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1
00:00:05,849 --> 00:00:07,818
(Hugh Laurie)
THE ANCIENT GREEKS BELIEVED
2
00:00:07,851 --> 00:00:10,221
THAT SWANS ONLY SANG ONCE
3
00:00:10,254 --> 00:00:12,723
AT THE POINT OF THEIR DEATH--
4
00:00:12,756 --> 00:00:16,260
ONE BEAUTIFUL LAST LAMENT.
5
00:00:21,565 --> 00:00:25,269
WELL, THIS IS
MY LAST SWANLIKE LAMENT.
6
00:00:33,410 --> 00:00:37,481
(choral music playing)
7
00:01:05,442 --> 00:01:07,844
(man) OKAY.
(engine revving)
8
00:01:10,947 --> 00:01:11,648
(indistinct conversation)
9
00:01:11,682 --> 00:01:15,252
I GOT THE CAKE!
I GOT THE CAKE!
10
00:01:15,286 --> 00:01:17,254
THIS IS WHAT WE DO.
(Hugh) YOU FEED
11
00:01:17,288 --> 00:01:19,756
ANYTHING BETWEEN 200 AND 500
PEOPLE OUT OF THIS TRUCK.
12
00:01:19,790 --> 00:01:22,593
YES. WE ALL WORK TOGETHER
AND WE TAKE CARE OF EACH OTHER.
13
00:01:22,626 --> 00:01:25,262
PEOPLE ALREADY BELIEVE
THAT EVERYONE IN SHOW BUSINESS
14
00:01:25,296 --> 00:01:27,564
LIVES ON LOBSTER
AND CHAMPAGNE.
OH, REALLY?
15
00:01:27,598 --> 00:01:30,401
YEAH.
AND THAT'S A FACT.
IT'S NOT--
IT'S NOT GLAMOROUS.
16
00:01:30,434 --> 00:01:32,436
IT ISN'T, THOUGH,
IS IT?
17
00:01:34,271 --> 00:01:37,341
(camera shutters clicking)
18
00:01:37,374 --> 00:01:40,244
THIS IS A CELEBRATION,
19
00:01:40,277 --> 00:01:41,945
AND YOU CAN'T
HAVE A CELEBRATION
20
00:01:41,978 --> 00:01:43,780
WITHOUT A CAKE.
21
00:01:44,781 --> 00:01:47,451
(Massive Attack's "Teardrop"
playing)
22
00:02:18,515 --> 00:02:19,816
I'M NOT SAYING "HOUSE M.D."
23
00:02:19,850 --> 00:02:22,519
IS THE KING OF TV SHOWS...
24
00:02:22,553 --> 00:02:23,487
WAIT A MINUTE,
25
00:02:23,520 --> 00:02:24,855
ACTUALLY I AM SAYING THAT.
26
00:02:24,888 --> 00:02:28,425
BUT MORE IMPORTANTLY,
IF "HOUSE" IS THE KING,
27
00:02:28,459 --> 00:02:29,693
THEN THE PEOPLE
WHO MAKE "HOUSE"
28
00:02:29,726 --> 00:02:31,428
ARE PRINCES.
29
00:02:31,462 --> 00:02:33,364
OH, THERE'S A MAN WITH A CAMERA
OUT THERE. THAT'S--
30
00:02:33,397 --> 00:02:34,998
HA HA, SCARED HIM OFF.
31
00:02:35,031 --> 00:02:36,733
(Hugh) OUTSTANDING MOMENTS
IN YOUR MEMORY
32
00:02:36,767 --> 00:02:39,303
OF WORKING ON THIS SHOW?
DO YOU HAVE ANY?
33
00:02:39,336 --> 00:02:42,639
ANY CHALLENGING, UH,
ARTISTS FILLING YOUR CHAIR
34
00:02:42,673 --> 00:02:45,476
WHO YOU WANTED TO STRANGLE
BUT DIDN'T?
35
00:02:46,910 --> 00:02:48,379
FOND MEMORIES?
36
00:02:48,412 --> 00:02:53,984
UH, HUGH LAURIE.
OH, STOP.
37
00:02:54,017 --> 00:02:57,388
FOR THE LAST EIGHT YEARS,
38
00:02:57,421 --> 00:03:01,525
AN INCREDIBLE JOURNEY FOR ME
39
00:03:01,558 --> 00:03:03,727
AND FOR A LOT
OF OTHER PEOPLE, TOO.
40
00:03:04,861 --> 00:03:07,598
SO, MS. MORRISON.
YES, MR. LAURIE.
41
00:03:07,631 --> 00:03:09,600
UM, ALLOW ME
TO SHOW YOU AROUND.
42
00:03:09,633 --> 00:03:12,269
I DON'T KNOW IF YOU'VE--
WELL, SO FAR, IT LOOKS
VERY FAMILIAR.
43
00:03:12,303 --> 00:03:14,438
IT DOES,
DOESN'T IT?
YES, VERY.
44
00:03:14,471 --> 00:03:16,673
UH, I THINK WE WAXED THE FLOORS
SINCE YOU WERE LAST HERE.
45
00:03:16,707 --> 00:03:20,411
OH, WOW.
YOU HAVE COUCHES?!
46
00:03:20,444 --> 00:03:22,813
I LEAVE,
AND YOU GET COUCHES?
JUST THAT MOMENT.
47
00:03:22,846 --> 00:03:25,816
(laughs)
THERE ARE
SOME MINUSES, TOO.
48
00:03:25,849 --> 00:03:28,719
YOUR LOVELY ARROW-CUT
WHITE COAT
49
00:03:28,752 --> 00:03:32,055
DOES NOT HANG OVER THE BACK
OF THOSE CHAIRS AS NICELY.
(laughs)
50
00:03:32,088 --> 00:03:33,757
"GADOLINIUM."
OH, YEAH.
51
00:03:33,790 --> 00:03:34,691
DO YOU REMEMBER THAT?
52
00:03:34,725 --> 00:03:37,027
PILOT, WALKING DOWN
UNDERNEATH THIS THING.
53
00:03:37,060 --> 00:03:39,029
I KNEW SHE WAS ALLERGIC
TO GADOLINIUM. FIGURED IT WAS
54
00:03:39,062 --> 00:03:41,031
AN EASY WAY TO GET SOMEONE
TO CUT A HOLE IN HER THROAT.
55
00:03:41,064 --> 00:03:42,733
I DO REMEMBER SAYING
"GADOLINIUM."
56
00:03:42,766 --> 00:03:44,034
GADOLINIUM.
I'M SURE
I LOOKED IT UP.
57
00:03:44,067 --> 00:03:46,069
I FOUND ALL MY OLD--
YOU DID.
58
00:03:46,102 --> 00:03:49,005
WE DIDN'T HAVE CARDS
FOR ALL THE SEASONS.
YOU SHAMED--
YOU SHAMED US ALL.
59
00:03:49,039 --> 00:03:51,675
LUPUS, GOUT, GLAUCOMA,
OSTEOARTHRITIS, HYPERTENSION,
60
00:03:51,708 --> 00:03:53,577
DIABETES--
STOP ME ANYTIME.
61
00:03:53,610 --> 00:03:56,947
THE HEART COULD POINT
TO SARCOIDOSIS.
(clears throat)
62
00:03:56,980 --> 00:04:00,651
I'LL START
THE RIBAVIRIN.
63
00:04:00,684 --> 00:04:02,986
IT'S GREAT TO HAVE THE OLD TEAM
BACK TOGETHER AGAIN, HUH?
64
00:04:03,019 --> 00:04:05,322
(Hugh) WELL, I KNOW OMAR
GOT VERY PANICKY
65
00:04:05,356 --> 00:04:06,857
AT ONE TIME ABOUT--
HE WAS CONVINCED
66
00:04:06,890 --> 00:04:08,825
THAT HE HAD EVERYTHING.
"THIS IS A THING YOU CAN GET?
67
00:04:08,859 --> 00:04:10,627
PEOPLE GET THIS?"
68
00:04:10,661 --> 00:04:12,463
IT'S NOT S.S.P.E.
69
00:04:12,496 --> 00:04:14,331
I CHECKED YOUR PAST VACCINATIONS
AGAINST JOE'S.
70
00:04:14,365 --> 00:04:15,532
NO PAST MATCHES.
71
00:04:15,566 --> 00:04:18,569
I MIGHT NOT COME BACK.
72
00:04:18,602 --> 00:04:21,605
I'VE NEVER DONE A WILL.
73
00:04:21,638 --> 00:04:24,508
I'LL CALL A LAWYER FOR YOU.
74
00:04:24,541 --> 00:04:27,844
I WANT YOU TO BE
MY MEDICAL PROXY.
75
00:04:27,878 --> 00:04:30,981
I NEED TO KNOW
THAT WE'RE OKAY.
76
00:04:35,852 --> 00:04:39,423
WE'RE ALL MISSING
EACH OTHER.
I DID AT ONE POINT
SORT OF CALCULATE,
77
00:04:39,456 --> 00:04:42,359
AROUND SEASON 3
THAT WE'D DONE 284 SCENES
78
00:04:42,393 --> 00:04:43,727
IN THE OUTER OFFICE.
THAT'S A HELL
OF A THING.
79
00:04:43,760 --> 00:04:45,862
THAT'S A HELL
OF A THING.
IT I A HELL
OF A THING.
80
00:04:45,896 --> 00:04:48,632
(sighs)
YEAH, YOU WERE
VERY MISSED.
81
00:04:48,665 --> 00:04:50,634
(Hugh) WHAT IS THE WHITE BUCKET
YOU'RE CARRYING?
82
00:04:50,667 --> 00:04:53,404
WHAT DOES
IT SIGNIFY?
UH, WHITE BUCKET
83
00:04:53,437 --> 00:04:54,905
IS OUR $5 FRIDAY BUCKET.
84
00:04:54,938 --> 00:04:57,574
AND WHAT WE DO IS ALL THE CREW
MEMBERS WHO WANT TO INDULGE
85
00:04:57,608 --> 00:05:00,844
PUT THEIR NAMES ON A $5 BILL,
TUCK IT INTO THE BUCKET HERE,
86
00:05:00,877 --> 00:05:03,113
AND WE HAVE A WINNER
FOR $5 FRIDAY.
87
00:05:03,146 --> 00:05:05,449
HOUSE IS A GUY
WHO HAS EMOTIONS,
88
00:05:05,482 --> 00:05:07,751
HAS FEELINGS,
CARES ABOUT--
89
00:05:07,784 --> 00:05:10,421
AMAZINGLY GOOD
AT READING PEOPLE.
RIGHT.
90
00:05:13,724 --> 00:05:15,492
WE HAD THIS ROLE OF HOUSE,
91
00:05:15,526 --> 00:05:17,428
WHICH SORT OF EVERY ROLE
SORT OF REVOLVED AROUND
92
00:05:17,461 --> 00:05:19,463
AND HAD SO MUCH INTERACTION
WITH THIS CHARACTER,
93
00:05:19,496 --> 00:05:22,666
THAT WE HAD TO REALLY GET
THAT CHARACTER PERFECTLY,
94
00:05:22,699 --> 00:05:25,101
OR THE SERIES
WOULD NOT HAVE WORKED.
95
00:05:25,135 --> 00:05:27,871
WE READ SO MANY PEOPLE
FOR THIS PART.
96
00:05:27,904 --> 00:05:29,940
WHEN AUDITIONING,
I CAN REMEMBER THINKING
97
00:05:29,973 --> 00:05:31,775
I FEEL AS IF I KNOW
WHO THIS GUY IS,
98
00:05:31,808 --> 00:05:33,877
THE CHARACTER OF HOUSE,
99
00:05:33,910 --> 00:05:36,580
BUT I ALSO FEEL LIKE I KNOW
WHO THIS GUY DAVID SHORE IS--
100
00:05:36,613 --> 00:05:38,749
THE MIND BEHIND THE MIND,
AS IT WERE.
101
00:05:38,782 --> 00:05:40,917
I HAVE TENURE.
102
00:05:40,951 --> 00:05:44,087
AREN'T YOU GONNA GRAB MY CANE,
STOP ME FROM LEAVING?
103
00:05:44,120 --> 00:05:45,922
(Bryan Singer)
HUGH LAURIE WENT ON TAPE,
104
00:05:45,956 --> 00:05:48,124
AND I WATCHED IT.
HE HAD THE RIGHT KIND OF VOICE.
105
00:05:48,158 --> 00:05:49,993
AND HE HAD
A GOOD RAZOR STUBBLE GOING.
106
00:05:50,026 --> 00:05:52,162
AND I THOUGHT, THIS--
THIS GUY FEELS LIKE HOUSE.
107
00:05:52,195 --> 00:05:54,665
AND THANK GOODNESS
HE'S AN AMERICAN,
108
00:05:54,698 --> 00:05:56,433
SO HE CAN PRONOUNCE ALL THIS--
ALL THIS TOUGH MEDICAL JARGON.
109
00:05:56,467 --> 00:05:58,502
THYROTOXIC
PERIODIC PARALYSIS?
110
00:05:58,535 --> 00:05:59,970
I HAVE NO IDEA
WHAT THAT IS.
111
00:06:00,003 --> 00:06:03,707
LEUKOENCEPHALOPATHY?
YOU STOP.
112
00:06:03,740 --> 00:06:06,109
IF I KNEW WHAT WAS WRONG,
I WOULD TELL YOU.
113
00:06:06,142 --> 00:06:08,178
(woman) ROLLING,
ROLLING!
114
00:06:08,211 --> 00:06:11,682
* HEY, HEY, HEY
115
00:06:11,715 --> 00:06:14,951
* OH, BABY
* AH
116
00:06:14,985 --> 00:06:18,221
* OOH
117
00:06:18,254 --> 00:06:22,192
* OH, AH, THIS WORLD...
118
00:06:22,225 --> 00:06:24,160
(House) EVERYBODY LIES.
119
00:06:24,194 --> 00:06:26,730
* IS GOIN' UP IN FLAMES
120
00:06:26,763 --> 00:06:30,200
IF LYING TO A PATIENT WOULD SAVE
THEIR LIFE, WOULD YOU DO IT?
121
00:06:30,233 --> 00:06:33,103
NO.
THAT'S A LIE.
122
00:06:33,136 --> 00:06:35,806
EVERYONE LIES, BUT THERE'S
AN EXCEPTION TO EVERY RULE.
123
00:06:35,839 --> 00:06:37,774
ACTUALLY, THERE ISN'T.
KINDA WHAT MAKES IT A RULE.
124
00:06:37,808 --> 00:06:39,776
"INTERIOR. I.C.U.--DAY.
125
00:06:39,810 --> 00:06:42,245
"HE'S REVIVED, ALIVE,
BUT VERY WEEK.
126
00:06:42,278 --> 00:06:43,947
STACY'S BESIDE HERSELF
WITH WORRY."
127
00:06:43,980 --> 00:06:47,083
IF THIS WERE ANY OTHER PATIENT,
WHAT WOULD YOU TELL THEM TO DO?
128
00:06:47,117 --> 00:06:48,852
I WOULD SAY
IT'S THEIR CHOICE.
129
00:06:48,885 --> 00:06:51,221
NOT A CHANCE.
YOU'D BROWBEAT THEM
130
00:06:51,254 --> 00:06:53,757
UNTIL THEY MADE THE CHOICE
YOU KNEW WAS RIGHT.
131
00:06:53,790 --> 00:06:57,193
WE'VE GOT TO LET 'EM
CUT THE LEG OFF.
IT'S MY LEG.
132
00:06:57,227 --> 00:06:59,596
IT'S MY LIFE.
133
00:07:02,666 --> 00:07:05,268
(Hugh) HOW MANY CANES
HAVE WE LOST, DO YOU THINK?
LOST OR BROKEN?
134
00:07:05,301 --> 00:07:08,972
I WOULD SAY PROBABLY
JUST SLIGHTLY LESS THAN 100.
135
00:07:19,616 --> 00:07:20,884
WELL, FIRST OF ALL,
136
00:07:20,917 --> 00:07:23,219
HE WAS NOT ALWAYS WALKING
AROUND WITH A CANE.
137
00:07:23,253 --> 00:07:26,590
IN FACT, WE PICTURED HIM
IN A WHEELCHAIR.
138
00:07:26,623 --> 00:07:28,559
BUT A WHEELCHAIR
139
00:07:28,592 --> 00:07:30,594
IS NOT THE BEST IDEA,
140
00:07:30,627 --> 00:07:33,630
BECAUSE OF
THE OBVIOUS LIMITATIONS.
141
00:07:35,766 --> 00:07:38,201
SO THEN WE BRIEFLY CONSIDERED
A SCAR...
142
00:07:41,337 --> 00:07:44,107
AND THEN A CANE.
143
00:07:44,140 --> 00:07:45,776
KNOWING THAT IT WAS A CANE
144
00:07:45,809 --> 00:07:47,611
AND KNOWING
THAT I WANTED SOMEONE
145
00:07:47,644 --> 00:07:49,780
WHO COULD WALK DOWN
THOSE HALLS AND HOLD THE CENTER,
146
00:07:49,813 --> 00:07:51,782
YOU KNOW,
HEIGHT BECAME IMPORTANT,
147
00:07:51,815 --> 00:07:54,017
AND PHYSICALITY
BECAME IMPORTANT.
148
00:07:54,050 --> 00:07:56,953
THE TRUTH IS HE'S HIDING,
BECAUSE HE'S HANDICAPPED.
149
00:07:56,987 --> 00:07:59,690
THAT WAS WHERE IT ALL
SORT OF STARTED FROM.
150
00:07:59,723 --> 00:08:01,758
(Wilson) WHAT'S THE POINT
OF PUTTING TOGETHER A TEAM
151
00:08:01,792 --> 00:08:03,827
IF YOU'RE NOT GONNA
USE THEM?
152
00:08:03,860 --> 00:08:06,329
YOU'VE GOT THREE OVERQUALIFIED
DOCTORS WORKING FOR YOU,
153
00:08:06,362 --> 00:08:07,598
GETTING BORED.
154
00:08:09,666 --> 00:08:11,768
I DON'T NEED A TEAM.
155
00:08:11,802 --> 00:08:13,670
YOU WERE BOUNCING IDEAS
OFF A JANITOR.
156
00:08:13,704 --> 00:08:16,039
COME ON.
GOTTA EARN THAT FIVER.
157
00:08:16,072 --> 00:08:18,041
THE THING THAT I FIND
INTERESTING ABOUT HOUSE
158
00:08:18,074 --> 00:08:21,344
AS A CHARACTER
IS HIS, UH, DISTANCE
159
00:08:21,377 --> 00:08:25,048
AND HIS APATHY
AND HIS, UM,
160
00:08:25,081 --> 00:08:28,251
REMOVAL FROM ANY KIND
OF, UH, CONNECTION.
161
00:08:28,284 --> 00:08:32,155
HOUSE, YOU PLAY A GUITAR
YOU GOT IN NINTH GRADE.
EIGHTH.
162
00:08:32,188 --> 00:08:34,658
YOU'RE LIVING IN THE SAME
APARTMENT FOR 15 YEARS.
163
00:08:34,691 --> 00:08:37,327
YOU DRIVE A 10-YEAR-OLD CAR.
YOU ARE NOT GOOD WITH CHANGE.
164
00:08:37,360 --> 00:08:39,996
THAT USED TO BE TRUE,
BUT I CHANGED.
165
00:08:40,030 --> 00:08:41,832
YOU'RE FIRED.
166
00:08:41,865 --> 00:08:45,636
WHAT, BECAUSE I--
I YELLED AT YOU?
IT'S TIME FOR A CHANGE.
167
00:08:45,669 --> 00:08:48,772
(Jesse) AS AN AUDIENCE MEMBER,
WE KNOW THESE CHARACTERS
168
00:08:48,805 --> 00:08:51,942
AND TO SEE THEM PLACED
IN THEIR INDIVIDUAL SITUATIONS
169
00:08:51,975 --> 00:08:53,944
AND THEIR--THEIR QUIRKS
170
00:08:53,977 --> 00:08:57,013
AND, UH, YOU KNOW, THEIR
PERSONALITIES COME THROUGH.
171
00:08:57,047 --> 00:08:58,882
HAVE YOU EVEN INTERVIEWED
ANYBODY?
172
00:08:58,915 --> 00:09:00,951
YOU TEST-DRIVE A CAR
BEFORE YOU BUY IT.
173
00:09:00,984 --> 00:09:02,385
YOU HAVE SEX
BEFORE YOU GET MARRIED.
174
00:09:02,418 --> 00:09:04,354
I CAN'T HIRE A TEAM BASED
ON A 10-MINUTE INTERVIEW.
175
00:09:04,387 --> 00:09:06,056
WHAT IF I DON'T LIKE
HAVING SEX WITH 'EM?
176
00:09:06,089 --> 00:09:08,058
(plays guitar)
177
00:09:08,091 --> 00:09:10,761
I LOVE IT. I THINK--I ENJOY
THE HUMOR OF OUR WRITERS.
178
00:09:10,794 --> 00:09:12,696
I MEAN, THEY ARE SO CLEVER.
179
00:09:12,729 --> 00:09:14,297
AND JUST WHAT WE
GET AWAY WITH SOMETIMES--
180
00:09:14,330 --> 00:09:23,039
IT'S HILARIOUS.
181
00:09:23,073 --> 00:09:25,341
EVERY SHIP HAS ITS ENGINE ROOM.
182
00:09:25,375 --> 00:09:27,644
EVERY RESTAURANT
HAS ITS KITCHEN.
183
00:09:27,678 --> 00:09:30,080
AND EVERY TV SHOW HAS PEOPLE--
184
00:09:30,113 --> 00:09:33,116
I DON'T KNOW WHAT THEY DO.
185
00:09:33,149 --> 00:09:36,052
WHAT DO YOU DO IN HERE?
I MAKE THE TRAINS
RUN ON TIME.
186
00:09:36,086 --> 00:09:37,387
EVERY RULE GETS FOLLOWED.
YEAH, THEY'RE APPARENT.
187
00:09:37,420 --> 00:09:40,657
EVERY RULE IS FOLLOWED.
188
00:09:40,691 --> 00:09:42,659
YOU HAVE TO, UM, YOU KNOW,
BE INVENTIVE
189
00:09:42,693 --> 00:09:44,394
TO MAKE IT WORK.
LIKE, WHEN WE DID
190
00:09:44,427 --> 00:09:46,663
THE COAST GUARD RESCUE
AT SEA...
191
00:09:46,697 --> 00:09:48,331
UNBELIEVABLE.
ONE OF OUR PEOPLE
192
00:09:48,364 --> 00:09:51,034
THOUGHT THAT WE HAD
TO BRING IN A REAL HELICOPTER
193
00:09:51,067 --> 00:09:54,037
OVER THE TANK IN PACOIMA,
BUT THAT WAS A PROCESS.
194
00:09:54,070 --> 00:09:56,740
IT'S GETTING--
YOU'RE SPOILING
THE MAGIC, MARCY.
195
00:09:56,773 --> 00:09:58,875
(knocks on door)
THAT'S MORE INVOICES
196
00:09:58,909 --> 00:10:00,744
THAN I'VE EVEN SEEN
IN MY LIFE,
197
00:10:00,777 --> 00:10:02,412
NEVER MIND GONE THROUGH
FOR A SINGLE SHOW.
198
00:10:02,445 --> 00:10:05,682
(knocking)
199
00:10:05,716 --> 00:10:07,350
IT SAYS
"PRODUCTION DESIGNER."
200
00:10:07,383 --> 00:10:09,686
WHAT IT MEANS IS,
UH, GENIUS.
201
00:10:11,221 --> 00:10:15,959
BEHIND SETS LIKE THESE
202
00:10:15,992 --> 00:10:17,828
ARE PEOPLE LIKE THEM.
203
00:10:17,928 --> 00:10:19,262
WHAT DO YOU THINK
WAS YOUR BIGGEST, UH,
204
00:10:19,295 --> 00:10:22,799
THE BIGGEST CHALLENGE?
MAYFIELD WAS PROBABLY
THE MOST FUN, I THINK.
205
00:10:22,833 --> 00:10:25,301
YOU SORT OF BUILT
A WING OF A HOSPITAL.
YEAH.
206
00:10:25,335 --> 00:10:28,371
...YOU'RE SAYING.
RIGHT. WE DID A WHOLE WORLD.
WE DID THE EXTERIOR.
207
00:10:28,404 --> 00:10:30,707
WE DID THE INTERIOR.
THAT WAS FUN.
YEAH.
208
00:10:30,741 --> 00:10:33,209
"'BROKEN'--SCENE 53.
209
00:10:33,243 --> 00:10:35,879
"INTERIOR.
E.R. WAITING ROOM--NIGHT.
210
00:10:35,912 --> 00:10:38,281
"START ON HOUSE
AS HE SITS IN A CHAIR ALONE
211
00:10:38,314 --> 00:10:39,783
"STARING INTO SPACE,
212
00:10:39,816 --> 00:10:43,419
"HOLDING FREEDOM MASTER'S
BLOOD-SPECKLED JACKET.
213
00:10:43,453 --> 00:10:46,389
OFFSCREEN..."
(Nolan) HE'S LUCKY
TO BE ALIVE.
214
00:10:48,458 --> 00:10:50,761
YOU DON'T CARE
ABOUT ANYTHING, HOUSE.
215
00:10:52,896 --> 00:10:54,898
I'M TRANSFERRING YOU
TO WINSLOW PSYCHIATRIC.
216
00:10:54,931 --> 00:10:57,067
YOU'LL HAVE BETTER LUCK PULLING
THE WOOL OVER THEIR EYES.
217
00:10:57,100 --> 00:10:58,434
I'M DONE.
218
00:10:59,903 --> 00:11:01,437
DON'T.
219
00:11:04,074 --> 00:11:05,508
I NEED HELP.
220
00:11:05,541 --> 00:11:07,510
WE'RE ALL WORRIED
MY HERO, HOUSE,
221
00:11:07,543 --> 00:11:09,212
IS, YOU KNOW, IN TROUBLE,
222
00:11:09,245 --> 00:11:11,281
AND HE'S GOING
TO A PSYCHIATRIC HOSPITAL.
223
00:11:11,314 --> 00:11:13,817
AND YOU SHOULD ALSO WELCOME
GREG TO THE FLOOR.
224
00:11:13,850 --> 00:11:16,286
DON'T WORRY ABOUT THE NAME.
JUST PASSING THROUGH.
225
00:11:16,319 --> 00:11:18,421
(Hugh) I LOVE "BROKEN."
I THINK IT GAVE THE WHOLE--
226
00:11:18,454 --> 00:11:21,291
NOT JUST THE SEASON,
BUT THE WHOLE SIX YEARS--
227
00:11:21,324 --> 00:11:24,094
IT GAVE THAT A SORT OF SHAPE
AND A MEANING
228
00:11:24,127 --> 00:11:26,096
AND, UH, A KIND OF TRUTH.
229
00:11:26,129 --> 00:11:29,766
I-I, UH, YES.
YEAH, A KIND OF TRUTH.
230
00:11:29,800 --> 00:11:32,302
DON'T WANT TO BREAK
ANY HEARTS.
231
00:11:32,335 --> 00:11:34,771
CAN WE GO OUTSIDE?
(man) WE BUILT
AN ENTIRE MENTAL FACILITY.
232
00:11:34,805 --> 00:11:37,941
(man) OKAY.
HE'S THE CLAUSTROPHOBIC ONE,
RIGHT?
233
00:11:37,974 --> 00:11:40,010
WE CONSTRUCTED A SLAVE SHIP.
234
00:11:40,043 --> 00:11:42,445
AS THE SHOW GOT MORE SUCCESSFUL,
235
00:11:42,478 --> 00:11:44,447
IT SEEMED LIKE WE BUILT
A LOT MORE.
236
00:11:44,480 --> 00:11:48,184
WE PROVIDED WORK
FOR REALLY THOUSANDS OF PEOPLE
237
00:11:48,218 --> 00:11:51,321
IN THE SEVEN YEARS
THAT I'VE BEEN HERE.
238
00:11:51,354 --> 00:11:53,824
IT'S MADE A LOT OF PEOPLE
VERY HAPPY.
239
00:11:56,526 --> 00:11:59,529
(violin playing)
240
00:12:02,032 --> 00:12:06,236
AND, LO, THE SETS WERE GOOD.
241
00:12:06,269 --> 00:12:09,072
THIS IS JESSE'S LAST TIME
HE EVER WEARS THIS.
242
00:12:09,105 --> 00:12:10,941
IT IS THE LAST TIME
I EVER WEAR IT. LOOK.
(woman) YEAH, THIS IS--
243
00:12:10,974 --> 00:12:13,476
THAT'S ME
WHEN I WAS--YEAH.
JESSE WAS 12,
AND NOW HE'S 19.
244
00:12:13,509 --> 00:12:15,846
YOU LOOK GREAT, PETER.
245
00:12:15,879 --> 00:12:18,348
DON'T LET THE FANS TELL YOU
YOU DON'T.
246
00:12:18,381 --> 00:12:20,550
THE DIFFERENCE IS THAT
I ACTUALLY LOOK LIKE A DOCTOR.
247
00:12:20,583 --> 00:12:22,418
(Peter) NOW WHOSE BLOOD
IS IT, REALLY?
248
00:12:22,452 --> 00:12:24,554
(Jesse)
O, A-NEGATIVE...
(man) IT'S MOSTLY
FOOD COLORING...
249
00:12:24,587 --> 00:12:26,957
AND POSITIVE.
AND, UH, CORN SYRUP.
250
00:12:26,990 --> 00:12:29,960
(Chase) HOW LONG DO YOU THINK
YOU'LL WORK FOR HOUSE?
251
00:12:29,993 --> 00:12:31,394
AS LONG AS HE LETS ME.
252
00:12:31,427 --> 00:12:34,030
(man) ALL OUR INSTRUMENTS
ARE BASICALLY REAL,
253
00:12:34,064 --> 00:12:37,467
BUT AS YOU CAN SEE,
WE HAVE TONS AND TONS OF...
254
00:12:37,500 --> 00:12:39,202
AY-YI-YI-YI-
YI-YI-YI-YI.
AY-YI-YI.
255
00:12:39,235 --> 00:12:40,971
THAT COME OUT.
256
00:12:41,004 --> 00:12:42,438
LOOK AT IT.
GOD, IT'S ENDLESS.
257
00:12:42,472 --> 00:12:44,875
(man) AND CUT.
GREAT, PETER. YOU HAPPY?
(Peter) YEP.
258
00:12:44,908 --> 00:12:46,209
OH, GOOD.
(man) ALL RIGHT,
CUTTING.
259
00:12:46,242 --> 00:12:49,212
I'M GONNA MISS SURGERY
AND JEFFREY...
260
00:12:49,245 --> 00:12:51,447
THIS IS
YOUR LAST SURGERY.
THIS IS
MY LAST SURGERY.
261
00:12:51,481 --> 00:12:53,483
(Foreman) SLOW THE HEART DOWN
SO IT DOESN'T--
262
00:12:53,516 --> 00:12:55,585
(Chase) DAMN. CLAMP.
THE LEAK IS TOO FAST.
263
00:12:55,618 --> 00:12:57,888
NO, IT'S NOT.
WE CAN FIX THIS.
264
00:12:57,921 --> 00:13:00,056
(monitor beeping)
265
00:13:00,090 --> 00:13:02,225
(sustained tone)
266
00:13:02,258 --> 00:13:05,161
IT WORKED.
(heart beating)
267
00:13:05,195 --> 00:13:07,630
OMAR, IN MY OPINION,
ON THE SHOW HE HAS TAKEN
268
00:13:07,663 --> 00:13:09,465
THE WORST...
(Jesse) YES, HE HAS
TAKEN IT THE WORST.
269
00:13:09,499 --> 00:13:11,467
HAVING THE EXPLODING
COLON...
WHY IS THAT?
270
00:13:11,501 --> 00:13:14,504
(Peter)
I REMEMBER THAT.
BECAUSE HE'S SUCH
A TENSE CHARACTER.
271
00:13:14,537 --> 00:13:16,973
(man) MAYBE A LITTLE
MORE PRESSURE.
272
00:13:17,007 --> 00:13:19,242
NOT TOO MUCH.
IF IT IS THE END AND WE--
273
00:13:21,544 --> 00:13:25,215
(man) YEAH, LET'S DO
THE HIGH FIVE.
(imitates whip crack)
274
00:13:25,248 --> 00:13:29,019
WELL, YOU'RE WRONG, AND--
275
00:13:29,052 --> 00:13:32,255
EITHER YOU'RE RIGHT,
AND YOUR FRIEND IS...
276
00:13:32,288 --> 00:13:33,556
(man)
WE RECORD IT ON THE DAY.
277
00:13:33,589 --> 00:13:35,491
WE KNOW RIGHT AWAY
IT'S GOING TO A.D.R.
278
00:13:35,525 --> 00:13:37,894
HE SEES IT. HE SEES IT.
HE SEES IT.
279
00:13:37,928 --> 00:13:40,130
WE HOPE THAT PETER
GETS IT.
HE SEES IT.
280
00:13:43,366 --> 00:13:44,634
HE SEES IT!
281
00:13:44,667 --> 00:13:46,502
DID YOU GET ANYTHING THERE
THAT'LL WORK?
282
00:13:46,536 --> 00:13:48,538
(man) I THINK ONE
AND TWO...
ONE AND TWO WORK.
283
00:13:48,571 --> 00:13:51,007
MAY BE THE LONE WOLF ON SET.
HE GETS LEFT OUT.
284
00:13:51,041 --> 00:13:52,508
SO WE INVITE HIM IN HERE
AS MUCH AS POSSIBLE
285
00:13:52,542 --> 00:13:54,945
SO HE FEELS AT HOME.
I'VE ALWAYS
BEEN SURPRISED
286
00:13:54,978 --> 00:13:58,414
AT JUST HOW SMOOTHLY
AND RESPECTFULLY
287
00:13:58,448 --> 00:14:00,650
YOU GUYS
ALL WORK TOGETHER.
288
00:14:00,683 --> 00:14:02,618
IT'S PRETTY UNBELIEVABLE.
IT REALLY IS AMAZING.
289
00:14:02,652 --> 00:14:05,121
'CAUSE THE ACTORS
HATE EACH OTHER.
290
00:14:05,155 --> 00:14:07,257
SAY THE LINE.
SAY THE LINE.
291
00:14:07,290 --> 00:14:09,926
YOU KNOW, TO BE HONEST,
IT'S KIND OF NICE
292
00:14:09,960 --> 00:14:12,328
WALKING INTO A HAIR
AND MAKEUP TRAILER
293
00:14:12,362 --> 00:14:14,464
AND KNOWING THAT YOU'RE
GONNA GET MADE UP,
294
00:14:14,497 --> 00:14:16,066
AND YOU DON'T HAVE
TO DO A THING.
295
00:14:16,099 --> 00:14:18,068
YOU JUST SIT IN THAT CHAIR,
RELAX,
296
00:14:18,101 --> 00:14:21,037
AND LET MARIANNA
DO HER WORK.
297
00:14:21,071 --> 00:14:23,306
THEY'RE SO GREAT.
(Odette)
TALK ABOUT CHARLYNE.
298
00:14:23,339 --> 00:14:25,675
CHARLYNE'S THE TROUBLEMAKER
OF THE TRAILER.
YES.
299
00:14:25,708 --> 00:14:27,677
THE GIRLS ARE IN HERE.
IT'S VERY CALM.
300
00:14:27,710 --> 00:14:29,679
IT'S A CALM ENVIRONMENT
UNTIL THE GUYS GET IN HERE,
301
00:14:29,712 --> 00:14:31,681
AND THEN ALL OF 'EM
COME IN AT ONCE,
302
00:14:31,714 --> 00:14:33,516
AND THEN IT'S SORT OF NUTS.
303
00:14:33,549 --> 00:14:36,352
I'D LIKE TO BE ABLE
TO JUST SIT BACK AND DO SUDOKU
304
00:14:36,386 --> 00:14:38,521
AND BE AS QUIET AS OMAR,
305
00:14:38,554 --> 00:14:40,490
BUT I-IT'S JUST
NOT IN MY NATURE.
306
00:14:40,523 --> 00:14:43,526
AND I'M GONNA MISS,
YOU KNOW, JESSE AND, UH,
307
00:14:43,559 --> 00:14:45,195
JESSE WAS ALWAYS
REALLY WILLING
308
00:14:45,228 --> 00:14:47,197
TO--TO KIBBUTZ
ALONG WITH ME.
309
00:14:47,230 --> 00:14:49,365
DO YOU KNOW HOW TO--DO YOU
KNOW WHAT "KIBBUTZING" MEANS?
310
00:14:49,399 --> 00:14:52,468
YES.
YEAH. I LIKE TO KIBBUTZ
IN THE MAKEUP TRAILER.
311
00:14:56,472 --> 00:14:58,108
(Odette) EVERYBODY
GETS ALONG VERY WELL.
312
00:14:58,141 --> 00:14:59,575
IT'S VERY MUCH LIKE A FAMILY.
313
00:14:59,609 --> 00:15:01,544
I MEAN, AFTER ALL,
WE ARE SPENDING
314
00:15:01,577 --> 00:15:05,381
MORE TIME WITH OUR CREW
AND OUR CAST
315
00:15:05,415 --> 00:15:08,318
AND EVERYBODY IN PRODUCTION
MORE THAN OUR FAMILIES.
316
00:15:08,351 --> 00:15:12,122
SO IT'S A GOOD THING
WE GET ALONG.
317
00:15:12,155 --> 00:15:15,758
YOU HANG OUT A--MUCH LONGER
THAN YOU NEED TO BE IN HERE FOR.
318
00:15:15,791 --> 00:15:17,693
I MEAN, YOU--
YOU ACTUALLY LIKE US.
(Charlyne)
IT'S 'CAUSE I'M LONELY.
319
00:15:17,727 --> 00:15:20,030
IT'S 'CAUSE I'M SAD
AND LONELY.
OH, YEAH,
THERE'S THAT.
320
00:15:22,732 --> 00:15:25,701
FIRST THING WE'RE GONNA SHOOT
IS WITH OUR REAL ACTORS,
321
00:15:25,735 --> 00:15:27,637
WITH CHARLYNE FOR SURE.
322
00:15:27,670 --> 00:15:29,605
THEN THE STUNT PEOPLE
WILL TAKE OVER.
323
00:15:29,639 --> 00:15:31,707
(man) THREE, TWO, ONE,
ACTION.
324
00:15:31,741 --> 00:15:37,780
EFFECTS IS HOT.
HERE WE GO.
ACTION.
325
00:15:37,813 --> 00:15:39,282
IT WAS, LIKE,
NOT A BIG DEAL, RIGHT?
326
00:15:39,315 --> 00:15:42,318
YEAH, IT WAS TOTALLY NOT
A BIG DEAL. LIKE, WHATEVER.
IT WAS TOTALLY FINE.
327
00:15:42,352 --> 00:15:44,154
I HAVE FIVE DAYS LEFT.
328
00:15:44,187 --> 00:15:46,656
FIVE DAYS, DUDE.
329
00:15:46,689 --> 00:15:48,424
* FIVE, SIX, SEVEN, EIGHT
330
00:15:48,458 --> 00:15:49,692
WELL, ENOUGH
WITH THE PAMPERING.
331
00:15:49,725 --> 00:15:52,362
MAKING ME LOOK GOOD
TAKES REAL WORK.
332
00:15:52,395 --> 00:15:54,564
(Hugh) AND WHAT YOU HAVE
TO DO TO ME IS A TRIFLE
333
00:15:54,597 --> 00:15:57,533
COMPARED TO THESE GUYS.
334
00:15:57,567 --> 00:16:00,036
WHOA!
335
00:16:00,070 --> 00:16:02,672
STABBED, SHOT,
336
00:16:02,705 --> 00:16:06,109
ELECTROCUTED...
DR. HOUSE!
337
00:16:06,142 --> 00:16:08,711
POISONED, OVERDOSED,
338
00:16:08,744 --> 00:16:10,246
CARDIAC ARREST,
339
00:16:10,280 --> 00:16:13,249
LEG SURGERY--SELF-ADMINISTERED.
I DIED FOR A WHILE.
340
00:16:13,283 --> 00:16:15,451
OH, MY GOD,
HIS BLOOD PRESSURE IS DROPPING.
341
00:16:15,485 --> 00:16:17,753
(flatline tone)
SOMETIMES
THEY JUST DON'T MAKE IT.
342
00:16:19,622 --> 00:16:21,191
IT MAY LOOK RELAXED,
343
00:16:21,224 --> 00:16:22,558
BUT THESE FELLOWS
HAVE BEEN WORKING
344
00:16:22,592 --> 00:16:24,294
SINCE ABOUT 4:00
IN THE MORNING,
345
00:16:24,327 --> 00:16:27,097
AND THEY HAVE POWER TOOLS.
346
00:16:27,130 --> 00:16:29,499
ALL SET.
(Hugh) "COME FLY 'HOUSE'"
WASN'T IT?
347
00:16:31,601 --> 00:16:34,737
TELL ME
WHAT THAT SIGN MEANS.
THIS MEANS
IT'S ACTING TIME.
348
00:16:34,770 --> 00:16:37,607
(man) AND... ACTION.
349
00:16:37,640 --> 00:16:39,742
'CAUSE THE ONLY CAGE I SEE
IS RIGHT THERE.
350
00:16:42,512 --> 00:16:45,115
(Hugh) THOUGHTS, GARY?
THREE DAYS TO GO.
351
00:16:45,148 --> 00:16:47,483
A LOOK BACK,
POIGNANT MEMORIES?
352
00:16:47,517 --> 00:16:50,620
I LOOK FORWARD TO THREE
REALLY, UH, BUSY DAYS...
353
00:16:50,653 --> 00:16:52,622
YEAH.
AND A QUALITY
FINAL EPISODE
354
00:16:52,655 --> 00:16:55,658
AND A HANDSHAKE AND A HUG
AND A GOOD-BYE
355
00:16:55,691 --> 00:16:57,760
AND A "GOOD LUCK."
356
00:16:57,793 --> 00:17:01,531
THIS IS HOW
WE CONTROL THE CROWDS.
357
00:17:01,564 --> 00:17:04,834
THEY CAN EITHER READ THE WORDS,
OR YOU CAN HIT THEM WITH IT.
358
00:17:04,867 --> 00:17:08,471
***
359
00:17:13,509 --> 00:17:15,645
(man) $5 FRIDAY FOLKS,
STEP ON UP AND TUCK A BUCK.
360
00:17:15,678 --> 00:17:18,748
IT COULD BE
YOUR LUCKY DAY, BROTHER!
361
00:17:18,781 --> 00:17:21,351
I THINK NEXT, WE CAN--
WE'LL DO THIS SECTION FIRST.
362
00:17:24,254 --> 00:17:26,522
EVEN BEFORE THE DIRECTOR
STARTS PLACING THE SHOTS
363
00:17:26,556 --> 00:17:28,524
OR WHATEVER,
THE CREW'S ALREADY OUT.
364
00:17:28,558 --> 00:17:30,560
* GO ON, SUGAR
365
00:17:30,593 --> 00:17:32,562
* AND MOVE ON DOWN THE ROAD
366
00:17:32,595 --> 00:17:34,197
(Hugh) WHAT DO YOUR FRIENDS
THINK YOU DO DURING THE DAY?
367
00:17:34,230 --> 00:17:35,865
DO YOU TELL 'EM YOU WORK
ON SOMETHING ELSE?
368
00:17:37,700 --> 00:17:39,602
WE SPEND A LOT OF TIME HERE,
AND WE LIKE TO HAVE FUN,
369
00:17:39,635 --> 00:17:43,373
SO...
YEAH, WE HAVE A LOT OF FUN
ON THE SET.
370
00:17:43,406 --> 00:17:45,375
ALL RIGHT,
SO, LADIES AND GENTLEMEN,
371
00:17:45,408 --> 00:17:48,544
OUR FINAL $5 FRIDAY
ON "HOUSE."
372
00:17:48,578 --> 00:17:52,215
$2,865.
373
00:17:52,248 --> 00:17:54,750
I WANT TO THANK EVERYBODY
FOR PARTICIPATING.
374
00:17:57,520 --> 00:17:59,789
GOD, THE PRESSURE.
375
00:18:06,462 --> 00:18:09,365
RON--
RON, DREW, AND CHRISTINE!
(cheers and applause)
376
00:18:09,399 --> 00:18:11,534
RON, DREW, AND CHRISTINE!
377
00:18:11,567 --> 00:18:14,770
HECK, YEAH! THANK YOU
VERY MUCH, EVERYBODY!
378
00:18:14,804 --> 00:18:16,506
BRAVO.
I LOVE YOU ALL!
379
00:18:16,539 --> 00:18:26,582
***
380
00:18:26,582 --> 00:18:37,927
***
381
00:18:37,960 --> 00:18:39,962
HOUSE AS A CHARACTER
382
00:18:39,995 --> 00:18:42,932
IS A STRONG CUP OF COFFEE.
383
00:18:42,965 --> 00:18:45,668
EVERY NOW AND THEN,
HE COMES UNDER ATTACK.
384
00:18:49,239 --> 00:18:50,840
YOU ARE HUGH LAURIE.
I AM.
385
00:18:50,873 --> 00:18:52,908
YOU PORTRAY THE CHARACTER
DR. GREGORY HOUSE.
386
00:18:52,942 --> 00:18:55,445
I DO/DID.
387
00:18:55,478 --> 00:18:57,780
YOU'RE ENGLISH.
I AM ENGLISH, YES.
388
00:18:57,813 --> 00:18:59,315
I'M A CITIZEN
OF THE UNITED KINGDOM,
389
00:18:59,349 --> 00:19:03,219
A SUBJECT OF HER MAJESTY
QUEEN ELIZABETH II.
390
00:19:03,253 --> 00:19:05,721
HEY. WE'RE WONDERING IF YOU
CAN CLARIFY A FEW THINGS
391
00:19:05,755 --> 00:19:08,491
ABOUT THIS CHARACTER,
ABOUT HIS PERSONALITY,
392
00:19:08,524 --> 00:19:10,526
ABOUT HIS METHODS.
I'LL DO MY BEST.
393
00:19:10,560 --> 00:19:14,830
I CAN GIVE YOU
SOME EXAMPLES.
I'D LIKE TO HEAR THEM
FROM YOUR MOUTH, YES.
394
00:19:16,866 --> 00:19:19,869
FRANKLY, SOMETIMES HE JUST SEEMS
LIKE HE'S BEING MEAN.
395
00:19:23,606 --> 00:19:26,376
WHAT ARE YOU LOOKING AT?
APPARENTLY A MORON.
396
00:19:27,777 --> 00:19:30,313
YOU'RE A MORON.
397
00:19:30,346 --> 00:19:32,382
UH... (chuckles)
398
00:19:32,415 --> 00:19:33,949
CHICAGO
HAS A GREAT PROGRAM,
399
00:19:33,983 --> 00:19:36,752
AND YOU'RE A DUMB-ASS.
400
00:19:36,786 --> 00:19:38,554
WAS THERE A POINT TO THAT,
DO YOU THINK?
401
00:19:38,588 --> 00:19:40,523
WELL...
402
00:19:43,393 --> 00:19:45,361
YES. SORRY.
403
00:19:45,395 --> 00:19:47,397
STUCK A THERMOMETER UP
DETECTIVE TRITTER'S REAR END.
404
00:19:47,430 --> 00:19:49,565
ANUS.
OH!
405
00:19:49,599 --> 00:19:50,866
AND HIS HIRING PRACTICES
406
00:19:50,900 --> 00:19:54,337
ARE NOT MUCH MORE
THAN AN OPPORTUNITY TO MOCK.
407
00:19:54,370 --> 00:19:58,308
GOOD. THEN CAN WE DO
A SECRET SANTA?
408
00:19:58,341 --> 00:19:59,942
I LIKED YOU BETTER
15 SECONDS AGO
409
00:19:59,975 --> 00:20:01,877
WHEN YOU WERE AFRAID
FOR YOUR JOB.
410
00:20:01,911 --> 00:20:05,014
IF PEOPLE FIND THESE
WORKING CONDITIONS INTOLERABLE,
411
00:20:05,047 --> 00:20:06,449
THEY'RE FREE TO LEAVE.
412
00:20:06,482 --> 00:20:08,684
THEY CAN SUBMIT
THEIR NOTICE,
413
00:20:08,718 --> 00:20:10,786
AND OCCASIONALLY
SOME OF THEM DO.
I DIDN'T FAIL.
YOU FIRED ME.
414
00:20:10,820 --> 00:20:13,756
REPEATEDLY.
BUT IF YOU WALK AWAY NOW,
AFTER I JUST REHIRED YOU,
415
00:20:13,789 --> 00:20:15,925
THAT'S QUITTING.
416
00:20:15,958 --> 00:20:17,927
(Hugh)
I LOVE THE WORLD OF "HOUSE."
417
00:20:17,960 --> 00:20:20,696
IT CAN GO
FROM THE BROADLY COMIC
418
00:20:20,730 --> 00:20:23,433
TO THE ANGRY SATIRE
419
00:20:23,466 --> 00:20:26,001
TO THE SORT OF
GUT-WRENCHING TRAGEDY
420
00:20:26,035 --> 00:20:27,870
TO A HORROR MOVIE,
421
00:20:27,903 --> 00:20:29,539
UM, IN THE SPACE OF SECONDS.
422
00:20:29,572 --> 00:20:31,574
(helicopter whirring)
423
00:20:45,120 --> 00:20:47,523
CAN ANYBODY HEAR ME?
424
00:20:49,592 --> 00:20:51,861
"INTERIOR. THE HOLE--
NIGHT.
425
00:20:51,894 --> 00:20:55,565
"CUDDY, FIELD AMPUTATION KIT
AT HER SIDE,
426
00:20:55,598 --> 00:20:57,900
"IS TALKING
TO INTRANSIGENT HANNA.
427
00:20:57,933 --> 00:21:00,035
"HER ANGIOCATH
HAS BEEN REMOVED.
428
00:21:00,069 --> 00:21:02,738
"HANNA.
'NO. DR. HOUSE PROMISED.'
429
00:21:02,772 --> 00:21:04,774
CUDDY.
'IF THERE WAS...'"
IF THERE WAS
ANY OTHER WAY...
430
00:21:04,807 --> 00:21:07,977
IT DOESN'T HURT RIGHT NOW.
I CAN WAIT.
431
00:21:08,010 --> 00:21:10,380
(man) IT WAS AN ENORMOUSLY
TIGHT SPACE.
432
00:21:10,413 --> 00:21:12,382
THERE WAS ABOUT 18 INCHES
OF ACTUAL SET.
433
00:21:12,415 --> 00:21:14,984
SO IF YOU'RE IN THERE, YOU HAVE
TO CRAWL AROUND ON YOUR BELLY.
434
00:21:15,017 --> 00:21:17,353
YOU HAVE TO ACT
IN THE ACTUAL SPACE.
435
00:21:17,387 --> 00:21:18,654
IT'S NOT MADE ANY BIGGER
FOR CAMERA.
436
00:21:18,688 --> 00:21:21,357
WE REALLY WANTED TO BE
INSIDE HUGH'S HEAD.
437
00:21:21,391 --> 00:21:23,559
THIS SHALLOW DEPTH OF FIELD--
IT'S QUITE STUNNING.
438
00:21:23,593 --> 00:21:25,895
THE FOCUS WAS
UNBELIEVABLY DIFFICULT
439
00:21:25,928 --> 00:21:28,063
FOR OUR ASSISTANT CAMERAMAN.
440
00:21:28,097 --> 00:21:29,932
SOMETIMES WE'RE DEALING
WITH LITERALLY FOCUS,
441
00:21:29,965 --> 00:21:32,001
YOU KNOW, OF HALF AN INCH.
442
00:21:32,034 --> 00:21:34,136
LITERALLY, IF YOU JUST BREATHE
WITH THE CAMERA,
443
00:21:34,169 --> 00:21:36,105
YOU'RE SOFT IN YOUR SHOT.
YOU'RE SOFT.
444
00:21:36,138 --> 00:21:37,973
(man) WE TOOK THAT CAMERA
445
00:21:38,007 --> 00:21:40,510
AND PUT IT WHERE IT
HAD NEVER BEEN BEFORE.
446
00:21:40,543 --> 00:21:41,677
WHAT WE SHOT...
447
00:21:41,711 --> 00:21:43,746
RIGHT. YEAH.
IN A WHOLE SHOW
448
00:21:43,779 --> 00:21:46,616
FORCED US TO REALLY THINK
OUT OF THE BOX.
449
00:21:46,649 --> 00:21:48,718
(man) AND I WAS
UNCHARACTERISTICALLY EMOTIONAL
450
00:21:48,751 --> 00:21:50,085
WHEN WE WERE SHOOTING,
451
00:21:50,119 --> 00:21:51,954
BECAUSE THE SCENE ITSELF
IS HEARTBREAKING,
452
00:21:51,987 --> 00:21:54,624
AND THE CHARACTERS DEVASTATED ME
IN THAT SCENE.
453
00:21:54,657 --> 00:21:57,827
I ALWAYS THOUGHT
454
00:21:57,860 --> 00:21:59,829
IF I DID THE RIGHT THING,
455
00:21:59,862 --> 00:22:01,764
IF I TREATED PEOPLE RIGHT,
456
00:22:01,797 --> 00:22:03,799
THEN GOOD THINGS
WOULD HAPPEN TO ME.
457
00:22:05,968 --> 00:22:07,970
YOU THINK
THAT'S HOW IT WORKS?
458
00:22:09,872 --> 00:22:11,941
I THINK IT USED TO.
459
00:22:11,974 --> 00:22:13,843
NOW I DON'T KNOW.
460
00:22:13,876 --> 00:22:15,445
I LOVE THE WEEK-TO-WEEK
OF THE SHOW,
461
00:22:15,478 --> 00:22:17,547
BUT I REALLY WANT TO KNOW
WHAT THIS GUY IS ABOUT.
462
00:22:17,580 --> 00:22:19,148
I WANT TO KNOW
LISA CUDDY BETTER.
463
00:22:19,181 --> 00:22:21,584
I WANT TO KNOW
WHO THESE PEOPLE ARE,
464
00:22:21,617 --> 00:22:23,586
AND I WANT TO KNOW WHAT
THEY'RE LIKE IN SITUATIONS
465
00:22:23,619 --> 00:22:25,988
WHEN THEY'RE TAKEN OUTSIDE
THEIR EVERYDAY ENVIRONMENT.
466
00:22:26,021 --> 00:22:29,124
(breathing heavily)
467
00:22:29,158 --> 00:22:32,962
WHAT?
IT'S NOT A CLOT.
468
00:22:32,995 --> 00:22:35,831
IT'S A FAT EMBOLISM
469
00:22:35,865 --> 00:22:38,868
FROM THE AMPUTATION.
WHAT CAN WE DO?
470
00:22:38,901 --> 00:22:40,570
DO SOMETHING. PLEASE.
PLEASE, DO SOMETHING.
471
00:22:40,603 --> 00:22:43,573
PLEASE, COME ON, DO SOMETHING!
472
00:22:43,606 --> 00:22:46,642
(Foreman)
THIS WASN'T YOUR FAULT.
THAT'S THE POINT!
473
00:22:46,676 --> 00:22:49,479
I DID EVERYTHING RIGHT.
SHE DIED ANYWAY.
474
00:22:49,512 --> 00:22:51,847
WHY THE HELL DO YOU THINK THAT
WOULD MAKE ME FEEL ANY BETTER?
475
00:22:59,221 --> 00:23:02,191
YOU THINK
I CAN FIX MYSELF?
476
00:23:02,224 --> 00:23:03,859
I DON'T KNOW.
477
00:23:06,762 --> 00:23:09,198
'CAUSE I'M THE MOST SCREWED-UP
PERSON IN THE WORLD.
478
00:23:09,231 --> 00:23:11,200
I KNOW.
479
00:23:11,233 --> 00:23:12,935
I LOVE YOU.
480
00:23:17,507 --> 00:23:20,109
(Hugh) I THINK THIS IS
THE UNENDING CHALLENGE
481
00:23:20,142 --> 00:23:21,977
OF TRYING TO LOVE
SOMEONE LIKE HOUSE.
482
00:23:22,011 --> 00:23:24,113
YOU MAY NOT THINK HIM WORTH
LOVING. I PERSONALLY DO.
483
00:23:24,146 --> 00:23:26,482
I DO LOVE HIM
AND THINK HIM WORTH LOVING.
484
00:23:29,118 --> 00:23:30,920
(House) FIGURE OUT A WAY
TO RESOLVE OUR DIFFERENCES.
485
00:23:30,953 --> 00:23:32,922
THERE ALREADY IS A MECHANISM
FOR THAT.
486
00:23:32,955 --> 00:23:35,157
(laughing) YOU'RE LAUGHING.
STOP.
487
00:23:35,190 --> 00:23:36,726
(Lisa)
THE HOUSE/CUDDY RELATIONSHIP
488
00:23:36,759 --> 00:23:39,061
I'VE ALWAYS THOUGHT
HAD LAYERS TO IT.
489
00:23:39,094 --> 00:23:41,997
I THINK IN THE PILOT IT'S CLEAR
THAT IT HAS A HISTORY.
490
00:23:42,031 --> 00:23:45,868
IT'S 5:00.
I'M GOING HOME.
491
00:23:45,901 --> 00:23:49,138
TO WHAT?
NICE.
492
00:23:49,171 --> 00:23:51,741
TRYING TO CONVINCE
AN INSANE PERSON
493
00:23:51,774 --> 00:23:54,777
NOT TO DO INSANE THINGS
IS IN ITSELF INSANE.
494
00:23:54,810 --> 00:23:57,680
YOU CAN'T STOP OUR LOVE!
495
00:23:57,713 --> 00:24:00,716
(Robert) THE FUN IS IN WATCHING
THEM, UH, STRUGGLE.
NO!
496
00:24:00,750 --> 00:24:03,118
NO. NO!
THE FUN IS WATCHING THEM
STRUGGLE NOT GETTING TOGETHER
497
00:24:03,152 --> 00:24:04,654
OR MAYBE GETTING TOGETHER
498
00:24:04,687 --> 00:24:06,622
OR THINKING
ABOUT GETTING TOGETHER.
499
00:24:06,656 --> 00:24:08,123
ACTUALLY BEING TOGETHER
MIGHT NOT BE MUCH FUN.
500
00:24:08,157 --> 00:24:11,026
PEOPLE WHO GET CLOSE TO YOU
GET HURT. THAT'S A FACT.
501
00:24:11,060 --> 00:24:13,162
I SLEPT WITH CUDDY.
502
00:24:13,195 --> 00:24:15,998
THIS IS FANTASTIC.
HOW ARE YOU GONNA SCREW IT UP?
503
00:24:18,167 --> 00:24:20,269
I FEEL HURT.
504
00:24:20,302 --> 00:24:22,938
IT DIDN'T REALLY NECESSARILY
GET EXPLORED FOR A LONG TIME,
505
00:24:22,972 --> 00:24:25,040
BUT TO ME,
IT WAS ALWAYS THERE.
506
00:24:25,074 --> 00:24:27,610
(woman) YOU DROVE YOUR CAR
INTO YOUR EX-GIRLFRIEND'S HOUSE
507
00:24:27,643 --> 00:24:29,612
AND THEN FLED THE COUNTRY
FOR THREE MONTHS.
508
00:24:29,645 --> 00:24:31,947
(man) ARE YOU SORRY
ABOUT WHAT YOU DID?
(House) YES.
509
00:24:31,981 --> 00:24:33,983
WE NEED YOU
TO SHOW US REMORSE.
510
00:24:34,016 --> 00:24:36,285
IS THAT HOW
OUR SYSTEM WORKS?
511
00:24:36,318 --> 00:24:39,154
RELEASE THE BEST ACTORS?
512
00:24:39,188 --> 00:24:41,791
EVERYONE HAS
A VERY SPECIFIC
513
00:24:41,824 --> 00:24:43,759
AND PERSONAL EXPERIENCE
WITH HOUSE.
514
00:24:43,793 --> 00:24:47,563
PULL MY RIBBON,
IF YOU KNOW WHAT I MEAN.
515
00:24:49,231 --> 00:24:51,233
THAT'S NOT
WHAT I MEANT.
HOUSE.
516
00:24:51,266 --> 00:24:54,637
"'HOUSE'S HEAD.' SCENE 54.
517
00:24:54,670 --> 00:24:56,939
"INTERIOR. BUS. DRIVING--
NIGHT.
518
00:24:56,972 --> 00:24:59,775
"INSIDE HOUSE'S MIND.
"WOMAN IN BLACK. 'HOUSE?'
519
00:24:59,809 --> 00:25:02,244
"THE WOMAN IN BLACK IS THERE
ONCE AGAIN,
520
00:25:02,277 --> 00:25:04,246
"BUT THIS TIME, HER BLACK PANTS
ARE NOW BLUE,
521
00:25:04,279 --> 00:25:06,582
"HER BLACK SHIRT AND JACKET
ARE NOW TAN,
522
00:25:06,616 --> 00:25:08,751
AND HER BLACK SCARF
IS NOW RED."
523
00:25:08,784 --> 00:25:11,186
WHY ARE YOU HERE?
THERE MUST BE A REASON?
524
00:25:11,220 --> 00:25:13,756
YOU HAVE SOMETHING
TO TELL ME.
525
00:25:13,789 --> 00:25:15,925
YES. WHO AM I?
526
00:25:15,958 --> 00:25:17,727
WHY THE GUESSING GAME?
527
00:25:17,760 --> 00:25:20,229
BECAUSE YOU DON'T KNOW
THE ANSWER.
528
00:25:20,262 --> 00:25:22,231
WHAT'S MY NECKLACE
MADE OF?
529
00:25:22,264 --> 00:25:24,166
YOU KNOW THE CLUES.
530
00:25:24,199 --> 00:25:25,935
WHO AM I?
531
00:25:25,968 --> 00:25:28,070
AMBER?
532
00:25:29,304 --> 00:25:32,675
ON THE ONE HAND,
WE HAD A PRACTICAL BUS,
533
00:25:32,708 --> 00:25:35,377
BUT WHEN IT WAS A FLASHBACK
OR AN HALLUCINATION,
534
00:25:35,410 --> 00:25:38,080
THEN IT WAS SURREAL.
535
00:25:38,113 --> 00:25:40,750
AND THEN SUDDENLY,
IT BECOMES REAL AT THE VERY END.
536
00:25:40,783 --> 00:25:44,386
(man) REMOVING
THE SAFETY CLAMPS!
EVERYTHING IN THE PRODUCTION
NEEDED TO BE COORDINATED.
537
00:25:44,419 --> 00:25:47,990
(man) WE REHEARSED THIS STUNT,
YOU KNOW, IN ITS ENTIRETY,
538
00:25:48,023 --> 00:25:50,292
FROM FLIPPING THIS GIMBAL RIG
ALL THE WAY OVER.
539
00:25:50,325 --> 00:25:52,161
AND THEN ONCE WE'VE ELIMINATED
ALL THE VARIABLES
540
00:25:52,194 --> 00:25:54,396
AND KNOW WHERE PEOPLE
ARE GONNA LAND BASICALLY
541
00:25:54,429 --> 00:25:57,032
AND WHAT THEY'RE GONNA NEED
AS FAR AS SAFETY GOES,
542
00:25:57,066 --> 00:25:59,034
I PUT ALL THE ELEMENTS TOGETHER,
543
00:25:59,068 --> 00:26:00,836
AND THEN WE TURNED IT OVER
WITH EVERYBODY.
544
00:26:00,870 --> 00:26:02,838
IN THE VERY ULTIMATE THING
WITH AMBER,
545
00:26:02,872 --> 00:26:06,175
WE HAD BACKGROUND
THAT WAS SHOT PRACTICALLY.
546
00:26:06,208 --> 00:26:09,378
WE ADDED A C.G. DUMP TRUCK
TO THE BACKGROUND.
547
00:26:09,411 --> 00:26:12,147
WE ALSO HAD
OUR SPECIAL EFFECTS PEOPLE
548
00:26:12,181 --> 00:26:15,150
THROWING RUBBER GLASS
THROUGH THE WINDOW.
549
00:26:15,184 --> 00:26:17,252
THROUGH THE USE
OF PHYSICAL MODELS
550
00:26:17,286 --> 00:26:20,055
AND THINGS THAT ARE CREATED
ENTIRELY IN THE COMPUTER,
551
00:26:20,089 --> 00:26:22,057
HE WAS ABLE TO CREATE
THAT WORLD.
552
00:26:22,091 --> 00:26:23,659
(Elan) WE HAD FANS GOING,
553
00:26:23,693 --> 00:26:25,995
LOTS AND LOTS OF BITS
AND PIECES.
554
00:26:26,028 --> 00:26:28,163
(Olivia) THERE'S THAT MOMENT
WHERE AMBER--
555
00:26:28,197 --> 00:26:31,801
IT'S THE POINT OF IMPACT
WHEN THE BUS WAS HIT,
556
00:26:31,834 --> 00:26:33,268
AND HER BODY
GOING FORWARD--
557
00:26:33,302 --> 00:26:35,938
I THOUGHT THAT
WAS EXTRAORDINARY.
558
00:26:45,915 --> 00:26:55,958
***
559
00:26:55,958 --> 00:27:05,868
***
560
00:27:05,901 --> 00:27:09,671
***
561
00:27:20,215 --> 00:27:22,284
GOOD THING I BROUGHT
MY AX CANE.
562
00:27:22,317 --> 00:27:24,987
I'M DAVID SHORE,
AND I'VE DONE 177 EPISODES.
563
00:27:25,020 --> 00:27:27,389
ROBERT SEAN LEONARD.
I PLAY WILSON,
564
00:27:27,422 --> 00:27:30,192
AND, UH, IT'S BEEN
177 EPISODES.
565
00:27:32,061 --> 00:27:35,697
HOUSE.
177 EPISODES.
(laughter)
566
00:27:37,299 --> 00:27:41,503
UH, OMAR EPPS,
FOREMAN PILOT.
(laughter and applause)
567
00:27:41,536 --> 00:27:44,406
UM, 265 EPISODES?
568
00:27:44,439 --> 00:27:46,742
(laughter)
569
00:27:46,776 --> 00:27:50,412
I THINK I'M, LIKE, 98.
21 EPISODES.
570
00:27:50,445 --> 00:27:53,115
(David S.) WE START
THE FINAL EPISODE
571
00:27:53,148 --> 00:27:55,117
ON HOUSE'S FACE,
572
00:27:55,150 --> 00:27:57,086
COMPLETELY PASSED OUT
ON THE FLOOR.
573
00:27:58,888 --> 00:28:03,458
AND AS WE GO TO FRAME,
WE END THE SERIES.
574
00:28:03,492 --> 00:28:05,460
(Hugh) I KNOW
I WAS GRUMPY TODAY.
575
00:28:05,494 --> 00:28:07,462
I WAS JUST TRYING
TO HOLD IT TOGETHER,
576
00:28:07,496 --> 00:28:11,500
BECAUSE THAT WAS A VERY,
VERY EMOTIONAL MOMENT.
577
00:28:11,533 --> 00:28:13,969
WE'D COME RIGHT TO THE END.
578
00:28:22,177 --> 00:28:25,547
DOWNTOWN SOMEWHERE IN L.A.
579
00:28:25,580 --> 00:28:28,183
I HAVE NO CLUE WHERE I'M AT.
580
00:28:30,185 --> 00:28:31,520
THESE ARE THE LAST DAYS.
581
00:28:31,553 --> 00:28:35,224
***
582
00:28:39,895 --> 00:28:42,297
THERE ARE SO MANY
DIFFERENT LAYERS TO THE SHOW.
583
00:28:42,331 --> 00:28:44,266
THERE'S SOUND. THERE'S THE
ACTING. THERE'S THE DIRECTING.
584
00:28:44,299 --> 00:28:46,902
THERE'S THE WRITING.
THERE'S THE CASTING.
585
00:28:46,936 --> 00:28:48,370
THERE'S THE WARDROBE.
THERE'S THE MAKEUP.
586
00:28:48,403 --> 00:28:50,505
THERE'S THE SPECIAL EFFECTS,
SO MANY DIFFERENT COMPONENTS
587
00:28:50,539 --> 00:28:53,208
WORKING TOWARDS A COMMON THEME
588
00:28:53,242 --> 00:28:55,377
IN EVERY FRAME OF THE SHOW.
589
00:28:58,881 --> 00:29:00,482
I AM WEARING PANTS
WITH DOGS ON THEM,
590
00:29:00,515 --> 00:29:03,052
AND THE REASON FOR THAT
IS I'M SICK. I HAVE THE FLU.
591
00:29:06,255 --> 00:29:08,924
I ARRIVED HERE AT 6:30 P.M.,
WHICH IS MY CALL.
592
00:29:08,958 --> 00:29:11,160
I THINK WE'RE SHOOTING
TILL 4:30 A.M.
593
00:29:11,193 --> 00:29:13,495
I'VE GOTTA WORK WITH OMAR,
WHICH ALWAYS MAKES ME
594
00:29:13,528 --> 00:29:15,430
SLIGHTLY SLEEPY,
JUST HIS ACTING STYLE.
595
00:29:15,464 --> 00:29:17,499
(growling)
WE GO TO WAR, BABY.
596
00:29:21,503 --> 00:29:23,405
OUR DEPARTMENT'S
INTERFACED WITH THE PUBLIC.
597
00:29:23,438 --> 00:29:25,474
WE DO SO MUCH PREP WORK
AND SO MUCH GROUNDWORK
598
00:29:25,507 --> 00:29:27,276
EVERYTHING'S
ON A DEADLINE.
IT'S A LOT OF FUN.
599
00:29:27,309 --> 00:29:29,478
12 DIFFERENT DEPARTMENTS
ON TIME, READY TO GO,
600
00:29:29,511 --> 00:29:31,313
WITH EVERY SINGLE PIECE
OF EQUIPMENT.
601
00:29:31,346 --> 00:29:33,148
THEY'RE LIKE THE MARINES.
THEY'RE THE FIRST ONES IN.
602
00:29:33,182 --> 00:29:35,951
SO YOU GUYS LIKE
WHEN WE WRAP EARLY.
OH, YEAH.
603
00:29:35,985 --> 00:29:38,487
(Omar) THAT'S WHAT
IT'S ALL ABOUT.
604
00:29:38,520 --> 00:29:40,455
IF YOU WANT
TO KNOW PEOPLE WELL,
605
00:29:40,489 --> 00:29:42,424
YOU SHOULD SEE THEM
AT 5:00 IN THE MORNING.
606
00:29:42,457 --> 00:29:44,860
YOU'LL EITHER LIKE THEM
MORE OR LESS.
607
00:29:44,894 --> 00:29:47,596
WITH THESE PEOPLE,
IT'S DEFINITELY MORE.
608
00:29:47,629 --> 00:29:49,031
(man) CUT!
609
00:29:49,064 --> 00:29:51,200
(indistinct conversation)
610
00:29:51,233 --> 00:29:53,068
I ONLY WANT TO SAY
AS WE GO
611
00:29:53,102 --> 00:29:54,569
INTO THE LAST SHOW
THAT WE WILL EVER MAKE,
612
00:29:54,603 --> 00:29:55,971
THAT NONE OF US
REALLY GET A CHANCE
613
00:29:56,005 --> 00:29:57,372
TO LOOK EACH OTHER
IN THE EYE AND SAY
614
00:29:57,406 --> 00:29:59,474
"THAT WAS AN INCREDIBLE THING
THAT YOU DID."
615
00:29:59,508 --> 00:30:01,410
THAT THERE WAS A SET
THAT WAS DRAWN ON A MONDAY,
616
00:30:01,443 --> 00:30:03,612
BUILT ON A TUESDAY, AND ACTED ON
ON A WEDNESDAY
617
00:30:03,645 --> 00:30:07,149
IS JUST MIND-BENDING.
THIS SHOW BELONGS
TO ALL OF US,
618
00:30:07,182 --> 00:30:09,885
AND IT'S SOMETHING
I'M EXTRAORDINARILY PROUD OF.
619
00:30:13,989 --> 00:30:16,491
THREE, TWO, ONE!
620
00:30:16,525 --> 00:30:19,428
(cheering)
621
00:30:22,164 --> 00:30:25,434
***
622
00:30:47,422 --> 00:30:51,260
SO THIS IS IT.
HERE'S TO THE LAST DAY.
623
00:30:51,293 --> 00:30:55,664
8 YEARS AND 177 SHOWS.
624
00:30:58,367 --> 00:31:01,270
IT'S ALMOST
5 MILLION MAN-HOURS,
625
00:31:01,303 --> 00:31:05,407
OR IF YOU PREFER,
566.6 YEARS.
626
00:31:05,440 --> 00:31:09,078
4,074 MILES OF FILM.
627
00:31:09,111 --> 00:31:12,047
JUST 1 MORE MILE TO GO.
628
00:31:13,615 --> 00:31:17,052
(multiple voices) ROLLING!
629
00:31:17,086 --> 00:31:19,421
(man) AND ACTION.
I THINK IT'S BECAUSE
ALL OF ME BELIEVES
630
00:31:19,454 --> 00:31:21,957
THAT FOREMAN IS A SUCKER
FOR AN EMOTIONAL PLEA.
631
00:31:21,991 --> 00:31:24,193
CUT.
(exhales)
632
00:31:26,061 --> 00:31:30,065
(man) GOOD.
ALL RIGHT,
THAT'S A WRAP, GUYS!
633
00:31:30,099 --> 00:31:32,567
(cheering)
634
00:31:34,136 --> 00:31:36,271
(man) MR. HUGH LAURIE!
(cheering)
635
00:31:36,305 --> 00:31:39,641
MR. HUGH LAURIE.
636
00:31:48,017 --> 00:31:50,652
MORNING, HUGH.
AND THEY'RE ALL BEING
VERY POLITE TO ME,
637
00:31:50,685 --> 00:31:52,454
BECAUSE I'VE LAID ON A PLANE
638
00:31:52,487 --> 00:31:54,656
FOR OUR VERY LAST TRIP.
639
00:32:02,531 --> 00:32:04,566
IT WAS EITHER THAT
OR NINE HOURS IN A VAN,
640
00:32:04,599 --> 00:32:06,635
AND I THOUGHT, WELL,
IF ANYBODY'S DESERVED IT,
641
00:32:06,668 --> 00:32:09,571
THEY HAVE.
642
00:32:09,604 --> 00:32:11,240
THAT'S THE INTERNATIONAL SIGN
643
00:32:11,273 --> 00:32:17,512
OF SOMEONE GOING UP
IN A HELICOPTER.
644
00:32:17,546 --> 00:32:19,148
(Robert) SO PROUD OF MYSELF
I FORGET THE NEXT THING.
645
00:32:19,181 --> 00:32:21,150
YOU TELL 'EM THEY'RE NOT LOSING
THEIR BOYISH GOOD LOOKS
646
00:32:21,183 --> 00:32:23,485
OR BECOMING WORN OUT.
I, UH, OKAY.
647
00:32:23,518 --> 00:32:26,121
(muttering)
648
00:32:26,155 --> 00:32:29,791
YOUR HUSBAND CONTINUES
TO DECLINE.
649
00:32:29,824 --> 00:32:32,094
I'M SORRY.
(man laughs)
650
00:32:32,127 --> 00:32:34,396
DID YOU JUST GIVE ME THE NOD
TO DO THAT?
651
00:32:34,429 --> 00:32:36,731
(laughing)
652
00:32:36,765 --> 00:32:39,501
I CANNOT ABIDE THAT.
653
00:32:39,534 --> 00:32:43,738
OY, CAN I DO THAT AGAIN?
I'M SO SORRY.
654
00:32:43,772 --> 00:32:46,108
* AND WE REST
IN THIS SLEEPLESS STALL *
655
00:32:46,141 --> 00:32:51,213
* UNTIL THE MORNING
SHOWS LIGHT ON IT ALL *
656
00:32:51,246 --> 00:32:54,616
(man) ALL RIGHT,
ONE MORE TIME, HERE WE GO.
657
00:32:54,649 --> 00:32:57,686
(woman)
GOING AGAIN.
(laughing)
658
00:32:57,719 --> 00:33:01,523
(man) YOU'RE SO CUTE.
(man) I'M SORRY. CUT.
659
00:33:06,695 --> 00:33:09,664
(Hugh) WE STARTED
IN THIS ROOM...
(woman) JULY 13...
660
00:33:09,698 --> 00:33:12,601
JULY 13, 2004.
2004.
661
00:33:12,634 --> 00:33:14,436
(Hugh) GOD SAKE.
(Cathy)
OUR VERY FIRST FITTING
662
00:33:14,469 --> 00:33:17,272
ON THE TV SHOW
"HOUSE."
WOW.
663
00:33:17,306 --> 00:33:21,710
I LOOK JUST LIKE
MY SON.
I KNOW, RIGHT?
664
00:33:21,743 --> 00:33:23,845
WELL, YOU'RE NOT SUPPOSED TO GO
FOR THAT SO QUICKLY, CATHY.
665
00:33:23,878 --> 00:33:26,615
YOU'RE GONNA RUIN IT.
(laughs)
OUR VERY FIRST FITTING.
666
00:33:26,648 --> 00:33:30,119
AND, UH, THIS IS OUR VERY LAST
FITTING FOR "HOUSE."
667
00:33:34,223 --> 00:33:35,190
IT SAYS IT ALL.
668
00:33:35,224 --> 00:33:36,725
IRA HURVITZ--
I'VE CALLED HIM OUT MANY TIMES.
669
00:33:36,758 --> 00:33:37,859
I'VE ACTUALLY
SEEN HIM ASLEEP.
670
00:33:37,892 --> 00:33:39,794
I'VE ACTUALLY CAUGHT HIM
FALLING ASLEEP.
671
00:33:39,828 --> 00:33:41,796
I'M JUST GONNA
DRAW OUT THREE AT RANDOM.
672
00:33:41,830 --> 00:33:44,466
(laughter)
673
00:33:44,499 --> 00:33:46,568
AND EVERYONE ELSE
CAN JUST LUMP IT.
674
00:33:46,601 --> 00:33:47,869
I'D LIKE TO THANK
675
00:33:47,902 --> 00:33:51,806
THE SCRIPT SUPERVISOR
IRA HURVITZ.
(cheering)
676
00:33:51,840 --> 00:33:53,708
THERE ARE SO MANY GOOD PEOPLE
WORKING ON THIS SHOW.
677
00:33:53,742 --> 00:33:55,710
I HAVE TO WATCH THE CONTINUITY
TO MAKE SURE,
678
00:33:55,744 --> 00:33:57,346
SINCE WE'RE SHOOTING
OUT OF ORDER,
679
00:33:57,379 --> 00:33:59,214
WE DON'T FORGET ANY DETAILS.
680
00:33:59,248 --> 00:34:04,219
I MEAN, I CAN SO HEAVILY RELY
ON THE MAKEUP AND HAIR PEOPLE.
681
00:34:04,253 --> 00:34:06,855
(laughing)
I DOUBT IT.
YOU'RE WELCOME.
682
00:34:06,888 --> 00:34:10,492
UM, WHERE WERE YOU THIS MORNING
WHEN I WOKE UP?
683
00:34:13,428 --> 00:34:16,531
HERE GETTING READY
FOR THE "HOUSE" BIG WRAP PARTY.
684
00:34:20,835 --> 00:34:23,738
(group singing in Spanish)
685
00:34:29,611 --> 00:34:32,881
YES, INDEED,
THIS IS A BIG WRAP PARTY.
686
00:34:32,914 --> 00:34:34,816
OF COURSE,
WE HAVE A WRAP PARTY
687
00:34:34,849 --> 00:34:35,950
AT THE END OF EVERY SEASON,
688
00:34:35,984 --> 00:34:39,554
BUT THIS IS THE END
OF EVERYTHING--EIGHT YEARS.
689
00:34:39,588 --> 00:34:43,892
ALMOST 1,000 PEOPLE
HAVE WORKED ON THIS SHOW.
690
00:34:43,925 --> 00:34:46,261
THERE'S A LOT OF STORIES
TO BE TOLD,
691
00:34:46,295 --> 00:34:49,298
A LOT OF TEARS TO BE SHED,
692
00:34:49,331 --> 00:34:51,800
A LOT OF SONGS TO BE SUNG.
693
00:34:51,833 --> 00:34:54,836
* THE NIGHT
694
00:34:54,869 --> 00:34:57,439
* AND THE TENNESSEE WALTZ
695
00:34:57,472 --> 00:35:00,275
THAT, BY THE WAY,
IS NOT A PROP MARTINI.
696
00:35:00,309 --> 00:35:05,414
* THE TENNESSEE WALTZ
697
00:35:05,447 --> 00:35:07,882
(cheers and applause)
698
00:35:07,916 --> 00:35:09,718
(man) GOOD NIGHT.
699
00:35:18,660 --> 00:35:22,431
* SOME PEOPLE CALL ME A JUNKER
700
00:35:22,464 --> 00:35:26,701
* 'CAUSE I'M LOADED
ALL THE TIME *
701
00:35:26,735 --> 00:35:28,503
DID YOU JUST TAKE A PILL?
NO.
702
00:35:28,537 --> 00:35:30,872
* I JUST FEEL HAPPY
703
00:35:30,905 --> 00:35:34,243
* AND I FEEL GOOD ALL THE TIME
704
00:35:34,276 --> 00:35:36,378
I HAVE BEEN WATCHING IT
FROM THE BEGINNING.
705
00:35:36,411 --> 00:35:37,846
I'VE HEARD
FROM A LOT OF PEOPLE,
706
00:35:37,879 --> 00:35:39,714
AND I'VE HAD
THIS EXPERIENCE MYSELF
707
00:35:39,748 --> 00:35:41,983
WHERE WE'LL WEAR A "HOUSE" HAT
OR A "HOUSE" T-SHIRT,
708
00:35:42,016 --> 00:35:44,419
AND PEOPLE REALLY DO
COME UP TO US AND SAY,
709
00:35:44,453 --> 00:35:45,920
"DO YOU WORK ON 'HOUSE'?"
710
00:35:45,954 --> 00:35:47,756
IT'S NICE.
AND JAMIE TAKES
ADVANTAGE OF THAT.
711
00:35:47,789 --> 00:35:49,758
I'M NOT SAYING I TAKE
ADVANTAGE OF THAT.
AND SHE GETS FREE STUFF.
712
00:35:49,791 --> 00:35:52,761
PLEASE DON'T AIR THAT
ON NATIONAL TV.
713
00:35:52,794 --> 00:35:56,398
I JUST WANT TO THANK "HOUSE"
FOR HAVING ME OUT
714
00:35:56,431 --> 00:35:58,867
AND INSPIRING ME IN MAKING
ONE OF THE BIGGEST DECISIONS
715
00:35:58,900 --> 00:36:00,569
IN MY LIFE,
716
00:36:00,602 --> 00:36:04,406
THAT I WANT TO CONTINUE
TO MED SCHOOL AND BE A DOCTOR.
717
00:36:04,439 --> 00:36:06,841
RITA FROM
BATTLE CREEK, MICHIGAN,
718
00:36:06,875 --> 00:36:09,844
WANTS TO KNOW WHY MILLIONS
OF PEOPLE AROUND THE WORLD...
AROUND THE WORLD.
719
00:36:09,878 --> 00:36:11,980
ARE INVESTED IN THE CHARACTER
OF GREGORY HOUSE.
720
00:36:12,013 --> 00:36:14,849
I THINK IT'S BECAUSE
OF YOUR BLUE EYES.
721
00:36:14,883 --> 00:36:16,785
RIGHT.
722
00:36:16,818 --> 00:36:18,887
I THINK THAT'S IT.
THAT'S PRETTY MUCH
WHAT I WAS SAYING,
723
00:36:18,920 --> 00:36:20,455
BUT MORE CONDENSED.
724
00:36:20,489 --> 00:36:23,825
***
725
00:36:27,562 --> 00:36:29,531
DR. HOUSE, IF YOU'RE
GONNA SAVE THIS PATIENT,
726
00:36:29,564 --> 00:36:31,766
YOU'LL NEED THIS.
727
00:36:31,800 --> 00:36:35,437
GET THIS THING
OUT OF MY SIGHT!
728
00:36:35,470 --> 00:36:36,705
CAN YOU HELP ME?
729
00:36:36,738 --> 00:36:39,641
WELL,
LET'S SEE NOW.
(laughter)
730
00:36:40,909 --> 00:36:44,479
(gasps)
THE GENITALS
SEEM HEALTHY.
731
00:36:44,513 --> 00:36:46,748
YOU ARE A WOMAN,
RIGHT?
(laughter)
732
00:36:46,781 --> 00:36:49,418
(whispering)
I'M HOSTING THE EMMYS.
733
00:36:49,451 --> 00:36:52,954
OH. WHAT A FEATHER
IN YOUR CAP.
734
00:36:52,987 --> 00:36:55,624
MR. LAURIE, I'M PROUD
TO PRESENT YOU THE--
735
00:36:55,657 --> 00:36:57,626
WITH
THE GOLDEN CAMERA AWARD.
736
00:36:57,659 --> 00:37:00,295
ALL ARTISTS
MUST TRAVEL A LOT.
737
00:37:04,032 --> 00:37:06,000
(bleep)
738
00:37:06,034 --> 00:37:07,969
IT'S MADE ME THINK.
IT'S MADE ME LAUGH A LOT.
739
00:37:08,002 --> 00:37:09,771
IT'S MADE ME CRY.
740
00:37:09,804 --> 00:37:12,707
THANK YOU, "HOUSE."
THANK YOU FOR EIGHT
GREAT SEASONS.
741
00:37:12,741 --> 00:37:14,576
THANK YOU.
THANK YOU.
742
00:37:14,609 --> 00:37:17,979
I KNOW I AM NEVER,
EVER GOING TO FORGET IT.
743
00:37:18,012 --> 00:37:24,919
***
744
00:37:24,953 --> 00:37:27,422
(playing piano)
745
00:37:37,966 --> 00:37:41,936
"I LEFT HOLMES SEATED IN
FRONT OF THE SMOLDERING FIRE.
746
00:37:41,970 --> 00:37:44,539
"AND LONG INTO THE WATCHES
OF THE NIGHT
747
00:37:44,573 --> 00:37:47,642
"I HEARD THE LOW, MELANCHOLY
WAILINGS OF HIS VIOLIN
748
00:37:47,676 --> 00:37:50,412
"AND KNEW
THAT HE WAS STILL PONDERING
749
00:37:50,445 --> 00:37:53,482
OVER THE STRANGE PROBLEM WHICH
HE HAD SET HIMSELF TO UNRAVEL."
750
00:37:53,515 --> 00:37:56,751
CALL RADIOLOGY.
I WANT TO SEE THE MUSIC.
751
00:38:01,089 --> 00:38:02,591
AM I RIGHT IN SAYING
752
00:38:02,624 --> 00:38:05,494
CONAN DOYLE BASED
SHERLOCK HOLMES ON A DOCTOR.
753
00:38:05,527 --> 00:38:08,730
I DON'T WANT TO SAY YOU BASED
HOUSE ON THE DOCTOR,
754
00:38:08,763 --> 00:38:10,465
BUT THE SIMILARITIES ARE...
YEAH, A LITTLE--
INSPIRED.
755
00:38:10,499 --> 00:38:12,467
THERE ARE PARALLELS,
AND BECAUSE OF THOSE PARALLELS,
756
00:38:12,501 --> 00:38:14,469
THERE WAS A WINK OF THE EYE,
757
00:38:14,503 --> 00:38:18,440
BUT IT WAS NEVER INTENDED TO BE
A MODERN-DAY HOLMES,
758
00:38:18,473 --> 00:38:21,743
A DOCTOR WHO FUNDAMENTALLY ISN'T
INTERESTED IN SAVING LIVES...
759
00:38:21,776 --> 00:38:23,578
(gunshot)
BUT IS INTERESTED
IN THE PUZZLE.
760
00:38:23,612 --> 00:38:25,914
THERE'S ALSO
THE IMPLICATION, THOUGH,
761
00:38:25,947 --> 00:38:28,583
IN THE ART OF THE PUZZLE,
762
00:38:28,617 --> 00:38:31,553
THAT THE PERSON WHO THRIVES
ON PUZZLE-SOLVING
763
00:38:31,586 --> 00:38:33,822
MUST BE LESS EMPATHETIC,
764
00:38:33,855 --> 00:38:36,090
LESS, UH, EMOTIONAL.
765
00:38:36,124 --> 00:38:38,527
WHAT WERE YOU DOING
UP IN MIDDLETOWN?
766
00:38:38,560 --> 00:38:40,662
YOU KNOW WHAT'S MORE INTERESTING
THAN WHAT I WAS DOING
767
00:38:40,695 --> 00:38:43,565
IS THE REASON YOU ARE
SO OBSESSED
768
00:38:43,598 --> 00:38:45,033
WITH WHAT I WAS DOING.
769
00:38:45,066 --> 00:38:47,035
HOUSE AND WILSON,
HOLMES AND WATSON--
770
00:38:47,068 --> 00:38:49,938
THE NAMES
ARE A CLEAR HOMAGE.
ROBERT DOES CARRY
771
00:38:49,971 --> 00:38:53,642
A SORT OF WATSON-IAN
SOLID CITIZEN...
772
00:38:53,675 --> 00:38:55,544
YEAH.
AURA ABOUT HIM.
773
00:38:55,577 --> 00:38:57,412
I LOVE HOUSE AND WILSON'S
RELATIONSHIP,
774
00:38:57,446 --> 00:38:59,614
BECAUSE THERE'S
A SENSE OF MUTUAL RESPECT
775
00:38:59,648 --> 00:39:02,584
AND HONESTLY
(grunts)
776
00:39:02,617 --> 00:39:05,587
(winces)
I ALWAYS FEEL LIKE
777
00:39:05,620 --> 00:39:09,057
HUGH HAS A TWINKLE IN HIS EYE
THAT YOU ONLY SEE
778
00:39:09,090 --> 00:39:10,992
WHEN HE'S TALKING TO--
TO WILSON.
779
00:39:17,666 --> 00:39:19,100
WELL, WHAT WOULD YOU DO?
780
00:39:19,133 --> 00:39:21,102
YOU KNOW THE SHOW'S FINISHED.
781
00:39:21,135 --> 00:39:23,104
NEVER GONNA USE
THESE SETS AGAIN.
782
00:39:26,074 --> 00:39:28,477
AND AT 9:00 TOMORROW MORNING,
783
00:39:28,510 --> 00:39:31,946
LARGE MEN WITH CHAIN SAWS
ARE COMING IN.
784
00:39:40,088 --> 00:39:43,558
WELL, OBVIOUSLY,
THERE'S ONLY ONE THING TO DO.
785
00:39:43,592 --> 00:39:46,595
***
786
00:40:33,675 --> 00:40:34,976
(groans)
787
00:40:40,114 --> 00:40:42,050
(Hugh)
IT WAS A FUN NIGHT, THOUGH.
788
00:40:42,083 --> 00:40:44,753
THE STRANGEST THING,
ISN'T IT?
789
00:40:44,786 --> 00:40:48,757
EIGHT YEARS
THAT WE HAVE BEEN WALKING--
790
00:40:48,790 --> 00:40:52,193
(paintball gun fires)
NOW THAT'S
VERY SATISFYING. YEAH.
791
00:40:52,226 --> 00:40:55,697
(paintball gun firing)
792
00:40:55,730 --> 00:40:58,933
(laughs)
793
00:40:58,967 --> 00:41:01,936
(paintball gun firing
on automatic fire)
794
00:41:01,970 --> 00:41:04,739
WHAT THE...
I DID NOT KNOW YOU HAD
THAT CAPABILITY.
795
00:41:04,773 --> 00:41:07,742
I DARE YOU TO SHOOT
YOUR OWN FOOT.
NO, I'M NOT GOING TO,
796
00:41:07,776 --> 00:41:09,744
BECAUSE I ACTUALLY DID
THIS ONCE, AND IT HURTS.
797
00:41:09,778 --> 00:41:13,314
I'M GONNA SHOOT
MY OWN FOOT.
GO AHEAD.
798
00:41:13,347 --> 00:41:16,818
OH! F...
799
00:41:16,851 --> 00:41:18,787
(laughs)
800
00:41:18,820 --> 00:41:21,122
ODDLY ENOUGH,
THAT DOES STING--
801
00:41:21,155 --> 00:41:23,124
THAT DOES STING
A LITTLE BIT.
802
00:41:23,157 --> 00:41:25,794
YEAH, THAT'LL--
YOU'LL FEEL THAT.
OH! (laughs)
803
00:41:25,827 --> 00:41:28,062
YEAH.
I-I DIDN'T WANT
TO WARN YOU,
804
00:41:28,096 --> 00:41:30,765
'CAUSE, LIKE, I ENJOY--I KNEW
I WOULD ENJOY YOU IN PAIN.
805
00:41:30,799 --> 00:41:32,567
SO I DIDN'T WANT
TO WARN YOU TOO STRONGLY,
806
00:41:32,601 --> 00:41:34,569
BUT IT DOES HURT.
BUT THE THINGS
I AM PREPARED TO DO
807
00:41:34,603 --> 00:41:38,039
TO ENTERTAIN THE GENERAL PUBLIC.
IT REALLY IS PATHETIC.
808
00:41:38,072 --> 00:41:40,575
SHOULD WE END THIS?
YEAH, LET'S END IT.
809
00:41:40,609 --> 00:41:42,711
WE JUST END IT NOW.
810
00:41:42,744 --> 00:41:47,649
* YOU'VE GOT TO WIN A LITTLE
811
00:41:47,682 --> 00:41:50,251
* LOSE A LITTLE
812
00:41:50,284 --> 00:41:56,725
* YES, AND ALWAYS HAVE
THE BLUES A LITTLE *
813
00:41:56,758 --> 00:41:59,961
* THAT'S THE STORY OF
814
00:41:59,994 --> 00:42:01,329
* THAT'S THE GLORY OF LOVE...
815
00:42:01,362 --> 00:42:03,732
THERE OBVIOUSLY IS NO SHOW
WITHOUT THE FANS,
816
00:42:03,765 --> 00:42:05,767
AND MORE FUNDAMENTALLY,
THERE'S NO POINT TO THE SHOW
817
00:42:05,800 --> 00:42:07,602
WITHOUT THE FANS.
818
00:42:12,273 --> 00:42:14,375
THIS IS THE EXACT SPOT
819
00:42:14,408 --> 00:42:17,912
WHERE I STOOD, SAT,
PACED NERVOUSLY
820
00:42:17,946 --> 00:42:20,214
BEFORE MY VERY FIRST AUDITION
FOR THE ROLE OF HOUSE
821
00:42:20,248 --> 00:42:23,251
BACK IN 2004.
822
00:42:23,284 --> 00:42:25,654
SINCE THEN, IT'S BEEN
AN INCREDIBLE JOURNEY,
823
00:42:25,687 --> 00:42:27,956
AN UNFORGETTABLE PART
OF MY LIFE,
824
00:42:27,989 --> 00:42:30,158
AN UNFORGETTABLE PART
OF MANY PEOPLE'S LIVES--
825
00:42:30,191 --> 00:42:32,326
THESE PEOPLE.
826
00:42:32,360 --> 00:42:36,230
* AS LONG AS THERE'S
JUST THE TWO OF US *
827
00:42:36,264 --> 00:42:41,002
* OH, WE'VE GOT THE WORLD
AND ITS CHARMS *
828
00:42:43,705 --> 00:42:47,709
* AND WHEN THE WORLD
IS THROUGH WITH US *
829
00:42:49,310 --> 00:42:53,114
* WE'VE GOT EACH OTHER'S ARMS
830
00:42:53,147 --> 00:42:55,283
* YOU'VE GOT TO
831
00:42:55,316 --> 00:42:58,219
* WIN A LITTLE
832
00:42:58,252 --> 00:43:01,322
* LOSE A LITTLE
833
00:43:01,355 --> 00:43:07,261
* YES, AND ALWAYS HAVE
THE BLUES A LITTLE *
834
00:43:07,295 --> 00:43:10,031
* THAT'S THE STORY OF
835
00:43:10,064 --> 00:43:14,102
* THAT'S THE GLORY OF LOVE
836
00:43:16,404 --> 00:43:19,173
* OH
837
00:43:19,207 --> 00:43:22,276
* THAT'S THE STORY OF
838
00:43:22,310 --> 00:43:25,179
* THAT'S THE GLORY
839
00:43:25,213 --> 00:43:28,316
* OF LOVE
64016
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