All language subtitles for Another.Nine.And.A.Half.Weeks.1997.1080p.WEBRip.DD2.0.x264-NTb

CAPTIONING MADE POSSIBLE BY
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[HORN HONKS]

OHH.

[BREATHING DEEPLY]

OHH.

OHH.

DON'T MOVE.

[SIGHS]

[WHINNY]

[WHINNY]

[WHINNY]

JOHN?

MAY I REST NOW?

[KNOCK ON DOOR]

UH, IT'S OPEN.

I'M SORRY.

[DOOR SLIDING]

[SIREN]

[SIREN STOPS]

[WHINNY]

[TOILET FLUSHING]

[DOOR CLOSES]

I, UH, ORDERED YOU
SOME BREAKFAST.

I HAVE TO GO.

WILL THAT BE CASH
OR CHARGE?

SHOULD I LEAVE YOU
MY NUMBER?

BY THE WAY,

WHO'S ELIZABETH?

[SIREN]

LAST NIGHT,
YOU CALLED ME
ELIZABETH.

John:
WOULD YOU PLEASE COME BACK

WHEN I COUNT TO 50?

1...

2...

3...

4...

5...

6...

7...

Stewardess:
MONSIEUR GRAY? SIR?

MONSIEUR GRAY?

MONSIEUR GRAY?

WE'RE GOING TO BE
LANDING SOON IN PARIS.

MR. GRAY.

A PLEASURE TO HAVE YOU BACK
AT THE RAPHAEL HOTEL WITH US.

THANK YOU, PIERRE.
YOU LOOK TERRIFIC.

THANK YOU, SIR.

OH, MR. GRAY.

HEY, BONJOUR,
CHARLES.

YOUR SUITE.

UHH.

AND NO CALL FOR YOU?

NO ONE KNOWS I'M HERE.

ALL RIGHT, SIR.

OH.

JE SUIS CONFUSE.

EXCUSEZ MOI.
MERCI BEAUCOUP,
MONSIEUR.

HE'S HERE.

[DOOR CLOSES]

John: NO ONE KNOWS
I'M HERE, HUH?

ELIZABETH.

Auctioneer:
AND NOW UNDER LOT 12,

WE ARE PRESENTING
L'ATTENTE,

ONE OF THE FINEST PIECES

IN THE COLLECTION
OF ELIZABETH McGRAW.

AND FOR THIS LOT,

WE HAVE A BID OF 600,000
TO START WITH.

AT 600,000,
600,000?

AT 600,000. 650,000?

IN THE LEFT
OF THE ROOM AT 650--

700,000.
AT 700,000.

STILL AT THE BACK
OF THE ROOM.

700,000. DO I HAVE 8--

YES, 800,000.

ANY ADVANCE ON 800,000?

ONCE. TWICE.

SOLD!

THE GENTLEMAN STANDING
IN THE BACK OF THE ROOM.

LOT NUMBER 13:

PERSONNAGE AUX MAINS LEVéES
BY RECONDO,

ALSO FROM
THE McGRAW COLLECTION.

I'LL START THE BIDDING
AT 400,000 FRANCS.

AT 400,000 FRANCS?
AT 400,000.

I HAVE 450,000.
AT 450,000.

500,000? AT 500,000.

I HAVE 550,000.
DO I HAVE 6?
DO I HAVE 600?

DO I HAVE 600? AT 600,000.

650. 700,000.

AT 750,000. SOLD!

PERSONNAGE EN YORK
ALSO BY RECONDO.

I WILL START THE BIDDING
AT 600,000.

DO I HAVE 7? 8? 800.

9. 1 MILLION FRANCS.

1 MILLION FRANCS.

ONCE. TWICE.

SOLD! 1 MILLION FRANCS.

NOW LOT 15:
FEMALE AU BLANC,
ALSO BY RECONDO.

I'LL HAVE 600,000.

DO I HAVE 7?
I HAVE 7.

8? 801,000.

9?
700,000.

SOLD!
50,000.

1 MILLION, 1 HUNDRED.

750,000. 800,000.

IT STILL BUYS
FOR 600,000.

GONE.
SOLD!

THIS WAS THE FIFTH
AND LAST RECONDO PASTEL

FROM THE McGRAW
COLLECTION

SOLD TO THE GENTLEMAN
STANDING IN THE BACK.

CONGRATULATIONS, SIR.
YOU HAVE THEM ALL.

EXCUSE ME.

I DON'T MEAN, UH...

TO BE RUDE. UH...

BUT IT'S JUST, UH,
THE SCARF THAT
YOU'RE WEARING, IT'S--

MM-HMM.

IT'S EXACTLY
LIKE, UH...

A GIFT I GAVE A FRIEND
A LONG TIME AGO
IN NEW YORK.

ELIZABETH McGRAW?

YOU'RE RIGHT.
IT'S HER SCARF.

WHAT'S YOUR NAME?

JOHN. JOHN GRAY.

GRAY.

YES.

ELIZABETH ACTUALLY
GAVE THIS TO ME

RIGHT AFTER
WE FIRST MET.

SHE KNEW I LIKED IT,
SO SHE GAVE IT TO ME.

YOU KNOW ELIZABETH--
SO IMPULSIVE.

JOHN GRAY.

I PICTURED YOU
VERY DIFFERENT,
JOHN GRAY.

HEY, CALL ME JOHN.
IT'S EASIER.

LEA. CALLOT.

LEA CALLOT.

MY ASSISTANT
CLAIRE.

BONJOUR.

OK.

GOOD. BONJOUR.

WHAT ARE YOU DOING
IN PARIS?

I WAS JUST CURIOUS
AFTER ALL THESE YEARS
TO SEE WHY...

ELIZABETH WAS SELLING
HER COLLECTION.

I'D SAY THAT'S
A LITTLE MORE
THAN CURIOUS

TO COME ALL THE WAY
TO PARIS.

I WAS REALLY HOPING
SHE'D BE HERE.

WHY?

I WANTED
TO SPEAK WITH HER.

SHE DIDN'T TELL ME
YOU COLLECTED.

YOU BUY MUCH ART?

I REALLY NEED
TO TALK TO HER.

DO YOU THINK
YOU CAN HELP ME?

ELIZABETH HAS SUCH
A GREAT EYE.

CALL ME IN THE MORNING.

WE'LL GET TOGETHER.

YOU KNOW,
I WAS THINKING,
PEOPLE...

USUALLY DON'T SELL
WHAT THEY VALUE MOST.

YOU SHOULD KNOW.

HMM.

YOU'RE A VERY LUCKY MAN,
JOHN GRAY.

THEY'RE FABULOUS
PAINTINGS.

[INHALES]

[EXHALES]

Receptionist:
ALLO. OUI? BONJOUR.

UH, HELLO.

COULD I PLEASE
SPEAK TO, UH,
LEA CALLOT?

UN INSTANTE,
S'IL VOUS PLAIT.

HELLO?

[BEEP]

[SIGHS]

Receptionist:
OUI? BONJOUR.

YEAH, LEA CALLOT,
PLEASE.

YOUR NAME, MONSIEUR?
JOHN GRAY.

OK, COULD YOU
TELL HER THAT, UM...

I'M STAYING
AT THE RAPHAEL.

THAT'S GRAY. JOHN GRAY.

OF COURSE, MONSIEUR.

[SIGHS]

[LAUGHS]

I'M LATE.
I MUST GO.
I MUST GO.

OH.

YOU ARE LOOKING
FOR LEA. HMM?

THIS IS CHARLIE.
THIS IS JOHN.

YEAH.

YOU COME WITH ME.

I WAS HAVING
A QUICK LUNCH.

YOU KNOW, I LIVE HERE,
AND I WORK HERE.

THAT'S COOL.

I'M REALLY SORRY.

I DIDN'T, UH,
MEAN TO INTERRUPT
YOU AND CHARLIE.

C'EST PAS GRAVE.

BONJOUR, CLAIRE.

BONJOUR, NATALIE.
CA VA?

* IT'S COME ALIVE

IL VA BIEN CE COULEUR
SUR TOI.

OUI. COMME TOUJOURS
TU M'AS CHOISI
LA PLUS BELLE.

LE MEILLEUR POU TOI,
MON AMOUR.

VAS-Y.

[ARGUING IN FRENCH]

[MUSIC PLAYING,
SINGING IN FRENCH]

[CELL PHONE RINGS]

EXCUSE ME, SIR.

WE'RE GOING IN.

OK.

[SPEAKING FRENCH]

MERCI.
CIAO.

OK, STOP THE MUSIC
A SECOND.

STOP THE MUSIC.

WHO'S NEXT?

UH, NATASHA,
BUT SHE'S LATE.

I NEVER LIKED HER.

HER WALK, HER STRIDE.
SHE'S FAR TOO VULGAR.

SHE LOOKS
LIKE A HORSE.

A CARTHORSE,
NOT A RACEHORSE,
DARLING.

SHE'S JUST WHAT WE
NEED FOR THE SHOW.

OK, GRETHA,
LET'S GO.

HOW ARE YOU?
TRES BIEN?

[CELL PHONE RINGS]

[RING]

AH, FRANCOISE.

YOU'RE LOOKING WONDERFUL,
DARLING.

HOW CAN I TELL?
WELL, I'M TELEPATHIC.

EXCELLENT. MAKE SURE
YOU DON'T PULL IT OUT,
THOUGH.

EXCELLENT. OK.

BON. CINQ MINUTES?

OK, CINQ MINUTES,
TOUT LE MONDE.

[HANDS CLAPS]

[MUSIC STOPS PLAYING]

LEA, LES MANCHES
NE VONT PAS. REGARDE.

ALLORS,
FAIS COMME CA.

MERCI, MARCEL.

WHY DON'T WE GO
INTO MY OFFICE?

JOHN GRAY.

[LAUGHS]
WHAT TOOK YOU
SO LONG?

SERIOUSLY,
YOU SHOULD HAVE
CALLED FIRST.

NOW MY DAY
IS TOTALLY
JAMMED UP

PREPARING
FOR THE SHOW.

I'M ABSOLUTELY
CRAZED.

SO WHEN ARE YOU
GOING BACK
TO THE STATES?

I'M NOT GOING BACK.

NOT UNTIL I TALK TO YOU.

SO AM I TO UNDERSTAND

THE DETERMINATION OF ALL
YOUR FUTURE MOVEMENTS
IS IN MY HANDS?

THAT'S QUITE
A RESPONSIBILITY.

ONE...I'M NOT SURE
I'M UP TO.

FRANCOISE IS BEGGING
FOR A PEEK
AT THE COLLECTION.

SHE'S FROTHING
AT THE MOUTH.

IN FACT, SHE'S OOZING
FROM EVERY ORIFICE.

SHE SWEARS SHE WON'T
UTTER A DICKY BIRD.

I TOLD YOU, VITTORIO,

NO OUTSIDERS,
NO VISITORS,
NO EXCEPTIONS.

NO VISITORS?

THIS IS A FRIEND
OF ELIZABETH'S.

JOHN GRAY, MEET
VITTORIO da SILVA,
MY PARTNER.

A FRIEND OF ELIZABETH'S?

WELL, I'M DELIGHTED
TO MEET A FRIEND
OF ELIZABETH'S,

BUT THIS IS
A PRIVATE SHOW.

I LOVE THAT COAT.

ARMANI OR VERSACE?

UH, PERHAPS YAMAMOTO?

OR, UH...THE GAP?

I'M JOKING, OF COURSE.

[HUMMING]

HOW ABOUT BREAKFAST?

I'LL PICK THE PLACE.

YEAH. I'D LIKE THAT.

SO...

THAT'S HIM?

[CAR ALARM SOUNDING]

MERCI, DANIELLE.
A DEMAIN, MäMéRE.

I WON'T BE A JIFFY.
I'LL BE BACK WITH LEA
IN A FEW MINUTES.

JUST WAIT.

[DOOR CLOSES]

[WHISTLING]

[WHISTLING]

HELLO, DARLING.
I'VE ARRIVED.

OH, PLEASE DON'T HURRY
GETTING DRESSED.
WE'RE ALREADY LATE.

WE'LL PROBABLY
ARRIVE IN TIME
FOR THE NEXT PARTY.

FRANCOISE WAS EASY,

BUT THE PENANCE
IS HAVING TO ENDURE
THE UNMITIGATING GARBAGE

THAT FLOWS OUT
OF HER MOUTH.

CHEERS, DARLING.

NOT THIS EVENING,
VITTORIO.

I'M NOT UP TO IT.

I'VE HAD ENOUGH
OF FASHION GROUPIES
FOR ONE DAY.

OH, WHAT I NEED
IS A LONG HOT BATH.

AVOIDING ME...

UPSETS ME.

IT MAKES ME MAD!

IT'S AN EMOTION
THAT I CAN...
QUITE LIVE WITHOUT.

THIS IS A DANGEROUS GAME
YOU'RE PLAYING,
YOUNG LADY.

YOU KNOW, NOT EVERYTHING
IS A GAME, VITTORIO...

OR DIDN'T YOUR MOTHER
TELL YOU THAT?

BUT WHAT I FIND
REALLY UPSETTING

IS THAT YOU DON'T TRY
TO MAKE ME MAD.

YOU JUST DON'T CARE.

YOU KNOW...

THAT'S EXACTLY
WHAT YOU USED TO LIKE.

YOU USED TO SAY TO ME,

"LET'S KEEP NOTHING
PERSONAL."

OH.

THANK YOU.

[THUMP]

IT'S A MAGNIFICENT
BUILDING.

MM-HMM.

SHE'S IN THERE?

YES.

COME ON.

SO, UH,
HAVE YOU WORKED
FOR LEA LONG?

ALMOST ONE YEAR,

BUT SHE DIDN'T
HIRE ME FOR FASHION.

I'M AN ARTIST.

I DESIGN CRAZY,
ABSTRACT THINGS

FOR DINNERS
AND SPECIAL
OCCASIONS.

LEA LIKED ONE
OF MY SCULPTURES--

A SORT OF
FUTURISTIC WORLD
CRASHING TOGETHER.

YOU KNOW?

OH, SURE, I KNOW.

I MEAN, I SEE ONE
OF THOSE THINGS
EVERY DAY.

I WAS ALL SET
TO HAVE A LITTLE,
YOU KNOW...

ARTISTIC
PARISIAN LIFE,

BUT YOU DON'T HAVE
A LITTLE LIFE
AROUND LEA.

A LITTLE LIFE?

YES.

YOU KNOW...

YOU'RE BORN.
YOU EAT. YOU CRY.

YOU SLEEP. YOU SLEEP.
LISTEN. LISTEN.

WORK, WORK, WORK,

AND DIE.

John: AND LEA?

SHE'S THE BEST.

SHE'S MY TEACHER.
SHE'S MY FRIEND.

SHE SAYS, "NO LIMIT,

VER LA LUNE"--

TO REACH FOR THE MOON.

BUT, IT GIVES ME
A KICK.

AND WHAT ABOUT
VITTORIO?

VITTORIO.
HE'S LEA'S PARTNER.

HE TAKE CARE
OF ALL THE BUSINESS.

THEY ARE VERY CLOSE...

FOR A LONG TIME.

YOU ASK A LOT
OF QUESTION.

MMM.

SOMETIMES I DO.

I TALK TOO MUCH.

VITTORIO SAYS I DO.

THAT'S LEA OVER THERE.

BUT HER, SHE IS
THE SILENT TYPE, HUH?

CAN I ASK YOU
ONE LAST QUESTION?

SURE.

DID YOU EVER
MEET ELIZABETH?

NO.

[CELL PHONE RINGS]

OH, MERDE.

ALLO? OUI,
DEUX MINUTES.

LEA IS A LOT.
YOU WILL SEE.

I'M ON CALL
ALL DAY.

Claire:
YES, VITTORIO. OUI.

LEA?

N-NO, I DON'T KNOW
WHERE SHE IS.

NO, NO. I AM SURE
SHE WILL BE THERE SOON.

OUI.

John: IT'S, UH,
VERY KIND OF YOU
TO MEET WITH ME.

Waiter: EST VOILá.

Lea: I HOPE YOU DON'T MIND.
I ALREADY ORDERED.

I'M RUNNING LATE.

NO. I COULD USE
A CUP OF COFFEE.

MM-HMM.

LEA,

WHERE'S ELIZABETH?

YOU KNOW, THIS IS ONE
OF MY FAVORITE PLACES
IN PARIS.

I LOVE IT UP HERE.

YEAH, I CAN, UH,
I CAN SEE WHY.

IT'S LIKE THE OLD
AND THE NEW

RUNNING INTO EACH OTHER
WITHOUT INTRODUCTIONS.

PLACES LIKE THIS,
THEY GIVE YOU--

WHERE IS SHE,
LEA?

WHERE IS SHE?

TANGIERS.

TANGIERS?

SHE'S IN TANGIERS...

WITH HER HUSBAND,
OF COURSE.

WHAT KIND OF MAN
DID SHE, UH...

MARRY?

A NICE MAN.

OLDER,
BUT VERY POWERFUL.

HIS FAMILY LIVE IN TANGIERS,
SO THAT'S WHERE THEY WENT.

SHE JUST, UH--

IT'S NOT LIKE ELIZABETH
JUST TO TAKE OFF,

GO TO A PLACE
LIKE TANGIERS.

OR MAYBE YOU DIDN'T
KNOW ELIZABETH AS WELL
AS YOU THOUGHT YOU DID.

DO YOU STILL
KEEP IN TOUCH
WITH HER?

I'M SORRY, JOHN.
I'VE REALLY GOT TO GO.

John: LISTEN,
DON'T PLAY GAMES
WITH ME.

HOW COME YOU KNOW
SO MUCH ABOUT ME
AND ELIZABETH?

ARE YOU GONNA
TALK TO ME?

"WE'RE IN A WHOREHOUSE
IN CHICAGO, IT'S 1952,

"AND I'M A MAN
WITH A PROBLEM.

I CAN'T GET EXCITED
UNLESS I SEE YOU
CRAWL ACROSS THE FLOOR."

[SIGHS]

ELIZABETH
WAS MY BEST FRIEND.

WOULD YOU TELL ME
WHAT THE HELL
IS GOING ON HERE?

THIS IS ALL MORE
THAN A COINCIDENCE.

LET IT GO, JOHN.

ARE YOU GONNA
ANSWER ME?

ELIZABETH WOULD WANT YOU
TO HAVE THIS.

MONSIEUR GRAY?

[FOOTSTEPS]

[KNOCK ON DOOR]

[KNOCK ON DOOR]

[KNOCK ON DOOR]

[FOOTSTEPS]

WHAT'S THIS CRAP?

OH, JESUS,
I HATE MUSEUMS.

Lea: MEET ME AT 2 P.M.
Ä LA CONCIERGERIE.

John: OK.

[BELL TOLLING]

WOW, YOU SURE KNOW
HOW TO PICK PLACES.

THIS IS WHERE THEY HELD
MARIE ANTOINETTE...

BEFORE SHE DIED.

I CERTAINLY HOPE
THIS IS GOING
TO LEAD SOMEWHERE.

HISTORY.

YOU KNOW, LEA,
I'M NOT REAL BIG
ON GROUP TOURS

AND THAT KIND OF SHIT.

DEPENDS ON YOUR GUIDE.

I'VE BEEN LOOKING
FOR A GUIDE...

FOR A LONG TIME.

I DON'T THINK
YOU'RE READY
FOR THAT.

FOR WHAT?

[FOOTSTEPS]

[PEOPLE TALKING]

NO! NO!

HEY!

NO! NO!

HEY, HEY, HEY.
LEA.

HEY!
HEY, THAT'S ENOUGH
RIGHT THERE.

OH.

MISTER,
IT'S JUST A GAME.

YOU CALL TERRORIZING
A LADY A GAME?

ARE YOU ALL RIGHT?

YEAH. I'M OK.

HE JUST GETS
A LITTLE CARRIED
AWAY SOMETIMES.

MISS, YOU WANT TO
WALK OUT WITH US?

NO. IT'S OK.

I'LL
BE ALL RIGHT.

YOU'RE AMERICAN.

YOU SHOULD
KNOW BETTER.

THAT WAS REAL NICE.

SOMETHING'S
BEEN ON MY MIND...

SINCE
YESTERDAY'S...

WHAT YOU SAID TO ME.

WHAT?

ALL THAT STUFF
ABOUT...

WHOREHOUSE
IN CHICAGO.

HOW'D YOU KNOW
ABOUT THAT?

I READ ABOUT IT.

ELIZABETH WENT TO MOSCOW
ABOUT A YEAR AGO

ON A BUYING SPREE
FOR HER GALLERY.

[SIGHS]

AND SHE LEFT BEHIND
A JOURNAL

THAT SHE CALLED
NINE & A HALF WEEKS.

IT WAS THE STORY
OF YOUR AFFAIR.

WHEN SHE CAME BACK,
SHE WANTED TO STAY
WITH ME FOR A FEW DAYS.

SHE NEEDED TO TALK
ABOUT THESE...

DEEP FEELINGS
SHE HAD INSIDE.

SHE SAID THAT
NOT A DAY WENT BY...

THAT WASN'T AFFECTED
BY THE TIME
YOU SPENT TOGETHER.

SHE ALSO WANTED TO KNOW
IF IT WAS RIGHT
THAT SHE LEFT YOU.

YEAH.

YEAH.

IT WAS.

I GUESS IT WAS.

I LIKE YOU, JOHN.

YOU'RE A LITTLE SWEET,

A LITTLE BIT MEAN.

LOOK TOUGH.

MAYBE NOT TOUGH ENOUGH.

NOT ANYMORE.

TOUGH ENOUGH FOR WHAT?

FOR WHAT YOU'VE
STEPPED OUT OF...

LIFE.

LIFE.

LIFE!

[DANCE MUSIC PLAYING]

* I

* I FEEL IN MY MIND

* I GOT TO
LET GO *

* I GOT TO UNWIND

* I

* I NEED A GOOD TIME

* I NEED TO
FIND LOVE *

* I GOT TO GET HIGH

* I

* I FEEL IN MY MIND

* I GOT TO
LET GO *

* I GOT TO UNWIND

* I

* I NEED A GOOD TIME

* I NEED TO
FIND LOVE *

* I GOT TO GET HIGH!

* YOU'VE GOT THE PASSION
THAT YOU FEEL INSIDE *

* A LITTLE LOVE,
A LITTLE LIFE *

* NOW YOU DESIRE

* THERE AIN'T NO REASONS
WHY WE CAN'T SHARE *

* A LITTLE LOVE,
A LITTLE LIFE *

* CAN TAKE US THERE

* YOU'VE GOT THE INSTINCTS,
AND NOW YOU KNOW *

* A LITTLE LOVE,
A LITTLE LIFE *

* WILL LET IT SHOW

* JUST TAKE AHOLD

* OF WHAT YOU FEEL

* A LITTLE LOVE,
A LITTLE LIFE *

* WILL MAKE IT REAL

* I

* I FEEL IN MY HEART

* I WANT TO LET GO

* AND MAKE A NEW START

* I

* I GOT TO BREAK FREE

* I GOT TO
RUN WILD *

* I GOT TO BELIEVE

* I

* I FEEL IN MY HEART

* I WANT TO LET GO

* AND MAKE A NEW START

* I

* I GOT TO BREAK FREE

* I GOT TO
RUN WILD *

POUFFE CONNE!

* I GOT TO BELIEVE!

* YOU'VE GOT THE PASSION
THAT YOU FEEL INSIDE *

CHARLES!

[SPEAKING FRENCH]

AAH!

GET YOUR FUCKING HANDS
OFF HER.

UHH!

John: UHH...

PIECE OF SHIT.

MMM.

LOOK AT YOURSELF.

JESUS.

[SOBBING]

WHERE IS HE?!

STOP HIM!

[SCREAMING]

STOP HIM!

GET HIM!

NO! GET HIM!

[TIRES SCREECH]

[HORN HONKS]

OH, SO,
WHERE ARE WE GOING?

THAT WAS QUITE A SHOW.

AH, DO YOU THINK
YOUR LITTLE FRIEND
IS, UH...

IS GONNA
BE ALL RIGHT?

CLAIRE? YES,
SHE'LL BE ALL RIGHT.

TURN RIGHT HERE.

SO WHERE ARE WE GOING?

COME ON, JOHN,
DON'T YOU TRUST ME?

OH, SURE.

COME ON, TURN LEFT,
LEFT, LEFT.

[CAR ALARM SOUNDING]

DON'T WORRY.
YOU'RE NOT LOST YET.

[LAUGHING]

NOT YET.

[TIRES SCREECH]

[KNOCK ON DOOR]

BON SOIR, SERVI.
CA VA?

BON SOIR, LEA.

MONSIEUR.

HI.

[MUSIC PLAYING]

UH-OH.

CA FAIT LONGTEMPS
QUE TU ES VENUE
NOUS VOIR.

MéCHANTE.

YOU'RE LOOKING
WONDERFUL TONIGHT.

YOU ALWAYS DO,
OF COURSE.

OH, WON'T YOU
INTRODUCE ME

TO YOUR VERY
NICE-LOOKING FRIEND?

JOHN GRAY.

HI. NICE
TO MEET YOU.

MICHEL.

WOULD YOU LIKE
YOUR SPECIAL TABLE?

I WOULD LOVE
MY SPECIAL TABLE.

GO IN THERE.

[SPEAKING NATIVE LANGUAGE]

WANT TO PLAY?

WHAT'S THE GAME?

IT'S A GAME OF CHANCE.

WHO CARES?

WHAT IS THIS?

A LUCKY DRINK.

ABSINTHE.

FOOD FOR A LOST SOUL.

GIVE ME MONEY.

[LAUGHING]

MY MONEY.

I'M GONNA LOSE
ALL YOUR MONEY.

YOU CAN'T LOSE
ALL MY MONEY.

WATCH ME.

YAH!
OHH!
OHH!

OHH!
OHH!
OHH!

AW.
OHH.
AW.

YAY!
YAY!
YAY!

YAY!
YAY!
YAY!

YAY!
YAY!
YAY!

I LOST YOUR MONEY.

HEY! STOP THEM!
STOP THEM!

HEY, HEY, HEY.
WHAT'S HAPPENING?
WHAT'S HAPPENING, HUH?

GIVE ME THAT.

WATCH YOUR POCKETS,
NOW.

COME ON, JOHN.

YOU WEREN'T.

COME ON, JOHN.

I'LL SEE YOU AGAIN.

COME ON, MOTHERFUCKER,
COME ON.

[HORN HONKS]

[TIRES SCREECH]

COME OVER HERE.

COME OVER HERE.

[LAUGHING]
BY THE TIME
I COUNT TO 50?

1...

WHOO!

[LAUGHING]

COME ON, JOHN!

COME ON!

COME ON, JOHN.

WHOO!

COME ON!

[MAN TALKING]

WHOO!

[BARKING]

WHOO!

* BABY

* ALL NIGHT

* I'D RATHER NOT

* YOUR BEAUTY
IS BEFORE ME *

* SOMETIMES

* IT'S THE WATER

HEY. OH. OH.

[LAUGHING]

OH, GOD.

OOH.

[LAUGHING]

MMM.

* HELLO

* HELLO, STRANGER

* WHERE'VE YOU BEEN?

* WHERE YOU GOIN'?

* I REALLY WANNA KNOW

* OOH, I SAID, HELLO

* HELLO, STRANGER

* HAVE YOU HAD
A GOOD TIME? *

* IT MAKES ME SMILE

* WHEN YOU LOOK AT ME
THAT WAY *

[LEA LAUGHS]

* CAN I COME HOME
WITH YOU TONIGHT? *

* IS THAT WHAT
YOU'RE ASKIN'? *

* YOU SAY YOU'RE GONNA
TREAT ME RIGHT *

* A STRANGER'S TOUCH
IS WHAT I NEED TONIGHT *

* IT'S A STRANGE
KIND OF MAGIC *

* WHEN WE TOUCH

* IT'S A STRANGE
KIND OF MAGIC *

* OH, IT'S DANGEROUS

* IT'S A STRANGE
KIND OF MAGIC *

* TELL ME,
WHY CAN'T YOU SEE? *

* STRANGERS YOU AND I
WILL ALWAYS BE *

* WHEN WE TOUCH

* OOH, WHEN WE TOUCH

* HELLO

* HELLO, STRANGER

* HELLO

* HELLO, STRANGER

* OOH, I SAID, HELLO

* HELLO, STRANGER

* OOH, I SAID, HELLO

Claire: EVERYONE
IS CRAZY AT THE SHOW.

VITTORIO SHOUTING.

THE MODELS, ELLES NE SAVANT
JAMAIS CE QU'LL FAUT FAIRE.

LEA ASKED ME
TO COME AND GET YOU,

BUT WE HAVE A LITTLE TIME
BEFORE THE SHOW.

WOULD YOU LIKE TO SEE
SOME OF PARIS?

I DON'T KNOW.

TRUST ME. I WILL TAKE YOU
TO A VERY NICE PLACE.

YOU ARE GOING TO LOVE IT.

ONLY IF YOU GET RID
OF THAT HAT.

[LAUGHS]

OH, HOW NICE OF YOU
TO DROP BY.

DRAMA'S FOR THE THEATER,
VITTORIO.

NOW, HERE WE HAVE
A UNIQUE EVENING GOWN

DESIGNED
BY MADEMOISELLE CALLOT

WITH HER
CUSTOMARY GENIUS,

WITH HER
IDIOSYNCRATIC EYE
FOR DETAIL.

SO WHY, TELL ME, PRAY,
DOES IT HANG LIKE
A SACK OF OLD LAUNDRY?

MERCI.

LEA,
WE ARE FALLING APART.

IT'LL BE ALL RIGHT,
VITTORIO.
HAVE FAITH.

FAITH? DOCTORS HAVE FAITH.
HEALERS HAVE FAITH.

FASHION HAS...

DEADLINES!

BACK TO WORK!

I WANT TO SAY THANK YOU
FOR LAST NIGHT.

YOU'RE WELCOME.

WERE YOU SCARED?

A LITTLE, I SUPPOSE.

I WAS JUST
PLAYING WITH HIM.

I DON'T UNDERSTAND
WHY THIS GUY
WENT CRAZY.

MAYBE YOU KNEW
IT WAS GONNA HAPPEN.

NON.

WELL,
WHEN YOU PLAY GAMES,

SOMEONE'S GONNA GET HURT.

THAT'S THE WAY IT IS.

IT'S TRICKY.

TRICKY, TRICKY.

[LAUGHS]
LIKE THAT?

THE BOAT CAN SINK.

LE BATEAU EST CHERIAC.

THE BOAT MIGHT SINK.

IT'S COLD.

DO YOU WANT
SOME COFFEE?

LET'S PUT YOUR HAT
OUT THERE.

NON.

[LAUGHING] NO, NO,
DON'T DO THIS. NO.

I LIKE IT HERE.

YEAH.

YEAH.

I LIKE PLACES
THAT LET DOGS IN.

WE SHOULDN'T BE LATE
FOR THE SHOW.

Doorman: CARTON,
S'IL VOUS PLAIT.

CARTON,
S'IL VOUS PLAIT.

YOUR INVITATION,
MADAME, PLEASE.

I'M INVITED.

I FORGOT MY INVITATION,
BUT I'M ON THE LIST.

I'M SORRY, MADAME.
I CAN'T LET YOU IN.

I AM
THE GODDAMN EDITOR

OF THE BIGGEST
FASHION MAGAZINE
IN AMERICA,

AND I AM GONNA
KICK YOUR ASS IF YOU
DON'T LET ME IN.

FRANCOISE.
IT'S ME CLAIRE.

CLAIRE, I AM HAVING
A TERRIBLE TIME.

IT'S OK.
SHE'S WITH US.
MERCI.

THEY WERE
GONNA STOP ME.

I MEAN, WELL,
WHO ARE THESE PEOPLE?

FIRST UP, NATASHA,
ADRIäNNE, MONICA,
ERICA. LET'S GO.

JOHN IS HERE.
HE'S HERE.

YEAH, GREAT,
EXCELLENT.

KEEP THIS
UP HERE.

KEEP IT UP, LADIES,
KEEP IT TOGETHER.

NO, WAIT,
WAIT, WAIT.

PUT IT TOGETHER.
MAKE SURE YOU
PUT IT TOGETHER.

COME ON.

LEA, LEA. OH.
OH!

[APPLAUSE,
CHEERING]

[MUSIC PLAYING]

COME ON, AISHA.

WATCH THIS, OK?

¡ESTA!

DO IT!

YOU GOT
TOO MUCH MAKEUP.

LET'S GO.

WHERE'S HER DRESSER?

AH, PIEUSE!

FABIäNNE!

Lea: HELP HER.

OHH.
OHH.
OHH.

YAY!
YAY!
YAY!

BRAVO! BRAVO!

BRAVO!

BRAVO!

BRAVO!

[WHISTLES]

[WHISTLES]

BRAVO!

BRAVO!

BRAVO!

[WHISTLES]

BRAVO!

MISS. MISS,

JOHN IS WAITING
FOR YOU
ON THE STAGE.

LEA, OVER HERE, PLEASE.
LEA, FOR THE CAMERA.

THIS IS A PROUD DAY.

OH, BEAUTY IS A FORM
OF GENIUS.

IT NEEDS
NO EXPLANATIONS.

CONGRATULATIONS.

WHERE ARE YOU GOING?

YOU KNOW
WHERE I'M GOING.

SURELY
YOU'RE NOT TAKING HIM
TO THE PARTY, ARE YOU?

TAKE CLAIRE
AND MEET ME OUT FRONT.

ARE YOU COMING
WITH ME TONIGHT?

I HAVE TO GO
WITH LEA
TO THE PARTY.

IT'S BUSINESS,
CHARLIE.

FUCK BUSINESS.
ARE YOU COMING WITH ME?

MERDE.

WELL, CONGRATULATIONS.

I'M HAPPY FOR YOU.
YOU GOT WHAT YOU WANTED.

YOU THINK SO?

YOU'RE EXTREMELY CLEVER.

I ADMIRE THAT IN A WOMAN.

YOU STILL
DON'T GET IT,
DO YOU?

I'M GETTING CLOSE.

YOU'RE COMING
TO A PARTY
WITH ME.

OH, I DON'T KNOW.
I HATE PARTIES.

YOU LIKE
SURPRISES?

ONLY IF THEY COME
IN SMALL PACKAGES.

HA HA.
COME ON.

HELLO?

KAHDIJAH.

HELLO, DARLING.

KAHDIJAH,
JOHN GRAY.

ENCHANTé, MONSIEUR.

VOUS ETES LE BIENVENU.

LEA TOLD ME MUCH
ABOUT YOU.

HI.

AH, DARLING,
HOW ARE YOU?

CA VA BIEN?

* AIN'T NO BIG THING

* TO LEAP FOR THE BELL
TO RING *

* AIN'T NO BIG THING

* TILL THE OTHER BELL

* AIN'T NO LADY,
STAYIN' FOR DAYS *

* STROLL DOWNTOWN
TO THE RED LIGHT PLACE *

* JUMP UP, TURN AROUND

* WHAT'S IN STORE?

THIS IS MY SURPRISE?

WELL, UNLESS YOU
WANT TO BE NEXT,

I SUGGEST
YOU FOLLOW ME.

* SHOWING NOW,
HIT AND RUN *

* BOY MEETS GIRL
WHILE THE BEAT GOES ON *

* STITCHED UP TIGHT

* CAN SHE BREATHE?

* LOVE IS THE DRUG
GOT A HOOK ON ME *

THIS IS FOR YOU.

MAYBE THAT'S SOMETHING
I DON'T WANT ANYMORE.

WELL, THEN, I GUESS
YOU WON'T FIND OUT

WHY I
BROUGHT YOU HERE.

DON'T MOVE.

WHO'S HERE?

WHO'S HERE?

JOHN, YOU KNOW
ALL ABOUT THIS--

RAISING THE STAKES.

INVENTING.

REINVENTING.

COME HERE.

* EVEN NOW, I PARK MY CAR

* SPEAK MY PIECE
IN THE SINGLES' BAR *

* FACE TO FACE,
TOE TO TOE *

* HEART TO HEART
AS WE HIT THE FLOOR *

* LIMBO RIGHT, LIMBO DOWN

* LOCKED EMBRACE,
STUMBLE ROUND *

* I SAY GO, YOU SAY YES

* DIM THE LIGHTS,
GUESS THE REST *

* OH, OH, CATCH THAT BUZZ

* LOVE IS THE DRUG
I'M THINKING OF *

* OH, OH, CAN'T YOU SEE?

* LOVE IS THE DRUG
GOT A HOOK ON ME *

WHAT HAPPENED
TO ELIZABETH?

I TOLD YOU.

TELL ME AGAIN.

TELL ME AGAIN BECAUSE
I DON'T BELIEVE YOU.

SHE LEFT YOU, JOHN.

SELF-INDULGENCE
IS THE LAST REFUGE
OF THE BORED.

HAVE YOU TOLD HIM?

DON'T.

THEN I SHALL.

IT WAS
A SUBLIME FUNERAL.

HUNDREDS
OF WHITE IRISES.

NOTHING BUT
WHITE IRISES.

ELIZABETH WOULD HAVE
LOVED IT.

OH, NO.

TELL ME WHY, LEA?

I CAN'T HELP YOU,
JOHN.

WELL, YOU SHOULD HAVE
THOUGHT ABOUT THAT

BEFORE YOU STARTED
LYING.

YOU'RE GONNA TELL ME
HOW SHE DIED.

I DIDN'T HAVE
THE HEART TO TELL YOU.

I THOUGHT IT WOULD
BE BEST YOU DIDN'T KNOW.

AH, THAT'S NICE.

I'M NOT INTERESTED
IN YOUR, UH,
LITTLE EXCUSES.

NOW, I WANT YOU
TO TELL ME.

YOU WANT TO KNOW
EVERYTHING, JOHN?

I'LL SHOW YOU.

I FIRST MET
ELIZABETH AT A PARTY

FOR AN ART EXHIBITION
SHE WAS INVOLVED IN.

WE LIKED EACH OTHER
IMMEDIATELY.

ONE NIGHT ABOUT 2:00
IN THE MORNING,
MY PHONE RANG.

I HEARD A WOMAN CRYING.

IT TOOK ME A WHILE
TO REALIZE THAT
IT WAS ELIZABETH.

SHE ASKED ME
TO COME GET HER.

SHE WAS STRUNG OUT
ON BAD DRUGS.

THOSE DEALERS KNEW HER
BY HER FIRST NAME.

I HATED THEM.

SHE'D BE FINE FOR MONTHS
AT A TIME,

AND THEN SHE'D
DISAPPEAR FOR WEEKS.

AND I'D FIND HER
IN THIS HOLE.

DEAD END.

THE POLICE FOUND HER
IN SOME CHEAP HOTEL,

BUT I KNOW IT WAS
THIS PLACE THAT KILLED HER.

[SCREAMING]

Man: WHERE'S YOUR
PRETTY BLONDE SISTER?

WHY DON'T SHE COME
ALONG HERE NO MORE?

WE'LL JUST HAVE
TO MAKE DO
WITH YOUR SEXY ASS.

AAH!

WHAT IS THIS?

YOU BOYS LIKE
TO PLAY GAMES?

VA TE FAIRE ENCULER, TOI.
CASSE-TOI.

IL EST CALIBRE?

UN CALIBRE.

COME ON.

COME ON.

FUCK YOU.

YEAH.

SCARED?

NO...NOT OF THESE
BASTARDS.

WHERE ARE YOU GOING?

HOME.

YOU KNOW, I NEVER FELT
GOOD ENOUGH FOR HER.

I REALIZED THAT
THE DAY SHE LEFT.

I WAS STUPID. I HAD TO WAIT
TILL SHE CLOSED THE DOOR

TILL I WAS ABLE TO TELL HER
HOW MUCH I LOVED HER.

I DON'T WANT TO BE ALONE.

NOT NOW.

* TELL ME, WHAT DID
YOU DREAM ABOUT? *

* DID YOU RUN
IN THE SUN HAVING FUN,
AND WAS I WITH YOU? *

* AND WHEN YOU DREAM,
DO YOU DREAM ABOUT ME? *

* WHEN YOU SPEAK,
DO YOU TALK ABOUT ME? *

AH, BONJOUR, LEA.

MADELEINE.

CA VA?

CA VA BIEN.

OUI.
JOHN GRAY.

HELLO.

OH, IT'S SO NICE
TO BE BACK.

John: YOU KNOW, I USED
TO HATE COMING OUT
TO PLACES LIKE THIS.

IT'S SO QUIET,
SO STILL.

I KINDA LIKE IT TODAY.

YOU KNOW
THE EIFFEL TOWER--
THE GLASS BALL?

YEAH.

IT WAS ME.

NOW, LOOK. I'M GONNA
MAKE YOU A DEAL.

OK?

MM-HMM.

THIS WEEKEND--
JUST ME AND YOU.

NOBODY ELSE.

OK?

FEELS GOOD.

SO YOU GLAD
YOU MET ME?

WHY DO YOU FEEL
THAT YOU HAVE
TO ASK ME THAT?

YOU NEED ME,
JOHN GRAY.

SOMETIMES I'D IMAGINE
WHAT IT WOULD BE LIKE
TO BE WITH YOU.

HOW YOU'D...

SHUT OFF
THE REST OF THE WORLD

AND NEVER LET IT...

INTRUDE ON OUR PLEASURE.

HOW YOU'D
PLAN EVERYTHING.

NEVER HURRY A MOMENT.

NEVER NEGLECT A DETAIL.

WELL, NOT THIS TIME,
LEA.

YOU KNOW, WHERE I CAME FROM,
IT TOOK ME ABOUT 16 YEARS

TO REALIZE THAT
THE WORLD THAT I SAW
ON MY TELEVISION SET EVERY DAY

WAS REALLY OUT THERE.

THEN IT TOOK ME ANOTHER
2 YEARS TO WORK UP THE COURAGE

TO FIND THAT WORLD.

YOU KNOW, WE'RE A LOT ALIKE,
YOU AND I.

WE HAD TO INVENT OURSELVES.

WHAT'S THE MATTER?

NOTHING.

DON'T TREAT ME LIKE THAT.

I--I--I'M JUST
A LITTLE CONFUSED.

NO, YOU'RE NOT.

LOOK AT ME.

OK, PICTURE THIS.

WE'RE IN A WHOREHOUSE
IN CHICAGO.

IT'S 1952.

AND I'M A MAN
WITH A PROBLEM.

WE MADE A DEAL.

WE'RE IN A WHOREHOUSE
IN CHICAGO.
IT'S 1952.

SOUND FAMILIAR?
AND I'M A MAN
WITH A PROBLEM.

I CAN'T GET EXCITED
UNLESS I SEE YOU
CRAWL ACROSS THE FLOOR.

DON'T PUSH ME, LEA.

BUT I CAN.

I CAN COME TO YOU
IF YOU WANT.

COME ON, JOHN, WE BOTH
KNOW WHAT YOU WANT.

YOU CAN'T STOP ME.

[HORN HONKS]

YOU JUST DON'T GET IT,
DO YOU?

WHAT?

[KNOCK ON DOOR]

WHO IS IT?

VITTORIO.

MERDE.

[KNOCK ON DOOR]

SORRY, VITTORIO.
I HAVEN'T COME TO THE OFFICE

BUT I HAVE
SO MANY THINGS TO DO.

IT'S NOT IMPORTANT.

WHEN THE CAT'S AWAY,
THE MICE WILL PLAY.

WONDER WHERE THE CAT
IS TONIGHT? HMM?

PROBABLY SCREWING
ON THE ROOF
WITH HER TOMCAT.

OR SHOULD I SAY,
HER JOHN CAT?

DO YOU MIND?

I DON'T MIND,
AND I DON'T CARE.
I'M FED UP.

I'M GOING BACK
TO MY LITTLE LIFE.

EVERYTHING--
I GAVE HER EVERYTHING.

BEFORE SHE MET ME,
SHE WAS NOTHING.

SHE WAS A VACANT, BLANK,
EMPTY CANVAS.

STUPIDITY OOZED FROM
EVERY PORE OF THAT
LUSCIOUS AND DELICIOUS BODY.

I GAVE HER EDUCATION,
TASTE, SOPHISTICATION,
INTELLIGENCE.

I EVEN TOOK HER
TO THE BLOODY THEATER.

I JUST FEEL SO...

BLOODY...EMPTY.

I'M SORRY, BUT...

[KNOCK ON DOOR]

I DON'T
UNDERSTAND YOU.

LEA? LEA, IT'S ME CHARLIE.
OPEN THE DOOR.

LEA, COME ON, BABY,
IT'S ME. IT'S CHARLIE.

OPEN THE DOOR.

LEA?

CLAIRE, WHERE HAVE
YOU BEEN? WHAT HAVE
YOU BEEN DOING?

WHY HAVEN'T YOU
CALLED ME
SINCE BEFORE THE SHOW?

Claire: I'VE BEEN BUSY.

BUSY.

A TOUT A L'AIR, CHERIE

ET BON CHANCE.

WHAT'S HE DOING HERE?
HUH?

C'EST MON BOSS, D'ACCORD.

YES, I KNOW
HE'S YOUR BOSS

BUT I ASKED YOU
WHAT HE WAS DOING HERE.

HAVE YOU BEEN
FUCKING HIM?

[SLAP]

OH, GOD.

CLAIRE?

I JUST WANTED TO SAY

I DIDN'T KNOW ANYTHING
ABOUT ELIZABETH.

I KNOW THAT.

AND WHAT HAPPENED
TO YOU?
WHO DID THIS TO YOU?

CHARLIE.

CHARLIE DID THIS
TO YOU?

YEAH.

I WAS NOT AS GROWN UP
AS I THOUGHT.

HEY,
YOU'RE AS GROWN UP
AS YOU SHOULD BE.

I GUESS I SHOULD
HAVE KNOWN BETTER.
COME HERE.

TRICKY, TRICKY.

HELLO.
HI.

HERE YOU ARE.

AND YOUR NAME HERE,
PLEASE.

MERCI, AU REVOIR.

* SEE THE CLOUDS
AROUND MY HEART *

* BABY, CLOSIN' IN
RIGHT FROM THE START *

* TURN THE TIDE DOWN LOW

* IF IT'S QUIET,
I WILL HEAR YOU GO *

THIS JUST ISN'T AMUSING
ANYMORE.

[CLANK]

* ...WAVE OF LOVE

* OR A SEXUAL
RAINBOW FROM ABOVE? *

* WAS IT THE TIDAL WAVE
OF LOVE *

* OR A SEXUAL
RAINBOW FROM ABOVE? *

* SHOW YOU ALL
THE REAL EMOTION

* BABY, I REVEAL

* MY DEVOTION

* YOU WHO TURN THE TIDE

* YOU WHO SEE THE STORM

* WAS IT THE TIDAL WAVE
OF LOVE *

* OR A SEXUAL
RAINBOW FROM ABOVE?

* WAS IT THE TIDAL WAVE
OF LOVE? *

* OOH HOO HOO-OOH OOH OOH

* WAS IT THE TIDAL WAVE
OF LOVE *

* OR A SEXUAL
RAINBOW FROM ABOVE? *

* WAS IT THE TIDAL WAVE
OF LOVE? *

* WAS IT THE TIDAL WAVE
OF LOVE *

* OR A SEXUAL
RAINBOW FROM ABOVE? *

* WAS IT THE TIDAL WAVE
OF LOVE? *

* OOH HOO HOO

* YOU WHO TURN THE TIDE

* YOU WHO SEE THE STORM

* WAS IT THE TIDAL WAVE
OF LOVE *

* OR A SEXUAL
RAINBOW FROM ABOVE? *

LEA, I'VE DECIDED
TO GIVE YOU EXACTLY
WHAT YOU WANT.

TAKE THAT CHAIR

AND MOVE IT
TO THE CENTER
OF THE ROOM.

JUST DO IT.

TAKE THE CHAIR

AND MOVE IT
TO THE CENTER
OF THE ROOM.

WHAT IF IT'S NOT
WHAT I WANT ANYMORE?

JUST DO IT.

ARE YOU DOING THIS
FOR ME, JOHN,

OR ARE YOU DOING THIS
FOR YOU?

SIT DOWN.
BECAUSE IF YOU'RE
DOING THIS FOR ME,

DON'T BOTHER.

UNCROSS YOUR LEGS.

YOU'VE BEEN PUSHING IT
REAL HARD, LEA,

SO NOW I'M GONNA GIVE YOU
EXACTLY WHAT YOU WANT.

GET ON THE FLOOR
ON YOUR HANDS AND KNEES.

I AM SO SCARED, JOHN.

YOU FORGOT I READ
ALL ABOUT THIS, JOHN.

I KNOW THIS GAME.

I'VE BEEN WAITING FOR
THIS FOR A LONG TIME.

LIFT UP YOUR SKIRT.

HI.

John: THAT'S GILLES.

HE'S A FRIEND.

HE'S GONNA DO EXACTLY
WHAT I TELL HIM TO DO.

John: SHE DOESN'T NEED
A LOT, GILLES, JUST MORE.

SHE'S ALL YOURS.

DID I TELL YOU TO MOVE?

NO. [COUGHING]

NO, JOHN.

NO. JOHN--

I DIDN'T TELL YOU
YOU COULD MOVE.

NO.

JOHN, I CAN'T DO THIS.

I CAN'T DO THIS.

COME ON, BABY.

JOHN!

STOP IT!

PUT HER IN THE CHAIR.

NO.

AAH!

AAH!

FUCKING WHORE.

PUT HER IN THE CHAIR.

PUT HER IN THE CHAIR.

[SOBBING]

PUT HER IN THE CHAIR.

SIT.

SIT DOWN!

[SOBBING]

FUCKING ASSHOLE!

[KISSES LOUDLY]

[SOBBING]

IS THAT WHAT YOU WANTED?

NO.

HEY.

NO.

OK.

HUH?

THINGS WILL
BE ALL RIGHT.

OK?

OK?

YOU'RE SUCH A JERK.

OH...

WHERE ARE YOU GOING?

I GOTTA GO FOR A WALK.

YOU'RE NOT COMING BACK,
ARE YOU?

I DON'T WANT TO, UH,
HURT ANYBODY ANYMORE.

I THOUGHT YOU STARTED
TO CARE FOR ME.

I DID.

WOULD YOU PLEASE COME BACK
BY THE TIME I COUNT TO 50?

[BELL TOLLS]

* WHY DID YOU DO IT?

* DO IT?

* WHY DID YOU
DO THAT THING TO ME? *

* TO ME?

* WHY DID YOU DO IT?

* DO IT?

* WHY DID YOU
DO THAT THING TO ME? *

* TO ME?

CAPTIONING MADE POSSIBLE BY
VIDMARK ENTERTAINMENT

CAPTIONING PERFORMED BY
THE NATIONAL CAPTIONING
INSTITUTE, INC.

PUBLIC PERFORMANCE OF CAPTIONS
PROHIBITED WITHOUT PERMISSION OF
NATIONAL CAPTIONING INSTITUTE

* I'VE BEEN THINKIN' 'BOUT
WHAT YOU HAVE DONE TO ME *

* TO ME, TO ME

* THE DAMAGE IS MUCH DEEPER
THAN YOU'LL EVER SEE *

* SEE, SEE

* HIT ME LIKE A HAMMER
TO MY HEAD *

* HEAD

* I WONDER WHY YOU PUSHED
AND WHY YOU LED *

* LED

* WHY DID YOU DO IT?

* WHY DID YOU
DO THAT THING TO ME? *

* WHY DID YOU DO IT?

* WHY DID YOU
DO THAT THING TO ME? *

* THE ONLY ONE
WHO KNOWS THE TRUTH *

* MAN, IT'S IN ME AND YOU

* BEEN DRIFTIN'

* AND I'M GOIN'

* A MILLION MILES

* NOW YOU KNOW

* I'M ALIVE, I'M NOT DEAD

* SO SAY GOOD-BYE

* BECAUSE I'VE LEFT

* GONE

* TOMORROW

* GONE

* IN SORROW

* GONE

* TODAY

* GONE AWAY

* A-AY-A-AY-A-AY

* GONE AWAY

* GONE AWAY

* GONE AWAY

* GONE AWAY

* GONE AWAY

* GONE AWAY

* GONE AWAY

* GONE

* AWAY