Original subtitles

>> [ GASPING ]

OH! GOD!

[ ALARM BEEPING ]

[ ALARM BEEPING ] [ BREATHING HEAVILY ]

[ BREATHING HEAVILY ]

[ SCOFFS ]

[ SCOFFS ] OH, MY GOD.

OH, MY GOD.

>> NO RESTAURANT! HEY!

YOU BUY, YOU TAKE AWAY!

>> MAN, SHE MEANER THAN YOUR

MAMA.

>> MAN, NOBODY MEANER THAN MY

MAMA.

>> YOU GOT SOMETHING FOR UNDER

5 BUCKS THAT'S NOT GONNA KILL

ME?

>> MM.

[ SPEAKS INDISTINCTLY ]

>> OHH.

>> VERY GOOD STUFF!

IT'S, UH, $4.29, PLUS TAXES.

OKAY. VERY GOOD, VERY GOOD.

NOW, TELL ME SOMETHING, HUH?

NICE GIRL LIKE YOU.

HOW COME YOU DRESS LIKE THAT?

DON'T YOU WANT A HUSBAND?

>> [ Laughing ] A HUSBAND?

[ SCOFFS ] YEAH.

YOU MARRY HER?

>> MARRY HER?

I WOULDN'T EVEN FUCK HER -- NOT

EVEN WITH YOURDICK.

>> [ CHUCKLES ] HEY. HEY!

YOU'D NEED A MICROSCOPE TO FIND

IT.

>> [ LAUGHS ]

>> NO, NO, NO. HEY!

HEY, MY DICK AIN'T LACKING

NOTHING IN THE SIZE DEPARTMENT,

NOTHING IN THE SIZE DEPARTMENT, BABY.

BABY.

>> HIYA.

>> HEY.

YOU'RE LATE TONIGHT, HONEY.

>> YEAH, THAT'S THE STORY OF MY

LIFE.

>> WELL, BETTER LATE THAN NEVER,

HUH?

[ COUGHING ]

>> DOLORES.

THOSE CIGARETTES ARE GONNA KILL

YOU ONE DAY.

YOU KNOW THAT, RIGHT?

>> SOMETHING'S GOT TO.

>> [ Chuckling ] OH, GOD.

>> [ Chuckling ] OH, GOD. >> SEE YOU.

>> SEE YOU.

>> MADAME?

ANNA?

AH!

ANNA KARENINA.

>> [ GROANS, CHUCKLES ]

>> OH!

YOU LOOK RAVISHING...

>> OH.

>> ...THIS EVENING, MY DEAR!

OH.

WHAT COULD YOU HAVE IN THAT BAG,

MY DEAR?

>> NOTHING.

IT'S NOTHING, PROFESSOR.

>> [ LAUGHS ]

>> IT'S DOMESTIC.

>> BUT NOT UNDRINKABLE!

AM I CORRECT?

>> WELL -- [ CHUCKLES ]

>> WELL, AND YOU'RE NOT GOING TO

ENJOY IT ALONE!

PLEASE, SIT! PLEASE!

>> NO.

UH, YOU ARE. HERE.

>> OH --

>> COME ON.

>> THANK YOU, MY DEAR.

>> YEAH.

>> ANNA?

>> MM?

>> DON'T DO ANYTHING STUPID.

>> DON'T DO ANYTHING STUPID. >> [ CHUCKLES ]

>> [ CHUCKLES ]

>> LEON?

AS YOU WERE.

AS YOU WERE. [ BIRD CHIRPS ]

[ BIRD CHIRPS ]

WHAT DO YOU THINK, LEON?

GONNA KILL ME?

[ BIRD CHIRPS ]

[ SNIFFS, GROANS ]

[ SNIFFS, GROANS ] [ THUMP ]

[ THUMP ]

"MARLENE HAD A TENDENCY TO USE

HER NARCISSISM AS THE LONG END

OF THE WEDGE."

OF THE WEDGE." [ SIGHS ]

[ SIGHS ]

[ SIGHS ] [ METAL GRATING ]

[ METAL GRATING ]

[ METAL GRATING ] GIVE IT YOUR BEST SHOT.

GIVE IT YOUR BEST SHOT.

>> [ Muffled ] OOH. OH, SO GOOD.

KEEP GOING, BABY.

KEEP GOING. THAT'S RIGHT.

OH, YEAH. THAT'S THE G-SPOT.

MMM. MM-HMM!

OH, YOU SON OF A BITCH!

YOU BIG, BEAUTIFUL SON OF A

BITCH!

GUESS WHO JUST WALKED IN THE

DOOR.

DELILAH.

YOU WANT TO SAY HELLO?

MM-HMM.

SHE'S SITTING RIGHT HERE,

GETTING VERY, VERYHORNY JUST

THINKING ABOUT YOU.

UH-HUH. AREN'T YOU, HONEY?

YOU STILL THERE, BABY?

MM.

DO IT, HANK.

DO IT HARD. OH, YEAH.

THAT'S THE SPOT.

OH, RIGHT THERE.

OOH. KEEP GOING!

OH, RIGHT -- RIGHT THERE.

OOH, YOU BE A STUD, AND YOU FUCK

ME, BABY!

OH, FUCK ME! OH, YEAH!

OH! DON'T STOP!

DON'T STOP!

OH! HARDER!

HARDER! OH, YEAH!

[ MOANS ]

NO!

THAT'S THE SPOT RIGHT THERE,

BABY!

HARDER...

HARDER...

DON'T STOP!

OH, THAT'S THE SPOT!

THAT'S IT!

THAT'S IT! RIGHT THERE!

THAT'S HOW I LIKE IT!

[ MOANS INDISTINCTLY ]

DON'T STOP!

[ MOANING LOUDLY ]

[ YELLS ]

OH, YEAH!

ALL RIGHT!

OOH!

OH.

HANK? YOU STILL THERE, BABY?

HANK?

HANK.

HANK!

UGH!

I CANNOT STAND IT WHEN THEY DO

THAT.

[ SIGHS ]

>> WHAT DO YOU WANT THEM TO

DO -- HOLD YOU AND SAY THEY LOVE

YOU?

>> WELL, THEY COULD SAY GOODBYE,

FOR CHRIST'S SAKE.

THAT'S THE LEAST THEY COULD DO.

>> POST COITUM OMNE ANIMAL

TRISTE EST.

>> HUH?

>> IT MEANS "AFTER SEX, MEN ARE

SAD."

>> HUH.

YOU'D THINK FOR ONCE, THEY'D BE

HAPPY.

>> YEAH, WELL, THAT'S WHY THEY

ALWAYS WANT TO ROLL OVER AND GO

TO SLEEP AFTERWARDS.

THEY'RE DEEPLY DEPRESSED.

>> YOU WERE SUPPOSED TO BE HERE

AT MIDNIGHT, YOU KNOW.

>> I KNOW. I'M SORRY.

>> SO, THERE'S THIS GUY IN MY

BUILDING, AND HE'S KIND OF SHY

AND PUDGY AND FUNNY-LOOKING,

WITH HAIR FALLING IN HIS EYES.

I BET YOU HE CALLS PLACES LIKE

THIS.

HE'S THE TYPE.

YOU KNOW WHAT I MEAN?

I MEAN, DON'T YOU THINK ABOUT

WHAT THEY'RE LIKE, THESE GUYS,

WHEN YOU'RE TALKING TO THEM?

>> NO. NEVER.

>> I DO, ESPECIALLY WHEN I GET A

NICE-SOUNDING VOICE ON THE

LINE -- YOU KNOW, SHY, LIKE THIS

GUY IN MY BUILDING.

I WANT TO TELL THEM TO GO JOIN A

CLUB OR GO ON FACEBOOK...

OR SOMETHING!

OR JUST ASK SOMEONE!

I MEAN, MAYBE SOMEONE WILL SAY

YES!

YOU NEVER KNOW!

BUT GETTING OFF OVER THE PHONE

SEEMS...SO LONELY.

>> UH-HUH.

>> WHAT DID MEN DO BEFORE

TELEPHONES, LIKE IN THE

19th CENTURY?

>> THEY PATRONIZED WHORES.

>> WELL...WE'RE NOT WHORES.

>> NO. THAT'S RIGHT. WE'RE NOT.

WE ARE --

WE'RE FANTASY FACILITATORS, AND

THAT'S THE PROBLEM WITH THE

WORLD TODAY, GINNY.

THERE ARE NO COMPETENT WHORES

OUT THERE!

THERE'S -- THERE ARE NO WHORES

WHO, YOU KNOW, THEY REALLY CARE

ABOUT THEIR WORK!

BUT GIVEN THE STATE OF THE

PROFESSION, I GUESS PHONE SEX

IS...

A BETTER IDEA.

>> I'LL SEE YOU TOMORROW!

>> MM-HMM. OKAY.

>> AND COULD YOU TRYNOT TO BE

LATE, PLEASE?

LATE, PLEASE? >> YES. RIGHT.

>> YES. RIGHT.

[ DOOR SHUTS ]

[ TELEPHONE RINGING ]

[ TELEPHONE RINGING ] >> 7...?

>> 7...?

DUFFY'S TAVERN, WHERE THE ELITE

MEET TO EAT.

>> This is George Papandreou.

>> MR. PAPANDREOU!

HOW'S IT GOING?

YOU GOT A NEW NUMBER!

[ CHUCKLES ]

>> You're behind on the rent

again!

>> UH, THE RENT?

WHAT DO YOU ME-- THE RENT?

OH. HERE'S WHAT HAPPENED.

I GOT A NEW BANK ACCOUNT, AND

THEY SENT ME THE WRONG CHECKS.

I-I ASKED -- I HAD ASKED FOR A

COAT OF ARMS.

DID YOU KNOW MY FAMILY HAS A

DID YOU KNOW MY FAMILY HAS A COAT OF ARMS?

COAT OF ARMS?

JESUS, I'M TALKING TO A FUCKING

BIRD.

BIRD. AH, FUCK.

AH, FUCK.

AH, FUCK. [ SIGHS ]

[ SIGHS ]

[ SIGHS ] "SWEET TALK."

"SWEET TALK."

SWEET TALK.

SWEET TALK. [ CHUCKLES ]

[ CHUCKLES ]

[ CHUCKLES ] [ Dialing ]

[ Dialing ]

[ Dialing ] [ TELEPHONE RINGING ]

[ TELEPHONE RINGING ]

>> [ Breathy ] HELLO.

SWEET TALK.

>> WHO'S THIS?

>> THIS IS DELILAH.

YOU WANT TO TALK?

>> About what?

>> UH, YOU NAME IT, BABY.

ANYTHING.

>> ANYTHING?

>> Anything -- the hotter, the

better.

>> WHAT ABOUT DANCING?

CAN WE DANCE?

>> WE CAN DO WHATEVER YOU WANT

TO DO.

Oh, hey. Come on. Don't be shy.

No one's gonna bite you...unless

you want to be bitten.

Hello?

HEY.

HE-HEY, DON'T HANG UP.

>> I'm here.

>> OKAY.

>> What do I have to do?

>> WHAT DO YOU HAVE TO DO?

>> Well, uh, yeah.

I've never done this before, so

you're gonna have to help

explain how this works.

>> ALL RIGHT.

THAT'S NOT A PROBLEM.

WHAT'S YOUR NAME?

>> J-- [ CLEARS THROAT ]

JOHN.

JOHN.

>> OKAY, JOHN.

HERE'S HOW IT WORKS.

WE CAN TALK ABOUT...ANYTHING YOU

WANT FOR AS LONG AS YOU WANT,

AND THEN --

>> How much does it cost?

>> I'M GETTING TO THAT.

>> JUST WANT TO KNOW WHAT I'M IN

FOR.

>> Okay.

We charge 20 bucks to start out,

and then $2.99 a minute goes

automatically on your credit

card.

UNLESS, OF COURSE, YOU WANT TO

DO SOMETHING...MORE UNUSUAL --

THAT'S GONNA BE A BIT MORE

EXPENSIVE.

>> WHAT DO YOU MEAN BY UNUSUAL?

>> WELL, THERE'S, UH -- UH,

THERE'S FRENCH.

THERE'S...

Greek.

There's threesomes.

>> MAKE IT JUST STRAIGHT.

UM, YOUR BASIC FACE-TO-FACE

MISSIONARY POSITION IS 20 BUCKS

PLUS WHATEVER -- $2.99?

>> Yes. Right.

>> EVERYTHING ELSE IS EXTRA?

>> Yeah.

>> WHAT'S MY CREDIT CARD GONNA

SAY -- LIKE, "JERK-OFF SERVICES"

OR SOMETHING LIKE THAT?

>> [ CHUCKLES ]

NO, IT'LL SAY "UNIVERSAL

COMMUNICATIONS, INCORPORATED."

>> That's all?

>> THAT IS ALL.

SO, JOHN...

WE GONNA PARTY, YOU AND ME?

HMM?

>> WHAT DO YOU LOOK LIKE?

>> JOHN, I LOOK TERRIFIC.

TAKE MY WORD FOR IT.

BUT WE'RE GONNA HAVE TO GET THE

FORMALITIES OUT OF THE WAY

BEFORE WE CAN GO ANY FURTHER, SO

I AM GOING TO NEED YOUR CREDIT

CARD NUMBER AND THE EXPIRATION

DATE.

>> YOU KNOW WHAT?

[ CLEARS THROAT ]

I THINK I'M GONNA CALL BACK

LATER.

>> I may not be here later.

I MIGHT BE ASLEEP, ALL ALONE IN

MY BIG BED WITH SATIN SHEETS.

>> DO YOU LIVE ALONE?

>> I do.

Uh, it's just me -- well, and

Uh, it's just me -- well, and you, if you want to join me.

you, if you want to join me.

>> 4-0-0-3-4...

[ KEYBOARD CLACKING ]

7-6-7...

7-8-12 --

HOW DO YOU KNOW THIS IS A REAL

NUMBER?

>> I PUT IT IN MY MOUTH, AND IF

IT GETS HARD, I KNOW IT'S REAL.

>> [ SCOFFS SOFTLY ]

That's pretty funny!

>> THIS IS YOUR LAST CHANCE,

SWEETIE -- I HAVE TO HANG UP ON

YOU IF YOU DON'T GIVE ME THE

NUMBER.

>> [ CLEARS THROAT ]

4-0-3-4-7-1-0-3...

2-5-0-4-2-2-4-6.

EXPIRATION --

What if it was already expired?

>> I'M COUNTING TO 3.

1, 2 --

>> SEPTEMBER 2015.

>> THANK YOU.

>> THANK YOU. >> You're welcome.

>> You're welcome.

Now what?

>> NOW, JOHN...

WE'RE IN BUSINESS.

SO...WHY DON'T YOU TELL ME WHAT

YOU LIKE?

YOU LIKE? >> HMM.

>> HMM.

YOU KNOW WHAT I'D REALLY LIKE?

>> What's that?

>> OH, BOY. I DON'T KNOW.

IT'S KIND OF WEIRD.

>> [ Chuckling ] OH.

COME ON, JOHN.

DON'T BE SHY.

>> Okay.

I'D LIKE TO BE GENE KELLY IN

"SINGIN' IN THE RAIN."

>> WHY'D YOU CALL THIS LINE,

JOHN?

I MEAN, YOU KNOW, YOU C-- YOU

CAN BE GENE KELLY IN

"SINGIN' IN THE RAIN" WITHOUT

ME.

>> MM, YEAH, BUT...

IT'S NOT AS MUCH FUN.

>> Do you like girls, John?

>> YEAH!

>> What type?

>> TYPE?

>> YEAH.

>> You know what gets me?

>> What's that?

>> THE WAY A WOMAN LOOKS AT YOU.

HER EYES.

TAKE JEANNE MOREAU IN

"JULES AND JIM."

YOU SEEN IT?

Doesn't matter.

SHE HAS A WHOLE HISTORY OF...

BOOZE AND CIGARETTES AND BAD

BOOZE AND CIGARETTES AND BAD LOVE AFFAIRS ALL IN HER EYES.

LOVE AFFAIRS ALL IN HER EYES.

I MEAN, YOU GET THE FEELING THAT

YOU COULD FUCK HER FOR THREE

DAYS AND NIGHTS STRAIGHT, AND

SHE WOULDN'T SMILE ONCE.

>> [ SIGHS ]

HAVE YOU EVER CALLED A FANTASY

SEX LINE BEFORE, JOHN?

>> NO. I TOLD YOU.

>> WELL, YOU MIGHT WANT TO SAVE

YOUR MONEY, BECAUSE THIS IS A

LINE FOR GUYS WHO LIKE TO GET

OFF.

>> I like to get off.

WHAT MAKES YOU THINK I DON'T

LIKE TO GET OFF?

>> Great! Then let's get off!

>> OKAY!

>> Okay! What do you want to do?

>> [ EXHALES SOFTLY ]

>> "I DON'T KNOW, ANGIE.

WHAT DO YOU WANT TO DO?"

>> UH -- [ SCOFFS ]

>> UH -- [ SCOFFS ] ERNEST BORGNINE FROM "MARTY"?

ERNEST BORGNINE FROM "MARTY"?

>> YES!

>> Yeah, you like old movies?

>> YEAH! I DO!

I MEAN...ONLY THE GOOD ONES!

I'VE SEEN "CITIZEN KANE" LIKE

15 TIMES.

>> SO, SHOULD I GET UNDRESSED?

>> WHAT ARE YOU WEARING?

>> Not a whole lot.

>> Anything?

>> MM, WELL, I'M WEARING A

TEDDY, BUT IT'S SHEER.

TEDDY, BUT IT'S SHEER. YOU CAN SEE...RIGHT THROUGH IT.

YOU CAN SEE...RIGHT THROUGH IT.

>> DO YOU HAPPEN TO HAVE A FUR

COAT IN YOUR CLOSET?

>> A FUR COAT?

>> Uh, yeah.

>> YEAH!

SURE! DOESN'T EVERYBODY?

>> I WANT YOU TO TAKE OFF

EVERYTHING ELSE AND GO GET YOUR

FUR COAT AND PUT IT ON.

>> UH, I'M GOING TO THE CLOSET

NOW, AND...

I'M OPENING THE DOOR, AND -- OH,

THERE IT IS, THE SABLE COAT.

I'M, UH --

I'M SLIPPING OFF MY TEDDY AND

PUTTING THE COAT ON.

>> Okay, good.

BUTTON IT UP.

>> I'm buttoning it up.

>> TIGHT. BUTTON IT UP TIGHT.

>> ALL RIGHT. NOW WHAT?

>> NOW I WANT YOU IN A TRAIN

STATION...

IN EUROPE.

BUDAPEST.

OR PRAGUE. WHAT DO YOU THINK?

>> I-I THINK IT'S YOUR DIME,

BUDDY.

>> BUDAPEST...

>> BUDAPEST... RIGHT BEFORE WORLD WAR I.

RIGHT BEFORE WORLD WAR I.

I WANT YOU ON ONE OF THOSE HARD,

WOODEN BENCHES.

THE TRAIN STATION IS DESERTED.

YOU'RE ALL ALONE.

YOU'RE ALL ALONE. IT'S THE MIDDLE OF THE NIGHT.

IT'S THE MIDDLE OF THE NIGHT.

IT'S WINTER.

IT'S SNOWING OUTSIDE.

IT'S -- IT'S BITTERCOLD!

BUT THE COLD -- IT DOESN'T

BOTHER YOU.

IT EXCITES YOU.

THERE'S SOMETHING EROTIC ABOUT

BEING THERE ALONE, NAKED UNDER

YOUR FUR COAT, IN THE MIDDLE OF

THE NIGHT, IN THE MIDDLE OF THE

WINTER.

YOU CAN FEEL THE SILK LINING OF

THE FUR COAT AGAINST YOUR BARE

SKIN.

IT TURNS YOU ON.

Your nipples start to harden.

>> JOHN --

>> Oh, no, no! Wait, wait, wait!

DON'T TALK! DON'T TALK!

YOUR HANDS START TO WANDER

BENEATH YOUR COAT.

You can't stop from touching

yourself.

>> JOHN, LOOK.

I'M -- I'M ACTUALLY -- I'M

REALLY NOT INTO THIS, SO...

>> Try.

>> Try. Just try.

Just try.

YOU GO TO WARM YOURSELF.

BUT YOU'RE NOT COLD ANYMORE.

YOU'RE BURNING UP.

YOU'RE SO HOT, YOU FEEL LIKE

RUNNING OUT INTO THE SNOW AND

RUNNING OUT INTO THE SNOW AND DIVING IN.

DIVING IN.

YOUR SKIN IS SO SENSITIVE, IT

HURTS.

YOU CAN'T BEAR TO HAVE ANYTHING

TOUCHING IT, NOW, CAN YOU?

>> NO.

>> YOU LET YOUR COAT SLIDE DOWN

JUST OFF YOUR SHOULDERS...

JUST ENOUGH TO GET THE

STATION MASTER'S ATTENTION.

YOU DON'T KNOW WHAT'S GONNA

HAPPEN, BUT YOU KNOW THAT

SOMETHING HAS TO.

SOMETHING HAS TO. YOU'VE GONE TOO FAR.

YOU'VE GONE TOO FAR.

SO, WHO'S IT GONNA BE?

THE STATION MASTER --

A MAN WITH NO PRESENT AND NO

PAST, A MAN WHO SITS AT A TICKET

WINDOW OF A TRAIN STATION WHERE

NO TRAINS STOP...

WAITING FOR SOMEONE TO SHOW UP

IN A FUR COAT?

IF NOT HIM, WHO?

I'M GONNA LET YOU CHOOSE,

BECAUSE THIS IS VERY IMPORTANT.

DO YOU KNOW WHY?

BECAUSE AFTERWARDS...

[ LIGHTER CLICKS, ECHOES ]

...WHEN YOU LIGHT THAT CIGARETTE

AND THE PERSPIRATION STARTS TO

DRY...

YOU'RE GONNA BE ALL ALONE AGAIN.

THAT FATEFUL MOMENT WHEN YOU'RE

BACK DOWN ON EARTH, SURROUNDED

BY THE SADNESS OF IT ALL -- LIKE

THE MAN SAID, POST COITUM OMNE

ANIMAL TRISTE EST.

>> WHAT?

>> It means "After sex, all men

are sad."

Are women?

Are w-- are they sad, too?

>> WHY -- WHY DID YOU SAY THAT?

>> What?

>> THAT THING IN LATIN.

WHY DID YOU SAY THAT?

>> Because it's true.

BUT WOMEN AREN'T SAD, ARE THEY?

WHY WOULD THEYBE SAD?

THEY'RE TRIUMPHANT!

I MEAN, THEY GOT US TO GO SQUIRT

WITH THE WATER PISTOL RIGHT

WHERE THEY WANTED.

WHY WOULD THEYBE SAD?

>> WELL, THEY ARE.

TAKE MY WORD FOR IT.

[ SIGHS ]

>> What?

>> UM, I'M -- HEY!

I'M HANGING UP.

I-I HOPE YOU GOT OFF.

>> WAIT, YOU CAN'T HA-- YOU

DON'T -- YOUDON'T HANG UP!

I'M -- WE'RE IN A TRAIN STATION!

OUR BODIES ARE BURNING!

WHAT ARE WE SUPPOSED TO DO?

WHAT ARE WE SUPPOSED TO DO? OH, COME ON, DELILAH.

OH, COME ON, DELILAH.

THERE MAY NEVER BE ANOTHER

MOMENT LIKE THIS IN YOUR ENTIRE

EXISTENCE.

[ Beep ]

[ Beep ] [ EXHALES SOFTLY ]

[ EXHALES SOFTLY ]

[ EXHALES SOFTLY ] >> [ EXHALES ]

>> [ EXHALES ]

>> [ SCOFFS ]

TALK GET A LITTLE TOO SWEET FOR

TALK GET A LITTLE TOO SWEET FOR YOU?

YOU?

>> [ SIGHS, CHUCKLES SOFTLY ]

>> [ GRUNTS ]

[ SIGHS ]

[ SIGHS ] [ TELEPHONE RINGING ]

[ TELEPHONE RINGING ]

[ TELEPHONE RINGING ] >> [ SIGHS ]

>> [ SIGHS ]

>> [ SIGHS ] [ TELEPHONE CONTINUES RINGING ]

[ TELEPHONE CONTINUES RINGING ]

HELLO. SWEET TALK.

THIS IS DELILAH.

YOU WANT TO TALK?

HELLO? ANYBODY THERE?

HI, THERE!

WHAT'S YOUR NAME?

[ CHUCKLES ]

HI, MARTY. HOW YOU DOING?

HAVE YOU, UH -- HAVE YOU EVER

CALLED US BEFORE, MARTY?

ALL RIGHT, MARTY.

FASTEN YOUR SEATBELT.

HERE WE GO.

[ British accent ] MARTY?

WHO GAVE YOU PERMISSION TO COME

INTO MY ROOM?!

I DIDN'T HEAR YOU KNOCK!

STOP BABBLING!

IF I CATCH YOU LOOKING AT ME,

THAT'S WHAT I'M GOING TO HAVE TO

DO -- I'M GOING TO HAVE TO

PUNISH YOU!

BAD BOYS GET SPANKED, MARTY!

TAKE DOWN YOUR TROUSERS!

[ SIGHS ] THAT'S RIGHT.

UNDERPANTS, TOO.

WELL, WELL, WELL.

WHAT HAVE WE HERE?

GET YOUR HANDS OFF IT, MARTY!

DON'T TOUCH IT!

[ TELEPHONE RINGING ]

NAUGHTY BOYS AREN'T ALLOWED TO

TOUCH THEMSELVES DOWN THERE.

MARTY, I-I WANT YOU TO STAND IN

A CORNER, AND I WANT YOU TO

THINK ABOUT YOUR NICEST LITTLE

BOY VOICE AND HOW YOU'RE GOING

TO ASK ME, AND I DON'T WANT YOU

TO TOUCH IT, OKAY?

DON'T GO AWAY.

I'LL BE RIGHT BACK.

[ Breathy ] SWEET TALK.

THIS IS DELILAH. WANT TO TALK?

>> DO YOUWANT TO TALK?

THAT'S THE QUESTION!

>> [ Chuckling ] Hi.

>> [ As Humphrey Bogart ] OF ALL

THE PHONE-SEX JOINTS IN ALL THE

TOWNS IN ALL THE WORLD, WHY'D I

HAVE TO DIAL HERS?

>> I'M ON THE OTHER LINE.

>> YOU LEFT ME ALL ALONE IN A

COLD RAILROAD STATION IN

BUDAPEST!

THAT WASN'T VERY NICE OF YOU!

>> I can't talk to you right

now.

>> I DON'T KNOW IF YOU WANT TO

TALK TO ME AT ALL!

>> CAN YOU CALL ME BACK LATER?

>> I MIGHT NOT BE AVAILABLE

LATER.

I MIGHT BE ASLEEP...ALL ALONE

IN MY BIG BED WITH SATIN SHEETS.

>> Okay, call me back in five

minutes.

>> FIVE MINUTES?

>> Yes.

[ British accent ] MARTY, YOU

NAUGHTY BOY.

I CAN SEE WHAT YOU'RE DOING

THERE!

MARTY.

[ Normal voice ] MARTY.

>> WHAT DO YOU SAY WE MAKE HER

WAIT A LITTLE BIT?

HMM?

HMM? PISS HER OFF?

PISS HER OFF?

YOU SEE, LEON...

WOMEN...

WANT TO BE WOOED.

THEY WANT YOU TO DO IT...

SLOWLY...

TENDERLY...

GENTLY.

WOMEN, LEON, WANT TO BE...

TEASED.

AND THEN BOOM!

THEY'RE LIKE A WILD ANIMAL,

SCRATCHING AT YOUR BACK, CLAWING

AT YOUR HAIR, SCREAMING, "FUCK

ME, BABY!" LOUD ENOUGH TO BREAK

AN EARDRUM!

THEN YOU GOT THEM BACK IN THE

CAVE.

BUT IT ALL STARTS...

BY MAKING THEM WAIT.

BY MAKING THEM WAIT. >> [ SIGHS SOFTLY ]

>> [ SIGHS SOFTLY ]

>> [ SIGHS SOFTLY ] [ TELEPHONE RINGING ]

[ TELEPHONE RINGING ]

[ TELEPHONE RINGING ] [ Ringing ]

[ Ringing ]

[ Ringing ] [ TELEPHONE CONTINUES RINGING ]

[ TELEPHONE CONTINUES RINGING ]

>> WHY'D YOU SAY THAT THING IN

LATIN?

>> POST COITUM OMNE --

>> ...animal triste est.

Yeah.

>> WOW.

I...USUALLY SAY IT TO ALL THE

GIRLS ON THE FIRST DATE SO THEY

KNOW WHAT TO EXPECT.

>> I had just said that exact

same thing to somebody right

before you called.

I MEAN, THAT IS -- THAT'S REALLY

WEIRD, RIGHT?!

>> Yeah!

>> YEAH.

>> IS THAT WHY YOU HUNG UP ON

ME?

>> NO, I HUNG UP ON YOU BECAUSE

I THOUGHT YOU WERE FINISHED.

>> [ SCOFFS ]

OKAY. BULLSHIT.

BULLSHIT!

I THINK THAT YOU WERE HAVING

TROUBLE IN THE TRAIN STATION IN

BUDAPEST.

>> HEY.

>> I think it was getting a

little too hot in there for you.

>> Y-YEAH, I-I DO THIS FOR A

LIVING, REMEMBER?

>> YEAH, UH, BUT I'M NOT TALKING

ABOUT, "OH, BOY, WHAT A BIG DICK

YOU HAVE."

I'M TALKING ABOUT THE REAL

THING.

>> Hey, if I want to do the

real thing, I don't have to pick

up a phone.

>> THERE'S A LOT OF ADVANTAGES

TO CONNECTING OVER THE PHONE.

>> LIKE WHAT?

>> WELL, YOU CAN TRAVEL TO SOME

PRETTY AMAZING PLACES WITHOUT

EVER HAVING TO LEAVE YOUR ROOM!

IT'S JUST STORYTELLING.

THAT'S ALL.

AND WHO DOESN'T LOVE A GOOD

STORY?

You think -- Do you think

Scheherazade stayed alive by

going down on the king every

night?

No, she told him stories!

She took him to places that he

hadn't been before!

>> LIKE A TRAIN STATION IN

BUDAPEST.

>> Yeah! Why not?

SEE, DELILAH...

I GET THIS FEELING THAT YOU AND

I HAVE SOME STORIES TO LIVE OUT

BETWEEN US.

>> WELL, I'M GONNA HAVE TO PUT

YOU BACK ON THE CLOCK.

MY BOSS CHECKS THE PHONES.

>> That's fine with me.

>> MM. REALLY?

YOU MUST BE A PRETTY WEALTHY

GUY.

$2.99 A MINUTE STARTS TO ADD UP,

YOU KNOW.

>> [ Chuckles ]

To travel places you really want

to go...

IT SOUNDS PRETTY CHEAP TO ME.

So...

SO, WHERE DO YOU WANT TO GO?

>> OH. [ CHUCKLES ]

JOHN, I THINK YOU HAVE THIS

BACKWARDS.

I'M SUPPOSED TO TAKE YOU WHERE

YOUWANT TO GO.

>> WHAT DIFFERENCE DOES IT MAKE

WHO TAKES WHO, JUST AS LONG AS

WE GET THERE, RIGHT?

ALL RIGHT.

UM...

I GOT AN IDEA.

>> Yeah? What?

>> Yeah. I, uh -- [ Sighs ]

I got to get some fresh air,

though.

I got to --

>> WHERE YOU GOING?

>> Up to the roof.

>> Up to the roof. >> THE ROOF? WHAT ROOF?

>> THE ROOF? WHAT ROOF?

>> YOU STILL THERE?

>> YOU STILL THERE? >> Yeah, I'm here.

>> Yeah, I'm here.

>> I LIKE TO COME UP HERE AT

NIGHT SOMETIMES AND THINK.

NIGHT SOMETIMES AND THINK. IT'S BEAUTIFUL.

IT'S BEAUTIFUL.

I LIKE TO LOOK AT ALL THE

DIFFERENT APARTMENTS...

ALL THE PEOPLE INSIDE...

>> [ LAUGHING ]

>> ...WATCHING TV, EATING,

LAUGHING...

CRYING, ARGUING.

[ CHUCKLES ]

So many different stories.

It's amazing.

Behind every window is a

different life, a whole other

life!

Do you realize that your soul

mate...

COULD LIVE RIGHT ACROSS THE

STREET FROM YOU?

OR HE COULD LIVE IN BANGLADESH.

OR PITTSBURGH.

[ CHUCKLES ]

Okay!

YES.

LET'S REVERSE THE ROLES!

You pretend like you're one of

the guys calling Sweet Talk!

>> NO. COME ON.

>> Seriously! Just try it!

Just try it.

[ Imitates telephone ringing ]

[ Deep voice ] HI.

THIS IS STUD TALK.

JOHN SPEAKING.

>> [ CHUCKLES ]

JOHN'S NOT REALLY YOUR NAME, IS

IT?

>> [ French accent ] IT'S A NOM

DE GUERRE, SO TO SPEAK.

SO, TELL ME, MS. DELILAH...

[ Normal voice ] WHAT ARE YOU

INTERESTED IN TALKING ABOUT?

>> UM...I DON'T --

I DON'T KNOW.

I'M NOT REALLY -- I'M NOT VERY

GOOD AT THIS.

>> OH, COME ON!

COME ON!

YOU WERE RIGHT THERE AT THE

TRAIN STATION WITH ME!

I KNOW YOU WERE!

JUST GO WITH IT.

>> OKAY, WHAT IF, UM --

Mm, what if it was something out

of a Russian novel?

>> YES!

"THE BROTHERS KARAMAZOV."

>> OHH, I WAS THINKING TOLSTOY,

ACTUALLY.

>> AH!

FOR WHOM THE BELL "TOLSTOYS!"

>> [ Chuckling ] GOD!

>> Okay! Here's what we do!

WE CREATE EACH OTHER.

ANYBODY WE WANT TO BE.

ANYWHERE WE WANT TO GO.

ALL IT TAKES IS A LITTLE

IMAGINATION.

You do this for a living,

remember?

>> WELL, YEAH.

BUT I DON'T USUALLY GET CALLS

FROM GUYS WHO WANT TO GO TO...

train stations in Budapest.

>> LET'S GO BACK THERE.

>> The train station?

>> YEAH! YEAH, YEAH, YEAH!

>> First of all, what am I doing

there?

>> I don't know yet!

I don't know!

We're making this up as we go

along.

>> WELL, THEN, I'M WEARING A

CAPE --

A FUR CAPE.

AND I'M -- MM -- DRIPPING IN

EMERALDS.

>> NICE.

>> I don't know. It's -- it's --

IT'S A LITTLE DRESSY FOR A TRAIN

STATION, DON'T YOU THINK?

>> WELL, SO WHAT?!

IT'S YOUR RAILROAD STATION!

PUT IT ON.

>> The cape?

>> YES! PUT IT ON!

AND REALLY -- REALLY PUT IT ON.

>> [ SIGHS ]

OKA-- I HAVE TO GO TO MY CLOSET!

>> YOU KNOW WHAT?

I WANT MY VOICE IN THE ROOM.

PUT ME ON SPEAKERPHONE.

>> [ SIGHS ] OKAY, HOLD ON.

HOW'S THAT?

>> THAT'S GREAT. HOW'S THAT?

>> Oh! Good!

>> Put on your cape!

>> [ Chuckling ] OKAY, OKAY.

>> [ Chuckling ] OKAY, OKAY. [ Muttering ] OH, GOD...

[ Muttering ] OH, GOD...

[ EXHALES ]

IT'S ON.

>> AND WHAT DO YOU GOT ON UNDER

THE CAPE?

>> UM...

>> UM... I'M WEARING...

I'M WEARING...

...BEAUTIFULANTIQUE...

silk underwear.

WHAT ABOUT YOU, JOHN?

WHAT ARE YOU WEARING?

>> A BASEBALL UNIFORM.

>> In the train station!

>> JUST THE PANTS.

>> YOU'RE WALKING AROUND THE

BUDAPEST TRAIN STATION IN A PAIR

OF BASEBALL PANTS.

>> YEAH! WHY NOT?

>> WELL...OKAY.

WHO ARE YOU, ANYWAY?

>> HMM. WELL, THAT --

THAT WOULD DEPEND...

ON THE WOMAN IN THE CAPE.

UH...

I COULD BE -- I COULD BE THE

STATION MASTER.

I COULD BE A PROFESSIONAL

BASEBALL PLAYER.

I COULD BE A PASSENGER ON THE

TRAIN.

I COULD BE A TRAVELING SALESMAN

SELLING UNDERWEAR!

I DON'T KNOW! PICK ONE!

>> HOW'D YOU LIKE TO BE SOMEONE

DANGEROUS?

>> COOL. YES.

AN ASSASSIN.

>> A-A MURDERER?

>> A professionalmurderer.

>> LIKE A CONTRACT KILLER.

>> YES!

OKAY.

NOW WE'RE STARTING TO COOK.

>> What about me? Do I --

I get to choose who I want to

be, right?

>> OF COURSE! ANYBODY YOU WANT.

>> I want to be a contessa!

Yeah.

I want to be a very...

VERYWEALTHY CONTESSA.

>> That's awesome! Yes!

Yes! This is great!

ALL RIGHT.

WHAT DO WE HAVE SO FAR?

WE HAVE A-A WEALTHY CONTESSA

WAITING IN A TRAIN STATION FOR

AN ASSASSIN.

IT'S SNOWING OUTSIDE.

Uh, you're wearing nothing but a

Uh, you're wearing nothing but a cape with antique underwear.

cape with antique underwear.

What else?! What else?

>> U-UM...

HMM. WHAT IF THEY, UH --

WHAT IF THEY HAVE, LIKE, UM --

LIKE, A RENDEZVOUS?

UM, THEY'RE -- THEY'RE RUNNING

AWAY TOGETHER TO VIENNA AFTER...

>> YES. YES. AFTER WHAT?

>> After he knocks off the

count!

I mean, he's an assassin, right?

He's got to assassinate

somebody!

>> GOD DAMN RIGHT HE DOES!

AND THIS GUY IS GOOD, TOO.

HE'S THE BEST.

HE CHARGES A LOT OF MONEY, AND

HE ALWAYS GETS HIS MAN.

WHAT YEAR ARE WE IN?

>> [ Sighs ]

1914.

IT WAS A GOOD YEAR FOR

ASSASSINATIONS -- IT WAS THE

YEAR ARCHDUKE FRANZ FERDINAND

WAS SHOT.

>> Who?

>> THE HEIR PRESUMPTIVE TO THE

AUSTRO-HUNGARIAN THRONE?

HIS -- HIS DEATH STARTED

WORLD WAR I?

>> THIS IS GREAT.

THIS IS GOOD SHIT.

>> YEAH, THE WHOLE WORLD WAS ON

THE PRECIPICE OF DISASTER.

THE PRECIPICE OF DISASTER. >> SO MUCH THE BETTER.

>> SO MUCH THE BETTER.

HOW DOES HE KNOCK OFF THE COUNT?

HOW DOES HE KNOCK OFF THE COUNT? >> In a duel.

>> In a duel.

>> CLEAR THROUGH THE HEART.

ONE SHOT.

ONE SHOT. BOOM.

BOOM.

NOW --

NOW THERE'S A PRICE ON HIS HEAD.

SHE'S WAITING IN THE TRAIN

STATION.

SHE...DOESN'T KNOW IF HE'S EVEN

GONNA SHOW UP.

SHE DOESN'T KNOW IF HE WAS

CAUGHT IN A POLICE ROADBLOCK...

If he was shot in an ambush,

okay?

okay? >> OKAY.

>> OKAY.

>> HE THINKS OF HER...

IN HER CAPE...

AND HER PALE SKIN...

her -- her hands...

sure and cool...

and her perfume.

[ Sniffs ]

He was powerless against it.

[ Chuckles ]

That's why he provoked the

count.

It was all because of the way

she smelled.

[ CHUCKLES ]

[ CHUCKLES ] AND THE WAY SHE LOOKED AT HIM.

AND THE WAY SHE LOOKED AT HIM.

HE KNEW -- HE KNEWSHE WOULD BE

THERE WAITING FOR HIM AT THE

TRAIN STATION.

You arethere, aren't you?

>> YES.

>> What's it like?

>> What's it like? TELL ME.

TELL ME.

>> IT'S OLD...

AND DIMLY LIT.

IT'S SO QUIET, YOU COULD HEAR

THE SNOW FALLING OUTSIDE.

[ CRACKLING ]

THE ONLY OTHER NOISE IS THE COAL

BURNING IN THE GRATE AND THE

BURNING IN THE GRATE AND THE WIND MAKING THE TIMBERS CREAK.

WIND MAKING THE TIMBERS CREAK.

THE TICKET WINDOW IS CLOSED DUE

TO THE STORM.

[ CLOCK TICKING ]

NO ONE KNOWS IF THE TRAIN WILL

STOP.

NO ONE EVEN KNOWS IF THE TRAIN

NO ONE EVEN KNOWS IF THE TRAIN WILL GET THROUGH.

WILL GET THROUGH.

I'M ALONE.

WHO ELSE WOULD BE WAITING FOR A

TRAIN AT THIS HOUR?

>> WHAT ABOUT THE ASSASSIN?

>> HE'S ON HIS WAY...

>> HE'S ON HIS WAY... SLIPPING THROUGH ROADBLOCKS.

SLIPPING THROUGH ROADBLOCKS.

OH, NO. OH, NO.

>> WHAT?

>> OH, HE'S THERE.

>> WHO'S THERE?

>> UH, THE MAN.

>> WHAT MAN?

>> THE SILENT MAN.

>> Who's that?

>> IT'S -- OH, GOD.

IT'S THIS MAN.

HE -- HE ALWAYS SHOWS UP.

>> WHAT'S HE DOING THERE?

>> I DON'T KNOW.

HE'S STARING AT ME?

I DON'T KNOW!

WHAT THE HELL ISHE DOING?

>> YOU DON'T KNOW?

>> SHIT! I DON'T --

I DON'T WANT HIM HERE!

>> WELL, GET RID OF HIM!

IT'S YOUR TRAIN STATION!

>> I can't!

>> TELL HIM TO GET THE FUCK OUT

OF THERE!

>> HEY.

>> HEY. THIS IS BUDAPEST.

THIS IS BUDAPEST.

I RUN THINGS HERE, OKAY?

I RUN THINGS HERE, OKAY? SO GET OUT OF HERE.

SO GET OUT OF HERE.

SO GET OUT OF HERE. DO YOU HEAR ME?

DO YOU HEAR ME?

He won't go. He's not moving.

Shit!

[ SIGHS ] YOU KNOW WHAT?

LET'S JUST -- LET'S JUST FORGET

THIS.

>> NO. NO, NO, NO, NO, NO.

DON'T ST-- WE CAN'T STOP NOW.

THIS IS JUST GETTING

INTERESTING.

>> NO, IT'S NOT.

>> It is. It is!

What is the silent man doing

there?

>> I DON'T -- HE JUST --

I DON'T KNOW.

HE -- HE JUST APPEARS WHEN I

DON'T WANT HIM TO, AND I CAN'T

GET RID OF HIM.

>> LOOK. [ SIGHS ]

PEOPLE JUST DON'T WANDER INTO A

TRAIN STATION IN BUDAPEST FOR NO

REASON.

There's got to be a reason he's

there!

>> OH! ALL RIGHT!

WELL, YOU'RE A SHRINK NOW?

>> Look, I'm not -- [ Sighs ]

I'M ON YOUR SIDE, HERE.

>> RIGHT. [ SIGHS ]

>> ALL RIGHT.

LET'S GO BACK THERE.

LET'S -- LET'S GO BACK AND SEE

WHAT HAPPENS.

>> I don't want to.

[ TELEPHONE RINGING ]

HOLD ON. HOLD ON!

YOU HAVE THE WRONG NUMBER.

SORRY!

>> Let's go back at dawn.

THE LIGHT IS -- IS SPECIAL THEN.

YOU'LL LOVE IT.

AND, BESIDES, THE -- THE TRAIN

NEEDS TIME TO GET THROUGH THE

SNOWBANKS, RIGHT?

>> ARE YOU SERIOUS?

>> IT'S THE HOUR OF DUELS AND

EXECUTIONS, WHERE EVERYTHING IS

POSSIBLE.

We'll get some rest, and we'll

go back.

Call me at dawn.

>> I DON'T HAVE YOUR NUMBER.

>> I'M IN THE BOOK.

SAMSON. NO "P." THIRD ONE DOWN.

>> Samson?

SAMSON. THAT'S REALLY YOUR NAME.

>> WHY DO YOU THINK I CALLED

YOU?

>> WELL, I CAN'T CALL YOU.

MY BOSS CHECKS THE PHONES.

I WOULD GET FIRED.

>> WE DON'T GO ANYWHERE

WORTHWHILE WITHOUT TAKING A

LITTLE RISK.

>> WHY CAN'T YOU CALL ME?

>> I could!

But I'm not going to.

SAMSON. NO "P." THIRD ONE DOWN.

SAMSON. NO "P." THIRD ONE DOWN. SEE YOU AT DAWN.

SEE YOU AT DAWN.

>> HELLO?

[ CLOCK TICKING ]

[ CLOCK TICKING ] [ SIGHS ]

[ SIGHS ]

[ INHALES ]

[ SIGHS SOFTLY ]

[ SIGHS SOFTLY ] [ CHUCKLES SOFTLY ]

[ CHUCKLES SOFTLY ]

[ CHUCKLES SOFTLY ] I DON'T FUCKING BELIEVE THIS.

I DON'T FUCKING BELIEVE THIS.

>> [ WHISTLES ]

>> [ WHISTLES ] DON'T WAIT UP, LEON.

DON'T WAIT UP, LEON.

OH, HEY! HEY, COME HERE!

COME HERE! COME HERE!

COME HERE!

COME HERE! COME ON! COME ON!

[ DOG WHINING ]

HOW YOU DOING? HOW YOU DOING?

WHAT ARE YOU DOING?

HOW YOU DOING TONIGHT, HUH?

HOW YOU DOING? YOU HANGING OUT?

WAIT. WHERE YOU GOING?

[ DOG WHINES ]

[ DOG WHINES ] WHERE YOU GOING?

WHERE YOU GOING?

WHERE YOU GOING? [ OPERA MUSIC PLAYING ]

[ OPERA MUSIC PLAYING ]

[ OPERA MUSIC PLAYING ] [ TELEPHONE RINGING ]

[ TELEPHONE RINGING ]

>> GOOD MORNING.

WHAT? OH. NO, NO. NO, NO.

WE'RE -- WE'RE DOWN RIGHT NOW.

I'M SORRY.

YE-- COMPUTER MALFUNCTION. YEAH.

UH, WHY DON'T YOU CALL BACK AT

NOON AND TALK TO GINNY?

[ SIGHS ]

TAKE A COLD SHOWER.

TAKE A COLD SHOWER. [ BEEP ]

[ BEEP ]

[ BEEP ] [ TELEPHONE RINGING ]

[ TELEPHONE RINGING ]

>> HELLO?

>> Uh, it's me.

>> YOU!

>> DELILAH.

REMEMBER?

B-BUDAPEST, THE CONTESSA, TRAIN

STATION, FUR COAT?

>> Yes! Morning!

>> HI! DID I WAKE YOU?

>> MNH-MNH!

NO!

NO, I'M ALWAYS UP...

THIS EARLY WHEN A BEAUTIFUL

WOMAN IS WAITING FOR ME AT A

WOMAN IS WAITING FOR ME AT A TRAIN STATION.

TRAIN STATION.

THE SUN'S UP.

>> YEAH, LOOKS LIKE IT.

SO, YOU WANT TO DO THIS?

>> Yeah! Yes. Yes! Absolutely!

HANG ON.

HANG ON. [ SNIFFS ]

OKAY. YES. LET'S DO THIS.

>> OKAY.

HOW DO WE START?

>> WE, UH --

WE SET THE SCENE.

WHAT YEAR ARE WE IN AGAIN?

>> 1914.

>> Yes!

YES.

THE WORLD...

IS ON THE PRECIPICE OF DISASTER.

>> YES.

I'M WAITING FOR YOU IN THE

RAILROAD STATION.

>> Wait! No, no! Slow down.

WE HAVEN'T GOT THERE YET!

WE HAVE TO -- WE HAVE TO MEET

FIRST!

>> Oh. Where do we meet?

>> UH...AT A PARTY...

IN A MANSION JUST OUTSIDE OF

TOWN.

IT'S, UH -- IT'S A WINTER NIGHT.

IT'S UNSEASONABLY WARM FOR

MARCH, BUT THERE IS A SMELL OF

SNOW IN THE AIR.

>> WHAT SHOULD I BE WEARING?

>> UH...

HOW ABOUT SOMETHING FROM...

CHANEL?

>> CHANEL WAS MORE 1920s.

LET'S DO SOMETHING, UM --

LET'S DO SOMETHING EDWARDIAN.

>> Great!

SOUNDS GREAT.

[ CHUCKLES ]

>> AND WHAT ABOUT YOU?

WHAT ARE YOU WEARING?

DON'T SAY BASEBALL UNIFORM.

>> [ Chuckles ]

I THINK I HAVE JUST THE THING.

>> What is it?

>> A TUXEDO.

>> Ooh, classy.

>> YEAH.

>> Do you have a sword?

>> I DON'T KNOW!

AM I GONNA NEED ONE?

>> I THINK YOU MIGHT!

AND I THINK IT'S GONNA HAVE TO

BE SHARP ENOUGH TO DECAPITATE MY

HUSBAND.

HE'S VERY JEALOUS.

YOU KNOW, HE ONCE HAD A GARDENER

BADLY BEATEN FOR STARING AT ME.

>> WELL, MEN SHOULD NOT MARRY

BEAUTIFUL WOMEN IF THEY DON'T

WANT THEM STARED AT.

>> WELL, THE COUNT HAS FOUGHT

DUELS WITH MEN YOUNGER THAN YOU,

AND WON.

>> AND THAT'S WHERE WE START --

THE DUEL...AT DAWN.

THE COUNT...HAD SURPRISED US ON

THE TERRACE.

HE THREW DOWN HIS GLOVE.

>> NO, WE CAN'T DO THAT, BECAUSE

THE CONTESSA AND THE ASSASSIN

HAVE NOT YET MET.

>> BUT WE HAVE TO -- WE HAVE TO

FIGHT THE DUEL BEFORE IT GETS

TOO LIGHT.

>> FIRST THING'S FIRST -- THE

PARTY.

NOW, IF YOU'LL EXCUSE ME...

I HAVE TO GO GET DRESSED.

[ STRAUSS' "TALES FROM

[ STRAUSS' "TALES FROM THE VIENNA WOODS" PLAYING ]

THE VIENNA WOODS" PLAYING ]

SO, WHAT DO WE SAY?

>> NOTHING.

EVERYTHING HAS ALREADY BEEN SAID

WITH OUR EYES.

>> IT'S BUDAPEST.

1914.

1914. WORDS ARE INEVITABLE.

WORDS ARE INEVITABLE.

THANK YOU.

>> YOU'RE VERY BEAUTIFUL.

>> I DON'T ACCEPT COMPLIMENTS

FROM MEN I DON'T KNOW.

>> YOU KNOW ME.

>> I DO?

>> I SAW THE WAY YOU LOOKED AT

ME.

>> THAT'S VERY PRESUMPTUOUS OF

YOU.

>> PERHAPS.

BUT ACCURATE.

>> MY HUSBAND WILL NOTICE MY

ABSENCE.

ABSENCE. >> WHERE IS THE COUNT?

>> WHERE IS THE COUNT?

>> HE'S DISCUSSING WAR WITH

BARON BELASKA.

>> THE PEDERAST?

>> THE WEALTHY LANDOWNER.

>> IT IS A SHAME TO DISCUSS WAR

ON A...NIGHT LIKE THIS.

>> PERHAPS, BUT AS YOU KNOW, THE

SERBIANS ARE ENCROACHING ON THE

EMPIRE'S TERRITORY.

>> WELL, THE SERBIANS DON'T

UNDERSTAND WHY THEY SHOULD BE

UNDER THE INFLUENCE OF VIENNA.

>> POLITICS BORE ME...

[ SCHUBERT'S "AVE MARIA"

PLAYING, MUFFLED ]

PLAYING, MUFFLED ] ...AS DO SCHUBERT LIEDER.

...AS DO SCHUBERT LIEDER.

>> DO YOU KNOW...

THAT YOU'RE EVEN MORE BEAUTIFUL

UP CLOSE?

MOST WOMEN CANNOT BEAR CLOSE

SCRUTINY.

>> DO YOU KNOW A LOT OF WOMEN?

>> DO YOU KNOW A LOT OF WOMEN? >> I KNOW YOU.

>> I KNOW YOU.

>> YOUR FACE IS HARD.

YOU'VE SUFFERED GREATLY.

>> NO MORE THAN IS NECESSARY IN

MY LINE OF WORK.

>> WHICH IS...?

>> LET US SAY...

I AM A FACILITATOR...

I AM A FACILITATOR... OF MEN'S FATES.

OF MEN'S FATES.

>> THE COUNT WILL BE WONDERING

WHERE I AM.

IF HE FINDS US IN A COMPROMISING

POSITION, HE WILL THROW DOWN HIS

GLOVE.

>> SO MUCH THE BETTER.

>> MY DARLING?

>> MY DARLING? >> GOOD EVENING, COUNT!

>> GOOD EVENING, COUNT!

I'D BE DELIGHTED.

>> THE CLEARING TO THE RIGHT OF

THE STABLE.

>> ANYWHERE YOU WISH.

>> PISTOLS.

>> OF COURSE!

>> I ASSUME YOU'LL NEED A

SECOND.

>> OH, I'M AFRAID I WILL.

>> I'LL PROVIDE YOU WITH ONE.

TILL THEN...

SIR.

MY DARLING.

>> DON'T WORRY.

ONE OF US WILL REMAIN ALIVE TO

WORSHIP YOU.

[ SCHUBERT'S "AVE MARIA"

[ SCHUBERT'S "AVE MARIA" CONTINUES PLAYING ]

CONTINUES PLAYING ]

>> ♪ GRATIA PLENA

♪ MARIA, GRATIA PLENA

>> THE COUNT HAD NO IDEA HE WAS

DEALING WITH A MAN WHO KNEW A

DEALING WITH A MAN WHO KNEW A THING OR TWO ABOUT PISTOLS.

THING OR TWO ABOUT PISTOLS.

IT STARTED TO GROW COLD AT DAWN.

MY HEAD WAS STILL TIPSY FROM THE

CHAMPAGNE...

AND THE SMELL OF YOUR PERFUME.

I TRIED TO FOCUS ON THE

TRAJECTORY OF THE BULLET, TO

REDUCE IT ALL TO A TECHNICAL

PROBLEM OF THE PROFESSION.

AND WHAT WERE YOU DOING AS I WAS

CALCULATING THE COORDINATES OF

YOUR HUSBAND'S HEART?

>> I COULD BARELY MAKE YOU OUT

IN THE DISTANCE.

MY BODY WAS TREMBLING.

I WANTED IT TO BE OVER, BUT I

WANTED IT TO LAST FOREVER.

>> LIKE MAKING LOVE?

>> LIKE THE ANTICIPATION OF

MAKING LOVE.

MAKING LOVE. >> THE DUEL BEGAN.

>> THE DUEL BEGAN.

I WALKED AWAY FROM MY RIVAL

WITHOUT EMOTION...

COLDLY...

LISTENING TO THE BIRDS IN THE

TREES ACROSS THE LAKE.

[ BIRDS CHIRPING ]

INSIDE, I WAS EMPTY.

[ CHIRPING CONTINUES ]

CONCENTRATING...

ON THE BUSINESS OF SQUEEZING THE

TRIGGER FIRMLY BUT SLOWLY SO

THAT THE BULLET WOULD NOT GO OFF

TARGET.

NOW, TELL ME...

[ PISTOLS COCK ]

...WHAT YOU FEELING AS WE WALKED

OUR PACES?

>> I'M NOT GONNA TELL YOU.

>> YOU WERE WET, WEREN'T YOU?

>> [ LAUGHS ]

>> BEFORE I FIRED, I WHISPERED

YOUR NAME.

CONTESSA.

[ GUNSHOTS ]

[ BIRDS CHIRPING ]

>> I SAW THE MEN RUSHING TO MY

HUSBAND'S SIDE.

I KNOW THEY WOULDN'T HAVE RUSHED

FOR YOU.

THEY WOULD'VE LET YOU BLEED TO

THEY WOULD'VE LET YOU BLEED TO DEATH.

DEATH.

>> WHAT'S IT LIKE...

TO MAKE LOVE TO A MAN WHO HAS

YOUR HUSBAND'S BLOOD ON HIS

HANDS?

>> HA HA.

I THINK YOU'RE GETTING AHEAD OF

THE STORY.

>> [ GRUNTS ] OKAY.

OKAY, WHERE WERE WE?

>> WEWERE AT THE TRAIN STATION.

I WAS WAITING FOR YOU SO THAT WE

COULD MAKE OUR ESCAPE TOGETHER.

>> [ SIGHS ] OKAY.

UH [SNIFFS] THE COUNT'S BROTHER

HAD TRUMPED-UP CHARGES FILED

AGAINST ME.

HE CLAIMED I CHEATED IN THE

DUEL.

UH, THE POLICE COMMISSIONER WAS

DEEP IN THE COUNT'S POCKET, SO

THEY CAME TO MY ROOM.

I FLED OUT THE WINDOW.

IT'S SNOWING MORE HEAVILY.

THERE'S NO WAY OF KNOWING IF THE

TRAIN THAT YOU'RE WAITING FOR IS

EVEN GONNA GET THROUGH.

YOU HAVE STAKED YOUR LIFE ON ONE

WILD ROLL OF THE DICE, AND THE

ODDS ARE AGAINST YOU.

I AM -- I AM A WANTED MAN.

AND VIENNA...

[ BEEP ]

[ BEEP ] ...IS A LONG WAY OFF.

...IS A LONG WAY OFF.

ALL THE WAY TO THE STATION, I-I

WONDERED IF YOU WOULD BE THERE.

IF YOU KNEW THAT SOMEHOW I WOULD

MEET YOU THERE.

AND WE WOULD MAKE OUR ESCAPE

RIGHT UNDER THE NOSES OF THE

AUTHORITIES.

>> WHEN I SAW YOU STANDING THERE

IN THE STATION WITH SNOW ON YOUR

COLLAR [INHALES DEEPLY]

I RAN TO YOU.

>> I SWEPT YOU UP IN MY ARMS.

>> SO DANGEROUS, SO EXCITING.

>> AND THERE...

THE SLEEPER TO VIENNA WAS

FINALLY PULLING IN.

>> WE HID OUT BETWEEN CARS.

[ SIGHS ]

I WAS COLD.

I HAD NEVER BEEN THAT COLD IN MY

LIFE.

>> IT WAS WORTH IT, THOUGH,

WASN'T IT?

FIRST TIME.

BETWEEN THE CARS.

>> [ BREATHING HEAVILY ]

>> WITH THE -- WITH THE SNOW...

BLOWING IN YOUR FACE.

>> I CAN STILL FEEL YOUR MOUTH

ON MY SKIN.

>> I WAS TASTING YOU.

>> [ SIGHS ]

YOU WERE DEVOURING ME.

>> I COULDN'T GET ENOUGH OF YOU.

>> [ SIGHS ] WE WERE SOHUNGRY.

>> RAVENOUS!

>> [ SIGHS ]

>> IT WAS INSANE.

>> IT WAS AMAZING!

>> [ BREATHING HEAVILY ]

WE COULD'VE KILLED EACH OTHER.

WE COULD'VE FALLEN DOWN THE ROW

OF CARS.

>> BUT WE STAYED ALIVE!

>> IT WAS LIKE A DANCE WITH

DEATH!

DEATH! [ SIGHS ]

[ SIGHS ]

HELLO?

ARE YOU THERE?

HEY.

HEY, HEY, HEY, HEY.

DON'T C-- DON'T CUT OUT ON ME

NOW.

YOU'RE NOT GONNA CUT OUT ON ME,

ARE YOU?

>> It's over.

>> WHAT?

>> That's it.

That's all she wrote.

>> WHAT DO YOU MEAN IT'S OVER?

NO, WHAT ARE YOU -- WHAT -- WHAT

ABOUT VIENNA?

>> LIKE THE MAN SAID, POST

COITUM --

>> Yeah, yeah, yeah.

No, I -- that's old news.

I've heard that before.

Slam, bam, thank you, ma'am.

Really?

>> HARDLY. [ BLOWS ]

GAVE YOU A WHOLE BALKAN WAR AS

FOREPLAY.

>> WELL, THAT WASN'T ENOUGH.

>> WHAT DO YOU WANT ME TO DO?

YOU WANT ME TO -- TO HOLD YOU

AND TELL YOU I LOVE YOU?

>> No, I want...

I WANT MORE.

>> [ New York accent ] WE'RE

THROUGH, SWEETHEART.

[ Normal voice ] I'M CUTTING YOU

OFF.

>> YOU CAN'T CUT ME OFF!

>> OH, I CAN'T?

YOU CALLED ME, REMEMBER?

>> YEAH, BUT WHO CALLED

SWEET TALK IN THE FIRST PLACE?

WHO'S S-SPENDING MONEY JERKING

OFF OVER THE PHONE IN THE FIRST

PLACE, YOU FUCKING PERV?!

>> YOU FUCKING WHORE!

[ BREATHES DEEPLY ]

THAT'S APPROPRIATE, RIGHT?!

>> OH, NICE!

WELL, AT LEAST I DON'T WALK

AROUND PRETENDING TO SHOOT

PEOPLE TO GET OFF!

[ BEEP ]

>> [ SIGHS ]

[ BEEP ]

[ BEEP ] BASTARD. FUCK YOU!

BASTARD. FUCK YOU!

[ BEEP ]

[ Telephone ringing ]

[ TELEPHONE RINGING ]

>> [ SCOFFS ]

[ RINGING CONTINUES ]

[ SIGHS ]

[ SCOFFS ]

[ RINGING CONTINUES ]

SHE WANTS A RELATIONSHIP.

SHE WANTS A FUCKING

RELATIONSHIP.

[ RINGING CONTINUES ]

[ SIGHS ]

[ SCOFFS, LAUGHS ]

SHE WANTS TO GO TO VIENNA.

[ LAUGHS ]

[ RINGING CONTINUES ]

OH.

ALL WOMEN WANT TO GO TO VIENNA.

[ Ringing continues ]

[ Ringing continues ] [ RINGING CONTINUES ]

[ RINGING CONTINUES ]

[ SIGHS ]

[ BEEP ]

[ Southern accent ] STUD TALK.

THIS IS SAMSON. WANT TO TALK?

>> LISTEN TO ME, YOU LITTLE

PRICK.

>> HEY, HOLD ON, LADY.

I NEED YOUR CREDIT-CARD NUMBER

AND EXPIRATION DATE, PLEASE.

>> YOU ARE THE MOST ARROGANT SON

OF A BITCH I HAVE EVER MET!

>> [ Normal voice ] OH, HAVE WE

MET?

>> Stop it.

STOP IT!

HEY, JUST FUCKING STOP IT!

COME ON!

YOU CAN'T TREAT PEOPLE LIKE

THAT!

YOU CAN'T START TO GO TO VIENNA

AND THEN NOT GO!

>> VIENNA IS A STATE OF MIND.

YOU NEVER REALLY GET THERE.

>> How do you know?

>> I KNOW.

>> WHAT'S THE WORST THAT CAN

HAPPEN?

>> WE COULD GET PICKED UP BY THE

AUSTRIAN BORDER PATROL.

>> NO, THERE -- THERE WAS NO

BORDER POLICE THEN.

AUSTRIA-HUNGARY WAS ONE COUNTRY

IN 1914.

>> DOESN'T MATTER BECAUSE I GET

SHOT BY THE FIRING SQUAD.

>> THEY SHOOT YOU?

>> THEY SHOOT YOU? [ GUNSHOT ]

[ GUNSHOT ]

I THOUGHT WE WERE GONNA GET TO

GO TO VIENNA.

>> IT'S NOT GONNA HAPPEN.

THE TRAIN IS ALL WE HAD.

A FEW STOLEN HOURS IN BETWEEN

CARS ON THE BUDAPEST-TO-VIENNA

NIGHT TRAIN.

>> NO.

>> Come on.

COME ON, HOW DO YOU EXPECT TWO

PEOPLE WITH NO MONEY AND NO

CONNECTIONS TO ESCAPE FROM A

COUNTRY AFTER MURDERINGA

WELL-CONNECTED, WELL-RESPECTED

COUNT?

>> IT WAS IN A DUEL.

>> NOT ACCORDING TO THE POLICE

CHIEF -- A MAN DEEPLY IN THE

POCKETS OF THE COUNT AS WE

ALREADY ESTABLISHED.

>> WELL [SIGHS]

I MEAN, Y-YOU CAN'T JUST -- YOU

CAN'T JUST ARBITRARILY DECIDE

T-THAT'S WHAT HAPPENS.

>> You want your money back?

>> NO, I WANT TO GO TO VIENNA!

>> And do what?

LIVE HAPPILY EVER AFTER?

GET A NICE LITTLE APARTMENT IN A

RESPECTABLE QUARTER?

[ Telephone ringing ]

Have children and a governess?

Walk along the river?

[ RINGING CONTINUES ]

Visit Strauss? What?

[ RINGING CONTINUES ]

Aren't you gonna get your phone?

[ RINGING CONTINUES ]

You may as well get it.

We're not going anywhere.

>> WHAT DO YOU WANT?

>> WHAT DO YOU MEAN WHAT DO I

WANT?

>> WHAT DO YOU WANT TO GO TO

VIENNA?

>> You got a credit card?

>> You got a credit card? >> COME ON.

>> COME ON.

>> COME ON. >> Okay.

>> Okay.

[ SIGHS ]

>> AND I WANT TO DRIVE.

>> Oh, really?

>> MM-HMM.

I WANT TO BE THE ONE WHO GETS TO

DECIDE WHAT HAPPENS THIS TIME.

>> OKAY, BUT DON'T SAY I DIDN'T

WARN YOU.

>> [ BREATHES HEAVILY ]

OKAY.

[ SIGHS ]

YOU...

ARE A MAN WHO HAS...

LOST THE USE OF HIS ARMS AND

LEGS.

>> OH, GOD.

>> AND HIS VOICE.

IT'S VIENNA.

1939.

>> YOU'VE GOT YOUR OWN IN

VIENNA?

>> EVERYBODY'S GOT THEIR OWN

VIENNA.

IT WAS A YEAR AFTER THE

ANSCHLUSS.

There are swastikas on public

buildings.

Everywhere, you can hear the...

THE SOUND OF HOBNAIL BOOTS.

THE SUMMER -- IT WAS LONG...

AND HOT.

IN A RESPECTABLE PART OF THE

CITY WHERE PEOPLE STILL TENDED

TO THEIR GARDENS AS IF THE WORLD

STILL MADE SENSE...

A WOMAN LIVES AMONGST...

POTTED PLANTS AND OVERSTUFFED

FURNITURE.

SHE WORKS AS...

I WORK AT NIGHT AS A PRIVATE

NURSE FOR AN INVALID.

I RETURN HOME AS THE SUN RISES

OVER THE CITY.

I SLEEP TILL NOON.

AND THEN I BATHE IN COLD WATER.

I POWDER MY BODY, AND I, UM...

I PLAY MY CELLO.

[ CELLO PLAYING ]

AS IF THESE GESTURES WOULD

SOMEHOW MAKE THE HOBNAIL BOOTS

SOMEHOW MAKE THE HOBNAIL BOOTS DISAPPEAR.

DISAPPEAR.

I KNOW WHAT'S GOING ON.

I HAVE NO MORE ILLUSIONS.

IN THE WORLD I LIVE IN, THERE IS

NO ROOM FOR ILLUSION.

NO ROOM FOR ILLUSION. [ CELLO PLAYING CONTINUES ]

[ CELLO PLAYING CONTINUES ]

YOU [SIGHS]

ARE MY PATIENT.

YOU'RE A MEMBER OF THE

UNDERGROUND WHO'S LOST THE USE

OF -- OF HIS ARMS AND LEGS, AND

NOBODY KNOWS EXACTLY HOW.

IT'S -- IT'S A SECRET.

YOU'RE EITHER...

YOU'RE EITHER UNWILLING OR JUST

UNABLE TO TELL.

YOU'RE ALONE [SIGHS] IN YOUR

ROOM WITH NO VOICE.

ALL YOU HAVE IS YOUR EYES.

YOUR DARK...

YOUR DARK... FEVERISH EYES.

FEVERISH EYES.

THERE ARE SEVERAL OF US, AND

WE -- WE COME AND GO ON OUR

SHIFTS.

THE OTHERS -- THEY TREAT YOU

LIKE A PLANT THAT HAS TO BE

WATERED.

SOMETIMES THEY DO TRY AND GET A

REACTION OUT OF YOU.

BUT YOU DON'T GIVE IN.

EVEN DURING YOUR SPONGE BATHES

WHEN THEY TRY AND GET YOU TO

BETRAY YOURSELF.

YOU REFUSE TO REACT.

YOUR -- YOUR CONTEMPT IS UTTER

AND COMPLETE.

[ FAN WHIRRING SOFTLY ]

I SIT AT THE END OF THE HALL.

UH, IT MAKES ME UNCOMFORTABLE TO

BE IN THE SAME ROOM WITH YOU.

[ INHALES DEEPLY ]

ONCE AN HOUR, I CHECK ON YOU.

[ DOOR CREAKS ]

AND I ALWAYS CATCH YOU WITH YOUR

EYES OPEN AS IF YOU NEVER SLEEP.

[ FAN WHIRRING SOFTLY ]

FEELS LIKE YOU'RE LOOKING AT ME.

LIKE...

[ SIGHS ]

LIKE YOU'RE LOOKING THROUGHME.

AND I WONDER WHO YOU ARE AND --

AND IF YOU'RE THE SAME PERSON

YOU'VE ALWAYS BEEN AND WHY YOU

REFUSE TO TALK.

I CAN'T STOP THINKING ABOUT YOU.

I KEEP WONDERING IF THERE'S --

THERE'S A MAN THAT'S STILL ALIVE

IN THERE AND IF THAT MAN IS ABLE

TO BE REACHED.

ONE MORNING WHEN I, UH, WHEN I

RETURN HOME, I GO TO SLEEP.

RETURN HOME, I GO TO SLEEP. AND I HAVE A DREAM ABOUT YOU.

AND I HAVE A DREAM ABOUT YOU.

IN THE DREAM, YOU COME TO LIFE.

IN THE DREAM, YOU COME TO LIFE. [ ROMANTIC MUSIC PLAYING ]

[ ROMANTIC MUSIC PLAYING ]

[ ROMANTIC MUSIC PLAYING ] [ ROMANTIC MUSIC CONTINUES ]

[ ROMANTIC MUSIC CONTINUES ]

[ ROMANTIC MUSIC CONTINUES ] [ ROMANTIC MUSIC CONTINUES ]

[ ROMANTIC MUSIC CONTINUES ]

[ ROMANTIC MUSIC CONTINUES ] [ ROMANTIC MUSIC CONTINUES ]

[ ROMANTIC MUSIC CONTINUES ]

[ ROMANTIC MUSIC CONTINUES ] [ BREATHING HEAVILY ]

[ BREATHING HEAVILY ]

I-I WAKE UP.

MY SKIN IS F-FLUSHED, A-AND MY

LEGS ARE WRAPPED AROUND A

PILLOW.

PILLOW. AND...

AND...

AND I'M STRANDED.

I'M A-- I'M ABANDONED BY THE

DREAM.

I'M -- I'M ABANDONED BY YOU.

[ SIGHS ]

AND AN UNUTTERABLE SADNESS...

OVERCOMES ME.

I FEEL SO -- I FEEL SO

DISCONNECTED AS IF -- AS IF MY

WIRING HAS BEEN RIPPED OUT,

AND -- AND ALL I CAN THINK ABOUT

IS GOING TO WORK.

AND -- AND SEEING YOU AND THE

DREAM AND -- AND THE DEADNESS

DREAM AND -- AND THE DEADNESS INSIDE YOU AND...

INSIDE YOU AND...

NO, INSIDE ME.

[ BREATHES HEAVILY ]

IT'S MY BIGGEST FEAR [SIGHS]

THAT I'M DEAD INSIDE...

THAT I'M -- I'M COMPLETELY

PARALYZED, THAT I DIED YEARS

PARALYZED, THAT I DIED YEARS AGO, AND -- AND NO ONE TOLD ME.

AGO, AND -- AND NO ONE TOLD ME.

ALL DAY LONG...

I STARE OUT THE WINDOW,

WATCHING.

WATCHING THE CITY BELOW GO ABOUT

ITS BUSINESS, LISTENING TO --

T-TO SOUNDS OF LIFE I'VE NEVER

HEARD BEFORE, DIZZY.

AND DISORIENTING.

WHEN NIGHT FALLS, I GO TO WORK,

AND THE HOUSE IS -- IS DEAD

QUIET EXCEPT FOR THE WIND AND

T-THE CREAKING TIMBERS.

I GO TO YOUR ROOM.

AND I'M AFRAID.

AND I'M EXHILARATED, AND...

AND I HAVE NO IDEA WHAT'S GONNA

AND I HAVE NO IDEA WHAT'S GONNA HAPPEN.

HAPPEN.

TALK TO ME.

PLEASE.

WE'RE ALL ALONE.

IT'S JUST THE TWO OF US.

I THINK YOU WANT TO COME BACK TO

LIFE.

I THINK YOU NEED TO TOUCH

I THINK YOU NEED TO TOUCH SOMEONE.

SOMEONE.

TO FEEL ANOTHER HUMAN BEING

TO FEEL ANOTHER HUMAN BEING AGAINST YOUR BODY.

AGAINST YOUR BODY.

I CAN SEE A GLOW IN YOUR EYES.

I CAN EVEN SEE THE BEGINNING OF

A SMILE.

I CAN SEE IT.

I CAN FEELIT.

I KNOW IN THE DEAD CENTER OF

YOUR BODY, THERE IS LIFE.

AND YOU'VE BEEN WAITING FOR ME

AND YOU'VE BEEN WAITING FOR ME FOR A VERYLONG TIME.

FOR A VERYLONG TIME.

NO.

NO!

NOT THIS TIME!

SPEAK!

SPEAK! SAY SOMETHING, GODDAMN IT!

SAY SOMETHING, GODDAMN IT!

SAY SOMETHING, GODDAMN IT! FUCK YOU.

FUCK YOU.

FUCK YOU. [ GUNSHOT ]

[ GUNSHOT ]

[ GUNSHOT ] [ BREATHES HEAVILY ]

[ BREATHES HEAVILY ]

I THINK WE'RE READY.

I THINK WE'RE READY. [ ROMANTIC MUSIC PLAYING ]

[ ROMANTIC MUSIC PLAYING ]

[ ROMANTIC MUSIC PLAYING ] [ ROMANTIC MUSIC CONTINUES ]

[ ROMANTIC MUSIC CONTINUES ]

[ ROMANTIC MUSIC CONTINUES ] [ ROMANTIC MUSIC CONTINUES ]

[ ROMANTIC MUSIC CONTINUES ]

[ ROMANTIC MUSIC CONTINUES ] [ ROMANTIC MUSIC CONTINUES ]

[ ROMANTIC MUSIC CONTINUES ]

[ ROMANTIC MUSIC CONTINUES ] [ ROMANTIC MUSIC CONTINUES ]

[ ROMANTIC MUSIC CONTINUES ]

[ ROMANTIC MUSIC CONTINUES ] [ ROMANTIC MUSIC CONTINUES ]

[ ROMANTIC MUSIC CONTINUES ]

[ CART THUDDING ]

[ KEYS JINGLING ]

[ DOOR CLOSES ]

>> JE-SUS!

[ DIAL TONE ]

>> OH, SHIT.

[ CLICK ]

[ CLICK ] OH, MY GOD.

OH, MY GOD.

>> [ SIGHS ]

>> JESUS!

>> IS IT NOON ALREADY?

>> IT'S THREE MINUTES BEFORE.

>> IT'S THREE MINUTES BEFORE. [ SIGHS ]

[ SIGHS ]

LISTEN, IF EDDIE FINDS OUT THAT

YOU'RE TAKING THE PHONES OFF THE

HOOK, HE'S GONNA FIRE YOU.

YOU KNOW, HE [SIGHS] CALLS HERE

SOMETIMES TO CHECK UP ON US.

MAKE SURE WE'RE ANSWERING THE

PHONES.

I-- [SIGHS] IT'S NONE OF MY

BUSINESS, BUT...

WHY DO YOU HAVE YOUR CLOTHES

OFF?

>> DO YOU REALLY WANT TO KNOW?

>> I DON'T KNOW.

>> I DON'T KNOW. DO I?

DO I?

I-I FOLDED...

THOSE FOR YOU.

>> THANK YOU.

[ KEYS JINGLE ]

[ KEYS JINGLE ] [ BREATHES HEAVILY ]

[ BREATHES HEAVILY ]

[ BREATHES HEAVILY ] [ SIGHS ]

[ SIGHS ]

[ FINGERS TYPING ON TYPEWRITER ]

[ DING ]

[ DING ] [ TYPING CONTINUES ]

[ TYPING CONTINUES ]

[ TYPING CONTINUES ] [ SIGHS ]

[ SIGHS ]

>> HAPPY NEW DAY, LEON.

[ WHISTLING ]

I GOT A GREAT FEELING ABOUT

TODAY.

[ LEON CHIRPS ]

GOOD MORNING, LADIES AND GERMS.

FUNNY THING HAPPENED TO ME ON

THE WAY TO...

VIENNA.

I MET A BEAUTIFUL CONTESSA...

I MET A BEAUTIFUL CONTESSA... NAMED DELILAH.

NAMED DELILAH.

[ TELEPHONE RINGING ]

>> HELLO -- SWEET TALK.

WANT TO TALK?

>> WHO'S THIS?

>> GINNY.

WHO'S THIS?

>> WHERE'S DELILAH?

>> OH, SHE'S NOT HERE RIGHT NOW,

BUT I'D LOVE TO TALK TO YOU.

>> WHAT DO YOU MEAN SHE'S NOT

THERE?

WHERE DID SHE GO?

>> OUT?

>> I THOUGHT THIS WAS HER PLACE.

>> Oh, we're sort of roommates,

her and me.

WHEN ONE GOES OUT, THE OTHER'S

HERE.

>> WHEN WILL SHE BE BACK?

>> SHE'S HERE EVENINGS AND

MORNINGS, MIDNIGHT TO NOON.

>> SHIT.

>> AW, YOU DON'T HAVE TO WAIT

THATLONG.

>> [ SIGHS ]

YEAH, I THINK I DO.

>> WHY?

YOU AND I CAN TALK.

What do you want to talk about?

>> VIENNA.

>> HUH?

>> Nazis were marching in the

street.

I WAS IN BED WITHOUT THE USE OF

MY ARMS AND MY LEGS.

SHE WAS MY NURSE.

She came to me at night.

>> COULD YOU HOLD ON A SEC?

UH, SOME NUT JOB WANTS TO TALK

TO YOU.

>> I'M OFF DUTY.

>> YEAH, HE'S TALKING ABOUT

VIENNA AND NAZIS, SOME NURSE.

>> HELLO. HI, HI.

>> Hi.

You had me worried there for a

minute.

>> UM...

I CAN'T TALK RIGHT NOW.

>> I THOUGHT THIS WAS YOUR

PLACE.

>> I LIED.

>> WHAT ELSE DID YOU LIE ABOUT?

>> NOTHING.

NOTHING.

EVERYTHING ELSE WAS THE TRUTH.

>> So [sighs]

WHAT DO WE DO NOW?

Shall we walk along the Danube?

MAYBE WE COULD FIND A-A CAFé

THAT SERVES SACHER TORTE WITH

WHIPPED CREAM.

>> MMM, WOULDN'T THAT BE NICE?

>> YEAH. YEAH, IT WOULD.

>> UM [SIGHS] SAMSON, I, UH, I

DON'T KNOW THAT THAT'S A GOOD

IDEA.

>> WHY NOT?

>> Well [sighs]

I DON'T THINK I COULD HANDLE

STARBUCKS RIGHT NOW, YOU KNOW,

WITH, UH, WITH THE BIODEGRADABLE

CUPS AND PEOPLE TALKING ON THEIR

CELLPHONES AND LAPTOPS.

>> SO, WHAT ARE WE ARE SUPPOSED

TO DO?

HMM?

FORGET IT?

JUST FORGET THE WHOLE THING

HAPPENED?

VIENNA?

THE DUEL, THE DANCE, THE TRAIN?

>> No.

NO, I'M NOT FORGETTING.

>> WELL, GOOD. THAT'S...

THAT'S GOOD TO HEAR.

>> IT'S JUST THERE AREN'T A LOT

OF DUELS BEING FOUGHT AROUND

HERE, YOU KNOW?

>> I WARNED YOU, DIDN'T I?

We could've stopped at any time.

SO, WHAT ARE WE SUPPOSED TO DO?

>> GO HOME, I GUESS.

>> AND DO WHAT?

>> SLEEP.

>> PERCHANCE TO DREAM.

>> [ Chuckles ]

>> Ah, there's the rub.

>> FOR IN THAT SLEEP OF DEATH,

>> FOR IN THAT SLEEP OF DEATH, WHAT DREAMS MAY COME.

WHAT DREAMS MAY COME.

>> Come on.

Delilah.

I FOUND MY VOICE.

I HAVE -- I FOUND -- I FOUND MY

VOICE.

VOICE. I HAVE THINGS TO SAY.

I HAVE THINGS TO SAY.

WE COULD GO BACK THERE.

>> You really think we can do

that?

>> YES. OF COURSE.

WE WENT BEFORE. WE CAN GO AGAIN.

We could go there.

We could go to all kinds of

places.

WE CAN GO TO AMAZINGPLACES.

WE CAN GO TO PARIS.

WE COULD GO SAINT PETERSBURG.

WE COULD [LAUGHS]

[ RATTLE RATTLES ]

WE COULD GO TO RIO!

[ CHUCKLES ]

RIO!

CARNIVAL TIME.

ZAMBAS, DRUMS.

>> How about New York?

In...

In the '40s.

I COULD BE A TORCH SINGER AT A

BAR ON...

I DON'T KNOW -- 52nd STREET.

AND YOU COULD BE A GANGSTA.

>> WITH A SCAR HALFWAY DOWN MY

CHEEK AND A DIAMOND STICKPIN.

>> YEAH.

>> YEAH. YEAH.

YEAH.

[ SIGHS ]

SAMSON, RIGHT?

THIRD ONE DOWN, NO "P"?

>> Yeah.

DELILAH?

>> YES?

>> THIS COULD BE THE START OF

SOMETHING BIG.

>> YES.

>> SEE YOU AROUND, I GUESS.

>> SEE YOU AROUND.

>> WHEREVER THERE IS.

>> [ SIGHS ]

>> [ SIGHS ] >> WHEREVER THERE IS.

>> WHEREVER THERE IS.

>> WHEREVER THERE IS. [ BEEP ]

[ BEEP ]

[ TELEPHONE RINGING ]

[ RINGING CONTINUES ]

[ KEYS JINGLING ]

[ KEYS JINGLING ] [ RINGING CONTINUES ]

[ RINGING CONTINUES ]

[ RINGING CONTINUES ]

>> YOU GONNA GET THAT?

[ DOOR OPENS ]

[ DOOR CLOSES ]

ARE YOU GONNA GET THAT?

[ RINGING CONTINUES ]

HELLO -- SWEET TALK.

THIS IS GINNY.

>> Hi.

>> HI.

WHO IS THIS?

>> John.

>> JOHN?

HI, JOHN.

YOU HAVE A NICE-SOUNDING VOICE.

HAVE YOU CALLED US BEFORE?

Mm.

I thought I recognized your

voice.

So, John [Sighs] what would you

like to talk about today?

Something a little different?

How different?

How different? Really?

Really?

Tell me the tape of the girl

that turned you on.

I'm a redhead, John.

In fact, I'm red allover.

Mmm.

Like I said...

everywhere.

[ Moans ]

Johnny, you son of a bitch!

Johnny, you son of a bitch! You big, hard son of a bitch!

You big, hard son of a bitch!

>> ♪ IF YOU QUIET DOWN

♪ YOUR WORDS WILL GET LOUDER

♪ I'VE NEVER MET ANYBODY PROUDER

THAN YOU ♪

♪ LOOSEN UP YOUR GRIP, AND THEN

YOU'LL HOLD ON LONGER ♪

♪ OH

[ VOCALIZES ]

♪ I'VE NEVER MET ANYONE MORE

FAITHFUL THAN YOU ♪

♪ YET THEY DON'T SEE HOW

BEAUTIFUL YOU CAN BE ♪

♪ YET THEY DON'T SEE HOW

BEAUTIFUL YOU CAN BE ♪

♪ YET THEY DON'T SEE HOW

BEAUTIFUL YOU CAN BE ♪

♪ BE, BE

♪ OH, YOU'VE GOT TO LET THEM

>> ♪ LET THEM, LET THEM

>> ♪ LET THEM

>> ♪ LET THEM, LET THEM

>> ♪ LET THEM

>> ♪ LET THEM, LET THEM

>> ♪ WALK ON

♪ YOU'VE GOT TO LET THEM

>> ♪ LET THEM, LET THEM

>> ♪ LET THEM

>> ♪ LET THEM, LET THEM

>> ♪ LET THEM

>> ♪ LET THEM, LET THEM

>> ♪ WALK ON

[ VOCALIZES ]

>> ♪ TAKING SHORTCUTS ISN'T THE

EASIEST RIDE ♪

♪ IF YOU'RE TRYING TO FIGURE

YOURSELF OUT ♪

♪ DON'T BE POLITE WHEN THE MOOD

WAY IS RIGHT ♪

♪ 'CAUSE TOES ARE MEANT TO BE

STEPPED ON IF THE DANCING AIN'T

NICE ♪

♪ TOES MUST BE STEPPED ON IF THE

DANCING AIN'T NICE ♪

♪ COME ON, BABY GIRL, YOU'VE GOT

TO PUT UP A FIGHT ♪

♪ PUT UP A FIGHT

♪ PUT UP A FIGHT

♪ THEY SIMPLY DON'T SEE

♪ YET THEY DON'T SEE

>> ♪ YET THEY DON'T SEE HOW

BEAUTIFUL YOU CAN BE ♪

♪ YET THEY DON'T SEE HOW

BEAUTIFUL YOU CAN BE ♪

♪ YET THEY DON'T SEE HOW

BEAUTIFUL ♪

♪ YOU CAN BE

♪ BE, BE

♪ OH, YOU'VE GOT TO LET THEM

>> ♪ LET THEM, LET THEM

>> ♪ LET THEM

>> ♪ LET THEM, LET THEM

>> ♪ LET THEM

>> ♪ LET THEM, LET THEM

>> ♪ WALK ON

♪ YOU'VE GOT TO LET THEM

>> ♪ LET THEM, LET THEM

>> ♪ LET THEM

>> ♪ LET THEM, LET THEM

>> ♪ LET THEM

>> ♪ LET THEM, LET THEM

>> ♪ LET THEM, LET THEM >> ♪ WALK O-O-O-O-N