:31,265 WANT TO TALK? >> WHO'S THIS? >> GINNY. 1754 01:19:31,267 --> 01:19:32,266 >> WHO'S THIS? >> GINNY. WHO'S THIS? 1755 01:19:32,268 --> 01:19:33,367 >> GINNY. WHO'S THIS? >> WHERE'S DELILAH? 1756 01:19:33,369 --> 01:19:35,202 WHO'S THIS? >> WHERE'S DELILAH? >> OH, SHE'S NOT HERE RIGHT NOW, 1757 01:19:35,204 --> 01:19:36,837 >> WHERE'S DELILAH? >> OH, SHE'S NOT HERE RIGHT NOW, BUT I'D LOVE TO TALK TO YOU. 1758 01:19:36,839 --> 01:19:38,339 >> OH, SHE'S NOT HERE RIGHT NOW, BUT I'D LOVE TO TALK TO YOU. >> WHAT DO YOU MEAN SHE'S NOT 1759 01:19:38,341 --> 01:19:38,973 BUT I'D LOVE TO TALK TO YOU. >> WHAT DO YOU MEAN SHE'S NOT THERE? 1760 01:19:38,975 --> 01:19:40,007 >> WHAT DO YOU MEAN SHE'S NOT THERE? WHERE DID SHE GO? 1761 01:19:40,009 --> 01:19:42,009 THERE? WHERE DID SHE GO? >> OUT? 1762 01:19:42,011 --> 01:19:43,444 WHERE DID SHE GO? >> OUT? >> I THOUGHT THIS WAS HER PLACE. 1763 01:19:43,446 --> 01:19:45,045 >> OUT? >> I THOUGHT THIS WAS HER PLACE. >> Oh, we're sort of roommates, 1764 01:19:45,047 --> 01:19:45,880 >> I THOUGHT THIS WAS HER PLACE. >> Oh, we're sort of roommates, her and me. 1765 01:19:45,882 --> 01:19:47,448 >> Oh, we're sort of roommates, her and me. WHEN ONE GOES OUT, THE OTHER'S 1766 01:19:47,450 --> 01:19:48,149 her and me. WHEN ONE GOES OUT, THE OTHER'S HERE. 1767 01:19:48,151 --> 01:19:49,984 WHEN ONE GOES OUT, THE OTHER'S HERE. >> WHEN WILL SHE BE BACK? 1768 01:19:49,986 --> 01:19:51,886 HERE. >> WHEN WILL SHE BE BACK? >> SHE'S HERE EVENINGS AND 1769 01:19:51,888 --> 01:19:54,054 >> WHEN WILL SHE BE BACK? >> SHE'S HERE EVENINGS AND MORNINGS, MIDNIGHT TO NOON. 1770 01:19:54,056 --> 01:19:54,588 >> SHE'S HERE EVENINGS AND MORNINGS, MIDNIGHT TO NOON. >> SHIT. 1771 01:19:54,590 --> 01:19:56,323 MORNINGS, MIDNIGHT TO NOON. >> SHIT. >> AW, YOU DON'T HAVE TO WAIT 1772 01:19:56,325 --> 01:19:57,191 >> SHIT. >> AW, YOU DON'T HAVE TO WAIT THAT LONG. 1773 01:19:57,193 --> 01:19:58,058 >> AW, YOU DON'T HAVE TO WAIT THAT LONG. >> [ SIGHS ] 1774 01:19:58,060 --> 01:19:59,226 THAT LONG. >> [ SIGHS ] YEAH, I THINK I DO. 1775 01:19:59,228 --> 01:19:59,960 >> [ SIGHS ] YEAH, I THINK I DO. >> WHY? 1776 01:19:59,962 --> 01:20:01,228 YEAH, I THINK I DO. >> WHY? YOU AND I CAN TALK. 1777 01:20:01,230 --> 01:20:03,197 >> WHY? YOU AND I CAN TALK. What do you want to talk about? 1778 01:20:03,199 --> 01:20:04,064 YOU AND I CAN TALK. What do you want to talk about? >> VIENNA. 1779 01:20:04,066 --> 01:20:04,598 What do you want to talk about? >> VIENNA. >> HUH? 1780 01:20:04,600 --> 01:20:07,601 >> VIENNA. >> HUH? >> Nazis were marching in the 1781 01:20:07,603 --> 01:20:10,204 >> HUH? >> Nazis were marching in the street. 1782 01:20:10,206 --> 01:20:13,140 >> Nazis were marching in the street. I WAS IN BED WITHOUT THE USE OF 1783 01:20:13,142 --> 01:20:16,343 street. I WAS IN BED WITHOUT THE USE OF MY ARMS AND MY LEGS. 1784 01:20:16,345 --> 01:20:19,079 I WAS IN BED WITHOUT THE USE OF MY ARMS AND MY LEGS. SHE WAS MY NURSE. 1785 01:20:19,081 --> 01:20:20,948 MY ARMS AND MY LEGS. SHE WAS MY NURSE. She came to me at night. 1786 01:20:20,950 --> 01:20:22,249 SHE WAS MY NURSE. She came to me at night. >> COULD YOU HOLD ON A SEC? 1787 01:20:22,251 --> 01:20:23,651 She came to me at night. >> COULD YOU HOLD ON A SEC? UH, SOME NUT JOB WANTS TO TALK 1788 01:20:23,653 --> 01:20:24,251 >> COULD YOU HOLD ON A SEC? UH, SOME NUT JOB WANTS TO TALK TO YOU. 1789 01:20:24,253 --> 01:20:25,152 UH, SOME NUT JOB WANTS TO TALK TO YOU. >> I'M OFF DUTY. 1790 01:20:25,154 --> 01:20:26,453 TO YOU. >> I'M OFF DUTY. >> YEAH, HE'S TALKING ABOUT 1791 01:20:26,455 --> 01:20:30,324 >> I'M OFF DUTY. >> YEAH, HE'S TALKING ABOUT VIENNA AND NAZIS, SOME NURSE. 1792 01:20:30,326 --> 01:20:33,394 >> YEAH, HE'S TALKING ABOUT VIENNA AND NAZIS, SOME NURSE. >> HELLO. HI, HI. 1793 01:20:33,396 --> 01:20:35,095 VIENNA AND NAZIS, SOME NURSE. >> HELLO. HI, HI. >> Hi. 1794 01:20:35,097 --> 01:20:36,230 >> HELLO. HI, HI. >> Hi. You had me worried there for a 1795 01:20:36,232 --> 01:20:37,998 >> Hi. You had me worried there for a minute. 1796 01:20:38,000 --> 01:20:41,168 You had me worried there for a minute. >> UM... 1797 01:20:41,170 --> 01:20:42,670 minute. >> UM... I CAN'T TALK RIGHT NOW. 1798 01:20:42,672 --> 01:20:44,538 >> UM... I CAN'T TALK RIGHT NOW. >> I THOUGHT THIS WAS YOUR 1799 01:20:44,540 --> 01:20:45,239 I CAN'T TALK RIGHT NOW. >> I THOUGHT THIS WAS YOUR PLACE. 1800 01:20:45,241 --> 01:20:47,508 >> I THOUGHT THIS WAS YOUR PLACE. >> I LIED. 1801 01:20:47,510 --> 01:20:49,043 PLACE. >> I LIED. >> WHAT ELSE DID YOU LIE ABOUT? 1802 01:20:49,045 --> 01:20:50,211 >> I LIED. >> WHAT ELSE DID YOU LIE ABOUT? >> NOTHING. 1803 01:20:50,213 --> 01:20:51,178 >> WHAT ELSE DID YOU LIE ABOUT? >> NOTHING. NOTHING. 1804 01:20:51,180 --> 01:21:02,923 >> NOTHING. NOTHING. EVERYTHING ELSE WAS THE TRUTH. 1805 01:21:02,925 --> 01:21:07,094 NOTHING. EVERYTHING ELSE WAS THE TRUTH. >> So [sighs] 1806 01:21:07,096 --> 01:21:11,599 EVERYTHING ELSE WAS THE TRUTH. >> So [sighs] WHAT DO WE DO NOW? 1807 01:21:11,601 --> 01:21:16,103 >> So [sighs] WHAT DO WE DO NOW? Shall we walk along the Danube? 1808 01:21:16,105 --> 01:21:17,705 WHAT DO WE DO NOW? Shall we walk along the Danube? MAYBE WE COULD FIND A-A CAFé 1809 01:21:17,707 --> 01:21:19,573 Shall we walk along the Danube? MAYBE WE COULD FIND A-A CAFé THAT SERVES SACHER TORTE WITH 1810 01:21:19,575 --> 01:21:20,574 MAYBE WE COULD FIND A-A CAFé THAT SERVES SACHER TORTE WITH WHIPPED CREAM. 1811 01:21:20,576 --> 01:21:23,177 THAT SERVES SACHER TORTE WITH WHIPPED CREAM. >> MMM, WOULDN'T THAT BE NICE? 1812 01:21:23,179 --> 01:21:30,117 WHIPPED CREAM. >> MMM, WOULDN'T THAT BE NICE? >> YEAH. YEAH, IT WOULD. 1813 01:21:30,119 --> 01:21:32,052 >> MMM, WOULDN'T THAT BE NICE? >> YEAH. YEAH, IT WOULD. >> UM [SIGHS] SAMSON, I, UH, I 1814 01:21:32,054 --> 01:21:33,721 >> YEAH. YEAH, IT WOULD. >> UM [SIGHS] SAMSON, I, UH, I DON'T KNOW THAT THAT'S A GOOD 1815 01:21:33,723 --> 01:21:37,157 >> UM [SIGHS] SAMSON, I, UH, I DON'T KNOW THAT THAT'S A GOOD IDEA. 1816 01:21:37,159 --> 01:21:39,193 DON'T KNOW THAT THAT'S A GOOD IDEA. >> WHY NOT? 1817 01:21:39,195 --> 01:21:41,295 IDEA. >> WHY NOT? >> Well [sighs] 1818 01:21:41,297 --> 01:21:43,063 >> WHY NOT? >> Well [sighs] I DON'T THINK I COULD HANDLE 1819 01:21:43,065 --> 01:21:44,698 >> Well [sighs] I DON'T THINK I COULD HANDLE STARBUCKS RIGHT NOW, YOU KNOW, 1820 01:21:44,700 --> 01:21:46,600 I DON'T THINK I COULD HANDLE STARBUCKS RIGHT NOW, YOU KNOW, WITH, UH, WITH THE BIODEGRADABLE 1821 01:21:46,602 --> 01:21:48,535 STARBUCKS RIGHT NOW, YOU KNOW, WITH, UH, WITH THE BIODEGRADABLE CUPS AND PEOPLE TALKING ON THEIR 1822 01:21:48,537 --> 01:21:52,239 WITH, UH, WITH THE BIODEGRADABLE CUPS AND PEOPLE TALKING ON THEIR CELLPHONES AND LAPTOPS. 1823 01:21:52,241 --> 01:21:53,307 CUPS AND PEOPLE TALKING ON THEIR CELLPHONES AND LAPTOPS. >> SO, WHAT ARE WE ARE SUPPOSED 1824 01:21:53,309 --> 01:21:55,309 CELLPHONES AND LAPTOPS. >> SO, WHAT ARE WE ARE SUPPOSED TO DO? 1825 01:21:55,311 --> 01:21:57,611 >> SO, WHAT ARE WE ARE SUPPOSED TO DO? HMM? 1826 01:21:57,613 --> 01:21:58,245 TO DO? HMM? FORGET IT? 1827 01:21:58,247 --> 01:21:59,380 HMM? FORGET IT? JUST FORGET THE WHOLE THING 1828 01:21:59,382 --> 01:22:00,748 FORGET IT? JUST FORGET THE WHOLE THING HAPPENED? 1829 01:22:00,750 --> 01:22:02,416 JUST FORGET THE WHOLE THING HAPPENED? VIENNA? 1830 01:22:02,418 --> 01:22:05,552 HAPPENED? VIENNA? THE DUEL, THE DANCE, THE TRAIN? 1831 01:22:05,554 --> 01:22:06,553 VIENNA? THE DUEL, THE DANCE, THE TRAIN? >> No. 1832 01:22:06,555 --> 01:22:09,323 THE DUEL, THE DANCE, THE TRAIN? >> No. NO, I'M NOT FORGETTING. 1833 01:22:09,325 --> 01:22:11,325 >> No. NO, I'M NOT FORGETTING. >> WELL, GOOD. THAT'S... 1834 01:22:11,327 --> 01:22:13,761 NO, I'M NOT FORGETTING. >> WELL, GOOD. THAT'S... THAT'S GOOD TO HEAR. 1835 01:22:13,763 --> 01:22:15,396 >> WELL, GOOD. THAT'S... THAT'S GOOD TO HEAR. >> IT'S JUST THERE AREN'T A LOT 1836 01:22:15,398 --> 01:22:16,730 THAT'S GOOD TO HEAR. >> IT'S JUST THERE AREN'T A LOT OF DUELS BEING FOUGHT AROUND 1837 01:22:16,732 --> 01:22:21,068 >> IT'S JUST THERE AREN'T A LOT OF DUELS BEING FOUGHT AROUND HERE, YOU KNOW? 1838 01:22:21,070 --> 01:22:23,337 OF DUELS BEING FOUGHT AROUND HERE, YOU KNOW? >> I WARNED YOU, DIDN'T I? 1839 01:22:23,339 --> 01:22:26,573 HERE, YOU KNOW? >> I WARNED YOU, DIDN'T I? We could've stopped at any time. 1840 01:22:26,575 --> 01:22:29,610 >> I WARNED YOU, DIDN'T I? We could've stopped at any time. SO, WHAT ARE WE SUPPOSED TO DO? 1841 01:22:29,612 --> 01:22:33,013 We could've stopped at any time. SO, WHAT ARE WE SUPPOSED TO DO? >> GO HOME, I GUESS. 1842 01:22:33,015 --> 01:22:36,517 SO, WHAT ARE WE SUPPOSED TO DO? >> GO HOME, I GUESS. >> AND DO WHAT? 1843 01:22:36,519 --> 01:22:38,719 >> GO HOME, I GUESS. >> AND DO WHAT? >> SLEEP. 1844 01:22:38,721 --> 01:22:40,354 >> AND DO WHAT? >> SLEEP. >> PERCHANCE TO DREAM. 1845 01:22:40,356 --> 01:22:41,455 >> SLEEP. >> PERCHANCE TO DREAM. >> [ Chuckles ] 1846 01:22:41,457 --> 01:22:43,223 >> PERCHANCE TO DREAM. >> [ Chuckles ] >> Ah, there's the rub. 1847 01:22:43,225 --> 01:22:45,326 >> [ Chuckles ] >> Ah, there's the rub. >> FOR IN THAT SLEEP OF DEATH, 1848 01:22:45,328 --> 01:22:47,594 >> Ah, there's the rub. >> FOR IN THAT SLEEP OF DEATH, WHAT DREAMS MAY COME. 1849 01:22:47,596 --> 01:23:05,145 >> Come on. Delilah. I FOUND MY VOICE. 1850 01:23:05,147 --> 01:23:08,115 Delilah. I FOUND MY VOICE. I HAVE -- I FOUND -- I FOUND MY 1851 01:23:08,117 --> 01:23:10,384 I FOUND MY VOICE. I HAVE -- I FOUND -- I FOUND MY VOICE. 1852 01:23:10,386 --> 01:23:12,653 I HAVE -- I FOUND -- I FOUND MY VOICE. I HAVE THINGS TO SAY. 1853 01:23:12,655 --> 01:23:23,063 WE COULD GO BACK THERE. >> You really think we can do that? 1854 01:23:23,065 --> 01:23:26,266 >> You really think we can do that? >> YES. OF COURSE. 1855 01:23:26,268 --> 01:23:29,670 that? >> YES. OF COURSE. WE WENT BEFORE. WE CAN GO AGAIN. 1856 01:23:29,672 --> 01:23:30,637 >> YES. OF COURSE. WE WENT BEFORE. WE CAN GO AGAIN. We could go there. 1857 01:23:30,639 --> 01:23:32,072 WE WENT BEFORE. WE CAN GO AGAIN. We could go there. We could go to all kinds of 1858 01:23:32,074 --> 01:23:32,473 We could go there. We could go to all kinds of places. 1859 01:23:32,475 --> 01:23:33,741 We could go to all kinds of places. WE CAN GO TO AMAZING PLACES. 1860 01:23:33,743 --> 01:23:35,542 places. WE CAN GO TO AMAZING PLACES. WE CAN GO TO PARIS. 1861 01:23:35,544 --> 01:23:37,845 WE CAN GO TO AMAZING PLACES. WE CAN GO TO PARIS. WE COULD GO SAINT PETERSBURG. 1862 01:23:37,847 --> 01:23:39,580 WE CAN GO TO PARIS. WE COULD GO SAINT PETERSBURG. WE COULD [LAUGHS] 1863 01:23:39,582 --> 01:23:40,681 WE COULD GO SAINT PETERSBURG. WE COULD [LAUGHS] [ RATTLE RATTLES ] 1864 01:23:40,683 --> 01:23:41,815 WE COULD [LAUGHS] [ RATTLE RATTLES ] WE COULD GO TO RIO! 1865 01:23:41,817 --> 01:23:42,683 [ RATTLE RATTLES ] WE COULD GO TO RIO! [ CHUCKLES ] 1866 01:23:42,685 --> 01:23:45,419 WE COULD GO TO RIO! [ CHUCKLES ] RIO! 1867 01:23:45,421 --> 01:23:48,622 [ CHUCKLES ] RIO! CARNIVAL TIME. 1868 01:23:48,624 --> 01:23:55,095 RIO! CARNIVAL TIME. ZAMBAS, DRUMS. 1869 01:23:55,097 --> 01:23:59,800 CARNIVAL TIME. ZAMBAS, DRUMS. >> How about New York? 1870 01:23:59,802 --> 01:24:01,468 ZAMBAS, DRUMS. >> How about New York? In... 1871 01:24:01,470 --> 01:24:06,140 >> How about New York? In... In the '40s. 1872 01:24:06,142 --> 01:24:07,741 In... In the '40s. I COULD BE A TORCH SINGER AT A 1873 01:24:07,743 --> 01:24:10,177 In the '40s. I COULD BE A TORCH SINGER AT A BAR ON... 1874 01:24:10,179 --> 01:24:13,213 I COULD BE A TORCH SINGER AT A BAR ON... I DON'T KNOW -- 52nd STREET. 1875 01:24:13,215 --> 01:24:17,851 BAR ON... I DON'T KNOW -- 52nd STREET. AND YOU COULD BE A GANGSTA. 1876 01:24:17,853 --> 01:24:19,787 I DON'T KNOW -- 52nd STREET. AND YOU COULD BE A GANGSTA. >> WITH A SCAR HALFWAY DOWN MY 1877 01:24:19,789 --> 01:24:22,189 AND YOU COULD BE A GANGSTA. >> WITH A SCAR HALFWAY DOWN MY CHEEK AND A DIAMOND STICKPIN. 1878 01:24:22,191 --> 01:24:23,524 >> WITH A SCAR HALFWAY DOWN MY CHEEK AND A DIAMOND STICKPIN. >> YEAH. 1879 01:24:23,526 --> 01:24:25,793 CHEEK AND A DIAMOND STICKPIN. >> YEAH. YEAH. 1880 01:24:25,795 --> 01:24:48,449 [ SIGHS ] SAMSON, RIGHT? THIRD ONE DOWN, NO "P"? 1881 01:24:48,451 --> 01:24:50,617 SAMSON, RIGHT? THIRD ONE DOWN, NO "P"? >> Yeah. 1882 01:24:50,619 --> 01:24:52,286 THIRD ONE DOWN, NO "P"? >> Yeah. DELILAH? 1883 01:24:52,288 --> 01:24:56,223 >> Yeah. DELILAH? >> YES? 1884 01:24:56,225 --> 01:24:57,391 DELILAH? >> YES? >> THIS COULD BE THE START OF 1885 01:24:57,393 --> 01:24:59,660 >> YES? >> THIS COULD BE THE START OF SOMETHING BIG. 1886 01:24:59,662 --> 01:25:05,332 >> THIS COULD BE THE START OF SOMETHING BIG. >> YES. 1887 01:25:05,334 --> 01:25:10,337 SOMETHING BIG. >> YES. >> SEE YOU AROUND, I GUESS. 1888 01:25:10,339 --> 01:25:12,773 >> YES. >> SEE YOU AROUND, I GUESS. >> SEE YOU AROUND. 1889 01:25:12,775 --> 01:25:15,409 >> SEE YOU AROUND, I GUESS. >> SEE YOU AROUND. >> WHEREVER THERE IS. 1890 01:25:15,411 --> 01:25:18,612 >> SEE YOU AROUND. >> WHEREVER THERE IS. >> [ SIGHS ] 1891 01:25:18,614 --> 01:25:20,881 >> WHEREVER THERE IS. >> [ SIGHS ] >> WHEREVER THERE IS. 1892 01:25:20,883 --> 01:25:28,522 [ BEEP ] 1893 01:25:28,524 --> 01:26:05,492 [ TELEPHONE RINGING ] [ RINGING CONTINUES ] [ KEYS JINGLING ] 1894 01:26:05,494 --> 01:26:07,761 [ RINGING CONTINUES ] [ KEYS JINGLING ] [ RINGING CONTINUES ] 1895 01:26:07,763 --> 01:26:18,772 [ RINGING CONTINUES ] >> YOU GONNA GET THAT? [ DOOR OPENS ] 1896 01:26:18,774 --> 01:26:22,309 >> YOU GONNA GET THAT? [ DOOR OPENS ] [ DOOR CLOSES ] 1897 01:26:22,311 --> 01:26:23,777 [ DOOR OPENS ] [ DOOR CLOSES ] ARE YOU GONNA GET THAT? 1898 01:26:23,779 --> 01:26:27,981 [ DOOR CLOSES ] ARE YOU GONNA GET THAT? [ RINGING CONTINUES ] 1899 01:26:27,983 --> 01:26:29,783 ARE YOU GONNA GET THAT? [ RINGING CONTINUES ] HELLO -- SWEET TALK. 1900 01:26:29,785 --> 01:26:31,251 [ RINGING CONTINUES ] HELLO -- SWEET TALK. THIS IS GINNY. 1901 01:26:31,253 --> 01:26:31,885 HELLO -- SWEET TALK. THIS IS GINNY. >> Hi. 1902 01:26:31,887 --> 01:26:32,786 THIS IS GINNY. >> Hi. >> HI. 1903 01:26:32,788 --> 01:26:34,321 >> Hi. >> HI. WHO IS THIS? 1904 01:26:34,323 --> 01:26:35,355 >> HI. WHO IS THIS? >> John. 1905 01:26:35,357 --> 01:26:36,857 WHO IS THIS? >> John. >> JOHN? 1906 01:26:36,859 --> 01:26:38,926 >> John. >> JOHN? HI, JOHN. 1907 01:26:38,928 --> 01:26:41,261 >> JOHN? HI, JOHN. YOU HAVE A NICE-SOUNDING VOICE. 1908 01:26:41,263 --> 01:26:42,996 HI, JOHN. YOU HAVE A NICE-SOUNDING VOICE. HAVE YOU CALLED US BEFORE? 1909 01:26:42,998 --> 01:26:44,298 YOU HAVE A NICE-SOUNDING VOICE. HAVE YOU CALLED US BEFORE? Mm. 1910 01:26:44,300 --> 01:26:45,566 HAVE YOU CALLED US BEFORE? Mm. I thought I recognized your 1911 01:26:45,568 --> 01:26:48,936 Mm. I thought I recognized your voice. 1912 01:26:48,938 --> 01:26:50,837 I thought I recognized your voice. So, John [Sighs] what would you 1913 01:26:50,839 --> 01:26:54,408 voice. So, John [Sighs] what would you like to talk about today? 1914 01:26:54,410 --> 01:26:57,811 So, John [Sighs] what would you like to talk about today? Something a little different? 1915 01:26:57,813 --> 01:27:01,014 like to talk about today? Something a little different? How different? 1916 01:27:01,016 --> 01:27:03,483 Something a little different? How different? Really? 1917 01:27:03,485 --> 01:27:16,697 Tell me the tape of the girl that turned you on. I'm a redhead, John. 1918 01:27:16,699 --> 01:27:19,766 that turned you on. I'm a redhead, John. In fact, I'm red all over. 1919 01:27:19,768 --> 01:27:22,302 I'm a redhead, John. In fact, I'm red all over. Mmm. 1920 01:27:22,304 --> 01:27:24,504 In fact, I'm red all over. Mmm. Like I said... 1921 01:27:24,506 --> 01:27:27,574 Mmm. Like I said... everywhere. 1922 01:27:27,576 --> 01:27:28,575 Like I said... everywhere. [ Moans ] 1923 01:27:28,577 --> 01:27:31,378 everywhere. [ Moans ] Johnny, you son of a bitch! 1924 01:27:31,380 --> 01:27:34,848 [ Moans ] Johnny, you son of a bitch! You big, hard son of a bitch! 1925 01:27:34,850 --> 01:30:02,162 >> ♪ IF YOU QUIET DOWN ♪ YOUR WORDS WILL GET LOUDER 1926 01:30:02,164 --> 01:30:07,100 ♪ YOUR WORDS WILL GET LOUDER ♪ I'VE NEVER MET ANYBODY PROUDER 1927 01:30:07,102 --> 01:30:09,903 ♪ I'VE NEVER MET ANYBODY PROUDER THAN YOU ♪ 1928 01:30:09,905 --> 01:30:12,773 THAN YOU ♪ ♪ LOOSEN UP YOUR GRIP, AND THEN 1929 01:30:12,775 --> 01:30:15,108 ♪ LOOSEN UP YOUR GRIP, AND THEN YOU'LL HOLD ON LONGER ♪ 1930 01:30:15,110 --> 01:30:16,710 YOU'LL HOLD ON LONGER ♪ ♪ OH 1931 01:30:16,712 --> 01:30:17,744 ♪ OH [ VOCALIZES ] 1932 01:30:17,746 --> 01:30:21,047 [ VOCALIZES ] ♪ I'VE NEVER MET ANYONE MORE 1933 01:30:21,049 --> 01:30:24,818 ♪ I'VE NEVER MET ANYONE MORE FAITHFUL THAN YOU ♪ 1934 01:30:24,820 --> 01:30:26,686 FAITHFUL THAN YOU ♪ ♪ YET THEY DON'T SEE HOW 1935 01:30:26,688 --> 01:30:28,755 ♪ YET THEY DON'T SEE HOW BEAUTIFUL YOU CAN BE ♪ 1936 01:30:28,757 --> 01:30:30,590 BEAUTIFUL YOU CAN BE ♪ ♪ YET THEY DON'T SEE HOW 1937 01:30:30,592 --> 01:30:32,626 ♪ YET THEY DON'T SEE HOW BEAUTIFUL YOU CAN BE ♪ 1938 01:30:32,628 --> 01:30:34,227 BEAUTIFUL YOU CAN BE ♪ ♪ YET THEY DON'T SEE HOW 1939 01:30:34,229 --> 01:30:37,063 ♪ YET THEY DON'T SEE HOW BEAUTIFUL YOU CAN BE ♪ 1940 01:30:37,065 --> 01:30:38,865 BEAUTIFUL YOU CAN BE ♪ ♪ BE, BE 1941 01:30:38,867 --> 01:30:40,200 ♪ BE, BE ♪ OH, YOU'VE GOT TO LET THEM 1942 01:30:40,202 --> 01:30:41,568 ♪ OH, YOU'VE GOT TO LET THEM >> ♪ LET THEM, LET THEM 1943 01:30:41,570 --> 01:30:42,202 >> ♪ LET THEM, LET THEM >> ♪ LET THEM 1944 01:30:42,204 --> 01:30:43,603 >> ♪ LET THEM >> ♪ LET THEM, LET THEM 1945 01:30:43,605 --> 01:30:44,237 >> ♪ LET THEM, LET THEM >> ♪ LET THEM 1946 01:30:44,239 --> 01:30:45,605 >> ♪ LET THEM >> ♪ LET THEM, LET THEM 1947 01:30:45,607 --> 01:30:46,907 >> ♪ LET THEM, LET THEM >> ♪ WALK ON 1948 01:30:46,909 --> 01:30:48,074 >> ♪ WALK ON ♪ YOU'VE GOT TO LET THEM 1949 01:30:48,076 --> 01:30:49,209 ♪ YOU'VE GOT TO LET THEM >> ♪ LET THEM, LET THEM 1950 01:30:49,211 --> 01:30:50,010 >> ♪ LET THEM, LET THEM >> ♪ LET THEM 1951 01:30:50,012 --> 01:30:51,144 >> ♪ LET THEM >> ♪ LET THEM, LET THEM 1952 01:30:51,146 --> 01:30:51,978 >> ♪ LET THEM, LET THEM >> ♪ LET THEM 1953 01:30:51,980 --> 01:30:53,113 >> ♪ LET THEM >> ♪ LET THEM, LET THEM 1954 01:30:53,115 --> 01:30:54,681 >> ♪ LET THEM, LET THEM >> ♪ WALK ON 1955 01:30:54,683 --> 01:30:56,049 >> ♪ WALK ON [ VOCALIZES ] 1956 01:30:56,051 --> 01:30:58,051 [ VOCALIZES ] >> ♪ TAKING SHORTCUTS ISN'T THE 1957 01:30:58,053 --> 01:30:59,853 >> ♪ TAKING SHORTCUTS ISN'T THE EASIEST RIDE ♪ 1958 01:30:59,855 --> 01:31:02,088 EASIEST RIDE ♪ ♪ IF YOU'RE TRYING TO FIGURE 1959 01:31:02,090 --> 01:31:03,156 ♪ IF YOU'RE TRYING TO FIGURE YOURSELF OUT ♪ 1960 01:31:03,158 --> 01:31:05,659 YOURSELF OUT ♪ ♪ DON'T BE POLITE WHEN THE MOOD 1961 01:31:05,661 --> 01:31:06,893 ♪ DON'T BE POLITE WHEN THE MOOD WAY IS RIGHT ♪ 1962 01:31:06,895 --> 01:31:08,061 WAY IS RIGHT ♪ ♪ 'CAUSE TOES ARE MEANT TO BE 1963 01:31:08,063 --> 01:31:10,163 ♪ 'CAUSE TOES ARE MEANT TO BE STEPPED ON IF THE DANCING AIN'T 1964 01:31:10,165 --> 01:31:10,964 STEPPED ON IF THE DANCING AIN'T NICE ♪ 1965 01:31:10,966 --> 01:31:12,966 NICE ♪ ♪ TOES MUST BE STEPPED ON IF THE 1966 01:31:12,968 --> 01:31:14,801 ♪ TOES MUST BE STEPPED ON IF THE DANCING AIN'T NICE ♪ 1967 01:31:14,803 --> 01:31:16,570 DANCING AIN'T NICE ♪ ♪ COME ON, BABY GIRL, YOU'VE GOT 1968 01:31:16,572 --> 01:31:18,672 ♪ COME ON, BABY GIRL, YOU'VE GOT TO PUT UP A FIGHT ♪ 1969 01:31:18,674 --> 01:31:20,640 TO PUT UP A FIGHT ♪ ♪ PUT UP A FIGHT 1970 01:31:20,642 --> 01:31:22,242 ♪ PUT UP A FIGHT ♪ PUT UP A FIGHT 1971 01:31:22,244 --> 01:31:24,311 ♪ PUT UP A FIGHT ♪ THEY SIMPLY DON'T SEE 1972 01:31:24,313 --> 01:31:26,279 ♪ THEY SIMPLY DON'T SEE ♪ YET THEY DON'T SEE 1973 01:31:26,281 --> 01:31:28,081 ♪ YET THEY DON'T SEE >> ♪ YET THEY DON'T SEE HOW 1974 01:31:28,083 --> 01:31:30,116 >> ♪ YET THEY DON'T SEE HOW BEAUTIFUL YOU CAN BE ♪ 1975 01:31:30,118 --> 01:31:32,018 BEAUTIFUL YOU CAN BE ♪ ♪ YET THEY DON'T SEE HOW 1976 01:31:32,020 --> 01:31:33,987 ♪ YET THEY DON'T SEE HOW BEAUTIFUL YOU CAN BE ♪ 1977 01:31:33,989 --> 01:31:35,822 BEAUTIFUL YOU CAN BE ♪ ♪ YET THEY DON'T SEE HOW 1978 01:31:35,824 --> 01:31:37,057 ♪ YET THEY DON'T SEE HOW BEAUTIFUL ♪ 1979 01:31:37,059 --> 01:31:38,625 BEAUTIFUL ♪ ♪ YOU CAN BE 1980 01:31:38,627 --> 01:31:40,193 ♪ YOU CAN BE ♪ BE, BE 1981 01:31:40,195 --> 01:31:41,728 ♪ BE, BE ♪ OH, YOU'VE GOT TO LET THEM 1982 01:31:41,730 --> 01:31:42,896 ♪ OH, YOU'VE GOT TO LET THEM >> ♪ LET THEM, LET THEM 1983 01:31:42,898 --> 01:31:43,730 >> ♪ LET THEM, LET THEM >> ♪ LET THEM 1984 01:31:43,732 --> 01:31:44,898 >> ♪ LET THEM >> ♪ LET THEM, LET THEM 1985 01:31:44,900 --> 01:31:45,732 >> ♪ LET THEM, LET THEM >> ♪ LET THEM 1986 01:31:45,734 --> 01:31:46,900 >> ♪ LET THEM >> ♪ LET THEM, LET THEM 1987 01:31:46,902 --> 01:31:48,201 >> ♪ LET THEM, LET THEM >> ♪ WALK ON 1988 01:31:48,203 --> 01:31:49,636 >> ♪ WALK ON ♪ YOU'VE GOT TO LET THEM 1989 01:31:49,638 --> 01:31:50,804 ♪ YOU'VE GOT TO LET THEM >> ♪ LET THEM, LET THEM 1990 01:31:50,806 --> 01:31:51,638 >> ♪ LET THEM, LET THEM >> ♪ LET THEM 1991 01:31:51,640 --> 01:31:52,772 >> ♪ LET THEM >> ♪ LET THEM, LET THEM 1992 01:31:52,774 --> 01:31:53,607 >> ♪ LET THEM, LET THEM >> ♪ LET THEM 1993 01:31:53,609 --> 01:31:54,774 >> ♪ LET THEM >> ♪ LET THEM, LET THEM 1994 01:31:54,776 --> 01:32:00,080 >> ♪ LET THEM, LET THEM >> ♪ WALK O-O-O-O-N 215409