All language subtitles for Um Caso Americano

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[pensive piano music]

*

Official YIFY movies site:
YTS.MX

(Kennedy)
I, JOHN FITZGERALD KENNEDY,
DO SOLEMNLY SWEAR...

THAT I WILL FAITHFULLY
EXECUTE THE OFFICE...

[siren wails faintly]

[news reporter speaking faintly]

[explosion]

[gunfire]

(man)
MILITIAMEN
THAT OUR TROOPS

WERE RECEIVING
SOVIET BLOC WEAPONS.

[news reporter speaking faintly]

[bell tolls]

(Kennedy)
TOGETHER,
WE SHALL SAVE OUR PLANET,

OR TOGETHER,
WE SHALL PERISH IN ITS FLAMES.

(man)
PRESIDENT KENNEDY...
PERSONAL RESPONSIBILITY

FOR THE FIASCO
AT THE BAY OF PIGS.

ONE WRITER CALLED THE BAY
OF PIGS THE PERFECT FAILURE.

(man)
THE SOUND OF 200,000 VOICES

JOINED IN THE...
OF THE CIVIL RIGHTS MOVEMENT.

(man)
FREE GERMANS LIFTED
THEIR DOLDRUMS...

[faint gunfire]

(crowd)
* WE SHALL OVERCOME

[cannon fires]

[cannon fires]

[news reporter speaking faintly]

(girls)
* FIRST COMES LOVE

* THEN COMES MARRIAGE

* THEN COMES A BABY
IN A BABY CARRIAGE *

THEY ALWAYS LOOK LIKE
THEY'RE HAVING MORE FUN.

EVERYONE HAS MORE FUN.

COMMUNISTS HAVE MORE FUN
THAT WE DO.

YOU SEEN PATRICIA?

THEY'RE HUGE.

SHE SAID SHE'D
LET ME TOUCH 'EM.

BULLSHIT.

SHE SAID, SHE DID,
FOR A DOLLAR.

TO YOU?
SHE SAID THAT TO YOU?

NOT EXACTLY.
NOT TO ME.

THOUGHT SO.

CARL SAID
YOU WERE A FAG.

SO?

SO HE SAID
YOU WERE A FAG.

WOW, WHAT ARE YOU
GONNA DO?

NOTHING.

YOU CAN'T DO NOTHING.

SOME FRIEND YOU ARE.

COME ON, FAG.
YOU'RE THE FAG.

(Carl)
LET'S SEE WHAT YOU GOT.

[boys cheering]

[boys chanting]
FIGHT, FIGHT!

[boys cheering]

(boys)
OHH!

(Jimmy)
THAT'S FOR SETTING ME UP.

[whistle blows]

(woman)
WHAT ARE YOU DOING?

(both)
NOTHING, SISTER.

GOD SMILES ON THE OBSEQUIOUS,
MR. STAFFORD,

NOT IN THE IMPENITENT.

[bell tolling]

GENTLEMEN, IT'S 5:00.

DETENTION IS OVER.

IN THE EYES OF GOD,
ALL SINNERS CAN BE REDEEMED.

(both)
YES, SISTER.

MY EYES SEE DIFFERENT THINGS.

(both)
YES, SISTER.

JIMMY, I--
FUCK YOU.

I DIDN'T MEAN--

YOU'RE AN ASSHOLE,
BOTH OF YOU.

[door closes]

[pensive piano music]

*

[dog barks distantly]

MOM? DAD?

[women on radio]
* DO-DO-DO,
SHOOBY DOOBY DOO BOP *

* DOWN DOWN BE DOOBY DOOBY

* SHOOBY DOOBY DOO BOP
DOWN DOWN BE DOOBY DOOBY *

* SHOOBY DOOBY DOO BOP
DOWN DOWN BE DOOBY DOOBY *

* I CAN'T STAY MAD AT YOU

* YOU CAN MAKE ME CRY

* YOU CAN BREAK MY HEART

* BUT I'LL NEVER SAY
WE'RE THROUGH *

* EVEN WHEN I CRY,
I CAN'T STAY MAD AT YOU *

[tires skid faintly]

* YOU CAN RUN AROUND,
YOU CAN TELL ME LIES *

* BUT THERE'S NOTHING
I CAN DO *

* I'LL NEVER SAY GOOD-BYE

* 'CAUSE
I CAN'T STAY MAD AT YOU *

* I CAN'T STAY MAD AT YOU

* I GOT MAD AT YOU LAST NIGHT

* WHEN YOU WERE HOLDING
ANOTHER GIRL TIGHT *

* BUT WHEN I THOUGHT
ABOUT ALL YOUR CHARMS *

* I BOUNCED RIGHT BACK
INTO YOUR ARMS *

* ONE THING YOU'LL KNOW
FOR SURE *

* I WON'T BE THE ONE TO
FALL IN LOVE WITH SOMEONE NEW *

[Adam groaning softly]

[knock at door]

(Mike)
SON, YOU IN THERE?

YEAH, I'M HERE.

YOU, UH, WORKING HARD IN THERE?

(Adrienne)
LEAVE HIM ALONE, MIKE.

(Mike)
MY POOR SON.

HE'S GONNA GO BLIND,
GET HAIR ON HIS PALMS.

(Adrienne)
MIKE, HE'S 13;
IT'S WHAT THEY DO.

[bell tolling]

(girl)
HI, GUYS.

ROGER, HAVE YOU SEEN
PATRICIA THIS MORNING?

SHE'S REALLY
PRETTY, YEAH?

[door clicks]

(Adrienne)
MIKE?

WOULD YOU HURRY UP?

WHAT'S THE RUSH?
KING GETS ARRESTED ALL THE TIME.

I WANT A GOOD SEAT.

[engine turns]

[pensive piano music]

*

[whistles nonchalantly]

(Adam)
"JOHN FITZGERALD KENNEDY."

"TO HAVE SEEN WHAT I HAVE SEEN
AND SEE WHAT I SEE.

"USE WITH CARE.

LOVE, GEORGE."

"CATHERINE CASWELL."

CATHERINE.

(woman)
CAN I HELP YOU
WITH SOMETHING?

YEAH, I--
I LIVE ACROSS THE STREET.

YES?

AND I--I WAS WONDERING
IF YOU NEEDED

ANY WORK DONE, YOU KNOW,
IN THE GARDEN,

AROUND THE HOUSE.

I'M TRYING TO
EARN SOME MONEY.

FOR WHAT?

A TRIP TO EUROPE

WITH MY CLASS.

THAT'S SOUNDS VERY ADVENTUROUS.

ADAM.

ADAM.

ARE YOU COMING IN?

WHAT CAN YOU DO?
WHAT?

AROUND THE HOUSE.

OH, CLEAN, FIX.
ALL THE USUAL STUFF.

AND YOU WANT ME
TO PAY YOU FOR THAT?

FOR MY TRIP.

TO EUROPE?

MM-HMM.

YOU KNOW HIM?

PRESIDENT KENNEDY?

WE'VE MET.

MY MOM SHOOK HANDS
WITH HIM ONCE, AT DINNER.

SHE SAID IT MADE HER
FEEL LIKE SHE WAS NAKED.

YOUR FATHER MUST NOT
HAVE LIKED THAT TOO MUCH.

MY DAD SAYS
HE STOLE THE ELECTION

BY BEING A PRETTY BOY
ON TELEVISION.

WHAT DO YOU THINK?

I DON'T KNOW.
I DIDN'T SEE IT.

I NEED MY GARDEN LANDSCAPED.

CAN YOU DO THAT?

SURE.

YOU EVER DO IT BEFORE,

WORKED IN A GARDEN?

THEN I'M NOT GONNA PAY YOU
VERY MUCH, AM I?

I'M A FAST LEARNER.

I BET YOU ARE.

COME BACK TOMORROW.

RIGHT.

TOMORROW.

[door opens]

[door closes]

MADE HER FEEL
LIKE SHE WAS NAKED.

SHIT.

(Adrienne)
ADAM, DINNER.

(Adam)
COMING.

(Adrienne)
NOW, ADAM. NOW.

(Adam)
SAID I'M COMING.

(Adrienne)
HE'S NOT IN THE BATHROOM AGAIN,
IS HE?

[Mike and Adrienne
speaking faintly]

(Adrienne)
ADAM.

(Adrienne)
ADAM.

I SAID I'D BE RIGHT THERE.

[school bell rings]

HEY, FAITH.
HI.

HI, PATRICIA.

DIPSHIT.

FUCK OFF, CARL.

RIGHT, FUCK OFF.
OKAY.

I WAS JUST WONDERING
IF, YOU KNOW, YOU'D WANT

TO COME BY MY HOUSE
SOMETIME AFTER SCHOOL.

AND DO WHAT?

I DON'T KNOW.

TALK, LISTEN TO
SOME RECORDS.

YEAH, I'D LIKE THAT.

GREAT, SO--

MR. STAFFORD, IS THERE
THE FAINTEST POSSIBLE REASON

YOU MIGHT HAVE FOR NOT BEING
WHERE YOU'RE SUPPOSED TO BE?

NO, SISTER.

I THOUGHT NOT.

IT'S ME, ADAM,
FROM NEXT DOOR.

YOUR GARDEN...
RIGHT.

I'M GOING TO WORK
IN YOUR GARDEN.

WHO PAINTED THESE?

I DID.

DO YOU LIKE THEM?

I THINK SO, BUT THEY'RE
JUST COLOR, THOUGH, RIGHT?

THEY AREN'T SUPPOSED
TO MEAN ANYTHING?

MM, COLOR IS COLOR.

WHAT DO THEY MEAN?

WHATEVER
YOU WANT THEM TO.

THINGS ARE
WHAT WE MAKE OF THEM.

FORM IS DEAD.
WHAT?

FORM IS DEAD.

YOU EVER SEEN
AN ABANDONED BUILDING:

BROKEN WINDOWS,
CRACKED DOORS, AND WALLS?

SURE.

FROM THE MOMENT THAT
BUILDING WAS BUILT,

IT WAS STARTING
TO FALL APART.

IT JUST DEPENDS ON HOW YOU
CHOOSE TO LOOK AT IT.

FORM IS DEAD.

THAT'S COOL.
I LIKE THAT.

IT LOOKS PRETTY GOOD
TO ME.

[lighter strikes]

I WANT YOU
TO RIP IT ALL UP.

ALL OF IT?

EVERYTHING.

JUST PULL IT UP
AND THROW IT ALL AWAY.

I WANT DIRT,

A NEW BEGINNING,
NOTHING BOXED OR CONSTRAINED.

RIP IT ALL UP,
AND WE'LL START ALL OVER AGAIN.

FORM IS DEAD, RIGHT?

EXACTLY.

[insect buzzes]

THAT MIGHT HELP.

YOU LOOK BEAUTIFUL.

I BET YOU SAY THAT
TO ALL THE GIRLS.

NO.

FINISH UP THAT TREE,
THEN HEAD ON HOME.

[footsteps retreating]

THE CUBANS ARE NEVER
GONNA FORGIVE KENNEDY, EVER.

WELL, IT'S NOT LIKE
IT MATTERS.

WE'VE GOT COMMUNISTS
LIVING 90 MILES AWAY.

HELL,
CASTRO LAUGHS AT US,

LAUGHS AT US.

WELL, YOU LOOK LIKE YOU'VE
BEEN DIGGING TO CHINA.

WHERE HAVE YOU BEEN?

WORKING
IN THE GARDEN.

WHAT GARDEN?

MRS. CASWELL'S.

WHO?

MRS. CASWELL.

SHE MOVED IN ACROSS THE STREET.

CATHERINE CASWELL?

MM-HMM.

WHY DON'T YOU HAVE
A SEAT, BUD?

[light jazz music playing]

CATHERINE CASWELL.
SHE'S VERY NICE, ISN'T SHE?

YEAH, I LIKE HER.

SHE'S A VERY
SPECIAL LADY.

SHE IS SOMEONE WHO HAS SEEN
AND DONE A LOT OF THINGS.

TOO MANY THINGS.

SHE HAS HAD
A VERY HARD LIFE.

SHE IS VERY EMOTIONAL.

AND MAYBE SHE'S NOT
THE BEST PERSON

FOR YOU TO BE WORKING FOR
AFTER SCHOOL.

WHY NOT?

WELL, IT ISN'T EASY
TO EXPLAIN.

SHE'S DIFFERENT
THAN WE ARE, ADAM.

SHE DOESN'T CARE
ABOUT THE SAME THINGS.

SHE DOESN'T CARE ABOUT
HER OWN SON, FOR GOD'S SAKE.

ADDIE.

SHE HAS A SON?

HAD A SON. HAD.

WHAT HAPPENED?

IT DOESN'T MATTER
WHAT HAPPENED.

WHAT MATTERS IS THAT
YOU STAY AWAY FROM HER.

YOU--

YOU SAID TO GET A JOB
TO EARN SOME MONEY. YOU SAID--

FINE, GET A JOB,
JUST NOT WITH--

OKAY, ADAM, WORKING
FOR HER IS ALL RIGHT.

MIKE.

JUST DON'T LINGER,
OKAY?

DO WHAT SHE ASKS,
THEN COME HOME.

OKAY, BUD?

OKAY.

WHAT'D YOU DO
IN SCHOOL TODAY?

NOTHING.

GREAT.

(Kennedy)
ALL FREE MEN,
WHEREVER THEY MAY LIVE,

ARE CITIZENS OF BERLIN,

AND THEREFORE,
AS A FREE MAN,

I TAKE PRIDE IN THE WORDS,
ICH BIN EIN BERLINER.

[crowd cheers]

[Kennedy faintly]
THERE ARE MANY PEOPLES
IN THE WORLD

WHO REALLY DON'T UNDERSTAND,
OR SAY THEY DON'T,

WHAT IS THE GREAT ISSUE
BETWEEN THE FREE WORLD

AND THE COMMUNIST WORLD.

LET THEM COME TO BERLIN.

[crowd cheers]

[camera shutter clicking]

[Kennedy speaking on TV
faintly]

(Adam)
JOHN FITZGERALD KENNEDY.

[crowd cheering faintly]

WHAT?

SO YOU AND THE PRESIDENT
REALLY ARE FRIENDS.

OF COURSE WE ARE.

WE MET AT SCHOOL--

WHAT'S THAT
SUPPOSED TO MEAN?

I WAS LOOKING OUT MY WINDOW
LAST NIGHT, AND I--

AND SAW NOTHING.

YOU SAW ABSOLUTELY
NOTHING.

OKAY. SORRY.

THERE ARE SOME THINGS,
ADAM, THAT ARE PRIVATE,

AND THEY SHOULD
STAY THAT WAY.

LIKE YOUR SON?

WHO TOLD YOU
ABOUT MY SON?

MY PARENTS.

YOUR PARENTS.

OH, MY GOD.

IF YOU HAD A SON,

THEN YOU MUST HAVE A HUSBAND,
RIGHT?

EX-HUSBAND.

WHAT'S HE LIKE?

HE'S GONE,
THAT'S WHAT HE'S LIKE.

HE WAS A LITTLE BOY,

JUST LIKE YOU.

I'M NOT A LITTLE BOY.

NO, I DON'T
SUPPOSE YOU ARE.

WHERE ARE YOU GOING?

AS IF THAT'S ANY
OF YOUR BUSINESS.

[pensive instrumental music]

*

HE WON'T TALK TO ANYONE
AT LANGLEY, CATHERINE.

JACK WON'T TALK
ABOUT IT.

HE SAYS IT'S OVER
AND DONE WITH.

PERHAPS YOU NEED
TO CONVINCE HIM

THAT THE CONVERSATION
MUST REMAIN OPEN.

HE SAID THAT BOBBY SAID--
OH, CHRIST.

BOBBY.

[no audible dialogue]

AIR SUPPORT.

THAT'S ALL IT WAS:
LACK OF AIR SUPPORT.

WELL, IT'S ALWAYS EASY
TO SECOND-GUESS A DECISION

ONCE IT'S BEEN MADE.

ESPECIALLY WHEN IT'S
THE WRONG DECISION.

(man)
WE ARE TALKING
ABOUT THE MAN

WHO IN STOOD
IN FRONT OF THE WALL

AND MISPRONOUNCED "BERLINER."

ICH BIN EIN BERLINER:
WE ARE ALL JELLY DONUTS.

[chuckles]

MY GOD, CAN WE TALK ABOUT
SOMETHING ELSE, PLEASE?

IT'S WASHINGTON;

WHAT ELSE IS THERE
TO TALK ABOUT?

LIFE, MAYBE?

LIFE? THERE IS LIFE
OUTSIDE OF POLITICS?

NOTHING OUTSIDE
OF POLITICS.

[speaks
indistinctly]

HMM.

[muffled conversation]

[Mike faintly]
CATHERINE CASWELL.

(Adrienne)
AND YOU SHOULD HAVE SEEN HIM.
HE COMES HOME COVERED IN DIRT.

(man)
LIKE HE WAS IN BAY OF PIGS.

(Adrienne)
NO, BAY OF PIGS.

(man)
BOY OF PIGS.

[Mike laughs]
THE BOY OF PIGS.

FORM IS DEAD.

[bell tolling]

HEY.

HEY.

WE'RE GOING TO OUR HOUSE,
RIGHT?

YEAH, RIGHT. DEFINITELY.

HEY, GUYS.
READY TO GO?

MAGDA'S GOING
TO COME WITH US.

THAT'S OKAY, ISN'T IT?

SURE.

I GUESS.
LET'S GO.

[dreamy pop music playing]

*

COOL HOUSE.

WHAT DO YOUR PARENTS DO?

THEY'RE WRITERS,
JOURNALISTS.

(Magda)
MY MOM'S A WRITER.

COOKBOOKS.

COOL.

YOU GUYS JUST PRETEND
I'M NOT HERE.

I'M NOT HERE.

WHAT WAS THAT?

IT'S KISSING, STUPID,
FRENCH KISSING.

I WENT TO FRANCE ONCE.

SO YOU SHOULD KNOW
HOW TO DO THIS.

OF COURSE.

OW.

WHAT IS THAT?

IT'S MY TOOTH.

THAT IS COMPLETELY
DISGUSTING.

I'VE GOT TO GO.

MY MOM'S GONNA PICK ME UP.

YEAH, WE BETTER.

CALL ME WHEN
YOU GET THAT FIXED.

(Adrienne)
YOU BROKE YOUR TOOTH,

AND YOU WEREN'T GONNA TELL US
ABOUT IT?

I GLUED IT BACK IN.

YOU GLUED IT?

I THOUGHT
IT WOULD BE OKAY.

THIS ISN'T A BABY TOOTH, ADAM.

THESE DON'T GROW BACK.

I KNOW THAT.

THEN WHY DIDN'T YOU
TELL US?

I DON'T KNOW.

WHAT IS WRONG WITH YOU?

NOTHING'S WRONG
WITH ME.

WHAT IS THAT SUPPOSED
TO MEAN?

EVERY DAY,
YOU COME HOME DIRTY

AFTER WORKING
IN THAT WOMAN'S GARDEN.

YOU SAID--

YOU SPEND ALL YOUR TIME
ALONE IN YOUR ROOM.

BECAUSE YOU--

YOU DON'T TALK
TO US ANYMORE.

IT'S YOUR TOOTH,
FOR GOD'S SAKE.

MY TOOTH. MY TOOTH.

[door slams]

WHAT WAS THAT?

I HAVE NO IDEA.

WELL, I'LL CALL THE DENTIST
IN THE MORNING.

[glass shatters]

[sitar music playing faintly]

*

(man)
SOCIETY GIRLS
AND WASHINGTON WIVES.

[laughs shortly]

NERO FIDDLES;
ROME BURNS.

WHO THE FUCK ARE YOU?

IT ISN'T SAFE TO IGNORE PEOPLE
IN THE DARK, KID.

YOU DIDN'T ANSWER
MY QUESTION.

WHAT? DO YOU LIKE
TO SNEAK AROUND?

IS THAT WHAT
YOU LIKE TO DO?

HMM? YOU LIKE TO WATCH?

HMM? YOU LIKE TO SNEAK AROUND
AND WATCH?

HOW ABOUT I THROW YOU
IN JAIL?

HMM? LET OTHER PEOPLE
WATCH YOU FOR A WHILE.

YOU CAN'T PUT ME IN JAIL.

OH, NO?

YOU'RE NOT A COP.

WHAT MAKES YOU SAY THAT?

YOU'RE DRUNK.

DRUNKS COME IN ALL SHAPES
AND SIZES, KID.

COME ON.

(man)
SO THIS IS WHAT A JOURNEY

TO A HIGHER CONSCIOUSNESS
LOOKS LIKE.

HELLO, GRAHAM.

IT'S PATHETIC.

LOOK AT YOU.

I FOUND THIS PEEPING TOM
OUTSIDE.

(Catherine)
HI, ADAM.

(Adam)
HI.

OH, YOU KNOW HIM.

HE'S DOING SOME WORK FOR ME
IN THE GARDEN.

IN THE GARDEN.

LOOKS LIKE VIETNAM,
POST-NAPALM.

DON'T YOU LIKE IT?

NO.

GOOD.

I THINK I'M GONNA GO.

WHY?

IT'S NICE TO HAVE A MAN
AROUND THE HOUSE.

[laughs]

WHAT THE FUCK
ARE YOU LAUGHING AT?

WHAT!

GO ON UPSTAIRS.
I'LL BE UP IN A MOMENT.

WHAT HAPPENED TO YOU?

WHERE DID YOU GO?

I'M RIGHT HERE, GRAHAM,

JUST LIKE ALWAYS.

YOU MADE A PROMISE TO ME

AND HARRIS.

YOU SAID YOU'D
TAKE CARE OF US,

EVEN AFTER HE...

WE COULD'VE HAD
ANOTHER KID.

WE WERE STILL A FAMILY.

PEOPLE SEE YOU.

IT'S NOT AS IF IT'S A SECRET:

GOING IN AND OUT
OF THE WHITE HOUSE.

THEY SEE YOU, CATHERINE.

WHY DO YOU CARE?

YOU'RE MY WIFE.
WAS!

WAS YOUR WIFE.

EVERYONE KNOWS.

AND THEY LAUGH ABOUT IT.

AND YOU KNOW WHY?

'CAUSE YOU'RE NOT THE ONLY ONE,
CATHERINE.

HE'S GOT A STRING OF WOMEN,
AND HE FUCKS 'EM ALL,

EVERY LAST ONE OF 'EM.

YOU CAN'T HURT ME ANYMORE,
GRAHAM.

NOT YOU,
NOT YOUR GOVERNMENT,

YOUR PRECIOUS AGENCY.

NONE OF IT CAN TOUCH ME.

HE WAS MY SON TOO.

WAS HE?

[door closes]

TOUGH DAY
AT THE OFFICE?

I'VE GOT CUBANS RUNNING AROUND
SOUTH FLORIDA AND LOUISIANA

JUST LOOKING TO SHOOT SOMEONE,
IDIOTS WITH GUNS.

WELL, I TOLD YOU

THE ANTICOMMUNIST BRIGADE
WOULDN'T WORK.

THEY ALL WANT BACK IN
ON THEIR OWN TERMS.

ALMOST LIKE A MARRIAGE GONE BAD,
WOULDN'T YOU SAY?

ALMOST.

YOU TRAINED HER
VERY WELL.

SHE WAS AN AGENCY WIFE.

IS SHE GOING TO BE
A LIABILITY?

SHE WRITES
EVERYTHING DOWN--

SHE ALWAYS HAS--
IN HER DIARY.

I WOULD'VE THOUGHT
SHE'D BEEN BROKEN

OF THAT SORT OF HABIT.

YOU TRY TO BREAK HER;
SEE HOW FAR YOU GET.

[clears throat]

MR. DEL VALLE,
HOW ARE YOU?

EVERY MORNING I WAKE UP,
I THINK OF FIDEL LAUGHING AT US,

LAUGHING AND LAUGHING
BEHIND HIS COHIBA.

IT'S NOT FUNNY,
THOUGH, IS IT?

(Del Valle)
CASA BLANCA PLAYBOY KENNEDY,
HE LAUGHS AT US TOO.

YOU KNOW MR. CASWELL,
OF COURSE.

(Del Valle)
YES, OF COURSE.

WE MUST ACT SOONER
RATHER THAN LATER.

[no audible dialogue]

[soft acoustic guitar music]

*

(Adam)
"BAY OF PIGS."

OH, BOY.

(Catherine)
"WHAT DO THE SECRET SERVICE
AGENTS THINK

"WHILE THEY'RE WAITING OUTSIDE
WHILE JACK AND I SWIM?

"HE DOESN'T TRUST LUCIAN,
NOT ANYMORE.

IT'S ONLY BOBBY NOW."

[door clicks]

[man and Catherine laughing]

(Catherine)
YOU SHOULD HAVE SEEN YOUR FACE
AT LUNCH, CHARLIE.

(Charlie)
I WAS TOO WORRIED ABOUT
YOUR HANDS UNDER THE TABLE.

YOU'RE IN A HURRY.

THINGS TO SEE;
PLACES TO GO.

PEOPLE TO DO.

EXACTLY.

AH, LOOK AT YOU.

I DIDN'T INVITE
YOU OVER TO LOOK.

[pensive piano music]

*

(Catherine)
SO SOON?

HELENE'S MAKING DINNER,
QUAIL OR SOMETHING.

I PROMISED I'D BE THERE.

GIVE HER MY LOVE.

HE READ THAT HUXLEY BOOK
YOU SUGGESTED.

DIDN'T LIKE IT.

[laughs shortly]
NO SURPRISES THERE.

I COULD LEAVE HER, YOU KNOW.

FOR ME?

DON'T BOTHER.

MY QUAIL NEEDS WORK.

HAVE A NICE DINNER.

[footsteps retreating]

[door opens]

[door closes]

YOU LEFT YOUR BOOK BAG
ON THE FLOOR; DEAD GIVEAWAY.

UM, I'M SORRY.

THERE'S NO RAIN,
SO I'LL JUST GO HOME.

SIT DOWN.

NEVER BE ASHAMED OF
BEING EXCITED, ADAM.

JUST DON'T DO IT AGAIN.

I WON'T.

I SAW YOUR HUSBAND
TODAY.

HOW EXCITING FOR YOU.

HE WAS WITH ANOTHER GUY
IN A DIRTY SUIT.

THEY WERE TALKING
ABOUT YOU.

THEY MET SOMEBODY,
A GUY WITH AN ACCENT.

"DEL" SOMETHING.

DEL VALLE?
WAS THAT HIS NAME?

YEAH, THAT'S IT.

[exhales]

WHO IS HE?

HE'S A CUBAN,
A VERY ANGRY CUBAN.

SOME PEOPLE THINK
HE'S A PATRIOT.

OTHERS THINK
HE'S A CRIMINAL.

I GUESS THAT WOULD DEPEND
ON YOUR POINT OF VIEW.

THAT'S RIGHT.

THAT'S EXACTLY RIGHT.

YOU NEED TO GO NOW.

SEE YOU TOMORROW.

ADAM, IF YOU SEE
MY HUSBAND AGAIN,

GO IN THE OTHER
DIRECTION.

[dialing rotary phone]

[line ringing]

(woman)
OVAL OFFICE.

THIS IS CATHERINE CASWELL.
CAN YOU PUT ME THROUGH, PLEASE?

ONE MOMENT, PLEASE.

I'M SORRY, MRS. CASWELL,
THE PRESIDENT IS INDISPOSED.

I'LL WAIT.

IT MAY BE SOME TIME.

IT'S IMPORTANT.

WELL, I BELIEVE
HE'LL BE ON THE PHONE

LONGER THAN YOU'LL BE WILLING
TO WAIT.

MAY I TAKE A MESSAGE?

NO. NO, NO MESSAGE.

"INDISPOSED."

DON'T FUCK THIS UP, JACK.

(man on TV)
THIS IS THE NIGHT
THE CUBAN PRISONERS

FINALLY CAME BACK
FROM THE BAY OF PIGS.

THEY FLEW INTO MIAMI
AFTER 20 MONTHS OF CAPTIVITY,

FINALLY FREED BY FIDEL CASTRO

FOR A RANSOM OF $53 MILLION
IN FOOD AND MEDICINE.

HOW WILL THESE RETURNING
PRISONERS BE ABSORBED

INTO THE RESTLESS
AMERICAN CUBAN COMMUNITY?

ADAM,

HURRY UP;
THEY'LL BE HERE ANY MINUTE.

[faint thunder]

[rain pattering]

DOOFUS.

WALTER'S
DRIVING YOU.

WALTER?
JASON'S DAD.

WE'LL BE HOME LATE,
SO JUST PUT YOURSELF TO BED.

AND IF ANYONE,
AND I MEAN ANYONE,

IS DRINKING AT THIS PARTY,
I WANT YOU OUT OF THERE.

HAVE JASON
CALL HIS FATHER.

OKAY, MOM.

AND DON'T THINK I WON'T
FIND OUT ABOUT IT, MISTER,

BECAUSE I WILL.

CLEAR?
CLEAR.

[car horn honks]

BYE, DAD.

BYE, SON.

[car horn honks]

ADAM...

HAVE FUN.

['60s pop music playing]

(boy)
JIMMY, CUT THE SHIT.

WHAT?

HE'S TOO SCARED
TO PLAY.

(Jimmy)
AM NOT.

(boy)
JUST SHUT UP AND SIT DOWN.

(girl)
READY?

ADAM, SUIT UP
AND GET READY.

(all)
ADAM...

HERE WE GO.

DAMN IT, JIMMY.

(Jimmy)
WHAT?

(girl)
SUCH A BUTTWIPE.

FAITH, ONE MINUTE.

(boy)
60 LONG SECONDS.

[laughter]

(all)
ADAM AND FAITH.
ADAM AND FAITH.

ADAM AND FAITH.
ADAM AND FAITH.

ADAM AND FAITH.
ADAM AND FAITH.

ADAM AND FAITH.

60, 59, 58, 57, 56...

[counting muffled]

FRENCH, RIGHT?

RIGHT.

YOU GOT YOUR
TOOTH FIXED.

YEAH.
I CAN TELL.

ADAM.

FAITH.

ADAM STAFFORD IS AN ASSHOLE.

[thunder rumbles]

[jazzy percussive music
playing faintly]

[jazzy percussive music
playing loudly]

*

ARE YOU OKAY?

I'M PLANTING.

I THOUGHT YOU SAID WE HAD
TO WAIT TILL AFTER THE RAIN.

AFTER, DURING,
WHATEVER.

YOU MUST BE COLD.

YOU HAVE NO IDEA.

WHY IS THE MUSIC
SO LOUD?

I WAS PAINTING.

I COULD HEAR IT
FROM ACROSS THE STREET.

WANT ONE?

SURE.

[coughs]

[music stops, thunder rumbles]

YOU SHOULD GO HOME.

I WANT TO PAINT WITH YOU.

SO LET'S PAINT.

[soft pop music playing]

*

(woman)
* WHY DOES THE SUN
GO ON SHINING? *

* WHY DOES THE SEA
RUSH TO SHORE? *

* DON'T THEY...

(Adam)
SO WHAT DO YOU THINK?

(woman)
* IT'S THE END OF THE WORLD

* 'CAUSE YOU DON'T LOVE ME
ANYMORE *

NOT BAD.

* WHY DO THE BIRDS
GO ON SINGING? *

NOT BAD.

FORM IS DEAD.

EXACTLY.

* IT ENDED WHEN
I LOST YOUR LOVE *

*

* I WAKE UP IN THE MORNING
AND I WONDER *

* WHY EVERYTHING'S
THE SAME AS IT WAS *

* I CAN'T UNDERSTAND,
NO, I CAN'T UNDERSTAND *

* HOW LIFE GOES ON
THE WAY IT DOES *

[squeals]

* WHY DO THE BIRDS
GO ON SINGING? *

* WHY DO THE STARS
GLOW ABOVE? *

* DON'T THEY KNOW
IT'S THE END OF THE WORLD *

* IT ENDED WHEN
I LOST YOUR LOVE *

[Catherine whooping faintly]

* I WAKE UP IN THE MORNING
AND I WONDER *

* WHY EVERYTHING'S
THE SAME AS IT WAS *

* I CAN'T UNDERSTAND,
NO, I CAN'T UNDERSTAND *

[music fades out]

I THINK I'M DONE.

TEXAS FOR
THANKSGIVING?

I HAVE TO.

IF I DON'T GO, THEN I'M
NOT GONNA GET A RAISE.

YOU KNOW THEY LIKE IT
WHEN YOU'RE OUT THERE...

DOING THINGS. I KNOW, MIKE.

IT'S JUST...

ADAM IS...

I CAN'T DO IT ALONE.

AND TEXAS--I MEAN,
DALLAS IS A SHITHOLE.

IT'LL JUST BE
FOR A FEW DAYS.

AND I WILL TRY TO MAKE IT HOME
FOR THANKSGIVING SUPPER.

WELL, I'M GONNA GO
WAKE HIM UP.

HE SLEEPS LIKE
THE DEAD THESE DAYS.

HIS HORMONES PROBABLY SENT HIM
THROUGH THE ROOF

AT THAT PARTY LAST NIGHT.

[laughs]

[knock at door]

[door clicks]

ADAM, TIME TO GET--

MIKE. MIKE, GET UP HERE.

LOOK AT THIS.

HI, DAD.

WHAT AM I SUPPOSED
TO DO ABOUT THIS? WHAT?

IT'S NOT THAT BIG
OF A DEAL, MOM.

YOU HAVE PAINT
ALL OVER YOU!

IN THE SHOWER,
RIGHT NOW.

AND DO NOT COME OUT TILL
EVERY SPECK OF PAINT IS GONE.

AND THEN--THEN WE WILL DISCUSS
CLEANING YOUR ROOM.

MM-KAY, MOM.

NOW!

IT'S THAT WOMAN,
CATHERINE CASWELL.

THIS HAS GOT TO STOP, MIKE.
THIS HAS GOT TO STOP.

ALL RIGHT, I'LL TALK TO HER
THIS AFTERNOON.

YOU WILL TALK TO HER NOW,
RIGHT NOW.

ADDIE...
NOW.

ALL RIGHT, JUST,
I'M GONNA GO FINISH THE...

NOW!

[shower pattering]

[sighs]

HELLO.

HI, I'M...

MIKE STAFFORD
WITH THE STAR, NO?

I QUITE ENJOYED
YOUR LAST PIECE ON DR. KING,

THOUGH YOU DIDN'T EXACTLY
SEEM SYMPATHETIC, DID YOU?

CARVER, LUCIAN CARVER.

THE LUCIAN CARVER?

FAME IS FLEETING,

BUT IN WASHINGTON,
WE TAKE WHAT WE CAN GET.

WON'T YOU COME IN?

PLEASE.

LITTLE EARLY FOR COMPANY,
ISN'T IT, LUCIAN?

BEST BEHAVIOR,
MY DEAR.

THIS IS YOUR NEIGHBOR,
MIKE STAFFORD.

DRINK.

UH, IT'S
A LITTLE EARLY.

SHOULD HE HAVE A DRINK,
CATHERINE?

IT'S MY HOUSE,
MICHAEL.

HAVE A DRINK.

VODKA.

ROCKS.

JESUS, LUCIAN,
DON'T PLAY WITH HIM.

JUST GIVE HIM THE DRINK.

HOW'S THE BOY?

BOY?

YOUR SON, ADAM.

HOW IS HE?

UH, HE'S--
HE'S FINE.

HE'S GREAT.
THE USUAL.

(Lucian)
GOOD. GOOD.

IT'S WHAT WE ALL WORK FOR,
ISN'T IT?

THE CHILDREN.

THE FUTURE.

I SUPPOSE SO.

(Catherine)
HOW WAS YOUR CHILDHOOD,
LUCIAN?

SOMEHOW,
I DON'T SEE YOU LAUGHING

AND PLAYING IN THE MEADOWS.

OH.

IT WAS FINE.

GREAT.

THE USUAL.

(Catherine)
MIKE,

IS THIS A SOCIAL VISIT

OR DID YOU ACTUALLY
WANT SOMETHING?

NO. UH, YES, ACTUALLY,
IT HAS TO DO WITH ADAM.

AND MY WIFE, SHE WORRIES,
MAYBE TOO MUCH.

BUT SHE WORRIES
ABOUT HOW MUCH TIME

HE'S BEEN SPENDING OVER HERE,

AND HE'S STARTING TO NEGLECT
HIS SCHOOLWORK.

AND THE THING WITH THE PAINT
THIS MORNING...

IF YOUR WIFE WANTS HIM
TO STOP WORKING FOR ME,

THEN CONSIDER IT DONE.

SIMPLE AS THAT.

SIMPLE AS THAT.

SURE WAS A PLEASURE
TO MET YOU, MIKE.

I'LL BE LOOKING FORWARD
TO YOUR NEXT PIECE.

YES, GREAT.

THANKS.

HAVE FUN IN TEXAS.

NICE TO MEET YOU BOTH.

YOU DIDN'T HAVE
TO SCARE HIM.

[chuckles]
I SUPPOSE NOT.

BUT YOU ENJOYED IT.

THERE ARE SOME PERQUISITES

THAT COME WITH THE JOB.

THAT I DO ADMIT.

SCARING PEOPLE?

FORCING THEM TO DO THINGS
THEY DON'T WANT TO DO?

SOMETIMES WHAT SEEMS
LIKE THE WORST CHOICE

IS ACTUALLY THE BEST.

THERE'S NOTHING
I CAN DO, LUCIAN.

CATHERINE, YOUR FRIEND JACK
WON'T TALK TO ME,

WON'T, IN FACT, TALK TO
ANYONE INSIDE THE AGENCY.

YOU'RE OUR ONLY CONNECTION
TO THE OVAL OFFICE.

AND HE'S MADE IT
ABUNDANTLY CLEAR:

NO TALKING,

NO FUCKING,

NO NOTHING;
IT'S OVER.

I NEED TO WARN HIM.
ABOUT WHAT?

THE SITUATION
IS VERY FLUID.

IF HE REFUSES
TO DEAL WITH CUBA,

THEN CUBA IS GOING
TO DEAL WITH HIM.

WHAT'S THAT SUPPOSED
TO MEAN?

THERE IS PRESSURE
ON ME TO--

HE COULD BE IN DANGER.

HE'S THE PRESIDENT,
FOR GOD'S SAKE.

HE'S A MAN,
AND MEN MAKE MISTAKES

WHICH THEY HAVE TO
OWN UP TO AND CORRECT.

THINGS HAVE TO CHANGE,
CATHERINE,

OR ELSE THINGS
WILL REALLY CHANGE.

IT'S ALL A GAME OF CHESS,
ISN'T IT?

PLAYING OUT THE PAWNS
IN YOUR HEAD.

SHOULD I SACRIFICE THE ROOK
OR THE KING?

WILL YOU SACRIFICE ME?

CATHERINE,
I'M YOUR SON'S GODFATHER.

MY SON IS DEAD.

WHERE DOES THAT
LEAVE YOU?

HE WAS A LOVELY BOY.

GRAHAM WAS--
GET UP.

[door opens]

[door closes]

THIS IS CATHERINE CASWELL.
IS HE--

NO, NO MESSAGE.

(Mike)
CARVER. LUCIAN CARVER.
ADRIENNE, HE KNEW ADAM'S NAME.

HE KNEW WHAT I'VE BEEN WRITING.
HE KNEW I'M GOING TO TEXAS.

AND HE'S WITH THE CIA?

YEAH, HE'S WITH THE CIA

THE WAY THAT STALIN
WAS WITH THE COMMUNIST PARTY.

HE IS THE CIA: SPECIAL OPS,
CASTRO, LUMUMBA, ALL OF IT.

SO WHAT'S FOR BREAKFAST?

SIT YOUR ASS DOWN.

DAD, I--
SIT!

OKAY, NUMBER ONE, YOU'RE
GONNA HAVE NO MORE CONTACT

WITH THAT CASWELL WOMAN,
NONE, ZERO, ZILCH, EVER.

DAD...

NUMBER TWO,
YOU'RE GROUNDED.

WHY?

BECAUSE I SAID SO.

AND NUMBER THREE,
WHILE I'M GONE,

YOUR MOTHER'S GONNA
BE WORKING FROM HOME,

AND YOU ARE GONNA BE IN SCHOOL
OR YOU'RE GONNA BE HERE,

NOWHERE ELSE, CLEAR?

WHAT HAPPENED?

SCHOOL, HERE;
NOWHERE ELSE.

CLEAR?

CLEAR.

EGGS OKAY?

EGGS IT IS.

[pensive piano music]

*

MAY I HELP YOU, MA'AM?

CATHERINE CASWELL.

YES, MA'AM.

I'M SORRY, MRS. CASWELL.

THE PERSONAL LIST.
I'M SURE I'M THERE.

I'M SORRY, MRS. CASWELL.

IT--IT DOESN'T APPEAR
TO BE THERE ANYMORE.

WOULD YOU TAKE A BULLET?

MA'AM?

FOR THE PRESIDENT.

WOULD YOU TAKE A BULLET?

I'M A SOLDIER, MA'AM.

JUST FOLLOWING ORDERS?
DOING YOUR DUTY?

YES, MA'AM.

[pensive piano music continues]

*

FUCK DO YOU WANT?

NOTHING. MY BALL.

YOU GOT YOUR BALL,
RIGHT?

[school bell rings]

RIGHT.

[man speaking faintly]

[man on TV]
AT THE AIRPORT IN DALLAS, THE--

AND THROUGHOUT THE STREETS
OF DALLAS,

THE DALLAS POLICE HAVE BEEN
AUGMENTED BY SOME 400 POLICEMEN

CALLED IN ON THEIR DAY OFF,

BECAUSE THERE WERE SOME FEARS
AND CONCERNS IN DALLAS THAT--

THAT THERE MIGHT BE
DEMONSTRATIONS, AT LEAST,

THAT COULD EMBARRASS
THE PRESIDENT,

BECAUSE IT WAS ONLY
ON OCTOBER 24TH

THAT OUR AMBASSADOR
OF THE UNITED NATIONS,

ADLAI STEVENSON,
WAS ASSAULTED IN DALLAS

LEAVING A DINNER MEETING THERE.

FROM DALLAS, TEXAS,
THE FLASH, APPARENTLY OFFICIAL:

PRESIDENT KENNEDY DIED

AT 1:00 P.M.
CENTRAL STANDARD TIME,

2:00 EASTERN STANDARD TIME,
SOME 38 MINUTES AGO.

THEY KILLED HIM.

[gasps]

THEY KILLED HIM.

VICE PRESIDENT JOHNSON HAS LEFT
THE HOSPITAL IN DALLAS,

BUT WE DO NOT KNOW
TO WHERE HE HAS PROCEEDED.

PRESUMABLY, HE WILL BE TAKING
THE OATH OF OFFICE SHORTLY

AND BECOME THE 36TH PRESIDENT
OF THE UNITED STATES.

[man on TV]
PRESIDENT KENNEDY,
AT DALLAS AIRPORT THIS MORNING,

WAS CHEERFUL AND WAVING...

[TV audio fades out]

STOP.

THE BUDS.

YOU DON'T WANT TO HURT THEM.

NOVEMBER 22ND,
AND MY GARDEN IS BLOSSOMING.

(man on TV)
POLICE HAVE BEEN LOOKING
FOR A WHITE MAN

APPROXIMATELY 30 YEARS OF AGE,
165 POUNDS, SLENDER BUILD.

IT SEEMS THAT THIS MAN
SHOT THE PRESIDENT

WITH A .30-.30 RIFLE.

IT'S NOT MY FAULT.

[softly]
ADAM.

DON'T TOUCH ME.

I'M SORRY.

GET OUT.

CATHERINE, I--
NO.

GET OUT, YOU LITTLE SHIT.

[man on TV]
SOMETIMES OVERSHADOWING
THE PRESIDENT HIMSELF.

MOM?

IT'S ALL RIGHT.

EVERYTHING'S
GONNA BE FINE.

[sniffles]

[pensive piano music]

*

(Adrienne)
HOW BAD WAS IT?

(Mike)
THE MOTORCADE CAME AROUND
THE CORNER.

THE WIND WAS BLOWING.
PEOPLE WERE TALKING.

THEY WERE LAUGHING,
POINTING.

AND THEN HIS HEAD
SNAPPED BACK

AND FORWARD.

JACKIE CLIMBS OUT
OVER THE TRUNK

LIKE SHE'S LOOKING
FOR SOMETHING.

AND THE CARS DROVE AWAY.
GOD.

(Mike)
I GOT TO GET BACK
TO THE OFFICE.

(Adrienne)
BUT YOU JUST GOT HERE
TEN MINUTES AGO.

OSWALD HIRED A LAWYER.
I'LL BE THERE ALL NIGHT.

IT MUST HAVE
BEEN HORRIBLE.

YEAH, IT WAS.

AT LEAST IT'S OVER.

THANK GOD FOR
SMALL FAVORS.

I'LL SEE YOU, BUDDY.

[doorbell rings]

OH, HELLO.

I JUST WAS WONDERING
IF I MIGHT COME IN FOR A MOMENT.

(Adrienne)
NO, I DON'T THINK SO.

I JUST WANTED TO MAKE SURE
THAT ADAM IS ALL RIGHT.

HE'S FINE.

(Catherine)
I THINK HE HAS
SOMETHING OF MINE.

(Adrienne)
WELL, I'LL MAKE SURE
TO ASK HIM.

OKAY.

UPSTAIRS.

I JUST WANT--

NOW.

(Graham)
I HAVE TO AGREE WITH YOU.

FUCK THE GLASS;
GO STRAIGHT FOR THE BOTTLE.

JUST LEAVE ME ALONE.

I JUST WANTED
TO CHECK ON YOU,

MAKE SURE YOU'RE OKAY.

WHERE DID YOU
FIND RUBY?

WAS HE A FRIEND
OF DEL VALLE'S?

A FRIEND OF YOURS?

IT'S MORE COMPLICATED THAN THAT.

COMPLICATED?

HE'S THE PRESIDENT,
AND HE'S DEAD.

WAS. THE PRESIDENT WAS.

WHEN I MARRIED YOU...

YOU WERE THE MOST IDEALIST MAN
I'D EVER MET,

A MAN WHO WAS GONNA CHANGE
THE WORLD.

YOU CHANGED THE WORLD,
ALL RIGHT.

YOU LOST EVERY IDEAL
YOU EVER HAD.

TIMES ARE DIFFERENT.

TIMES ARE THE SAME.

YOU'RE DIFFERENT.

I DIDN'T LOSE MY IDEALS,
CATHERINE.

I LOST YOU.

HE WOULDN'T LISTEN,
NOT TO ANYBODY.

I NEED THE DIARY,
CATHERINE.

NEED A LITTLE DENIABILITY,
GRAHAM?

POINT "A" LEADS
TO POINT "B"

LEADS TO A FINGER
ON THE TRIGGER?

JUST LEAVE ME ALONE.

I'M AN "EX":

EX-WIFE,

EX-MOTHER,

EX-LOVER.

IF YOU DON'T
GIVE IT TO ME--

I'LL TALK.

I'LL BREAK EVERY RULE
IN YOUR LITTLE BOOK.

I'LL TALK ABOUT YOU
AND LUCIAN AND DEL VALLE.

I'LL PUT YOUR FINGERS
ON THAT TRIGGER.

LEE HARVEY OSWALD
IS THE ONLY MAN

WITH HIS FINGER
ON THE TRIGGER.

LEAVE ME ALONE,
AND IT'LL STAY THAT WAY.

[drink pours]

BESIDES, I'VE EARNED IT.

THAT'S NOT LIKE YOU.

YOU'VE GOT DIARIES GOING BACK
TO THE THIRD GRADE.

WHAT IS LIKE ME, GRAHAM?

WHAT AM I LIKE?

HARRIS WAS--
FUCK YOU.

IT--IT WASN'T YOUR FAULT.

I--I LOST YOU.

BUT I WANT YOU BACK.

WE COULD GO AWAY...

START OVER, JUST THE TWO OF US,
ANYWHERE YOU WANT.

I THINK I'D LIKE THAT.

BUT YOU MUST
GIVE LUCIAN THE DIARY.

I TOLD YOU;
I EARNED IT.

TALK TO HIM,
TELL HIM,

AND THEN WE'LL GO
WHEREVER YOU WANT.

I'LL THINK ABOUT IT.

DO.

DO.

[footsteps retreating]

[door opens]

[door closes]

I'M LEAVING.

I FULLY EXPECT NEVER
TO SEE YOU AGAIN,

AND I HOPE
THE FEELING'S MUTUAL.

WHERE ARE YOU GOING?

I'LL BE GONE.
HMM.

YOU WON'T HAVE TO WORRY
ABOUT ME ANYMORE, AGREED?

THE DIARY POSES
A PROBLEM.

YOU CAN'T SHUT UP
EVERYONE, LUCIAN.

I DON'T HAVE TO;
JUST THE PEOPLE WHO WILL TALK.

THE DIARY IS
IN A SAFE PLACE.

LEAVE ME ALONE,
AND IT WILL STAY THERE.

I JUST LOVE
A GOOD MYSTERY.

I MEAN IT, LUCIAN.

I WONDER WHERE IT COULD BE;
THAT'S THE QUESTION.

NO DOUBT A SAFE PLACE.

WHO KNOWS...

YOU MIGHT EVEN GIVE IT
TO SOMEONE.

THE SAFEST PLACE, A PLACE
I WOULD NEVER THINK TO LOOK.

I WONDER WHERE
THAT COULD BE,

WHO THAT COULD BE.

YOU WOULDN'T.

CATHERINE, I WOULD DO ANYTHING
I HAD TO, ANYTHING AT ALL.

(woman)
AND TO BRING THE POINT HOME,

HE STOOD BEFORE
THAT HORRIBLE WALL

AND DECLARED TO THE WORLD,
"ICH BIN EIN BERLINER":

WE ARE ALL...

JELLY DONUTS.

EXCUSE ME?

"BERLINER,"
HE PRONOUNCED IT WRONG.

HE SAID, "WE'RE ALL
JELLY DONUTS."

IS THAT A JOKE?

NO, SISTER.

STAND UP.

COME HERE.

HOLD OUT YOUR HAND.

JOHN F. KENNEDY WAS
THE GREATEST PRESIDENT

THIS COUNTRY WILL EVER KNOW...

thwack!

A CATHOLIC...

thwack!

A MAN WITH A VISION
FOR THE FUTURE.

thwack!

I WILL NOT TOLERATE HUMOR
AT HIS EXPENSE.

I WASN'T TRYING--
thwack!

A GREAT MAN HAS BEEN TAKEN
FROM US.

NOW GO, AND YOU PRAY.

thwack!

PRAY HARD.

[door opens]

[door closes resoundingly]

[footsteps]

ADAM.

WHAT ARE YOU
DOING HERE?

I TOLD THEM
I WAS YOUR AUNT.

I NEED IT BACK.

WHAT?

WHAT DO YOU THINK?

I'M SORRY--

DON'T BE SORRY;
JUST GIVE IT BACK.

IT'S AT HOME.

BRING IT TO ME THEN, OKAY?

AFTER SCHOOL, MET ME AT
THE STEPS AT 3:30, OKAY?

OKAY.

I'M GOING AWAY
FOR A LITTLE WHILE.

WHERE?

I DON'T KNOW.

INDIA, MAYBE.

SOMEPLACE EXOTIC
AND FOREIGN

WHERE I CAN'T UNDERSTAND
THE LANGUAGE.

WHY?

BECAUSE I CAN'T--

LIFE ABOUT MEANING,

YOU KNOW, FINDING THE THINGS
IN LIFE THAT HAVE MEANING:

CHILDREN, ART,

LOVE.

I DON'T HAVE
ANY OF THAT ANYMORE.

YOU HAVE ME.

I KNOW I DO.

BUT SOMETIMES ONE PERSON
ISN'T ENOUGH.

YOU PUT ALL YOUR DESIRES
AND YOUR DREAMS INTO THEM,

AND THEN THEY'RE GONE.

IF I WAS OLDER...

THEN YOU WOULDN'T BE YOU.

HOPE...

IT'S SOMETHING THAT GETS LOST
AS YOU GET OLDER,

AND I NEED TO FIND IT AGAIN.

IS THAT SOME SORT OF
LIFE LESSON OR SOMETHING?

SOMETHING LIKE THAT.

3:30.
THE STEPS.

GRAHAM, IT'S ME.

I'LL HAVE IT THIS AFTERNOON.

GRAHAM, I'M HAPPY
WE'RE GOING AWAY.

[bell tolling]

[no audible dialogue]

YOU'RE HOME EARLY.

SO ARE YOU.

IS EVERYTHING OKAY, BUDDY?

WHY WAS HE HERE?

WHO?

THE TRENCH COAT,
THAT GUY.

OH, HE'S AN OLD FRIEND
OF YOUR MOM'S AND MINE. HE...

WHERE IS IT?
WHAT DID HE DO WITH IT?

THERE ARE SOME THINGS THAT DON'T
MAKE SENSE WHEN YOU'RE A KID.

SHE WANTS IT BACK.

I'M SURE THAT SHE DOES.

I SAID I'D GIVE IT BACK.

WHEN YOU'RE OLDER,
YOU'LL UNDERSTAND.

I AM OLDER.
I DO UNDERSTAND.

ADAM.

YOU TELL ME THE TRUTH
WHEN IT SUITS YOU.

YOU LIE TO ME
FOR MY OWN GOOD?

CATHERINE'S NEVER LIED
TO ME, NOT ONCE.

I'M SORRY, ADAM.

YOU'RE MY FATHER.

YOU'RE SUPPOSED TO DO
THE RIGHT THING FOR ME.

I DID.

ADAM...

[footsteps retreating]

THAT'S MINE.

ACTUALLY, IT'S NOT.

IT'S NOT YOURS EITHER.

YOU'RE ABSOLUTELY RIGHT.

ADAM.

CATHERINE'S HAD A FULL LIFE:
ART, LOVE, INTRIGUE.

SOMETIMES
WITH A LIFE LIKE THAT,

IT'S STARTS TO GET CONFUSING.

CATHERINE WAS CONFUSED.

HER DIARY SAID THAT.

[lighter strikes]

WHERE IS SHE?

ISN'T SHE WAITING FOR YOU?

[pensive piano music]

*

*

(Jimmy)
BOBBY SAID
YOU WERE A FAG.

GOOD FOR HIM.

SAID YOU OFFERED TO SUCK
HIS DICK FOR A QUARTER.

SO?

SO WHAT ARE YOU
GONNA DO ABOUT IT?

HE SAID
YOU WERE GONNA SUCK...

YOU'RE THE FAG!

ASSHOLE.
WHAT?

PUSSY.

[boys yelling encouragement]

[doorbell rings]

[soft pop music]

*

(woman)
* WHY DOES THE SUN
GO ON SHINING? *

* WHY DOES THE SEA
RUSH TO SHORE? *

* DON'T THEY KNOW
IT'S THE END OF THE WORLD *

* 'CAUSE YOU DON'T LOVE ME
ANYMORE *

* WHY DO THE BIRDS
GO ON SINGING? *

* WHY DO THE STARS
GLOW ABOVE *

* DON'T THEY KNOW
IT'S THE END OF THE WORLD *

* IT ENDED WHEN
I LOST YOUR LOVE *

* I WAKE UP IN THE MORNING
AND I WONDER *

* WHY EVERYTHING'S
THE SAME AS IT WAS *

* I CAN'T UNDERSTAND,
NO, I CAN'T UNDERSTAND *

* HOW LIFE GOES ON
THE WAY IT DOES *

* WHY DOES MY HEART
GO ON BEATING? *

* WHY DO THESE EYES
OF MINE CRY? *

* DON'T THEY KNOW
IT'S THE END OF THE WORLD *

* IT ENDED WHEN
YOU SAID GOOD-BYE *

* WHY DOES MY HEART
GO ON BEATING? *

* MM-MM-MMM

* WHY DO THESE EYES
OF MINE CRY? *

* MM-MM-MMM

* DON'T THEY KNOW
IT'S THE END OF THE WORLD *

* IT ENDED WHEN
YOU SAID GOOD-BYE *

*

Captioning by CaptionMax
www.captionmax.com

[pensive piano music]

*