All language subtitles for CQ.2001.720p.WEBRip.x264.AAC-[YTS.MX]

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OK, THIS IS MY BATH WATER.
THERE IT IS,

GOIN' DOWN THE DRAIN.

UM, MY SOAP.

MY PASSPORT,
WITH NO OCCUPATION ON IT,

BUT I'M A FILM EDITOR.

OH, THAT'S MY NAGRA 3.

ACTUALLY, IT'S NOT
MY NAGRA 3.

IT'S--I'M BORROWING IT
FROM WORK.

UM...AND I'M BORROWING
ALL THIS FILM, TOO,

BECAUSE I'M
SHOOTING EVERYTHING.

OH, HERE'S--THIS
IS THE LITTLE FERN

THAT MARLENE AND I BOUGHT

WHEN WE FIRST
MOVED IN TOGETHER.

WOW, IT'S GROWN.
AND JUST THINK,

IT'S JUST BEEN A FEW MONTHS.

I BOUGHT THESE SHOES FOR HER
AND THEY DO NOT FIT HER

AND SHE STILL WEARS THEM.

THIS IS MY STRONG
FRENCH COFFEE.

AND THIS IS...REALLY STUPID.

OR IS IT? I DON'T KNOW.

ALL RIGHT, START AGAIN.

PARIS, SEPTEMBER 1st, 1969.

TIME IS 9:30.

THESE ARE PIECES OF ME.

ME IN PIECES.

I'M JUST--I'M TRYING TO FIND
WHAT'S REAL, WHAT'S HONEST.

THE TOTAL OPPOSITE
OF THE FILM I'M EDITING,

WHICH IS A SCI-FI PICTURE

ABOUT A SECRET AGENT
CODE NAME: DRAGONFLY.

[ELECTRONIC VOICE WITH
FRENCH ACCENT] BONJOUR.

WAKE UP. WAKE UP.

RISE AND SHINE, DRAGONFLY.

IT IS TIME FOR YOU
TO WAKE UP.

IT IS A BEAUTIFUL DAY TODAY.

YOU HAVE
MANY SECRET MISSIONS

TO ACCOMPLISH TODAY.

IT'S SO EARLY.

IT IS 2:00
IN THE AFTERNOON, DRAGONFLY.

[ELECTRONIC BEEPING]

OH, CAN'T I SLEEP?

I NEVER GET TO SLEEP.

WOULD YOU LIKE
TO HEAR YOUR HOROSCOPE?

IT'S GOOD TODAY.
MYSTERY WILL BE REVEALED

WHEN THE MOON
MAKES ITS ORBIT.

I LOVE A MYSTERY.

♪ FLY

♪ DRAGONFLY

♪ SEEK YOU OUT
FROM UNDERCOVER ♪

♪ COULD YOU BE MY LOVER?

♪ TOGETHER WE CAN FLY

♪ TOGETHER WE CAN FLY

♪ FLY

[MAN SPEAKING FRENCH]

THE WATER'S FREEZING.

[SPEAKING FRENCH]

WE ARE MAKING
CINEMA TOGETHER! [LAUGHS]

WE ARE MAKING REVELATION!

[LAUGHS]DID I EVER TELL YOU

THAT I WAS THE ONEWHO DISCOVERED HER?

[CHANTING IN FRENCH]

YOU'RE WONDERFUL.OH, YES. YES. YES.

LIKE THAT. YES.

VERY GOOD.

THIS IS MARLENE SLEEPING.

SHE'S MAD AT ME TODAY.

I ASKED HER IF SHE PASSED
HER DRIVING TEST.

DON'T YOU THINKI WOULD HAVE TOLD YOU

IF I HAD PASSED?!

LEAVE ME ALONE!

YESTERDAY SHE WAS HAPPY.

EVERYTHING IS IMPORTANT.

IT'S ALL IN THE DETAILS,
THEY SAY.

Man: THIS IS THE BEGINNINGOF A NEW CINEMA.

Second Man:
IT'S SO DELICIOUS.

IT'S PERSONAL,
BUT NOT PRETENTIOUS.

IT WAS BEAUTIFUL.

DEFINITIVE.

IT'S SUCH AN EMOTION

TO SEE A FILM LIKE THAT.

DARING. MATURE.

WHY ARE YOU IN PARIS?

WHICH VITAMIN
DO YOU PREFER?

LET HIM SPEAK,
FOR HEAVEN SAKES.

GENTLEMEN,WE CAN FIND OUT

MORE ABOUT A MANBY HIS DREAMS.

I GUESS I'VE ALWAYS
BEEN A BIT OF A DAYDREAMER.

ALWAYS INTERESTED IN FILM.

A LOT MY THOUGHTS, UM,

MY LITTLE NOTIONS
OF THINGS AND FEELINGS

ARE LIKE LITTLE SCENES
IN MY HEAD.

I GUESS I WANNA SHOW PEOPLE
WHAT I THINK ABOUT.

WHAT ITHINK IS TOUCHING
OR SAD OR FUNNY--

OOPS. I DIDN'T REALIZE
YOU WERE FILMING.

IT SOUNDED LIKE YOU WERE
TALKING TO YOURSELF.

JUST BECAUSE
YOU FILM

EVERY POSSIBLE THING
IN YOUR LIFE,

DOESN'T MEAN

YOU'LL UNDERSTAND
YOURSELF ANY BETTER.

I'LL TELL YOU

EVERYTHING YOU
NEED TO KNOW.

GO AHEAD.
TURN IT ON.

ALL RIGHT, GO AHEAD.TELL ME.

UM, YOU'RE A WARM PERSON,

BUT CLOSED OFF EMOTIONALLY.

YOU'RE SELF-ABSORBED
AND LIVE IN A FANTASY WORLD.

OH, COME ON.

LET ME TALK. IT'S TRUE.

YOU'VE COME TO PARIS
TO FIND YOUR LIFE.

BUT HERE IT IS
IN FRONT OF YOU,

AND YOU WON'T ADMIT IT.

YOU FILM ALL THE DETAILS
OF THINGS AROUND YOU,

AS IF THAT WOULD
BRING SOME UNDERSTANDING.

I JUST WANNA CAPTUREWHAT'S REAL AND HONEST.

AND WHAT IF IT'S BORING?

DID YOU EVER THINK
ABOUT THAT?

IT MAY NOT BE INTERESTINGFOR OTHERS TO WATCH.

OH, YOU'RE MAD AT ME
NOW, AREN'T YOU?

COME ON. LET ME
FIX YOUR HAIR.

NO, I'M JUST
THINKING ABOUT WORK.

WE'VE BEEN CUTTING
THE ENDING SCENE

FOR 2 WEEKS NOW.

THE DIRECTOR HAS NO IDEA
HOW TO END THE PICTURE.

AND HE WON'T ADMIT IT.

KISS ME.

WHAT ARE YOU
THINKING ABOUT?

Director:
SHE STANDS THERE,

LOOKING AT HIM.

SHE LEANS CLOSER
AND SAYS...

[DRAGONFLY WHISPERING]I love you.

AND WE HAVE,
YOU KNOW, THE ENDING.

IT ALL COMES TOGETHER.
ALTHOUGH, NO,

THIS SHOT IS NOT
FINISHED YET, YOU KNOW?

SO, THEY EMERGE
FROM THE TUNNELS,

AND THE SUN RISES AND...

WE SEE SHE'S JOINED
THE REVOLUTION.

AND SO...

IT ENDS WITH A SIMPLE
DECLARATION OF LOVE.

IT ENDS
WITH A BEGINNING.

YES, A CIRCLE. CIRCLE.

SORT OF CIRCLE, UH...

IT'S GREAT.

IS THAT THE ORIGINAL ENDING?

YEAH.

YOU DON'T HAVE AN ENDING!

WE MAKE AN ACTION MOVIEWITH NO ACTION!

IT DOESN'TMAKE ANY SENSE!

NO, I HAVEN'T
SHOT THE END YET.

YOU KNOW,
MY VISION IS TO SUBVERT

THE AUDIENCE
EXPECTATIONS.

I WANT THE END,
NOT WITH A BANG,

BUT WITH A WHIMPER.

NO PICTURE OF MINE

EVER ENDED
WITH A WHIMPER!

WE NEED A BANG!

THE PICTURE
IS NO WATCHABLE!

IF YOU'RE
THINKING OF CHANGING

ONE FRAME OF
MY REVELATION--

YOU'RE OFF THE PICTURE!

WHAT?!

EACH MOMENT I SPENDWITH YOU, I'M LOSING MONEY.

FABRIZIO, SHUT DOWNTHIS PRODUCTION.

WHAT ARE YOU SAYING?!
WHAT ARE YOU SAYING?!

YOU'RE OFF THE PICTURE!

FABRIZIO, I DON'T WANNASEE HIM EVER AGAIN!

GO! GO AWAY!

YOU'RE AFRAID
OF THIS FILM!

YOU'RE NOT DIRECTOR!

YOU FASCIST!
YOU GO AWAY!

ANDRE? ANDRE?

IT'S THE YOUNG ACTRESS!

SHE'S GONE TO HIS HEAD!

OH, FINALMENTE. EH?

BULLSHIT!

I HAVE SEEN THIS HAPPEN
MANY TIMES BEFORE.

A DIRECTOR FALLS
FOR THE LEADING LADY,

AND HIS JUDGMENT
WENT OFF TO THE TOILET.

[FUMES] FABRIZIO,

FIRE EVERYBODY
INVOLVED WITH THIS MESS.

I HAVE MADE 63 PICTURES,

AND THIS IS THE WORST.

SEE IF YOU CANBRING IN...FELIX DeMARCO.

THE YOUNG DIRECTOR.CALL HIM, NOW.

1, 2, 3, 4...

[HISSES]

YEAH.

BREAK ON ME!
1, 2, 3!

BREAK OUT.
BREAK OUT.

SOMETHING'S NOT
RIGHT HERE.

Paul: FELIX DeMARCO.

NOW, IF I'M BEING
TOTALLY HONEST,

WHICH IS
THE POINT OF THIS FILM,

JUST HEARING HIS NAME
FILLS ME WITH ENVY.

AND I DON'T EVEN KNOW WHY
I CARE SO MUCH.

THEY CAN DO
WHATEVER THEY WANT.

I HAVE THIS FILM.
I HAVE MY FILM.

[SIGHS]

SO MUCH HAS HAPPENED
SINCE YESTERDAY.

I LOST MY JOB,
I NEED TO FIND

SOMEWHERE ELSE
TO GET A CAMERA,

NO MORE BORROWING FILM.

OK, NEED TO
CONSERVE STOCK.

NEED TO STAY ON TRACK.

EVERYTHING'S CHANGING,
BECOMING CLEARER.

I FEEL LIKE IT MIGHT
BE ALL OVER WITH MARLENE.

I NEED SOME TIME
TO FIGURE THINGS OUT. I...

MAYBE WE SHOULD JUST LIVE
APART FOR A LITTLE WHILE.

NO. NO. NO.
IT'S ME. IT'S ALL ME.

JUST SLIP
INTO BED WITHOUT A WORD,

WITHOUT EVEN A HELLO.

MAYBE A SCOWL...

AND I'M GONNA
STOP HER THIS TIME.

I'M NOT GONNA--

I MISSED HIM.

MMM.

DID YOU MISS ME?

YES.

HOW WAS YOUR DAY?

[TELEPHONE RINGS]

HOW WAS YOUR DAY?

[RING]

AH, NO, DON'T GET IT.

LET'S KISS.

HELLO?

HEY, PIPPO.

REALLY?

WHAT, RIGHT NOW?

OK. OK. OK.

[HANGS UP PHONE]

THEY FIRED EVERYBODY
THIS MORNING,

AND NOW THEY JUST
HIRED ME BACK,

AND I HAVE
TO GO NOW

TO MEET
THE NEW DIRECTOR.

YOU'RE GOING NOW?

TILL THE WEEKEND.

I'M SORRY.

PAUL, CALL THEMAND TELL THEM

YOU'LL GO TOMORROW.

THERE'S NOTHING
I CAN DO.

I JUST GET BACK,YOU FUCKING ASS!

WHY ARE YOULEAVING ME RIGHT NOW?

I'LL MAKE A NICESALAD FOR YOU.

I HAVE TO GO.

I'M SORRY.I'M GONNA CUT.

LET'S GO AGAIN.

CAN WE GETSOME MORE BLOOD?

HI.

THANKS FOR
COMING SO QUICKLY.

I'M GLAD YOU'RE STILL
WORKING ON THE PICTURE.

DO YOU KNOW THIS YOUNGDIRECTOR, FELIX DeMARCO?

YEAH, I MET
HIM BEFORE.

HE'S AN ASS.

HE'S OVER THERE.

YOU LOOK VERY SCARY,AND ACTION!

[SPOKEN WOODENLY]
A CERTAIN NUMBER OF VIRGINS

MUST BE GIVEN UP
FOR SATAN.

I NOW GIVE YOU
TO MY MASTER,

HIS HIGHNESS
OF DARKNESS,

WHERE YOU WILL
SLUMBER FOREVER

IN THE TOMB
OF SATANIC BLOOD.

AND...CUT!PRINT THAT ONE.

IT WAS PERFECT, EVERYONE.LET'S GO TO LUNCH.

COME ON, BABY.

YOU ARE GETTING BETTERAND BETTER EVERY DAY.

UNBELIEVABLE.

ENZO!
FELIX.

FOLLOW ME.

WHAT THIS PICTURE
NEEDS, FELIX, IS YOU.

IT NEEDS, UH, YOUTH,
AND ALSO...[LAUGHS]

A BETTER ENDING.

UH, FELIX,
THIS IS PAUL.

HE IS
THE EDITOR.

I KNOW THIS GUY.HOW YA DOIN'?

YOU DID SOUND ONTHE SPEEDWAY PICTURE, RIGHT?

I PULLED CABLE FOR YOU.

I WAS AWFULAT IT, THOUGH. I...

ENZO, SO,
PAUL'S ALSO DONE

THE SECOND UNIT
ON THE PICTURE.

OH, SECOND UNIT.THAT'S FANTASTIC.

GO AHEAD AND TELL FELIX
THE PLOT OF THE PICTURE.

I WOULD TELL YOU MYSELF,
BUT I'M LOUSY WITH ENGLISH.

GO ON.

SO, IT'S A
SCIENCE FICTION FILM

SET IN--

IT'S A GOOD
LITTLE IDEA, FELIX.

YOU'LL MAKE IT GREAT.

USE THE FOOTAGE WE HAVE.
CUT HERE, CUT THERE.

ADD SOME ACTION,
SOME MORE OF THE GIRL.

VERY SEXY.

I LIKE IT SEXY, ENZO.

OK, PAUL.
KEEP TELLING THE STORY.

SO, IT'S SET IN
THE FUTURE, AND--

THE YEAR IS 2001.

AND WE HAVE
ONE HELL OF A SETUP.

REAL SEXY STUFF.

GO AHEAD, PAUL.
GO AHEAD. GO. GO.

OK, THERE'S A GROUP
OF REVOLUTIONARIES,

AND THEY'RE HIDING
OUT ON A MOON BASE,

AND THERE'S
ONLY ONE ANSWER.

GENTLEMEN, I WANT
TO THANK YOU FOR ATTENDING

THIS EMERGENCY
SECURITY SESSION.

THIS VISUAL REPORT
WILL ILLUSTRATE OUR PROBLEM.

Recording: RECENT
INTELLIGENCE REPORTS

INDICATE THAT A BAND
OF YOUTHFUL REVOLUTIONARIES

HAVE SET UP A SECRET BASE
IN THE FAR OUT REGION

OF THE DARK SIDE
OF THE MOON.

THEIR LEADER IS A MAN
WHO'S KNOWN AS MR. E.

HIS MANY FOLLOWERS
REGARD HIM AS A GREAT POET,

ORATOR, INVENTOR,
AND EXPERT IN MARTIAL ARTS.

HE APPEARS TO BE LEADING HIS
GROUP IN TRAINING EXERCISES,

WHICH WE BELIEVE ARE LINKED
TO A PLAN TO ATTACK EARTH,

TO SPREAD HIS DANGEROUS
ANARCHISTIC PHILOSOPHY.

NOT SINCE OUR TROUBLES BEGAN
WAY BACK IN MAY 1968,

HAVE WE SEEN
SUCH A CAUSE FOR CONCERN.

MOST DISTRESSING
ARE THE REPORTS

THAT HE HAS DEVELOPED
A TOP-SECRET WEAPON,

WHICH WE FEEL
WE MUST CAPTURE

TO PRESERVE OUR WAY OF LIFE.

GENTLEMEN, WE'RE LEFT
WITH ONLY ONE OPTION.

TO USE AGENT
CODE NAME: DRAGONFLY.

BUT SHE'SSO EXPENSIVE.

AND SO DIFFICULT.

I KNOW SHE'S EXASPERATING,
BUT WE NEED HER.

NOW, I'VE ARRANGED
A TELECONFERENCE.

PLEASE, AGENT DRAGONFLY.
WE HAD AN APPOINTMENT.

I NEED MY SLEEP.

WE NEED TO GET DOWN
TO BUSINESS.

OK. WHAT IS IT?

YOUR MISSION

IS TO INFILTRATE
THE COMMUNITY

BY WHATEVER
MEANS AVAILABLE,

FIND MR. E, AND
TAKE POSSESSION

OF HIS WEAPON.

MMM.

HE'S PRETTY CUTE,ISN'T HE?

PLEASE.

ARE YOU PREPARED TO
ACCEPT THIS MISSION?

I'LL TAKE THE MISSION,

BUT YOU KNOWHOW MUCH I COST.

OF COURSE.

WE'RE RELYING
ON YOU, DRAGONFLY.

THE FUTURE
OF THE WORLD

IS IN YOUR HANDS.

SO, ARE YOU PREPARED
TO TAKE THIS MISSION?

[LAUGHS]

WELL, IF YOU CANMEET MY PRICE.

NO, THAT SOUNDS LIKE FUN.I LOVE SCIENCE FICTION.

I COULD PROBABLYMAKE THIS AMAZING.

I JUST, I WANTTO TIGHTEN IT UP,

RESHOOT SOME THINGS,FIX THE ENDING,

BECAUSE YOU GUYS DON'TREALLY SEEM TO HAVE THAT,

AND, UM...

I MEAN, I COULD START ONCETHE VAMPIRE PICTURE WRAPS.

PERFECT. WHILE
FELIX SHOOTS,

WE CONTINUE
WITH THE TRAILER

AND THE LOOPING, EH?

UH, FELIX,
GIVE THE EDITOR

YOUR THOUGHTS
ON THE TRAILER.

UM...YOU, STICK
TO FELIX LIKE GLUE.

HEAR HIS IDEAS,
HIS VISIONS, EH? WRITE IT.

OK. YES, WE HAVE TO GO.
WE HAVE ANOTHER PROJECTION.

THE 3 KILLERS, NO?

IT JUST HIT ME.

I KNOW HOW THE TRAILERNEEDS TO BE.

OH, ARE YOUGOING BACK TO SET?

I'LL LET YOU KNOW IFI GET ANY OTHER GREAT IDEAS!

AND WE'RE UP!OK! OK! WE'RE BACK!

OK, I WANT 2 CAMERASAND ANOTHER HERE WITH ME!

WE'RE GONNA DO 2!

SO, WE FINALLY MEET.

I LIKE WHAT I SEE.

HI.
HI.

I'M PAUL.

I'M VALENTINE.

VERY NICETO MEET YOU.

NICE TO MEET YOU.

SO, UH, THE DIRECTOR'SSTILL ON HIS WAY.

OK.

I'M JUST GONNA GET USSET UP IN THE MEANTIME.

SORRY ABOUT MY VOICE.

MY APARTMENT'S FLOODING.
I'M GETTING A COLD.

OH, YOU'LL BE FINE.MAYBE IT'S--

[TAPED VOICES SPED UP
AND SLOWED DOWN]

I COULD--I WAS JUST--

[TAPED VOICES SPED UP]

I WAS JUST--

[TAPED VOICES SPED UP]

SO, TEA. WOULD YOU
LIKE SOME TEA?

YEAH.

PAUL.

FELIX IS MISSING, OK?

GO AHEAD AND GETTHE SESSION GOING, OK? COME ON.

YES. YES.PEOPLE, COME ON.

Paul: HAVE YOU EVER
DONE THIS BEFORE?

NO.

IT'S PRETTY EASY.

UH...HELLO? HELLO?

THERE YOU GO.

SO, WE FINALLY MEET.

I LIKE WHAT I SEE.

I HAVE A MISSION,

WHICH I INTEND
TO ACCOMPLISH.

I LOVE YOU. I LOVE YOU.

I LOVE YOU.

I'M SO IN LOVE
WITH YOU.

DO YOU LOVE ME?

I'M IN LOVE WITH YOU.

I LOVE YOU.

[CLEARS THROAT]

THAT'S GOOD.

CHANGING ROLLS.
SORRY.

OH.

UM...

YOU HAVE AN EYELASH
RIGHT HERE.

IF YOU BLOW ON IT,
YOU CAN MAKE A WISH.

I WISH CATS COULD TALK.

AW...

YOU'RE NOT SUPPOSED TO TELL ME.IT'S NOT GONNA COME TRUE.

I'M SURE IT'LL COME TRUE.

MY CAT'S PREGNANT.

I WISH I COULD
TALK TO HER.

Recording: I LOVE YOU.
I LOVE YOU.

I'M IN LOVE WITH YOU.

Fabrizio: THE LAST ONE WAS...

CAN I GET YOU
TO SIGN THIS?

SURE.

AH, YOU MUST
BE THE DIRECTOR.

HOW EXACTLY YOU
WANT ME TO DO THIS?

WITH A LOT
OF AUTHORITY,

OR MAYBE
MORE PLAYFUL, HMM?

OK.

WHO IS DRAGONFLY?

SHE'S A SUPER-SEXY
SECRET AGENT.

BUT THAT'S
TOP SECRET.

DRAGONFLY IS COMING.

HOW DO YOU
LIKE IT? GOOD?

IT'S GREAT.GOOD.

OK. YOU HEAR ME?
1, 2, 3. 1, 2, 3.

YOU HEAR ME?
DAZZLING.

YOU HEAR ME?
IT'S OK.

[MAN SPEAKING IN FRENCHOVER INTERCOM]

DAZZLING IS TERRIFIC.
DRAGONFLY IS TERRIFIC.

EVERYTHING ELSE GOOD.

IT'S GREAT.

GREAT. THANK YOU.
OK. THANKS.

OK, JUST TRY THEM.

DAZZLING.
YOU HEAR ME?

WHERE'D SHE GO?

OUT THAT WAY.

WHO IS DRAGONFLY?

HI. VALENTINE.

FELIX DeMARCO,
THE DIRECTOR.

HOW ARE YOU?
SORRY I'M LATE.

I'M JUST--CRAZY.

UM, ACTUALLY,WE ALREADY FINISHED.

OH, GREAT.

WELL, YOU WANNA GO
GET A BITE TO EAT?

SURE.

DO YOU HAVEANY FRANCS?

YEAH. I DO.

I'M, LIKE, FRESH OUT.

I KNOW A LITTLEGREAT PLACE TO GO.

DO YOU USE THE METHOD?

DO WE HAVE TO
DO THIS NOW?

YEAH. SEE,THAT'S THE THING.

I HAVE TO DO IT,EVEN IF I DON'T WANT TO,

I HAVE TO. IT'S THE ONLYWAY TO BE HONEST AND REAL.

HAVE YOU SEEN
MY LIGHT METER?

YOU DIDN'T TELL ME YOUR FATHERWAS COMING FOR CHRISTMAS.

OH, I'M SORRY.
I FORGOT TO TELL YOU,

HE'S ON A LECTURE TOUR.

JUST BE PASSING
THROUGH THE AIRPORT

FOR AN HOUR OR 2.

ASKED ME TO
MEET HIM THERE.

YOU NEVER TELL ME ANYTHING.

WHO IS THE GIRL?THE ACTRESS, LIKE?

UH...

SHE'S A NICE GIRL.
SHE'S NICE.

AND?

AM I IN FRAME?

AHEM.

TODAY IS
DECEMBER 20th, 1969,

I HAVE TO
STAY FOCUSED.

COMPLETE HONESTY.

DO YOU LOVE ME?

YOU KNOW HOW
I FEEL ABOUT YOU.

YOU JUST WANT ME
TO SAY IT

IN FRONT OF
MY CAMERA?

WHY CAN'T YOUJUST SAY IT?

I SEW YOUR RIPPED PANTS,I TRIP OVER YOUR CAMERA.

I LOVE YOU,
OF COURSE.

I JUST, I WANNA--
I DON'T WANNA

RUN OUT OF FILM.

WHAT ARE YOULOOKING FOR?

WHAT DO YOU MEAN?

WHAT IS YOUR BIGGEST WISH?

THAT CATS COULD TALK.

[LAUGHS]

SOMETHING THAT GIRL SAID,ISN'T IT?

AW, WHAT ARE YOU
TALKING ABOUT?

YOU'RE BEING SILLY.

I THOUGHT YOU HAD TO BETOTALLY HONEST IN THIS FILM.

I AM.

YOU'RE BEING RIDICULOUS.

WHO SAID THAT?THAT ACTRESS?

YOU JUST WANTTO SLEEP WITH HER!

NOW, THAT IS RIDICULOUS.

WHAT IS YOUR PROBLEM?!WHAT IS YOUR PROBLEM?!

I CAN'T BELIEVE--YOU JUST DON'T UNDERSTAND!

[KNOCK ON DOOR]

I THINK WE NEED
TO TALK.

HEY, PAUL.
ARE YOU READY, MAN?

READY TO GO TO
THE PARTY, HUH?

LET ME DRIVE.

DID YOU PASS YOUR
DRIVING TEST FINALLY?

MAYBE YOU CAN DRIVE
ON THE WAY HOME.

[FRENCH ROCK SONG PLAYS]

[CLASSICAL PIANO MUSIC PLAYS]

[GIRL LAUGHS]

[HONKS HORN]

[FRENCH ROCK SONG PLAYS]

AAH!

[SPEAKING FRENCH]

PAUL.

I GOT A CALLFROM THE HOSPITAL.

FELIX WAS INA CAR ACCIDENT.

SMASHED UP HIS ALFA.

AH, THE DOCTORSAID HE WAS OK.

JUST BROKE HIS LEG.

HE'S GETTING OUT OFTHE DRAGONFLY PICTURE,

TAKING A BREAK.

REALLY?

YEAH.

I WANT TO RECOMMENDYOU TO ENZO.

ME?

I THINK YOU SHOULDFINISH THE FILM.

I KNOW YOU CAN DO A GOOD JOB.YOU'RE A TALENTED KID.

YOU HAVE HELPEDTHE PICTURE A LOT.

I HAVE SEEN THAT

IN THE SECOND UNIT SHOTS I HAVE GOTTEN.

[SPEAKING FRENCH]

OH, FILM.

[SPEAKING FRENCH]

Fabrizio: THE FOOTAGEOF THE COSMIC RAYS,

THAT WAS YOUR IDEA.

IT'S A GOOD IDEA.

WE TALK TO HIM TOMORROW.

[DISTANT EXPLOSION]

[SPEAKING FRENCH]

[SPEAKING FRENCH]

IT IS SONIC BOOMOF THE CONCORDE.

IT'S SO
FUCKING AMAZING.

WE'RE LIVING IN
THE FUTURE, MAN.

...ACTING ISTO THE SCENARIO.

AND I FOUND THISGREAT PLACE IN ST. GERMAIN.

WOULD YOU EXCUSE ME
ONE SECOND?

HEY, I'VE GOT
SOME BIG NEWS.

WAIT. CAN'T YOU SEE

I'M TALKING
TO SOMEONE RIGHT NOW?

GIVE ME 2 MINUTES.

EXCUSE ME,
YOU WERE SAYING?

SO, IT'S CALLEDTHEATER OF REVOLUTION.

IT'S GONNA BE A MOVEMENT,A VOICE, A POETRY WORKSHOP.

I'M SURE YOU'DLOVE THIS PLACE.

DID YOU HEAR
ABOUT POOR FELIX?

I HEARD.
I HOPE HE'S OK.

HE'S SO TALENTED.

WORKING WITH HIM
IS SO MUCH FUN.

I REMEMBER ONCE,
WHEN WE FINISHED EARLY,

AND HE TOOK US ALL
TO THE GO-KART RIDE.

OH, GOD!
COME HERE.

Crowd: ♪ THAT NOBODY
CAN DENY ♪

♪ THAT NOBODY CAN DENY,
THAT NOBODY CAN DENY ♪

HELLO, FELIX.

♪ FOR HE'S
A JOLLY GOOD FELLOW ♪

♪ FOR HE'S
A JOLLY GOOD FELLOW ♪

IT'S FELIX DeMARCO!

♪ THAT NOBODY CAN DENY

♪ THAT NOBODY CAN DENY,
THAT NOBODY CAN DENY ♪

THANK YOU. THANK YOU.
THANK YOU. SO KIND.

LADIES AND GENTLEMEN,

UH, I'D LIKE TO MAKE
AN ANNOUNCEMENT.

I'M SURE YOU'VE
PROBABLY HEARD

ABOUT THE MAD EVENTS
OF THIS EVENING,

BUT WE'RE OK, RIGHT?

YEAH.

UM...BUT THERE'S

ONE MORE THING
THAT HAPPENED.

I ASKED BRIGIT
TO MARRY ME,

AND SHE SAID YES!

YES!

AND SO, WE CAN'T WAIT
ONE MOMENT FURTHER,

AND WE'RE
SETTING SAIL TOMORROW.

Crowd: AW!

WELL, DON'T--DON'T
STAND AROUND STARING AT US.

LET'S DANCE!

DAD. DAD.

HEY, YOU
ALL RIGHT?

YEAH. OH, I MISPLACED
MY GLASSES ON THE PLANE.

THANK YOU
VERY MUCH.

THANK YOU.

HERE, LET ME
HOLD YOUR HAND.

[SIGHS]

[SIGHS]

HOLD ON. WAIT. WAIT.

[SIGHS]

I TOOK A SLEEPING PILL,AND I ATE ALL THE ICE CREAM.

OH, IT'S GOOD TO SEE YOU.

IT'S GOOD
TO SEE YOU.

JUST GOOD TO SEE YOUAT CHRISTMAS,

EVEN THOUGH IT'S BRIEFLY.

WAIT A SECOND.I BROUGHT YOU SOMETHING.

THANKS, DAD.

I HAD A DREAM
THE OTHER NIGHT,

AND I THOUGHT OF YOU.

WELL, YOU WERE IN IT.

[SIGHS] I WAS
WATCHING THESE...

HIDEOUS FILMS OF VIETNAM
ON THE TELEVISION.

AND I HAD THIS DEEP,
DESULTORY DREAM

WHERE I MET A SON

THAT I DIDN'T
KNOW I HAD.

AND HE LOOKED LIKE YOU.

WELL, YOU WERE
THERE, TOO.

2 BROTHERS.

BUT THEN I REALIZED

THAT HE WAS
A SOLDIER IN THE WAR.

AND WHEN I WOKE UP,
I HAD THESE...

THESE FEELINGS
OF WORRY AND OF LOSS.

AND I WONDERED--

HEH, THIS IS CURIOUS--

COULD I HAVE HAD A CHILD
BY ANOTHER WOMAN

AND NEVER KNOWN
ABOUT IT?

ISN'T THAT
A CURIOUS THOUGHT?

UH, I THINK ABOUT IT
SOMETIMES AND...

WHAT IF I MET A BOY
AND HE LOOKED LIKE YOU.

MAYBE IT'S
REALLY MY SON.

YOU KNOW, SOMETIMESI'LL BE DRIVING

DOWN THE STREET, AND...

I'LL SEE SOMEONEWHO LOOKS FAMILIAR,

LIKE IT COULD BEMY BROTHER.

YOU KNOW?

SO, MAYBE IT'S TRUE, DAD.

IT IS POSSIBLE, PAUL.

I WASN'T
ALWAYS FAITHFUL...

TO YOUR MOTHER.

WHEN I WAS YOUR AGE,

ALL I COULD THINK
ABOUT WAS WOMEN.

IT WAS LIKE A DISEASE
OR A CURSE.

I THINK I KNOWWHAT YOU MEAN, DAD.

[AIRPLANE TAKES OFF]

KIDS ARE NICE.

WHEN DO YOU THINK YOU'REGONNA HAVE SOME OF YOUR OWN?

[SIGHS]
I DON'T KNOW, DAD.

HAVE YOU THOUGHTABOUT COMING BACK HOME?

YOUR MOTHER WANTED METO ASK YOU.

I DON'T KNOW.

EXCUSE ME.

WE FOUND YOUR GLASSES.

OH! OH, THANK YOU.

OH, THANK YOUVERY MUCH.

THANK YOU
VERY MUCH.

WOW.

OOH, I THINKIT'S TIME TO GO.

OK.

I'M VERY GLADFOR YOU, PAUL.

I KNOW YOU'RE GONNA DO WELL

IN THIS NEW JOBOF YOURS.

WHAT IS IT?

IT'S A
SCIENCE-FICTION FILM

ABOUT A FUTURISTIC SPY
NAMED DRAGONFLY.

OH, WELL,THAT'S INTERESTING.

YOUR GRANDMOTHER USEDTO CALL DRAGONFLIES

THE DEVIL'SDARNING NEEDLES.

SHE TOLD ME THATTHEY COME IN THE NIGHT

AND STITCH UP YOUR MOUTHIF YOU USE PROFANITY

OR WERE OTHERWISE VULGAR.

THIS ISN'T
EXACTLY ABOUT THAT.

WELL, MAYBE YOU CANUSE IT SOMEHOW.

THANKS, DAD.

YOU NEVER KNOW WHENSOME LITTLE OVERHEARD STORY

OR IMAGE CAN FINDA PLACE IN YOUR WORK.

HERE.

OK.
OK.

OK, SEE YOU.

SEE YOU.

Marlene: HOW WAS IT
SEEING YOUR FATHER?

IT WAS NICE.OH, HE TOLD ME

ABOUT THIS STRANGE DREAMTHAT HE HAD.

I'M GOING OUT
TO GET SOME MILK.

[DOOR CLOSES]

[ASSISTANT SPEAKING FRENCH]

Felix: ACTION!

OK, GIVE ME
SOME SCREAMING, GIRLS:

AAH! AAH!

Actresses: AAH! AAH!

Felix: LOUDER!

[LOUDER]
AAH! AAH!

OK, NOW GIVE ME
SOME MOANING: OHH! OHH!

Actors: OHH! OHH!

Felix: LOUDER!

YOU DID GOOD WORK
ON THE TRAILER.

THANK YOU, SIR.

FABRIZIO SAYS YOU KNOW
THE SPACE PICTURE

BETTER THAN ANYONE ELSE,

AND THINKS, EH,
YOU SHOULD TAKE OVER.

HE USUALLY KNOWS
WHAT HE'S TALKING ABOUT.

AH...

SO...
MMM?

YOU MAKE SOME SHORTS, EH,

FILMS, EH,
THINGS LIKE THAT?

YEAH, I'VE BEEN
WORKING ON A FILM.

OK. COME HERE.

NOW...

THERE ARE 2 KINDSOF MOVIES.

THOSE WITH AN ENDING

AND THOSE THAT DON'THAVE AN ENDING.

THIS MOVIENEEDS AN ENDING.

I'VE MADESOME 50 PICTURES,

AND THIS IS MY ADVICE:

THE ENDING IS THE MOST IMPORTANTPART OF THE MOVIE.

MMM...

THE PART THAT
PEOPLE REMEMBER

WHEN THEY LEAVING
THE THEATER,

BUT...

EVERYBODY WORKS
ON IT LAST

WHEN THEY ARE EXHAUSTED.

SO, LISTEN TO ME,

AND FIGURE OUT HOW
TO END THIS PICTURE

WITH AN EXCITING TWIST.

AND THAT WE CANDO IT IN 2 DAYS.

YES, THAT WE CAN
SHOOT IN 2 DAYS!

[LAUGHS]
YES, SIR.

[WOMAN SPEAKS ITALIAN]

[SPEAKS ITALIAN]

I'LL BE IN ROME
FOR THE HOLIDAYS,

AND, EH, FABRIZIO
WILL GET YOU OUT THERE.

AND YOU CAN SHOW ME
WHAT YOU'RE THINKING.

FRANCHESCHINO!

HEY, YOU.

EH...

ASTONISH ME.

EH? CIAO.

I'LL HAVE A COCKTAIL.

Computer:YOUR COCKTAIL IS READY,

DRAGONFLY.

[SPEAKING IN LOW TONES]

P.A.: ATTENTION,
ALL COMRADES.

Mr. E: WE WILL SOON BE READY
TO LEAVE OUR LUNAR DOMES

TO DESCEND
AND BRING CHANGE TO EARTH.

HAH!
Guard: UHH!

WE NEED TO BE FREE...

TO MAKE LOVE ALL DAY.

EVERY DAY.

MUST BE FREE.

[DOOR OPENS]

SO...

WE FINALLY MEET.

I LIKE WHAT I SEE.

I'VE BEEN EXPECTING YOU.

HOPE YOU'RENOT DISAPPOINTED.

I KNEW IT WAS ONLY
A MATTER OF TIME

BEFORE THEY SENT IN
AGENT CODE NAME: DRAGONFLY.

YOU'VE GOT
QUITE A REPUTATION.

REALLY?

TELL ME ABOUT IT.

WORK WITH THE REVOLUTION,DRAGONFLY.

JOIN US.

I HAVE A MISSION...

WHICH I INTEND
TO ACCOMPLISH.

[DOOR OPENS]

Guards: THERE SHE IS!

HAH!

HAH! HAH!

HAH! HAH!

HUHH!
HAH!

FABULOUS.

[LAUGHS]

Computer:PREPARING BOOSTERS.

DIX, NUEF, HUIT,

SEPT, SIX...

[EXPLOSION]

Computer: STAND BY.

[COMPUTER EMITS
WARPED, SLOW SPEECH]

Guards: THERE SHE IS!

[LAUGHING]

UHH!

Paul: THERE'S
TOO MANY LOOSE ENDS HERE.

UHH!

HIS GUN...

WHAT IS SO SPECIAL
ABOUT THIS GUN?

HEY, WE GOT
A CHRISTMAS GIFT.

[LAUGHS] HAVE A LOOK.

IT'S A PRESENT
FROM THE GUYS

DOWN IN
THE SCREENING ROOM.

WHAT A TEMPER.

ANDREZEJ WAS SO MAD
THAT DAY.

UHH!

THE MYSTERIOUS,
DARK FIGURE

AT THE END.
WHO SHOULD THAT BE?

PAUL, RELAX.IT'S JUST A MOVIE.

I CAN'T FINDREEL 7 HERE.

WHAT IS THIS?

OH, MADONNA.

PAUL, REEL 7.

IT WILL TAKE ME DAYS
TO PUT IT BACK TOGETHER.

A MESSAGE.

IT'S WRITTEN IN A CODEFROM THE MOVIE.

OH, YEAH, YEAH,
YEAH. FILM 37.

CHECKING CODE BOOK.

ALL RIGHT.D-E...

"DEFILERS BE--BEWARE.

DEFILERS BEWARE,EXCLAMATION POINT?"

WHO SENT THIS?

ANDREZEJ.

OH, GOD, ANDREZEJ.

IT HAS TO BE HIM.

HE HAS A KEYTO THE DOOR.

OH, THIS IS BAD NEWS.

DAMN. I KNEW IT.HE'S CRAZY,

AND YOU KNOW WHAT?I'M SURE--

I'M SURE HE CUT THE BRAKESON FELIX'S CAR.

OH, JESUS. YOU KNOW...

I'M CALLINGTHE LOCKSMITH.

YOU KNOW WHAT?

YOU BETTER
WATCH OUT, PAUL.

DAMN. HE'S CRAZY.
I KNEW IT...

HAVE TO CUT THE FILM
IN A MILLION PIECES.

Andrezej: I WANNA SEE YOUR SOULIN ACTION.

Dragonfly:
I LOVE YOU.

NO. TAKE YOUR TIME.NOT SO FAST.

I LOVE YOU.

LIKE THAT, YES.

SAY "I'M IN LOVEWITH YOU."

I'M IN LOVE WITH YOU.

ONE MORE TIME.

SHUT UP.

[GRINDS]

Computer: TRANSMISSION BREACH.TRANSMISSION BREACH.

Dragonfly:
NEED ASSISTANCE.

NEED ASSISTANCE.
SHIP'S BEEN DAMAGED.

HEY, YOU GOT
MY MESSAGE.

COME IN.

IT MUST BE
FREEZING OUT.

I'VE TRIED EVERYTHING
TO FIX THIS,

BUT I CAN'T FIGURE OUT

HOW IT GOES
BACK TOGETHER.

LET ME TAKE A LOOK.

[GRINDS]

[BEEPING]

YOU LOOK COLD.

I'M ALL RIGHT NOW.

WE'LL BE OUT OF HERE
IN NO TIME.

WHAT ARE YOU DOING
ON THE MOON?

I DON'T KNOW.

I THINK I'M LOST.

DRAGONFLY...

WHAT HAPPENS IN THE END?

I DON'T KNOW,
BUT DON'T WORRY.

WE'RE GONNA
FIND OUT SOON.

[MARLENE CRYING]

HEY, WHAT HAPPENED?

ARE YOU OK?

WAS SOMEONE HERE?

I'M JUST SAD.

I'M LOSING ALL
MY PATIENCE WITH YOU.

YOU TALK TO YOUR CAMERA
NIGHT AND DAYS...

BUT YOU NEVER
TALK TO ME.

WHY DON'T YOU SAY
ANYTHING TO ME?

LIKE WHAT?

WHAT SHOULD I SAY?

I DON'T KNOW WHAT TO SAY.

I'M SORRY YOU'RE SAD.

HEY.

COME HERE.

COME HERE.

I DON'T KNOWWHAT I'M DOING.

I DON'T KNOW IF I HAVE ANY IDEAS.

THEY WANT SOMETHING THATI'M NOT SURE I CAN GIVE THEM.

MAYBE I SHOULD JUSTGO TO ROME AND TELL THEM

"I DON'T KNOW WHAT TO DOWITH YOUR IDIOTIC STORY."

IT'S NOT EVEN MY FILM...

AND IT'S--IT'S ENDING.

PAUL, I'M GLAD YOU'RE
SAYING ALL THIS TO ME,

BUT I DON'T CARE
ABOUT THE STUPID FILM.

I CARE ABOUT US
LIKE WE USED TO BE.

OH, COME HERE.COME HERE.

NOW GO.

GO TO ROME.
DO WHAT YOU LIKE,

BUT JUST
REMEMBER THAT

YOU BRING EVERYTHING
UPON YOURSELF.

THAT CAME FOR YOU.

YOU SPENT ALL YOUR MONEY
ON A CAMERA.

[WOMAN ON P.A.
SPEAKING ITALIAN]

THANK YOU, SIR.

AH, YOU ARE HERE.

THESE ARE GOOD,DON'T YOU THINK?

IT'S VERY NICE,
YEAH.

AH, NOT TOO BAD.SIT DOWN.

GOOD, GOOD,
GOOD, GOOD, GOOD.

OK, SO...

DO YOU HAVE A GREAT
ENDING FOR ME?

WELL, I RECUT MOSTOF THE PICTURE,

TRYING TO MAKE ITSHORTER AND CLEARER.

YEAH.

AND ONE OF MY IDEASIS TO TAKE MR. E's GUN

AND MAKE ITA LITTLE MORE SPECIAL...

MM-HMM.

SO IT CAN TEMPORARILYFREEZE PEOPLE.

FREEZE PEOPLE.

SOUNDS GOOD.

AND THAT'S HOW THEY PLANTO TAKE OVER.

YEAH.

AH, UH, WHAT ABOUT
THE--THE ENDING?

THE ALLEY,
DRAGONFLY'S RUNNING...

CHASING AFTER THE GUY.
WHAT HAPPENS?

WELL...

I HAVE A FEW IDEAS.

MM-HMM.
THAT'S THE PROBLEM.

YOU GOT TOO MANY IDEAS.

WE JUST NEED ONE
GOOD ONE!

LOOK, SON, THIS IS
MY 37th PICTURE.

I WORKED WITH SOME OF
THE BEST IN THE BUSINESS,

AND I'VE LEARNED
A FEW LITTLE TRICKS.

ONE OF THEM IS
TO ALWAYS TRY

TO MAKE
THE AUDIENCE

WONDER WHAT'S
GOING TO HAPPEN,

AND THEN AT THE END,
YOU TELL THEM,

BUT YOU SURPRISE THEM
A LITTLE, HEH?

EASY. HAH.

LOOK, IT'S NEW YEAR'S EVE.

YOU ARE GOING TO THE PARTY.
COME WITH US! HAH.

LET'S HAVE FUN!

OH, MY LITTLE MONSTER.

MM, JULIETTA.
COME ON, COME WITH US.

[LAUGHING]

[SPEAKING ITALIAN]

PAUL, GO AHEAD
TO THE PARTY.

HAVE A GOOD TIME!
WE'LL BE RIGHT BACK.

[SPEAKING ITALIAN]

[LAUGHS
AND SQUEALS]

[DOOR CLOSES,
CAR DRIVES OFF]

[BAND PLAYS]

[MALE VOCALIST
SINGING IN ITALIAN]

Man: VALENTINE!

[WOMAN SPEAKING ITALIAN]

[MEN OVERLAPPING
IN ITALIAN]

[FIREWORKS POPPING]

[GLASS BREAKING]

THERE YOU ARE. I'VE JUST BEENLOOKING EVERYWHERE FOR YOU.

LISTEN, I KNOW YOU'VE BEENWORKING ON THAT ENDING,

WHICH IS EXCITINGBECAUSE IT GOT ME THINKING.

THIS ENDING HASTO BE FABULOUS NOW.

I IMAGINE A NEW SCENE.

ALL RIGHT, NOW I'MPARACHUTING DOWN TO EARTH.

NOW--

WHERE DID YOU GO?

YOU JUST LEFT ME
STANDING THERE.

I--EXCUSE ME.I'M TALKING TO MY DIRECTOR.

[SPEAKING ITALIAN]

DIECI...NOVE...OTTO...SETTE...

SEI...CINQUE...QUATTRO...TRE...

DUE...UNO...
[CHEERING]

[SPEAKING ITALIAN]

[MUSIC IN ITALIAN]

[SINGING IN ITALIAN]

[SPEAKING ITALIAN]

[REVVING ENGINE]

[REVVING CONTINUES]

[TIRES SCREECH]

[SPEAKING ITALIAN]

[BEEPS HORN]

[OVERLAPPING ITALIAN]

[SHOUTING AND HONKING HORNS]

[SCREAMING IN ITALIAN]

THANK YOU.

I THINK I'M
JUST GONNA WALK.

[ARGUING IN ITALIAN]

[WOMAN SPEAKING ITALIAN]

SI.

HOLD ON.

THERE YOU GO.

AH, ENGLISH.

AMERICAN.

WHAT ARE YOU
DOING HERE?

[SIGHS]I DON'T KNOW.

WHAT ARE YOU DOING HERE?

MY FRIEND IS WAITING
FOR A BOY.

HE'S IN THE ARMY.

THEY HAVEN'T SEEN
EACH OTHER FOR ONE YEAR.

AND HE WROTE HER AND SAY
THAT HE WOULD RUN AWAY

FROM THE ARMY AND MEET
HER HERE TONIGHT.

[WHISTLE]

1970.

IT'S A WHOLE NEW DECADE.

[CHUCKLES] BUT IT STILLFEELS THE SAME TO ME.

SO...

LET'S HEAR IT.

SO DRAGONFLY'S RUNNING
THROUGH THE TUNNEL...

UH-HUH...

SHE COMES TO THE FIGURE
HIDDEN IN THE SHADOWS.

AH...

AND THE FIGURE EMERGES.
AND THE FIGURE...

[VOICE FADES OUT]

MARLENE?

[SOBBING]

[SNIFFLING]

[OVERLAPPING VOICES]

YOUR BOOK!

THAT CATS COULD TALK.

[OVERLAPPING VOICES]

Man: ABSOLUTELY PRETENTIOUS.

Second man: INDULGENT!

YOU'RE JUSTFUCKING BLOWING IT.

THIS FILM
IS TOO FRACTURED.

IT'S CONFUSING.

IT'S AN AGGRESSION
FOR YOUR EYES, FOR MY EYES.

ESPECIALLY
THE SHOT

WHERE YOU SIT
ON THE TOILET.

WHERE'S THE STORY?
WHERE'S THE STRUCTURE?

I DON'T CARE
ABOUT THIS PERSON.

DO YOU THINKYOU'RE CLEVER?

I JUST WANTED
TO MAKE SOMETHING

THAT WOULD REFLECT
WHO I AM. WHO I WAS.

IT WAS A DIFFICULT
AND CONFUSING TIME.

WHAT'S THE POINT?

[LAUGHS]

WHAT AM
I SUPPOSED TO DO?

AND REGARDING
THAT SPACE PROJECT

YOU'RE INVOLVED IN,

THERE'S NO SNOW
ON THE MOON.

YOU SHOULD KNOW THAT!

WHAT SHOULD I DO?

YOU NEED
TO CONNECT THINGS

SO THAT THEY MAKE
US FEEL SOMETHING.

[METALLIC BLAST]

OH, YOU SURPRISED ME.

I DIDN'T SEE YOU THERE.

YOU LOOK BEAUTIFUL.

THANKS.

WOULD YOU PLEASELET ME KNOW

IF I'M NOT DOINGSOMETHING RIGHT?

IT'S MY FIRST DAY, SO...

IT'LL BE FINE.

REMIND ME ABOUT
THE SCENE IN THE STORY

RIGHT BEFORE
THE ONE WE'RE SHOOTING.

WELL, YOU,I MEAN, DRAGONFLY

HAD JUST BARELY ESCAPED

WITH THIS SPECIAL GUN

FROM THE DARK SIDEOF THE MOON.

HOW DOES MY
SPACESHIP GET FIXED?

I CAME TO THE MOONAND FIXED IT FOR YOU.

HMM.

THEN YOU LANDEDSAFELY IN PARIS.

Computer:
LANDING SUCCESSFUL.

PLEASE NOTIFY
THE CORPORATION

THAT THE MISSION'S
COMPLETE.

Computer: AFFIRMATIVE.

YOU DIDN'T KNOCK.

I WANTED TO SURPRISE YOU,MY DARLING.

♪ DRAGONFLY

♪ TELL ME, HOW CAN
YOU RESIST HER ♪

♪ UNTIL YOUR LIPS
HAVE KISSED HER?

♪ SHE'LL BE A MYSTERY

PLEASE DON'T
TRY TO STOP ME.

I'M SORRY.

HE KILLS ME?

NO, THE GUNDOESN'T WORK ON YOU.

WHY NOT?

WELL, I'LL EXPLAIN LATER,BUT WHAT HAPPENS

IS THE GUN ACTUALLYHAS A SPECIAL PROPERTY.

THE REVOLUTION DEPENDSON THIS WEAPON--

Valentine:
THE GUN FREEZES PEOPLE.

INTERESTING.

SO WHAT HAPPENS NEXT?

Computer: INCOMING CALL
ON CINE-COM.

[BEEPING]

YES?

DO YOU HAVE POSSESSION
OF THE PACKAGE?

PLEASE RESPOND.

AFFIRMATIVE.

[CHUCKLES]

AAH!

I'M SORRY.

BRING IT DOWN.
YOU ALL RIGHT?

SORRY, I DIDN'T
REALIZE--

NO, THAT'S OK.

I'M FINE.
MY FOOT--

ALL RIGHT, WE'LL GO AGAIN.WE'LL GO AGAIN.

ALL RIGHT?
OK.

IT WAS OUR FAULT.BRING IT UP PLEASE.

[ENGINE REVVING]

[TIRES SCREECH]

[YELLING IN ITALIAN]

SOMEONE STOLETHE EXPOSED FILM!

PAUL, GO.

HERE. HA HA HA.

[ENGINE REVVING]

[TIRES SCREECH]

[TIRES SCREECH]

ARE YOU SCARED?

OH, NO.

EXCUSE ME!

OOPS.

[TIRES SCREECH]

OK?
YEAH.

YOU SURE?
FINE.

GO.

[SIRENS APPROACHING]

HOW COULD YOU BETRAY ME?

DESTROY MY ARTWORK,YOU LITTLE SHIT!

DO YOU THINK YOUCAN MAKE A BETTER ENDING

BY PUTTING INYOUR CAR CHASE?

WHAT ABOUT THE THEME?

THE STORY?

HAVE YOU THOUGHTABOUT THAT, PAUL?

I WASN'T TRYING--BULLSHIT!

DON'T MOVE!I'M WARNING YOU!

I'M SORRY.

YOU KNOW, IT'S A BIG
OPPORTUNITY FOR ME--

YOU WANT TO KNOWTHE REAL REASON?

THEY ARE AFRAIDABOUT THE FILM.

THEY'RE TRYING TO KEEP

THEIR YOUTHREMAINING SUPPRESSED.

A FILM CAN CHANGETHE COURSE OF THE FUTURE.

IT CAN INVENT THE FUTURE BY MAKING IDEAS CONCRETE.

THAT'S WHY WHEN I HEARDYOU WERE CHANGING THE ENDING,

I WAS FORCED TO DO THIS.

I HAD AN IDEA.

I HAD A NEW IDEA
FOR THE ENDING.

THAT MAYBE
SHE--THE...

THE CORPORATION,
ITS CENTER,

BETRAYS HER.

NO. NO.

UHH!

THE REVOLUTIONARY GETTHEIR WEAPON BACK IN THE END.

OK, PROMISEME THAT, PAUL.

YEAH.

I PROMISE.

GOOD.

I'VE BEEN WORKING
ON A PERSONAL FILM.

PERSONAL FILM?

WITH NO
COMPROMISE, RIGHT?

RIGHT.

WE'LL...

SEE ABOUT YOU.

I'M OLD.

I CAN GO NOW AND WRITE
MY PERSONAL WORK.

HMM.

NOW THAT I HAVE
SOMETHING TO WRITE ABOUT.

I HAVE TO ASK...

DID YOU
MAKE LOVE TO HER?

NO.

DID YOU CUT THE BRAKES
ON FELIX'S CAR?

[LAUGHS] NO.

HMM.

OH, REMEMBER, PAUL:

ALWAYS STAND
NEXT TO THE CAMERA.

YOUR ACTOR WILL
FEEL YOU THERE

AND WILL BE PLAYING
JUST FOR YOU.

HMM.

PAUL!

I CAN'T BELIEVE IT.
HA HA. BRAVO!

DID THEY CATCH HIM?

WHO WAS THIS
SON OF A BITCH

THAT STOLE THE FILM?

IT WAS JUST SOME OLD GUY.

WELL, IT DOESN'T MATTER
ANYWAY, WE GOT IT BACK.

HUH? YEAH, IT'S ALL
GOING TO WORK OUT.

WE'LL BE ABLE TO GET
THE FINAL FOOTAGE

TOMORROW ON THE STAGE.

YOU DID GOOD, PAUL.

WHERE'S VALENTINE?HAVE YOU SEEN HER?

IS SHE OK?

SHE WAS FINE.

IN FACT, I THINK
SHE ENJOYED HERSELF.

SHE JUST LEFT
IN A RUSH.

SHE ASKED
THAT YOU CALL HER.

SHE SAID IT WAS,
UH, IMPORTANT.

ANTONIO...

COME ON.

COME ON, COME ON.

HELLO?

HI, IT'S PAUL.

[CRYING] YOU'VE GOT
TO COME HERE QUICKLY.

OH, MY GOD! OHH!

TAXI!

[SITAR PLAYING]

HEY.

COME LOOK.

[CAT MEOWS]

THEY'RE JUST BORN.

[SNIFFLE]

I LIKE TO DOCUMENT
ALL THE THINGS OF MY LIFE.

[HAMMERING]

[PEOPLE SPEAKING FRENCH]

I FOUND HIM.

I WAS COLD.

[MAN SPEAKING FRENCH]

[SHOUTING INSTRUCTIONS
IN FRENCH]

THANK YOU
VERY MUCH.

[BUZZER]

[WHISPERING INSTRUCTIONS]

ALL RIGHT.

OK.

AND...

[GIVING INSTRUCTIONS
IN FRENCH]

[CREW MEMBERSPEAKING FRENCH]

AND ACTION.

BUT HOW?

YOU'RE ME.

QUICKLY,WE'RE IN DANGER.

NICE TRY, DRAGONFLY.

GO, GO!

NO!

MY FATHER BUILT
THE DRAGONFLY ROBOT

FOR THE MOST
DANGEROUS MISSIONS.

HE MODELED HER ON ME,

HER LOOKS AND HER
LIFELIKE QUALITIES.

BUT THE CORPORATION
PROGRAMMED HER

SO THAT SHE COULDN'T
BETRAY THEM.

SHE WANTED TO HELP YOU,
BUT SHE COULDN'T.

THAT'S WHY
I TRIED TO HELP.

I KNEW THE REVOLUTION
NEEDED THIS WEAPON,

SO I TOOK IT
TO GIVE TO YOU.

I DID IT TO HELP YOU,
TO HELP THE CAUSE.

I BELIEVE
IN THIS REVOLUTION,

AND I BELIEVE IN YOU.

WE WERE IN LOVE.

YOU KNOW, WE ARE IDENTICAL
IN ALL RESPECTS.

IN ALL RESPECTS?

IN ALL RESPECTS.

ALL I REALLY DID WAS
I STITCHED TOGETHER

A BUNCH OF THINGS
FROM MY LIFE.

YOU KNOW, JUST...

THINGS THAT MADE
AN IMPRESSION ON ME.

JUST PUT A LITTLE PIECE
OF MYSELF OUT THERE,

TRY TO ORGANIZE IT,
TAKE A LOOK AT IT,

MAKE SOME CONNECTIONS,

MAKE SOME SENSE
OF THINGS.

Man: I THINK THAT'S
ALL THE TIME WE HAVE.

THANKS A LOT TO PAUL.

[APPLAUSE]

EXCUSE ME.

YES?

I, UH, I ENJOYED
WHAT YOU HAD TO SAY.

OH, THANK YOUVERY MUCH.

BY THE WAY, DO YOU KNOW
FELIX DeMARCO?

UH, YEAH.

DO YOU THINK
YOU COULD PASS

THIS SCRIPT
ON TO HIM FOR ME?

SURE.

THANKS.

Man: WELL, MY DOG
KNOCKED OVER TRIPOD,

AND THE CAMERA
KEPT RUNNING.

SO I KEPT IT ALL
IN THE FILM.

Marlene, on film:THINGS AROUND YOU,

AS IF THAT WOULD BRINGSOME UNDERSTANDING?

Paul, on film:
I JUST WANT TO CAPTURE

WHAT'S REAL AND HONEST.

AND WHAT IF IT'S BORING?

Paul:
MAYBE MARLENE WAS RIGHT,

BUT EACH ONE
OF THESE IMAGES

BRINGS UP A FEELING
OR A MEMORY.

I CAN SMELL MARLENE WHEN
I SEE THIS SHOT OF THE SOAP.

I FOUND HER
DRIVERS LICENSE,

AND, UH, I TRIED TO REACH
HER BY CALLING HER MOTHER,

AND MARLENE ANSWERED.

Marlene: HELLO?

MARLENE?

WHEN SHE HEARD
MY VOICE, SHE HUNG UP.

[PHONE HANGS UP]

I THOUGHT THAT MY FILM
WAS GOING TO BE ABOUT

LOOKING AT ALL
THE PIECES OF MYSELF,

BUT, MARLENE...

I GOT YOU IN PIECES, TOO.

SO THIS IS THE END,

OR IS IT THE START?

OF WHAT?

♪ IF THE FADING LIGHT
WAS YOU, BABE ♪

♪ I COULD FIND
A WAY TO LOVE YOU ♪

♪ IT WOULD BE LIKE
SUNSHINE ON ME ♪

♪ IF ONLY YOU COULD SEE

♪ IF YOU FALL IN LOVE
WITH ME, BABE ♪

♪ AND MAKE ME
FEEL SO BLUE ♪

♪ SHOULD I WAIT
UNTIL TOMORROW ♪

♪ TO MAKE YOU UNDERSTAND?

♪ IF I COULD FIND
A WAY TO LOVE YOU ♪

♪ YOU MAKE ME
FEEL SO BLUE ♪

♪ SHOULD I WAIT
UNTIL TOMORROW ♪

♪ TO MAKE YOU UNDERSTAND?

♪ IF YOU FALL IN LOVE
WITH ME, BABE ♪

♪ AND MAKE ME
FEEL SO BLUE ♪

♪ SHOULD I WAIT
UNTIL TOMORROW ♪

♪ TO MAKE YOU UNDERSTAND?

[NEW SONG BEGINS]

♪ FRESH AS THE DROPS
OF THE DEW IN MAY ♪

♪ SHINING LIKE THE LIGHTS
IN A SUMMER'S DAY ♪

♪ I'M DREAMING THAT YOU'RE
GONNA TAKE ME FAR AWAY ♪

♪ I'M SAYING IT ON THE SOUND
OF EVERY WORD YOU SAY ♪

♪ TAKE ME

♪ TAKE ME HIGHER

♪ IT COULD BE SO EASY
TO LIGHT MY FIRE ♪

[NEW SONG BEGINS]

[SINGING IN ITALIAN]

[SONG FADES]

CAPTIONING MADE POSSIBLE BYMGM HOME ENTERTAINMENT

CAPTIONED BY THE NATIONAL
CAPTIONING INSTITUTE
--www.ncicap.org--