Original subtitles

The only way you can be sure you won't encounter the same problem twice.

JUNIOR: And if I wanted to leave?

QUEENIE: If you did I expect you would.

[DRAMATIC JAZZ MUSIC]

What's this?

I don't know what you've gotten yourself involved in,

but I can't live like this.

♪ Gleaming eye oh yes ♪

Woo!

[AUDIENCE CLAPPING LOUDLY]

You think this place could turn a profit?

Are you looking to jump in?

FRANKLIN: You've got yourself a partner.

[SAWYER GASPS]

SAWYER: Pocket!

If I wanted to get the porters into a union

that purposely excludes them,

what should I do?

MOSCHEL: When the union charter says whites only

you have to go to the Labour Board in Ottawa.

ZEKE: We have a rat reporting to Edwards.

EDWARDS: I have an important shipment

that needs to be escorted over the border.

I just need you to ensure

that no one sees the contents of this boxcar.

Name's Clay.

I'm one of the thirty-five men

that the railroad smuggled over the border

to be strikebreakers.

♪ I shall see my redeemer ♪

[RHYTHMIC DRAMATIC BEAT]

[PEOPLE CHATTERING]

REPORTER: Mr. Moschel,

I just have a question for you, please.

MOSCHEL: The man inside this ivory tower

has reached a new low.

William Edwards chose to treat men like animals,

keeping them in dehumanizing conditions for days on end.

The CCR was willing to defy the rules of labour

and the laws of decency

to put these "boxcar boys" in positions held

by our own hardworking Canadian men,

bravely standing on the strike line for labourers everywhere.

How did you find out they were hiding in the boxcars?

Whether they were hiding, or being hidden,

has yet to be determined. But the fact remains

this situation was only brought to light

because one of these unfortunate souls managed to escape.

REPORTER: Can we get...

[REPORTERS TALKING OVER EACH OTHER]

- Synced and corrected by synk - - www.addic7ed.com -

I was thinking maybe we can move him to the boarding house.

Safer if he stays here.

Easier to hide him from prying eyes.

If you could've seen them inside that car.

I have to do something.

Whatever you need,

you got me at your back.

Pastor, you sure you want to get caught up in all this?

If a good man stands idly by

when he sees evil being done,

is he still a good man?

But you do so much for the community.

I don't think anybody will blame you for sitting this one out.

PASTOR: No one but me.

This fight's worth the risk.

[TENSE MUSIC]

[PEOPLE CHATTERING]

Tag!

Hey, no, you're it!

MARLENE: You know, fish

is very good for you.

It's good for your eyes,

for your teeth.

It'll give you big muscles.

Good to see you eat, son.

Why are you dressed? I thought you were off.

Picked up a run to Chicago.

You forgot you were supposed to watch Teddy for me.

I'm sorry, can't you get Gwen or one of the ladies from church

to help out?

Can't you just go down to the boarding house

and give away the shift?

I gotta do this one myself.

MARLENE: I bet you do.

JUNIOR: It's not what you think.

Everything's gonna be good, Mar.

I found a way to make us enough money

to get us out of this mess.

[MARLENE SIGHS SOFTLY]

Eat up.

[MELLOW JAZZ MUSIC]

♪

♪

♪ Those things I do right do ♪

Morning, Popsy.

POPSY: Well, look at you

looking like the cat that swallowed a canary.

What is it Lucy-Mae?

Or better yet,

what's it gonna cost me?

- Nothing. - Hmm.

You'll be happy to know that after today, I'll be outta your hair.

You quitting on me?

More like betting on myself.

My boyfriend and his friends are putting something together and...

well, they took one look at me and saw a star.

Do you know how long I worked to get everything that you see here?

How I broke my back on those trains

for every single table and chair.

Lucy-Mae, nothing good comes fast or easy.

So I want you to be careful with that boy.

My spirit don't take him.

Don't be like that.

Stage directing and dancing B-squad that's,

that's never gonna get me where I wanna go.

I hope you get everything that you wish for.

I know I will.

[GENTLE UPLIFTING MUSIC]

♪

♪

Hey now, come on.

[GENTLE MUSIC]

♪

[OMINOUS MUSIC]

How bad is it?

Worse than you thought.

I sincerely doubt that's possible.

Well, according to your union head...

I don't have a union head.

According to Mr. Moschel, one of the men escaped.

EDWARDS: How? When?

Last stop before Montreal it seems.

You need to find that man

and get him back across the border with the rest of them

before the press sinks their talons any deeper.

Shouldn't you put out a statement?

Later.

Right now I need a word with my son.

[OMINOUS ORCHESTRAL MUSIC]

[DOOR KNOCKS LOUDLY]

Yes?

Father.

What are you doing here?

Do I really need an invitation to my own house?

Of course not.

It's just you, um, ahem...

you never come in here.

I'm sorry for the mess.

I was most of the night going over the numbers

and they do look good.

When you escorted that boxcar over the border,

you never took your eyes off it?

No, no, no, of course not.

Not once?

N-Yes, there was one stop that the conductor didn't announce.

I mean, they really should be better trained.

It's my fault.

I should have known better

than to trust a task of any importance to your hand.

All right, just...

just tell me what happened.

And when I think of all the money I've wasted

cleaning up your messes, huh?

Paying lawyers and bribing judges,

shuffling you from one private school to the next.

It's not my fault they resented me.

They...

Father, they hated me for my name, for our name!

Not your fault?

You had everything and stole?

Not your fault you tormented your teachers

till they couldn't stand the sight of you?

Not your fault that woman had to take out a restraining order?

You have no idea what it was like for me!

You never came to any of those schools.

Well that is my fault.

But you walking away from the one task I entrusted to you...

And you've never made a mistake?

Hmmmm.

Well maybe I should ask the lawyer you pay

to get you out of your messes.

Or better yet,

maybe I just ask his wife.

I am through being your safety net.

Pack your bags, I want you out of my house immediately.

[DOOR SLAMS LOUDLY]

[DOOR KNOCKS LOUDLY]

FAY: Veronique!

[DOOR KNOCKS LOUDLY]

[STAMMERS] He's younger than our usual clientele.

This is my son Teddy.

If I had somewhere else to take him he'd be there.

He'll probably sleep the whole time through,

if there's a spare room.

Come on, come on.

Go on up.

MARLENE: Close your eyes, sweetheart.

FAY: You know where my room is.

MARLENE: Cover your eyes.

Sister Massey.

[TRAIN RATTLES LOUDLY]

[UPBEAT JAZZ MUSIC]

[TENSE DRAMATIC MUSIC]

QUEENIE: So, Mr. Callahan,

if I understand correctly,

you're offering me an opportunity

to pay you 60% of the numbers operation I own 100% of?

You own what we allow.

Your majesty.

You think because you say "boo" I'm supposed to jump.

Study my face you shanty little shit.

See if you find a flinch.

[TENSE DRAMATIC MUSIC]

JUNIOR: Excuse the interruption.

I told the owner I had business with the Queen.

I have business with her.

Which is now concluded.

Safe travels, Mr. Callahan.

[TENSE DRAMATIC MUSIC]

♪

I have a proposition for ya.

Oh, you trying to take money out my pocket too?

JUNIOR: On the contrary.

I think we should broaden the game.

Run a power-ball.

Bigger take, bigger jackpot.

Bigger risk.

Well, you can't get nowhere

if you don't have a few of those.

The last time we were together

it seemed like you were halfway out the door.

And now I'm sittin' right here.

[UPBEAT MUSIC]

JUNIOR: Changing things up today with a new game.

Fab Five.

It's double to play, but we triple the payout.

They play five numbers instead of three,

draw at the end of the week.

Wait, wait.

Why are we gonna mess with a good thing?

Junior, we barely have enough time

to meet the runners as is.

Let alone Dinger's pencil's working overtime.

We add more territories we're just asking for trouble.

We're only adding one more territory.

The train.

[HOOVES PATTERING SOFTLY]

I know you understand that porters' spirits are low

since those men were found on the train car.

Well of course.

It's appalling the lengths to which some will go

in order to circumvent the laws of the land.

I couldn't agree more, sir.

The Welfare Committee would like to throw an event,

an ice-cream social.

I think it'd go a long way

with regards to picking up the porters' spirits.

Families, too.

You know what? I think that's a capital idea,

Mr. Garrett.

A contented worker makes for excellent work.

Of course, sir.

Leave it to me. I'll take care of everything.

[SOFT DRAMATIC MUSIC]

♪

♪

♪

Black folks have money too you know.

[SOFT DRAMATIC MUSIC]

♪

Hey! Did you get the money?

Lucy, trust funds don't work like a regular account.

There's a whole stack of paperwork

that has to get cleared up

before the trustee can simply just release the funds.

But it's your money.

- You said... - Look, I know...

I know what I said.

All right, it's just going to take a,

a few more days.

But you told Sawyer you'd get him your share today.

Yes, Sawyer knows how these things go.

He'll-he'll get his money.

But Franklin...

Look, don't...

don't worry about this, Lucy.

[PEOPLE CHATTERING]

[ENGINE RUMBLES SOFTLY]

[HORSE WHINNIES LOUDLY]

Are you really gonna get the money?

Delayed is not denied Lucy-Mae, all right.

We'll, we'll get it sorted out.

Let's go find somewhere to eat lunch.

[HOOVES PATTERING SOFTLY]

[OBJECT THUDS REPEATEDLY]

[SOFT DRAMATIC MUSIC]

[OBJECT BANGS REPEATEDLY]

[SOFT DRAMATIC MUSIC]

[BANGING ECHOES LOUDLY]

[BONE CRACKS LOUDLY]

[LOUD SCREAMING]

[SOBBING]

Breathe, breathe.

How much longer are you gonna be?

Well it depends,

how many more girls with broken bones have you got?

This is a fiscal arrangement

that puts money in your pocket

and lets me be here as long as I need, Miss Fay.

The arrangement did not include your son

taking up residence in my room.

[SOBS] Would you get the hell out?

Little girl that better be the pain talking loud at me.

MARLENE: Listen,

I have a few more people waiting

and then we will be out of your hair.

Besides it is not like my boy

is any trouble.

Says every mother that ever was.

Hey, let me know when I can get my room back.

I got a few customers myself waiting to scream.

♪ Hey ♪

[UPBEAT SOUL MUSIC]

♪

Puttin' it all on Silver Sally?

Yeah.

Hmm, I can get better odds than that.

We got a game.

[UPBEAT SOUL MUSIC]

♪ Hey ♪

Let me light your cigarette there, sir.

Well, well, well.

If you gentlemen wanna make it interesting,

the real money's in Fab Five.

[UPBEAT SOUL MUSIC]

♪

GLENFORD: You could have

three chances to win.

[UPBEAT SOUL MUSIC]

Or you could have five.

When your five numbers hit,

next time you'll be ringing that bell from a private car.

[BUZZER BUZZING] [UPBEAT SOUL MUSIC]

GLENFORD: One, two, three, four, five.

[UPBEAT SOUL MUSIC]

♪

You got a numbers game going on.

[UPBEAT SOUL MUSIC]

♪

Thank you.

[LOUD UPBEAT SOUL MUSIC]

♪

Lickety-splikety.

MARLENE: All right, Teddy, time to go home.

[WOMAN MOANS SOFTLY]

Teddy, come on out now.

Teddy?

[OMINOUS MUSIC]

♪

- He's gone! - Who?

Teddy, do you know where he is?

Have you seen him?

No I have not seen him.

Please help me look.

- FAY: Lord. - MARLENE: Teddy?

- FAY: Yasmine? - MARLENE: Teddy?

Have you seen my son?

FAY: Hey, who's in there?

MARLENE: Teddy?

[SUSPENSEFUL DRAMATIC MUSIC]

MARLENE: Teddy!

Teddy!

Teddy?

Teddy!

[ECHOES] Teddy!

[METAL CLANGING]

[METAL CLANGING] [SOFT DRAMATIC MUSIC]

[METAL CLANGING] [TENSE DRAMATIC MUSIC]

[METAL CLANGING ECHOES]

[SOFT WHISTLING]

[SUSPENSEFUL MUSIC]

Teddy?

FAY: No one's seen him inside.

Teddy!

I don't know what I was thinking!

I should have left him with someone.

FAY: Do not do that.

You cannot blame yourself

when things go wrong with your child.

MARLENE: Teddy is not like other children, Fay.

I know that. We will find him,

but we have to keep cool heads.

MARLENE: Teddy!

Teddy!

FAY: Let me ask you something.

Did you see a little boy about this tall walking around here?

MARLENE: Teddy!

[OMINOUS MUSIC]

You think I don't see you up to something, hmm?

Following me around,

looking for a chance to impress

one of your little friends over there.

Which one of these niggers puts you up to this?

[TENSE DRAMATIC MUSIC]

Your ears got wax in them, boy?

I asked you a question.

Hey, you look at me when I'm talking to you, boy.

[TENSE DRAMATIC MUSIC]

♪

OFFICER DAWSON: Let give you a little help.

Come on! [TEDDY VERBALIZES]

Which one was it?

Now you're not going anywhere until I get some answers.

Now which one? Which?!

Hey! That's my son!

You let him go.

OFFICER DAWSON: You need to teach that boy

to answer when he's spoken to,

especially when it's an officer doing the speaking.

He doesn't speak, officer.

Well then you really shouldn't leave your little retard

unattended.

FAY: Is that Gregory Dawson?

I haven't seen you in weeks.

Don't tell me you got a new favourite.

I think you have me mistaken for someone else.

You think so, huh?

Yeah.

Well, maybe I do have you mistaken

for a lovely young officer

who visits me every Tuesday in my tea room.

A lovely young man who loves the feel of my fingers

deep inside of him while he's wearing silly things.

[TENSE DRAMATIC MUSIC]

Mm-hmm.

But pardon my confusion.

Maybe we really should take this whole thing to your boss.

The Chief is a busy man and I...

I don't think he'd appreciate the disruption.

And you're a smart man.

You're probably right.

Well I see you have the boy in hand.

I'll leave you to him.

[TENSE DRAMATIC MUSIC]

- Teddy. - Are you all right?

Your mommy's here.

[TENSE DRAMATIC MUSIC]

It's okay.

[TENSE DRAMATIC MUSIC]

LANCE: C'mon, Zeke.

You think an ice-cream social will make us forget about this.

Man, you thick or what?

You didn't hear him say that ain't nothing but a cover for Edwards?

All right.

Now I know y'all read at least one of these.

But, but I want to tell you what they didn't.

I'm gonna tell you about the helpless look

in every one of those men's eyes.

About the stench that could turn your stomach

a thousand times over.

How they would toss food like a farmer feeding hogs.

And how the only way that they could relieve themselves

was from a hole at the bottom of that car.

And that's how one of those men managed to escape.

And another thing I know that they would never tell you

is that it could have been any one of you.

Now the only thing that stands in the way

of us being treated like that

is unionization.

'Cause without it,

we will always continue to be vulnerable.

And that is why we gotta stand!

All right, y'all, I'm heading to Ottawa today.

Now if I could convince the Congress of Unions

that we serious,

then Moschel can put our minutes up to a vote

at the next union meeting.

We all here.

Ain't that serious enough?

Serious ain't just showing up, Lance.

It's signing up and putting your hard earned money

next to your name.

[TENSE DRAMATIC MUSIC]

♪

ZEKE: C'mon, y'all.

[SOFT DRAMATIC JAZZ MUSIC]

[WINCHESTER SIGHS HEAVILY]

[SOFT DRAMATIC JAZZ MUSIC]

♪

[COINS RATTLE SOFTLY]

I'm counting on you, man.

Appreciate it, brother.

[SOFT DRAMATIC JAZZ MUSIC]

♪

♪ Well it must have been the Devil ♪

[SOFT DRAMATIC JAZZ MUSIC]

♪

♪

[SOFT ORCHESTRAL MUSIC]

♪

Where's the little fuzzy face?

Pockets had an unfortunate "accident"

the night of our soiree.

FRANKLIN: No one liked him.

But we're sorry for your loss.

Of course.

[SOFT OPERA MUSIC]

♪

Well where's the cheque?

It's in the works.

Just need some time to untangle a little mess with the bank.

But you know how these things go...

I know you were supposed to have it today.

He's just waiting on some paperwork, Sawyer.

Sure he is.

Overpromise and underdeliver,

like always.

You think I'm-I'm lying?

LUCY: No one thinks that.

I'm sure Sawyer's just anxious to get things rolling.

Pay your share tomorrow or you're out completely.

End of.

Get the partnership papers drawn up.

You'll have your money tomorrow.

Let's go, Lucy.

[OMINOUS MUSIC]

MRS. CAMPBELL: If you tell me what you're looking for,

I can help you find it.

[OMINOUS MUSIC]

AGENT FLYNN: CCR is looking for a stowaway.

[SUSPENSEFUL DRAMATIC MUSIC]

PORTER: Nah, man.

[SUSPENSEFUL DRAMATIC MUSIC]

PORTER: Where him come from?

Take it easy now, man.

This is bullshit.

PORTER 2: Yeah, yeah, yeah.

[SUSPENSEFUL DRAMATIC MUSIC]

PORTER: See what Zeke do.

[MEN CHATTERING] [TENSE DRAMATIC MUSIC]

♪

What's going on?

- I know you're the fucking rat! - TUFFY: What?

ZEKE: Running back to Edwards

so he can drive his nice car,

and sit cosy in a private room, huh?

I see all that and I can't help but wonder

what else you doing for Edwards?

Is he the reason why you're always in my room?

It's not like that!

No, it's not like that. Then what's it like, Tuffy?

I know you're a fucking rat and no one else in here

is gonna feed you a damn thing more.

[TENSE DRAMATIC MUSIC]

[RHYTHMIC DRUM MUSIC]

♪

[TRAIN RATTLES LOUDLY]

[BACKGROUND CHATTER]

Boy clean up good!

Had to, heading to Ottawa.

Gonna meet with the Union Congress.

Right.

Think it's gonna work?

You don't gotta be sure about the outcome,

just the goal.

You care that much about being porter?

Junior, if I don't stand up to them,

that's all I'll ever be.

Last chance.

You don't need my signature on a piece of paper

to let you know I got your back.

Right this way, Mr. Ezekiel Garrett.

[ZEKE CHUCKLES]

Go on, man.

[TRAIN WHISTLE BLOWS SOFTLY]

[ENGINE CHUGS LOUDLY]

What's that?

[TENSE DRAMATIC MUSIC]

♪

You wanna tell me what's going on?

[FRANKLIN BREATHING HEAVILY]

There was a misunderstanding, my father and I.

It's nothing. Usually he's over it by now,

but this time it might take a few days.

LUCY: Your trustee at the bank,

he's not clearing up paperwork is he?

[TENSE DRAMATIC MUSIC]

Franklin!

Look, a few days, all right, Lucy.

And then my father will cool down by then and I'll have the money.

I quit Stardust, Franklin.

I left the only little money I make

outside of scrubbing diapers and dishes because you gave me your word!

We should have talked about that before you quit, don't you think?

I mean, it's still gonna take a little while for the deal to close.

You're right.

I should have known better than to put my future in your hands.

Lucy, please, please don't be like that.

I'm going to make this work for you, I-I promise.

Like I told you from the start,

I make my own way.

Lucy, please, I can fix this. Please don't leave!

No! We're through!

Lucy, please!

[TENSE DRAMATIC MUSIC]

♪

[TRAIN RATTLES LOUDLY]

[JUNIOR SIGHS HEAVILY]

[BOMBS RUMBLING]

[SOLDIERS SHOUTING IN DISTANCE]

[TENSE DRAMATIC MUSIC] [SOLDIERS SHOOTING IN DISTANCE]

♪

[OMINOUS MUSIC] [ARTILLERY POPPING]

♪

I'ma turn myself in.

For what?

Both of us ain't walking outta here.

- I ain't going nowhere Zeke. - Go on, Junior.

If they come for you, they come for me.

[MUFFLED SHOUTING] [TENSE DRAMATIC MUSIC]

[LOUD BANGING]

[MUFFLED SHOUTING] [ARTILLERY POPPING]

Hey Junior.

Mr. Miller...

Dinger wants us on a supply run.

Dinger needs us

or you need a porter who won't spit in your face?

Heard about your part-time job being a rat.

I'd say you're out of luck on both accounts, Tuffy.

TUFFY: Dinger told me to come get you.

Said you don't have enough demerits to disagree.

Do what you want.

[OMINOUS MUSIC]

♪

♪

[OMINOUS MUSIC]

♪

♪

[DRAMATIC BEAT]

[RHYTHMIC DRAMATIC MUSIC]

♪

♪

Mr. Jeffries.

[ZEKE PANTS]

My name is Zeke Garrett.

I apologize for the late hour, my train was delayed.

No apology necessary.

But please, sir, I came a long way.

Ah, do you and the board have a moment please, sir?

Mr. Moschel,

I didn't realize you were on the board.

As head of one of the largest labour unions in the country,

I'd say it makes perfect sense.

JEFFRIES: Take a moment, catch your breath.

That's very kind of you, sir. Thank you.

Now tell us,

what brings you all the way to Ottawa, Mr. Garrett?

Unionization, sir.

The Black railway worker belongs in the CBRE,

and given our contributions to the railway

and the nation's economy at large,

I believe we deserve a seat at the table with labour.

Now, I've collected names of a good number of porters

who have already shown their commitment

by providing advanced payment on dues.

As you gentlemen can see,

we've shown that we're serious.

All that's left is for the committee

to show that they're serious as well.

Well, you've, uh,

certainly done a lot of very impressive work.

Thank you.

JEFFRIES: More than most

that come to meet with us.

But we don't wish to give you

or your men any false hope.

The answer is no, plain and simple.

The negro is an invisible entity on the railroad,

making labour a white man's fight.

Now I think we really are adjourned, gentlemen.

You knew this was a dead end from the start.

You said...

I said the CBRE couldn't vote porters in

without sanction from the congress.

And you just heard, you don't have it.

I'm sorry if you misunderstood.

ZEKE: You'd have done well in the theatre, Mr. Moschel.

I mean, the way you carried on

when you seen those men in the boxcar.

See my mistake

was thinking that you saw those men as people.

[SOMBRE TRUMPET MUSIC]

♪

♪

[BACKGROUND CHATTER]

That kind of day, huh?

You have no idea.

It's like we can't ever get out of the boxes we're born into.

Well, shit.

If Marlene Massey is losing faith then we all in trouble.

You know what, forget it.

[SOFT PIANO MUSIC]

I told you before,

we make our own lives.

But no one says we have to make it here.

What are you saying?

I'm saying pack light Mrs. Massey,

'cause everything this heathen Jamaican boy promise you

when I asked you to marry me,

is about to come true.

Where would we go?

A lot of Black folks heading out west.

[JUNIOR SIGHS HEAVILY]

I could get a job on a ship

and you could start your clinic

and Teddy, well...

He would love the mountains.

He'd love the mountains.

So it's agreed?

[SUSPENSEFUL MUSIC]

♪

[PEOPLE CHATTERING]

EDWARDS: I share your readers' concerns.

And in spite of recent unfounded allegations

by certain union officials,

I continue to stand against anything

that would undermine my workers

or the moral principles of this great nation.

I have built my name, this very railroad,

on the pillars of honesty and integrity,

sometimes even to my own detriment.

Evening.

What can I do for you tonight?

You know why I'm here, Pastor.

Now I can honestly say that I share your,

your shock and dismay at this disturbing incident.

I'm afraid I can't help you.

CLAY: Pastor!

I have spent every ounce of human energy

pouring sweat, blood and tears to make this railway

the envy of the world.

My only concern is for the uneasy hearts

of my fellow countrymen.

And they can rest assured that every last negro

found in my rail yard has been deported back South.

Canada wants no part of Uncle Sam's problem.

I-I will not stand

for the erosion of our economy and values

as the communists do,

Nor would I jeopardize the safety

of our virtuous women by allowing

such vermin into the country.

♪ If you started, 'fore they came down ♪

♪ If you started, 'fore they came down ♪

♪ If you started, before they came down ♪

♪ Don't turn back, no, don't turn back ♪

♪ Keep your whole heart and mind on Jesus ♪

♪ Keep your whole heart and mind on Jesus ♪

♪ Keep your whole heart and mind on Jesus ♪

♪ Don't turn back, no, don't turn back ♪

[SOMBRE DRUM MUSIC]

DINGER: Thanks to them

you'll have double the work tonight.

[SOMBRE DRUM MUSIC]

♪

♪ For all your love of song ♪

♪ All my blood's in vain ♪

♪ Say your history's over ♪

♪ All my blood's in vain ♪

♪ Television coma ♪

♪ All my blood's in vain ♪

I don't know what the hell you doing.

If they come for you, they come for me.

♪ It's gone too far to change ♪

♪ All my blood is in vain ♪

♪ Flash across your screen ♪

♪ Got you in their hand ♪

♪ Fifteen minutes of freedom ♪

♪ Still three-fifths a man ♪

- Synced and corrected by synk - - www.addic7ed.com -