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1
00:00:03,100 --> 00:00:06,066
SYNCLAIRE, I LOVE THE
WAY THE SUNLIGHT
2
00:00:06,133 --> 00:00:07,833
MAKES YOUR FACE GLOW.
3
00:00:07,900 --> 00:00:11,766
BEAUTIFUL WOMAN, BE MY BRIDE.
4
00:00:11,833 --> 00:00:13,366
OH, I'M FLATTERED, BUT NO.
5
00:00:13,433 --> 00:00:15,633
AND IT'S ACTUALLY
"COMBINATION SKIN."
6
00:00:15,700 --> 00:00:19,333
AIN'T GOT NOTHIN' TO DO
WITH THE SUN, DADDY.
7
00:00:19,400 --> 00:00:22,533
KHADIJAH, I'VE BEEN WANTING
TO GET THIS OFF MY CHEST
8
00:00:22,600 --> 00:00:25,166
FOR A LONG TIME‐‐ I
CAN'T LIVE WITHOUT YOU.
9
00:00:25,233 --> 00:00:27,066
BIG‐BONED GIRL, MARRY ME!
10
00:00:27,133 --> 00:00:29,000
GET UP, JERK CHICKEN.
11
00:00:29,066 --> 00:00:31,666
YOU KNOW NOBODY
PROPOSES TO KHADIJAH
12
00:00:31,733 --> 00:00:33,166
BUT ME AROUND HERE.
13
00:00:33,233 --> 00:00:36,600
HEY, SAVE YOUR THREATS UNTIL
YOUR VOICE CHANGES, BO‐BO BOY.
14
00:00:36,666 --> 00:00:38,866
IVAN, GO GROW SOME FACIAL HAIR.
15
00:00:38,933 --> 00:00:40,666
RUSSELL, YOU JUST GROW.
16
00:00:40,733 --> 00:00:42,533
NOW, LET ME GUESS.
17
00:00:42,600 --> 00:00:44,533
DOES THIS PROPOSAL
HAVE SOMETHING TO DO
18
00:00:44,600 --> 00:00:46,466
WITH YOUR LITTLE
IMMIGRATION PROBLEM?
19
00:00:46,533 --> 00:00:47,966
WELL, YES.
20
00:00:48,033 --> 00:00:49,300
MY WORK VISA HAS EXPIRED
21
00:00:49,366 --> 00:00:51,266
AND I'M IN DANGER
OF BEING DEPORTED.
22
00:00:51,333 --> 00:00:53,733
THEY SENT THE RENEWAL
FORM TO MY OLD ADDRESS.
23
00:00:53,800 --> 00:00:56,266
WHY DIDN'T YOU JUST SEND OUT
CHANGE OF ADDRESS CARDS?
24
00:00:56,333 --> 00:00:59,700
THEN I'D GET ALL
THOSE DAMN BILLS.
25
00:00:59,766 --> 00:01:02,806
LOOK, KHADIJAH, IF I DON'T
FIND SOMEONE TO MARRY
26
00:01:02,873 --> 00:01:04,373
IN THE NEXT 48 HOURS
27
00:01:04,440 --> 00:01:06,540
I'LL BE SHIPPED
BACK TO KINGSTON.
28
00:01:06,606 --> 00:01:07,973
COULD YOU MENTION ME
29
00:01:08,040 --> 00:01:10,140
TO YOUR BUSTY, POUTY
ROOMMATE REGINE?
30
00:01:10,206 --> 00:01:12,640
TRUST ME, YOU'D
RATHER BE DEPORTED.
31
00:01:14,540 --> 00:01:16,106
♪ WE ARE LIVING ♪
32
00:01:16,173 --> 00:01:17,473
♪ HEY ♪
33
00:01:17,540 --> 00:01:18,706
♪ SINGLE ♪
34
00:01:18,773 --> 00:01:21,573
♪ OOH, IN A '90s KIND OF WORLD ♪
35
00:01:21,640 --> 00:01:23,273
♪ I'M GLAD I GOT MY GIRLS ♪
36
00:01:23,340 --> 00:01:24,940
♪ KEEP YOUR HEAD UP ♪
♪ WHAT? ♪
37
00:01:25,006 --> 00:01:26,506
♪ KEEP YOUR HEAD UP ♪
♪ THAT'S RIGHT ♪
38
00:01:26,573 --> 00:01:27,716
♪ WHENEVER THIS
LIFE GETS TOUGH ♪
39
00:01:27,740 --> 00:01:28,873
♪ YOU GOT TO FIGHT WITH ♪
40
00:01:28,940 --> 00:01:29,873
♪ MY HOMEGIRL
STANDING TO MY LEFT ♪
41
00:01:29,940 --> 00:01:31,306
♪ AND MY RIGHT ♪
42
00:01:31,373 --> 00:01:32,773
♪ TRUE BLUE, IT'S
TIGHT LIKE GLUE ♪
43
00:01:32,840 --> 00:01:34,406
♪ CHECK, CHECK, CHECK IT OUT ♪
44
00:01:34,473 --> 00:01:35,673
♪ CHECK, CHECK, CHECK IT OUT ♪
45
00:01:35,697 --> 00:01:36,873
♪ WE ARE LIVING SINGLE. ♪
46
00:01:36,940 --> 00:01:39,506
[Captioning sponsored by
FOX BROADCASTING COMPANY
47
00:01:39,573 --> 00:01:42,473
[and WARNER BROS. TELEVISION]
48
00:01:45,826 --> 00:01:47,714
OOH, MICHELLE, YOU
ALMOST HAD THE PICTURE.
49
00:01:47,780 --> 00:01:50,514
NOW J. J. AND WILLONA
ARE ALL SQUIGGLY.
50
00:01:50,580 --> 00:01:53,780
YEAH, BUT FLORIDA
NEVER LOOKED BETTER.
51
00:01:53,847 --> 00:01:56,114
HOW ABOUT... NOW?
52
00:01:56,180 --> 00:01:57,814
PERFECT!
53
00:01:57,880 --> 00:02:03,420
OH! OH! WE'VE BEEN WATCHING
SALLY JESSY RAPHAEL ALL ALONG.
54
00:02:03,487 --> 00:02:05,620
SORRY YOU HAD TO COME OUT
FOUR TIMES THIS MONTH.
55
00:02:05,687 --> 00:02:06,720
OH, NO PROBLEM.
56
00:02:06,787 --> 00:02:09,687
I LIKE THE TENANTS HERE.
57
00:02:10,920 --> 00:02:14,620
WELL, FEEL FREE TO
TAKE THEM WITH YOU.
58
00:02:14,687 --> 00:02:16,420
YOU KNOW, KYLE,
IT'S NOT EVERY DAY
59
00:02:16,487 --> 00:02:19,787
I MEET SOMEONE WHO KNOWS HIS WAY
AROUND A PAIR OF WIRE CUTTERS
60
00:02:19,854 --> 00:02:21,520
AND HAS A GOOD SENSE OF HUMOR.
61
00:02:21,587 --> 00:02:24,054
WELL, PEOPLE DO SAY
I HAVE A DRY WIT.
62
00:02:24,120 --> 00:02:26,687
LIKE A FREAKIN' DESERT.
63
00:02:28,220 --> 00:02:30,020
I'M GOING TO THE
GUGGENHEIM TOMORROW.
64
00:02:30,087 --> 00:02:32,320
IT'S THE LAST DAY OF THE
CLAES OLDENBURG EXHIBIT.
65
00:02:32,387 --> 00:02:33,987
WOULD YOU LIKE TO COME WITH?
66
00:02:34,054 --> 00:02:38,887
UM... AS MUCH AS I AM INSPIRED
BY HIS GIANT NAUGAHYDE BURGERS
67
00:02:38,954 --> 00:02:41,054
I'M SORRY, I MUST DECLINE.
68
00:02:41,120 --> 00:02:42,987
IF YOU CHANGE YOUR MIND...
69
00:02:44,754 --> 00:02:46,587
GIVE ME A CALL.
70
00:02:50,820 --> 00:02:51,987
HEY, BROTHER
71
00:02:52,054 --> 00:02:54,354
SHE WAS SETTING IT OUT,
WASN'T SHE, SHORTY?
72
00:02:54,420 --> 00:02:56,854
SHE DID EVERYTHING
BUT STRIP NAKED
73
00:02:56,920 --> 00:02:59,394
AND DO THE HOOCHIE‐MAMA DANCE.
74
00:03:01,060 --> 00:03:03,494
AND KYLE DID EVERYTHING
BUT OPEN HIS SHIRT
75
00:03:03,560 --> 00:03:05,760
AND SHOW HER HIS ONE CHEST HAIR.
76
00:03:05,827 --> 00:03:07,027
COME ON, MAX.
77
00:03:07,094 --> 00:03:09,760
ALL I DID WAS HAND
THE LADY A FEW TOOLS
78
00:03:09,827 --> 00:03:12,194
AND LET MY NATURAL
CHARM SHINE THROUGH.
79
00:03:12,260 --> 00:03:13,260
KYLE, SAVE YOUR BREATH.
80
00:03:13,327 --> 00:03:15,594
YOU CAN FLIRT WITH HER
81
00:03:15,660 --> 00:03:16,360
YOU CAN CALL HER, YOU
CAN GO OUT WITH HER‐‐
82
00:03:16,427 --> 00:03:17,594
I DON'T CARE.
83
00:03:19,994 --> 00:03:22,994
WAIT. I'M TRYING TO HAVE
A RELATIONSHIP WITH YOU
84
00:03:23,060 --> 00:03:26,327
AND YOU'RE TELLING ME TO
GO OUT WITH ANOTHER WOMAN.
85
00:03:26,394 --> 00:03:28,127
WHAT ARE YOU NOW, MY PIMP?
86
00:03:28,194 --> 00:03:29,960
I'M CERTAINLY NOT YOUR WARDEN.
87
00:03:30,027 --> 00:03:32,527
YOU'RE FREE TO GO.
88
00:03:32,594 --> 00:03:36,894
MAXINE, DO NOT PLAY GAMES
WITH ME, BECAUSE I WILL GO.
89
00:03:36,960 --> 00:03:39,727
I'M NOT PLAYING ANY GAMES.
90
00:03:39,794 --> 00:03:41,227
I REALLY DON'T CARE.
91
00:03:41,294 --> 00:03:43,560
ALL RIGHT, FINE.
92
00:03:43,627 --> 00:03:45,960
THAT'S RIGHT.
93
00:03:46,927 --> 00:03:48,360
HEY, WHAT'S UP, MAN?
94
00:03:48,427 --> 00:03:52,494
PRETTY TONY OVER THERE
JUST SENT ME ON A RUN.
95
00:03:55,594 --> 00:03:57,927
BOSS LADY, I KNOW
YOU'LL BE CRUSHED
96
00:03:57,994 --> 00:04:00,800
BUT I'M WITHDRAWING
MY MARRIAGE PROPOSAL.
97
00:04:00,867 --> 00:04:02,334
I UNDERSTAND.
98
00:04:02,400 --> 00:04:05,267
NO WOMAN, NO CRY, HUH?
99
00:04:05,334 --> 00:04:08,334
I DO, HOWEVER, HAVE
ANOTHER PROPOSAL.
100
00:04:08,400 --> 00:04:11,134
DOES IT INVOLVE PAYING
BACK THE $20 YOU OWE ME?
101
00:04:11,200 --> 00:04:14,200
PLEASE. THIS IS NO
TIME FOR JOKES.
102
00:04:14,267 --> 00:04:17,167
ALL YOU HAVE TO DO IS
TELL AN IMMIGRATION AGENT
103
00:04:17,234 --> 00:04:19,467
THAT I'M ESSENTIAL TO FLAVOR.
104
00:04:19,534 --> 00:04:21,700
AND THERE'S NO AMERICAN
WHO CAN REPLACE ME.
105
00:04:21,767 --> 00:04:23,834
SO YOU WANT ME TO LIE.
106
00:04:23,900 --> 00:04:25,534
JUST EMBELLISH THE TRUTH
107
00:04:25,600 --> 00:04:28,500
UNTIL IT MEANS SOMETHING
COMPLETELY DIFFERENT.
108
00:04:28,567 --> 00:04:30,767
IT'S THE AMERICAN WAY.
109
00:04:30,834 --> 00:04:32,067
I DON'T KNOW, RUSSELL.
110
00:04:32,134 --> 00:04:33,067
PLEASE, KHADIJAH.
111
00:04:33,133 --> 00:04:35,067
I WORK VERY HARD FOR YOU.
112
00:04:35,133 --> 00:04:37,467
DON'T SEND ME BACK TO JAMAICA.
113
00:04:37,533 --> 00:04:41,167
IT'S TOO DAMN HOT!
114
00:04:41,234 --> 00:04:44,467
WELL, YOU ARE A GOOD
MUSIC EDITOR...
115
00:04:44,534 --> 00:04:47,200
AND YOU DO GET ME ALL
THAT FREE INCENSE.
116
00:04:47,267 --> 00:04:48,967
ALL RIGHT, I'LL DO IT.
117
00:04:49,034 --> 00:04:51,934
GOOD, BECAUSE THE
IMMIGRATION AGENT IS HERE.
118
00:04:52,000 --> 00:04:54,600
WELL, WHAT IF I WERE TO SAY NO?
119
00:04:54,667 --> 00:04:57,500
THEN THIS WOULD BE A
VERY AWKWARD MEETING.
120
00:04:57,567 --> 00:05:00,907
MR. MONTEGO, I'M AGENT
TANAKA FROM THE I. N. S.
121
00:05:00,974 --> 00:05:03,474
AGENT TANAKA, THIS
IS KHADIJAH JAMES
122
00:05:03,540 --> 00:05:04,707
MY PROUD SPONSOR.
123
00:05:04,774 --> 00:05:06,140
GO AHEAD, MS. JAMES.
124
00:05:06,207 --> 00:05:09,174
TELL AGENT TANAKA
HOW ESSENTIAL I AM.
125
00:05:09,240 --> 00:05:10,274
OH, YEAH.
126
00:05:10,340 --> 00:05:13,940
BOY, ESSENTIAL.
127
00:05:14,007 --> 00:05:15,774
ESSENTIAL...
128
00:05:15,840 --> 00:05:17,674
IRREPLACEABLE RUSSELL.
129
00:05:17,740 --> 00:05:20,540
CONVINCING ARGUMENT.
130
00:05:20,607 --> 00:05:22,607
BUT REGULATIONS DICTATE
131
00:05:22,674 --> 00:05:24,374
I OBSERVE MR. MONTEGO
IN THE WORKPLACE.
132
00:05:24,440 --> 00:05:26,240
( Beep )
133
00:05:26,307 --> 00:05:29,807
LOOKS LIKE WE'RE GOING TO
HAVE TO CUT THIS PARTY SHORT.
134
00:05:29,874 --> 00:05:32,040
WE'RE RAIDING A SYNTHETIC
HAIR SWEATSHOP
135
00:05:32,107 --> 00:05:33,907
ON THE LOWER EAST SIDE.
136
00:05:33,974 --> 00:05:38,074
WE'LL CONTINUE THIS
TOMORROW MORNING AT 8:30.
137
00:05:38,140 --> 00:05:40,074
RUSSELL, THIS COULD
BE A PROBLEM.
138
00:05:40,140 --> 00:05:42,207
YOU'RE TELLING ME.
139
00:05:42,274 --> 00:05:43,707
MY COUSIN MANAGES
THAT SWEATSHOP.
140
00:05:43,774 --> 00:05:47,774
DEEBA? THEY'RE COMING, MAN.
141
00:05:50,440 --> 00:05:53,107
HEY, YOU GUYS, CANCEL YOUR
PLANS FOR SATURDAY NIGHT.
142
00:05:53,174 --> 00:05:55,374
WE ARE GOING TO SEE
BRIAN McKNIGHT.
143
00:05:55,440 --> 00:05:56,840
COURTESY OF MOI.
144
00:05:56,907 --> 00:05:58,640
Khadijah: THAT SHOW'S BEEN.
145
00:05:58,707 --> 00:06:00,147
SOLD OUT FOR WEEKS.
146
00:06:00,214 --> 00:06:02,214
HOW'D YOU GET TICKETS?
147
00:06:02,280 --> 00:06:03,547
I GOT THE TICKETS FROM NATHAN
148
00:06:03,614 --> 00:06:06,214
WHO PLAYS THE CONNIVING
PROCTOLOGIST ON THE SOAP.
149
00:06:06,280 --> 00:06:08,680
HE EVEN GAVE ME AN
EXTRA TICKET TO SCALP.
150
00:06:08,747 --> 00:06:10,147
WHY BOTHER SCALPING IT?
151
00:06:10,214 --> 00:06:12,114
I'M SURE MAX HAS ANOTHER WOMAN
152
00:06:12,180 --> 00:06:14,647
SHE WANTS TO FORCE
KYLE TO GO OUT WITH.
153
00:06:14,714 --> 00:06:17,047
OH, YES! TONIGHT IS KYLE'S DATE
154
00:06:17,114 --> 00:06:18,914
WITH THE CABLE LADY.
155
00:06:18,980 --> 00:06:20,847
SO WHAT DID YOU THINK, MAX?
156
00:06:20,914 --> 00:06:25,180
SHE GOING TO GIVE BROTHER
SOME FREE "SHOWTIME"?
157
00:06:25,247 --> 00:06:29,047
YOU KNOW, I WOULDN'T EXPECT YOU
TO UNDERSTAND THE COMPLEXITIES
158
00:06:29,114 --> 00:06:30,914
OF MY RELATIONSHIP WITH KYLE.
159
00:06:30,980 --> 00:06:32,914
LET HIM TASTE THE
FORBIDDEN FRUIT.
160
00:06:32,980 --> 00:06:36,580
THEN HE'LL SEE HOW
SWEET IT IS AT HOME.
161
00:06:36,647 --> 00:06:38,614
YEAH, BUT IF I KNOW KYLE
162
00:06:38,680 --> 00:06:41,147
FORBIDDEN'S HIS FAVORITE FLAVOR.
163
00:06:42,547 --> 00:06:43,847
MAX, LET'S KEEP IT REAL.
164
00:06:43,914 --> 00:06:45,847
WE BOTH KNOW YOU
DIDN'T WANT KYLE
165
00:06:45,914 --> 00:06:47,414
TO GO OUT WITH THAT WOMAN.
166
00:06:47,480 --> 00:06:49,214
YOU TRIED TO PLAY IT ALL COOL
167
00:06:49,280 --> 00:06:50,814
AND GOT YOUR FACE CRACKED.
168
00:06:50,880 --> 00:06:54,214
YEAH! WHAT IF MICHELLE
AND KYLE HIT IT OFF?
169
00:06:54,280 --> 00:06:58,514
PLEASE. ONCE YOU GO
MAX, YOU NEVER GO BACK.
170
00:06:58,580 --> 00:07:01,154
YOU'RE TRYING TO TELL ME
YOU DON'T GIVE A DAMN?
171
00:07:01,220 --> 00:07:02,654
I COULDN'T BE LESS PRESSED.
172
00:07:02,720 --> 00:07:03,720
( Door closes )
173
00:07:03,787 --> 00:07:04,787
KYLE'S HOME.
174
00:07:13,220 --> 00:07:14,654
OH, HEY, KYLE!
175
00:07:14,720 --> 00:07:17,354
YOU'RE LOOKING... YOU'RE
LOOKING SHARP THERE.
176
00:07:17,420 --> 00:07:18,720
OH, YEAH!
177
00:07:18,787 --> 00:07:21,587
YOU HAD YOUR LITTLE DATE
WITH YOUR LITTLE FRIEND.
178
00:07:21,654 --> 00:07:23,520
UH‐HUH.
179
00:07:23,587 --> 00:07:25,020
HOW'D IT GO?
180
00:07:25,087 --> 00:07:28,120
WELL, IT TURNS OUT SHE'S NOT
AS INSIGHTFUL AS I HAD HOPED.
181
00:07:28,187 --> 00:07:30,020
SHE SPENT AN HOUR
LOOKING AT THE WALL
182
00:07:30,087 --> 00:07:31,954
THINKING IT WAS AN
ABSTRACT PAINTING.
183
00:07:32,020 --> 00:07:33,120
OH...
184
00:07:33,187 --> 00:07:34,620
SO WHAT ARE YOU GUYS?
185
00:07:34,687 --> 00:07:36,854
WHAT ARE YOU, "BUDDIES" OR...?
186
00:07:39,720 --> 00:07:42,087
NO, I DON'T THINK SO.
187
00:07:42,154 --> 00:07:44,987
BUT I WILL SAY IT WAS
REFRESHING BEING WITH SOMEONE
188
00:07:45,054 --> 00:07:48,320
WHO WASN'T AFRAID TO TELL ME
THAT SHE ENJOYED MY COMPANY.
189
00:07:48,387 --> 00:07:51,520
SHE ENJOYED A BLANK WALL, KYLE‐‐
190
00:07:51,587 --> 00:07:54,220
HOW GOOD CAN YOU FEEL?
191
00:07:54,287 --> 00:07:57,520
IT WAS ALSO REFRESHING
BEING WITH SOMEONE
192
00:07:57,587 --> 00:08:01,194
WHO DIDN'T CONSTANTLY
TAKE POTSHOTS AT ME.
193
00:08:01,260 --> 00:08:03,294
WELL, GIVE HER TIME.
194
00:08:03,360 --> 00:08:05,994
TO KNOW YOU IS TO DIS YOU.
195
00:08:06,060 --> 00:08:07,260
YOU KNOW, WOMAN, YOU...
196
00:08:07,327 --> 00:08:09,360
YOU MAKE IT IMPOSSIBLE
TO TALK TO YOU.
197
00:08:09,427 --> 00:08:10,894
EVERYTHING IS A TUG‐OF‐WAR.
198
00:08:10,960 --> 00:08:12,594
KYLE, WHAT DO YOU WANT?
199
00:08:12,660 --> 00:08:14,727
I WANT A WOMAN WHO
IS AFFECTIONATE.
200
00:08:14,794 --> 00:08:18,094
I WANT A WOMAN WHO HAS A PICTURE
OF ME IN HER APARTMENT.
201
00:08:18,160 --> 00:08:19,594
I WANT A WOMAN
202
00:08:19,660 --> 00:08:22,227
WHO DOES NOT SEND ME OUT
ON DATES WITH OTHER WOMEN.
203
00:08:25,660 --> 00:08:28,127
I DO HAVE PICTURES OF YOU.
204
00:08:28,194 --> 00:08:30,460
THEY MAKE WONDERFUL COASTERS.
205
00:08:31,827 --> 00:08:33,460
YOU KNOW...
206
00:08:33,527 --> 00:08:36,827
YOU HAVE NEVER TAKEN ME OR
THIS RELATIONSHIP SERIOUSLY.
207
00:08:36,894 --> 00:08:38,927
OH, COME ON, COME ON, COME ON.
208
00:08:38,994 --> 00:08:40,860
GET OFF OF IT, KYLE.
209
00:08:40,927 --> 00:08:42,160
YOU DON'T WANT A GIRLFRIEND
210
00:08:42,227 --> 00:08:44,594
YOU WANT A PSYCHIATRIST
WHO'S GOOD IN BED.
211
00:08:44,660 --> 00:08:46,094
"LISTEN TO MY PROBLEMS."
212
00:08:46,160 --> 00:08:47,427
"LISTEN TO MY PROB‐LEMS..."
213
00:08:47,494 --> 00:08:49,927
WELL, HEY, LOOK, IF I
DON'T MAKE YOU HAPPY
214
00:08:49,994 --> 00:08:51,994
THEN WHY ARE YOU WITH ME?
215
00:08:54,660 --> 00:08:56,694
GOOD POINT.
216
00:08:56,760 --> 00:09:00,867
SO WHY DON'T WE JUST SAY
I AM NO LONGER WITH YOU?
217
00:09:07,367 --> 00:09:10,400
WHAT DOES THAT MEAN?
218
00:09:10,467 --> 00:09:15,100
WE'RE THROUGH. IT'S OVER.
DON'T WANT YOU. BYE‐BYE.
219
00:09:19,834 --> 00:09:21,367
( Sighs )
220
00:09:25,067 --> 00:09:26,667
I CAN'T BELIEVE THEY BROKE UP.
221
00:09:26,734 --> 00:09:28,867
I CAN'T BELIEVE THEY
WERE EVER TOGETHER.
222
00:09:30,382 --> 00:09:31,582
THIS NEVER WOULD HAVE HAPPENED
223
00:09:31,606 --> 00:09:33,073
IF THEY HAD TO FOLLOW
MY LOVE AGENDA.
224
00:09:33,140 --> 00:09:35,873
THREE MONTHS TO HOLD HANDS,
SIX MONTHS FOR A HUG
225
00:09:35,940 --> 00:09:37,207
A YEAR FOR A KISS.
226
00:09:37,273 --> 00:09:38,940
HEY, BY THE TURN OF THE CENTURY
227
00:09:39,007 --> 00:09:40,873
THEY'D HAVE BEEN
JUMPING THE BROOM.
228
00:09:40,940 --> 00:09:43,040
NOW, HOW COULD THEY
JUMP THE BROOM
229
00:09:43,107 --> 00:09:44,973
IF SHE'S ALWAYS RIDING IT?
230
00:09:45,040 --> 00:09:47,840
YOU KNOW, I'VE GOT TO
GET THEM BACK TOGETHER.
231
00:09:47,907 --> 00:09:49,640
I FEEL LIKE THIS IS MY FAULT.
232
00:09:49,707 --> 00:09:51,373
WHY?
233
00:09:51,440 --> 00:09:52,640
I DON'T KNOW.
234
00:09:52,707 --> 00:09:55,040
I HAVE A GENERAL GUILT
ABOUT THINGS, YOU KNOW.
235
00:09:55,107 --> 00:09:58,040
OH. GOOD, OVERTON,
YOU'RE STILL HERE.
236
00:09:58,107 --> 00:09:59,647
LOOK, I'VE BROUGHT BACK
237
00:09:59,713 --> 00:10:02,380
KYLE'S PRECIOUS
FRAGILE BELONGINGS.
238
00:10:04,713 --> 00:10:07,813
AW, DANG, GIRL, THAT'S
MY CLEVELAND BROWNS MUG
239
00:10:07,880 --> 00:10:09,313
AND IT'S BROKEN.
240
00:10:09,380 --> 00:10:11,647
WELL, THAT'S ALL RIGHT.
241
00:10:11,713 --> 00:10:13,880
THEY'RE LEAVING
CLEVELAND ANYWAY.
242
00:10:16,113 --> 00:10:17,813
GIRL, YOU OKAY?
243
00:10:17,880 --> 00:10:20,713
YEAH, I'M ALL RIGHT, BUT HIM...
244
00:10:22,080 --> 00:10:23,347
LOOK.
245
00:10:23,413 --> 00:10:24,447
CHECK THIS OUT.
246
00:10:24,513 --> 00:10:26,713
KYLE WAS TOO
HIGH‐MAINTENANCE ANYWAY.
247
00:10:26,780 --> 00:10:29,213
I MEAN, ALWAYS
TRYING TO GET CLOSE.
248
00:10:29,280 --> 00:10:31,480
YEAH, WE ALL KNOW HOW
MUCH YOU HATE THAT.
249
00:10:31,547 --> 00:10:32,813
EXACTLY.
250
00:10:32,880 --> 00:10:34,413
I MEAN, I HAD TO SEE HIM.
251
00:10:34,480 --> 00:10:35,813
I HAD TO TALK TO HIM.
252
00:10:35,880 --> 00:10:37,813
IT'S LIKE HAVING A
DAMN SECOND JOB.
253
00:10:37,880 --> 00:10:39,347
( Knock at door )
254
00:10:39,413 --> 00:10:40,247
HEY, IS...?
255
00:10:40,313 --> 00:10:41,247
LOOK, LOOK.
256
00:10:41,313 --> 00:10:42,647
KYLE'S HERE. KYLE'S HERE.
257
00:10:42,713 --> 00:10:45,080
AND LOOK. MAXINE IS HERE.
258
00:10:45,147 --> 00:10:48,747
REUNITED. DOESN'T
IT FEEL SO GOOD?
259
00:10:48,813 --> 00:10:50,480
SWAY WITH ME.
260
00:10:52,313 --> 00:10:53,647
I'LL JUST GO.
261
00:10:55,547 --> 00:10:56,813
LOOK.
262
00:10:56,880 --> 00:10:58,213
HERE'S YOUR STUFF.
263
00:10:59,820 --> 00:11:02,420
AND JUST MAKE SURE
THAT I GET BACK
264
00:11:02,487 --> 00:11:04,420
EVERY SINGLE ITEM
265
00:11:04,487 --> 00:11:06,820
I EVER LEFT IN YOUR APARTMENT.
266
00:11:08,153 --> 00:11:10,053
CERTAINLY.
267
00:11:10,120 --> 00:11:10,953
I'LL FED‐EX YOUR TOOTHBRUSH.
268
00:11:11,020 --> 00:11:12,587
WHAT ABOUT MY TOOTHPASTE?
269
00:11:12,653 --> 00:11:14,653
IT HARDENED AND BROKE.
270
00:11:14,720 --> 00:11:16,753
"HARDENED AND BROKE."
271
00:11:16,820 --> 00:11:18,420
I DON'T BUY THAT, MAN.
272
00:11:18,487 --> 00:11:20,487
HE BETTER FIND MY TOOTHPASTE.
273
00:11:24,920 --> 00:11:26,420
THANKS.
274
00:11:26,487 --> 00:11:27,753
THANK YOU VERY MUCH.
275
00:11:27,820 --> 00:11:30,253
ALL RIGHT, EVERYBODY,
THAT WAS SECURITY.
276
00:11:30,320 --> 00:11:32,087
AGENT TANAKA'S ON HER WAY UP.
277
00:11:32,153 --> 00:11:33,320
PLACES, EVERYBODY!
278
00:11:35,820 --> 00:11:37,187
PERFECT!
279
00:11:38,787 --> 00:11:40,320
( Clears throat )
280
00:11:41,853 --> 00:11:43,653
NICE PICTURE OF YOU.
281
00:11:43,720 --> 00:11:44,953
OH. THAT OLD THING.
282
00:11:45,020 --> 00:11:47,587
IT'S NOT CONSTANTLY WINNING
THAT EMBARRASSES ME.
283
00:11:47,653 --> 00:11:50,453
IT'S WHEN THEY CARRY ME
AROUND ON THEIR SHOULDERS.
284
00:11:50,520 --> 00:11:54,087
IT'S LIKE HOISTING A
LITTLE JAMAICAN ANGEL.
285
00:11:54,153 --> 00:11:56,787
RUSSELL, DO YOU HAVE THE
LATEST RECORD REVIEWS?
286
00:11:56,853 --> 00:12:01,193
KHADIJAH, THEY'RE
CALLED CDs NOW.
287
00:12:01,260 --> 00:12:06,393
MY FRIEND, YOU ARE
TRULY INDISPENSABLE.
288
00:12:09,660 --> 00:12:12,593
ALL RIGHT, BOSS, I'M READY
FOR MY NEXT ASSIGNMENT.
289
00:12:12,660 --> 00:12:13,593
OH, GOOD.
290
00:12:13,660 --> 00:12:15,893
I NEED YOU TO RUN TO MANHATTAN
291
00:12:15,960 --> 00:12:17,520
AND PICK UP SOME PHOTOS
AT THIS ADDRESS.
292
00:12:17,544 --> 00:12:18,693
OH, NO PROBLEM.
293
00:12:18,760 --> 00:12:20,360
ONLY...
294
00:12:20,427 --> 00:12:22,727
I WISH I KNEW HOW TO GET THERE.
295
00:12:22,793 --> 00:12:27,027
MY FRIEND, TAKE THE
TWO TRAIN TO BROADWAY
296
00:12:27,093 --> 00:12:29,193
THEN CATCH THE
FOUR GOING UPTOWN.
297
00:12:29,260 --> 00:12:32,960
GET OFF ON BLEECKER AND
GO TWO BLOCKS NORTH.
298
00:12:33,027 --> 00:12:35,927
OR YOU COULD TAKE THE FOUR
STRAIGHT TO BROADWAY.
299
00:12:37,503 --> 00:12:38,503
THAT'S A LOT QUICKER.
300
00:12:38,527 --> 00:12:39,760
YOU KNOW WHAT I'M SAYING?
301
00:12:39,827 --> 00:12:42,260
OH, BUT RUSSELL PROPOSES
A MORE SCENIC ROUTE
302
00:12:42,327 --> 00:12:44,127
THAT'S SURE TO LIFT MY SPIRITS.
303
00:12:44,193 --> 00:12:45,127
THANKS, RUSSELL.
304
00:12:45,193 --> 00:12:46,193
YOU'RE THE MAN.
305
00:12:46,227 --> 00:12:48,127
I DON'T NEED TO SEE ANY MORE.
306
00:12:48,193 --> 00:12:49,660
THEN I CAN STAY?
307
00:12:49,727 --> 00:12:52,127
UNTIL YOUR PLANE LEAVES.
308
00:12:52,193 --> 00:12:54,127
I'VE ENJOYED YOUR LITTLE SKETCH
309
00:12:54,193 --> 00:12:55,593
BUT THERE'S NO REASON
310
00:12:55,660 --> 00:12:58,660
FOR YOUR CO‐WORKERS TO EMBARRASS
THEMSELVES ANY FURTHER.
311
00:12:58,727 --> 00:13:01,533
YOU WILL BE RECEIVING AN
OFFICIAL DEPORTATION NOTICE
312
00:13:01,600 --> 00:13:03,100
WITHIN THE NEXT 24 HOURS.
313
00:13:03,167 --> 00:13:04,467
BUT, BUT, UH...
314
00:13:04,533 --> 00:13:07,967
I‐I‐IF RUSSELL LEAVES, HOW
WOULD WE EVER PUT OUT
315
00:13:08,033 --> 00:13:10,500
THE PATOIS EDITION OF FLAVOR?
316
00:13:10,567 --> 00:13:12,000
PATOIS EDITION?
317
00:13:12,067 --> 00:13:13,333
YES, THAT'S RIGHT.
318
00:13:13,400 --> 00:13:15,633
KHADIJAH IS EXPANDING
OUR MARKET BASE
319
00:13:15,700 --> 00:13:18,300
BY DISTRIBUTING FLAVOR
IN THE WEST INDIES.
320
00:13:18,367 --> 00:13:20,033
RIGHT, KHADIJAH?
321
00:13:20,100 --> 00:13:21,633
RIGHT.
322
00:13:21,700 --> 00:13:24,033
I'M EXPANDING OUR MARKET BASE
323
00:13:24,100 --> 00:13:26,767
BY DISTRIBUTING FLAVOR
IN THE WEST INDIES.
324
00:13:26,833 --> 00:13:29,067
A MAGAZINE IN PATOIS?
325
00:13:29,133 --> 00:13:31,900
IT'S THE LANGUAGE OF JAMAICA.
326
00:13:31,967 --> 00:13:35,667
ME LOOK 'PON YOU, WOMAN,
AND ME LIKE HOW YOU STAY.
327
00:13:35,733 --> 00:13:37,967
GAL, COME HOME BY ME.
328
00:13:38,033 --> 00:13:40,500
I COOK YOU UP SOME
ACKEE AND SALT FISH.
329
00:13:40,567 --> 00:13:42,500
THEN WE CAN YAM IT DOWN.
330
00:13:43,667 --> 00:13:44,933
RUSSELL
331
00:13:45,000 --> 00:13:47,300
ARE YOU TALKING DIRTY
TO AGENT TANAKA?
332
00:13:47,367 --> 00:13:48,300
NOT REALLY.
333
00:13:48,367 --> 00:13:49,467
LOOSELY TRANSLATED
334
00:13:49,533 --> 00:13:51,433
HE THINKS I GOT IT GOIN' ON.
335
00:13:56,567 --> 00:13:58,500
MY EX‐BOYFRIEND WAS JAMAICAN.
336
00:13:58,567 --> 00:14:01,273
SOMETIMES I WISH I
HADN'T DEPORTED HIM.
337
00:14:02,407 --> 00:14:03,907
SO, YOU DO HAVE A HEART.
338
00:14:03,973 --> 00:14:05,907
WHAT DO YOU SAY?
WHAT DO YOU SAY?
339
00:14:05,973 --> 00:14:07,240
WELL, IT APPEARS
340
00:14:07,307 --> 00:14:09,573
THAT MR. MONTEGO'S
CONTRIBUTION TO FLAVOR.
341
00:14:09,640 --> 00:14:11,140
IS INDEED INDISPENSABLE.
342
00:14:11,207 --> 00:14:12,140
YES!
343
00:14:12,207 --> 00:14:13,607
I'LL PROCESS YOUR PAPERWORK
344
00:14:13,673 --> 00:14:17,040
AS SOON AS I GET
THAT PATOIS EDITION.
345
00:14:17,107 --> 00:14:18,307
♪ HOORAY! ♪
346
00:14:18,373 --> 00:14:20,407
♪ WE SAVED RUSSELL,
WE SAVED RUSSELL ♪
347
00:14:20,473 --> 00:14:21,740
♪ COME NOW. ♪
348
00:14:21,807 --> 00:14:23,407
OH, YES!
349
00:14:23,473 --> 00:14:25,273
WEREN'T YOU LISTENING?
350
00:14:25,340 --> 00:14:27,273
OF COURSE. I'M JUST
IGNORING THE FACT
351
00:14:27,340 --> 00:14:29,840
THAT WE CAN'T ACTUALLY
AFFORD A PATOIS EDITION.
352
00:14:29,907 --> 00:14:31,173
WE DON'T HAVE TO.
353
00:14:31,240 --> 00:14:33,240
I'LL GET MY COUSIN RIGHT ON IT.
354
00:14:33,307 --> 00:14:35,240
THE ONE WHO RUNS THE SWEATSHOP?
355
00:14:35,307 --> 00:14:36,573
NOT ANYMORE.
356
00:14:36,640 --> 00:14:38,240
THANKS TO AGENT TANAKA
357
00:14:38,307 --> 00:14:40,507
HE'S RUNNING A
PRISON PRINT SHOP.
358
00:14:43,573 --> 00:14:45,007
Regine: COME ON, MAX, MOVE.
359
00:14:45,073 --> 00:14:46,507
Max: SORRY. SORRY.
360
00:14:46,573 --> 00:14:47,840
YOU SUPPOSED TO BE THERE?
361
00:14:47,907 --> 00:14:49,673
Synclaire: YEAH.
HE HAS MY TICKET.
362
00:14:49,740 --> 00:14:51,207
Max: THAT'S MY SEAT.
363
00:14:51,273 --> 00:14:52,607
ALL RIGHT. FORGET IT.
364
00:14:56,573 --> 00:14:57,673
OH, MY GOD.
365
00:14:57,740 --> 00:14:59,107
E‐E‐EXCUSE ME, BUT WOULD
366
00:14:59,173 --> 00:15:01,247
ONE OF YOU MIND SWITCHING
SEATS WITH ME?
367
00:15:01,313 --> 00:15:03,013
HELL NO. MM‐MMM.
368
00:15:03,080 --> 00:15:04,513
MOVE IT OR LOSE IT.
369
00:15:04,580 --> 00:15:06,847
MY ELBOW WAS HERE FIRST.
370
00:15:06,913 --> 00:15:08,513
IF MY ELBOW DOESN'T GO THERE
371
00:15:08,580 --> 00:15:11,247
IT'LL DEFINITELY GO
SOMEPLACE YOU WON'T ENJOY.
372
00:15:12,847 --> 00:15:16,180
HEY. YOU'RE THE SCALPER
WHO SOLD ME MY TICKET.
373
00:15:16,247 --> 00:15:18,880
WOW. WE CAN ALMOST
SEE THE STAGE.
374
00:15:18,947 --> 00:15:21,513
I'M THE BIGGEST
BRIAN McKNIGHT FAN.
375
00:15:21,580 --> 00:15:24,247
ON THE PLANET!
376
00:15:24,313 --> 00:15:26,013
STOP TOUCHING ME.
377
00:15:26,080 --> 00:15:28,980
IF YOU WOULD SIT LIKE A
LADY, I WOULDN'T HAVE TO.
378
00:15:29,047 --> 00:15:30,747
DON'T MAKE ME COME DOWN THERE.
379
00:15:32,847 --> 00:15:34,213
I BELIEVE IT'S BEAUTIFUL
380
00:15:34,280 --> 00:15:36,347
THAT THE TWO OF YOU
ARE TALKING AGAIN.
381
00:15:36,413 --> 00:15:38,247
GET THE HELL OFF! SHUT UP!
382
00:15:40,947 --> 00:15:45,747
Announcer: Ladies and
gentlemen, Brian McKnight!
383
00:15:53,047 --> 00:15:54,847
♪ WHOO‐HOO ♪
384
00:15:54,913 --> 00:15:58,147
♪ AHH‐OH. ♪
385
00:16:00,020 --> 00:16:01,953
IT'S BRIAN, GIRL!
386
00:16:02,020 --> 00:16:04,187
IT'S BRIAN!
387
00:16:05,353 --> 00:16:07,787
WELL, GOOD EVENING, EVERYONE
388
00:16:07,853 --> 00:16:10,387
AND WELCOME TO A NIGHT OF LOVE.
389
00:16:10,453 --> 00:16:12,520
All: WHOO!
390
00:16:12,587 --> 00:16:14,853
TURN UP THE HEAT, BABY.
391
00:16:17,120 --> 00:16:19,787
NOW, I WANT TO TELL
ALL THE MEN OUT THERE
392
00:16:19,853 --> 00:16:22,387
THAT A GOOD WOMAN
IS HARD TO FIND.
393
00:16:22,453 --> 00:16:23,720
Max: THANK YOU.
394
00:16:23,787 --> 00:16:26,453
BUT YOU CAN FIND AN EVIL
ONE LURKING IN ANY ALLEY.
395
00:16:26,520 --> 00:16:28,287
KYLE, IF YOU WANT TO INSULT ME
396
00:16:28,353 --> 00:16:30,953
JUST REMIND ME I USED
TO SLEEP WITH YOU!
397
00:16:31,020 --> 00:16:33,453
THAT'S NOTHING
COMPARED TO THE HORROR
398
00:16:33,520 --> 00:16:35,320
OF WAKING UP WITH YOU.
399
00:16:35,387 --> 00:16:36,320
SHH.
400
00:16:36,387 --> 00:16:37,520
WATCH THE SHOW.
401
00:16:37,587 --> 00:16:39,320
McKnight: I'M NOT
FEELING THE LOVE.
402
00:16:39,387 --> 00:16:41,253
FROM THAT COUPLE IN
THE CHEAP SEATS.
403
00:16:41,320 --> 00:16:42,587
OKAY, GREAT.
404
00:16:42,653 --> 00:16:44,387
YOU PHILISTINE.
405
00:16:44,453 --> 00:16:46,053
THIS IS SO EMBARRASSING.
406
00:16:46,120 --> 00:16:48,587
LOOK, YOU PUT THE
ASS IN EMBARRASS.
407
00:16:48,653 --> 00:16:50,253
LET ME TELL YOU SOMETHING
408
00:16:50,320 --> 00:16:52,887
YOU SOCIALLY INEPT SALAMANDER...
409
00:16:52,953 --> 00:16:54,720
DO YOU WANT A PIECE
OF ME, KYLE?!
410
00:16:54,787 --> 00:16:56,553
THAT'S HOW THIS NIGHTMARE BEGAN.
411
00:16:56,620 --> 00:16:57,987
LOVEBIRDS, COME WITH ME.
412
00:16:58,053 --> 00:16:59,293
GET OFF ME, MAN!
413
00:17:02,793 --> 00:17:04,893
HEY, LOOK AT THAT.
414
00:17:04,960 --> 00:17:09,593
TWO FREE SEATS OPENED UP
EVEN CLOSER TO BRIAN.
415
00:17:09,660 --> 00:17:11,393
OUT OF MY WAY.
416
00:17:11,460 --> 00:17:12,727
OH, OH.
417
00:17:12,793 --> 00:17:13,960
OW!
418
00:17:18,193 --> 00:17:20,727
OFFICER, IF YOU WANT TO
USE YOUR TASER ON HIM
419
00:17:20,793 --> 00:17:22,727
I PROMISE NOT TO TELL ANYONE.
420
00:17:22,793 --> 00:17:24,127
YOUR I. D., PLEASE.
421
00:17:24,193 --> 00:17:25,460
WHAT?
422
00:17:25,527 --> 00:17:27,093
I DON'T HAVE TO DO THAT.
423
00:17:27,160 --> 00:17:28,393
I KNOW MY RIGHTS.
424
00:17:28,460 --> 00:17:30,327
YOU'RE RIGHT. I'LL
JUST CALL A COP
425
00:17:30,393 --> 00:17:32,927
AND HE CAN ARREST YOU FOR
DISTURBING THE PEACE.
426
00:17:32,993 --> 00:17:34,627
HERE, FASCIST.
427
00:17:36,327 --> 00:17:38,493
MAY I HAVE YOUR I. D.,
SIR, AND YOUR NAME?
428
00:17:38,560 --> 00:17:43,127
KYLE BARKER, AGE 30,
PROFESSIONAL BLOWHARD.
429
00:17:43,193 --> 00:17:45,927
AND JUST WHY DO YOU
NEED THIS INFORMATION?
430
00:17:45,993 --> 00:17:47,360
FOR OUR RIFFRAFF FILES.
431
00:17:47,427 --> 00:17:49,660
THAT WAY IF WE EVER
CATCH YOU HERE AGAIN
432
00:17:49,727 --> 00:17:51,627
WE CAN ARREST YOU
FOR TRESPASSING.
433
00:17:51,693 --> 00:17:52,960
MA'AM, CAN YOU
434
00:17:53,027 --> 00:17:54,227
STRAIGHTEN UP, PLEASE?
435
00:17:54,293 --> 00:17:58,493
THERE'S ONLY SO MUCH YOU
CAN ASK OF QUASIMODO.
436
00:18:00,103 --> 00:18:01,110
SIR?
437
00:18:09,810 --> 00:18:11,243
I'LL BE RIGHT BACK
438
00:18:11,310 --> 00:18:13,243
AND IF YOU WANT TO
KILL EACH OTHER
439
00:18:13,310 --> 00:18:14,776
DON'T BLEED ON MY DESK.
440
00:18:15,876 --> 00:18:19,010
WOMAN, YOU...
441
00:18:19,076 --> 00:18:20,876
YOU ARE A CURSE.
442
00:18:20,943 --> 00:18:24,210
I MEAN, I AM NOT ONLY
MISSING MY FAVORITE SINGER
443
00:18:24,276 --> 00:18:27,276
NOW I AM BEING COUNTED
AMONG THE RIFFRAFF.
444
00:18:27,343 --> 00:18:29,376
HE'S A GOOD PHOTOGRAPHER THOUGH.
445
00:18:29,443 --> 00:18:31,943
HE'S CAPTURED YOUR
GOAT‐LIKE ESSENCE.
446
00:18:33,276 --> 00:18:34,610
KYLE, THAT'S YOU.
447
00:18:36,110 --> 00:18:37,943
OH, DEAR GOD, IT IS.
448
00:18:42,110 --> 00:18:44,743
BOY, WE MADE ONE FREAKY
COUPLE, DIDN'T WE?
449
00:18:44,810 --> 00:18:46,743
( laughing )
450
00:18:46,810 --> 00:18:50,476
HOW DID A FEW NIGHTS
OF CARNAL PLEASURE
451
00:18:50,543 --> 00:18:53,276
END IN THIS ABYSS?
452
00:18:53,343 --> 00:18:57,643
WELL, I GUESS YOU LET YOUR
EMOTIONS GET INVOLVED.
453
00:18:57,710 --> 00:19:01,983
WELL, EXCUSE ME, TIN
MAN, BUT I HAVE A HEART.
454
00:19:02,050 --> 00:19:04,483
YEAH, I KNOW, AND YOU WEAR
IT RIGHT ON YOUR SLEEVE.
455
00:19:04,550 --> 00:19:05,850
OKAY, KYLE, COME ON.
456
00:19:05,916 --> 00:19:08,083
DON'T START TALKING
ABOUT FEELINGS AGAIN.
457
00:19:08,150 --> 00:19:09,783
THAT'S WHAT DAYTIME TV IS FOR.
458
00:19:09,850 --> 00:19:14,516
YOU KNOW, MAXINE, ALL THIS
TIME WE HAVE BEEN TOGETHER
459
00:19:14,583 --> 00:19:18,216
AND I STILL DO NOT
UNDERSTAND YOU.
460
00:19:18,283 --> 00:19:21,250
I MEAN, WHAT, WHAT
DO YOU CARE ABOUT?
461
00:19:22,883 --> 00:19:25,616
FOOD, SHELTER, MY
CAREER AND GOOD SEX.
462
00:19:30,550 --> 00:19:32,483
WELL, I GUESS I GAVE
YOU MORE CREDIT
463
00:19:32,550 --> 00:19:33,883
THAN I SHOULD HAVE.
464
00:19:33,950 --> 00:19:35,550
OH.
465
00:19:35,616 --> 00:19:38,050
I GUESS YOU'LL RUN
THROUGH A MEADOW
466
00:19:38,116 --> 00:19:39,883
IN YOUR NEXT RELATIONSHIP.
467
00:19:43,883 --> 00:19:45,983
YEAH, MAYBE.
468
00:19:46,050 --> 00:19:47,583
OKAY, JUST SIGN RIGHT HERE
469
00:19:47,650 --> 00:19:50,650
AND YOU'RE FREE TO
LEAVE THE PREMISES.
470
00:19:50,716 --> 00:19:51,783
EXCUSE ME.
471
00:19:51,850 --> 00:19:53,783
I HAVE A QUICK WARDROBE CHANGE
472
00:19:53,850 --> 00:19:56,316
AND I LOCKED MYSELF OUT
OF MY DRESSING ROOM.
473
00:19:56,383 --> 00:19:58,316
AREN'T YOU THAT
LOUD, ANGRY COUPLE?
474
00:19:58,383 --> 00:19:59,650
YEAH, WE USED TO BE.
475
00:19:59,716 --> 00:20:03,123
YES. UM, SORRY FOR
THE DISTURBANCE.
476
00:20:03,190 --> 00:20:04,590
DON'T WORRY ABOUT IT.
477
00:20:04,656 --> 00:20:05,923
NO PROBLEM.
478
00:20:05,990 --> 00:20:08,656
MAKE SURE THEY DON'T MAKE
IT BACK INTO THE CONCERT.
479
00:20:08,723 --> 00:20:10,323
YES, SIR, MR. McKNIGHT.
480
00:20:14,490 --> 00:20:15,590
WHOO!
481
00:20:15,656 --> 00:20:17,090
ALL RIGHT, THEN.
482
00:20:17,156 --> 00:20:19,756
WELL, I GUESS I'VE HAD
ENOUGH EXCITEMENT
483
00:20:19,823 --> 00:20:21,423
FOR ONE... ONE EVENING.
484
00:20:21,490 --> 00:20:24,423
SO, DO YOU NEED A RIDE HOME?
485
00:20:24,490 --> 00:20:25,656
YES.
486
00:20:25,723 --> 00:20:29,156
YES. THAT'S WHY I'LL
BE TAKING A CAB.
487
00:20:29,223 --> 00:20:30,823
SUIT YOURSELF.
488
00:20:33,156 --> 00:20:34,423
HMM.
489
00:20:34,490 --> 00:20:35,823
WELL...
490
00:20:37,823 --> 00:20:39,323
GOOD NIGHT, MAXINE.
491
00:20:50,656 --> 00:20:51,923
HMM.
492
00:20:51,990 --> 00:20:54,490
THAT'S ALL, FOLKS.
493
00:20:57,356 --> 00:20:59,156
LIVING SINGLE WILL
BE RIGHT BACK.
494
00:21:02,163 --> 00:21:03,883
WELL SOMEONE'S GOTTA
PROTECT WOMEN'S RIGHTS.
495
00:21:03,996 --> 00:21:06,563
ALL THIS WOMEN'S RIGHTS STUFF
JUST PROVES ONE THING.
496
00:21:06,630 --> 00:21:07,230
WHAT?
497
00:21:07,296 --> 00:21:09,430
YOU WANT ME.
498
00:21:09,496 --> 00:21:11,330
♪ TWO HEARTS ♪
499
00:21:13,363 --> 00:21:16,830
♪ TWO HEARTS THAT BEAT AS ONE ♪
500
00:21:16,896 --> 00:21:22,830
♪ OUR LIVES HAVE JUST BEGUN ♪
501
00:21:25,063 --> 00:21:26,696
♪ FOREVER ♪
502
00:21:26,763 --> 00:21:29,063
♪ OHH ♪
503
00:21:29,130 --> 00:21:33,696
♪ I'LL HOLD YOU
CLOSE IN MY ARMS ♪
504
00:21:33,763 --> 00:21:38,530
♪ I CAN'T RESIST YOUR CHARMS ♪
505
00:21:40,596 --> 00:21:41,863
♪ AND LOVE ♪
506
00:21:41,930 --> 00:21:44,196
♪ OH, LOVE ♪
507
00:21:44,263 --> 00:21:49,196
♪ I'LL BE A FOOL FOR YOU ♪
508
00:21:49,263 --> 00:21:53,463
♪ I'M SURE ♪
509
00:21:53,530 --> 00:21:57,363
♪ YOU KNOW I DON'T MIND ♪
510
00:21:57,430 --> 00:22:00,870
♪ OH, YOU KNOW I DON'T MIND ♪
511
00:22:00,936 --> 00:22:03,470
♪ 'CAUSE YOU ♪
512
00:22:04,670 --> 00:22:10,136
♪ YOU MEAN THE WORLD TO ME ♪
513
00:22:10,203 --> 00:22:11,803
♪ OH ♪
514
00:22:11,870 --> 00:22:13,370
♪ I KNOW ♪
♪ I KNOW ♪
515
00:22:13,436 --> 00:22:15,636
♪ I FOUND ♪
♪ I FOUND ♪
516
00:22:15,703 --> 00:22:18,136
♪ IN YOU ♪
517
00:22:18,203 --> 00:22:20,436
♪ MY ENDLESS LOVE. ♪
518
00:22:20,503 --> 00:22:22,863
[Captioned by The Caption Center
WGBH Educational Foundation]
35801
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