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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:02,000 --> 00:00:07,000 Downloaded from YTS.MX 2 00:00:02,003 --> 00:00:05,037 [ PROJECTOR RUNNING ] 3 00:00:08,000 --> 00:00:13,000 Official YIFY movies site: YTS.MX 4 00:00:11,678 --> 00:00:16,882 >> Man: I WAS EATING A TOMATO AT TEATIME A FEW WEEKS AGO AND I SUDDENLY REALIZED THAT 5 00:00:16,884 --> 00:00:19,651 AT TEATIME A FEW WEEKS AGO AND I SUDDENLY REALIZED THAT MUMMY IS NOT DEAD AT ALL. 6 00:00:19,653 --> 00:00:22,287 AND I SUDDENLY REALIZED THAT MUMMY IS NOT DEAD AT ALL. JUST VERY, VERY MYSTERIOUS. 7 00:00:22,289 --> 00:00:24,523 MUMMY IS NOT DEAD AT ALL. JUST VERY, VERY MYSTERIOUS. [¶...] 8 00:00:24,525 --> 00:00:26,425 JUST VERY, VERY MYSTERIOUS. [¶...] >> Mummy: [HUMMING...] 9 00:00:26,427 --> 00:00:28,293 [¶...] >> Mummy: [HUMMING...] >> Man: PAPA SPOKE LANGUAGES, 10 00:00:28,295 --> 00:00:29,828 >> Mummy: [HUMMING...] >> Man: PAPA SPOKE LANGUAGES, CLIMBED MOUNTAINS. 11 00:00:29,830 --> 00:00:30,729 >> Man: PAPA SPOKE LANGUAGES, CLIMBED MOUNTAINS. [CLICK] 12 00:00:30,731 --> 00:00:32,297 CLIMBED MOUNTAINS. [CLICK] HE WAS AN ADVENTURER. 13 00:00:32,299 --> 00:00:34,633 [CLICK] HE WAS AN ADVENTURER. [¶...] 14 00:00:34,635 --> 00:00:36,502 HE WAS AN ADVENTURER. [¶...] BUT MUMMY WAS SUCH A GIFTED 15 00:00:36,504 --> 00:00:38,604 [¶...] BUT MUMMY WAS SUCH A GIFTED PERSON SOCIALLY. 16 00:00:39,239 --> 00:00:42,708 AND SHE WAS A MASTER OF THE UNDERSTATEMENT... [CLICK] 17 00:00:42,710 --> 00:00:44,209 OF THE UNDERSTATEMENT... [CLICK] AN ADVENTURESS... 18 00:00:44,211 --> 00:00:46,412 [CLICK] AN ADVENTURESS... [¶...] 19 00:00:50,016 --> 00:00:52,317 AND HE WAS COLD AND DARK... 20 00:00:53,019 --> 00:00:57,156 AND SHE WAS WARM AND LIGHT. [¶...] 21 00:00:59,225 --> 00:01:04,830 AND I WAS LITTLE TONY. [MUMMY MURMURS TO BABY] [PHONE RINGS...] 22 00:01:04,832 --> 00:01:06,031 [MUMMY MURMURS TO BABY] [PHONE RINGS...] I WAS THE STEAM 23 00:01:06,033 --> 00:01:07,833 [PHONE RINGS...] I WAS THE STEAM WHEN HOT MEETS COLD. 24 00:01:07,835 --> 00:01:10,235 I WAS THE STEAM WHEN HOT MEETS COLD. [PHONE RINGS] 25 00:01:10,237 --> 00:01:13,338 WHEN HOT MEETS COLD. [PHONE RINGS] >> Mummy: MIDGE? WELL, HELLO. 26 00:01:13,340 --> 00:01:14,573 [PHONE RINGS] >> Mummy: MIDGE? WELL, HELLO. THE REASON THAT I CALLED, 27 00:01:14,575 --> 00:01:16,241 >> Mummy: MIDGE? WELL, HELLO. THE REASON THAT I CALLED, DARLING, IS THAT ASCHWIN, 28 00:01:16,243 --> 00:01:18,143 THE REASON THAT I CALLED, DARLING, IS THAT ASCHWIN, PRINCE ASCHWIN LIPPE? 29 00:01:18,145 --> 00:01:20,379 DARLING, IS THAT ASCHWIN, PRINCE ASCHWIN LIPPE? HIS BROTHER IS PRINCE BERNHARD? 30 00:01:20,381 --> 00:01:21,680 PRINCE ASCHWIN LIPPE? HIS BROTHER IS PRINCE BERNHARD? WELL, HE THOUGHT, ASCHWIN 31 00:01:21,682 --> 00:01:22,948 HIS BROTHER IS PRINCE BERNHARD? WELL, HE THOUGHT, ASCHWIN THOUGHT IT WOULD BE LOVELY TO 32 00:01:22,950 --> 00:01:24,583 WELL, HE THOUGHT, ASCHWIN THOUGHT IT WOULD BE LOVELY TO MEET AT THE STORK CLUB TONIGHT. 33 00:01:24,585 --> 00:01:26,318 THOUGHT IT WOULD BE LOVELY TO MEET AT THE STORK CLUB TONIGHT. AND HE SO WANTS TO KNOW YOU AND 34 00:01:26,320 --> 00:01:28,821 MEET AT THE STORK CLUB TONIGHT. AND HE SO WANTS TO KNOW YOU AND JOOST AND ASKED IF I COULD... 35 00:01:28,823 --> 00:01:30,189 AND HE SO WANTS TO KNOW YOU AND JOOST AND ASKED IF I COULD... WELL, OF COURSE. 36 00:01:30,191 --> 00:01:34,293 JOOST AND ASKED IF I COULD... WELL, OF COURSE. SHALL WE SAY... 10:30? 37 00:01:34,295 --> 00:01:36,395 WELL, OF COURSE. SHALL WE SAY... 10:30? IS THAT TOO CONTINENTAL? 38 00:01:36,397 --> 00:01:40,866 SHALL WE SAY... 10:30? IS THAT TOO CONTINENTAL? [LAUGHS] 39 00:01:40,868 --> 00:01:42,468 IS THAT TOO CONTINENTAL? [LAUGHS] BE AS CATTY AS YOU WANT, 40 00:01:42,470 --> 00:01:44,903 [LAUGHS] BE AS CATTY AS YOU WANT, BUT TONY CAN HEAR EVERY WORD 41 00:01:44,905 --> 00:01:46,038 BE AS CATTY AS YOU WANT, BUT TONY CAN HEAR EVERY WORD YOU'RE SAYING. 42 00:01:46,040 --> 00:01:48,006 BUT TONY CAN HEAR EVERY WORD YOU'RE SAYING. CAN YOU IMAGINE THE WORLD HE'S 43 00:01:48,008 --> 00:01:50,209 YOU'RE SAYING. CAN YOU IMAGINE THE WORLD HE'S GROWING UP INTO? 44 00:01:50,211 --> 00:01:51,410 CAN YOU IMAGINE THE WORLD HE'S GROWING UP INTO? BROOKS AND I WILL SEE 45 00:01:51,412 --> 00:01:53,112 GROWING UP INTO? BROOKS AND I WILL SEE YOU TONIGHT. 46 00:01:53,114 --> 00:01:55,647 BROOKS AND I WILL SEE YOU TONIGHT. [SHE HANGS UP] 47 00:01:56,850 --> 00:02:01,386 BROOKS... DARLING... 48 00:02:02,922 --> 00:02:08,927 >> I GATHER THAT YOU'RE MAKING COMMITMENTS FOR ME. [¶...] 49 00:02:08,929 --> 00:02:10,662 COMMITMENTS FOR ME. [¶...] SANS PERMISSION, 50 00:02:10,664 --> 00:02:12,598 [¶...] SANS PERMISSION, SANS CONSULTATION. 51 00:02:16,469 --> 00:02:21,507 >> PRINCE ASCHWIN DE LIPPE, PLEASE. YOU MAY SAY BARBARA BAEKELAND 52 00:02:21,509 --> 00:02:23,509 PLEASE. YOU MAY SAY BARBARA BAEKELAND IS CALLING. 53 00:02:23,511 --> 00:02:24,610 YOU MAY SAY BARBARA BAEKELAND IS CALLING. DON'T GET DIFFICULT, 54 00:02:24,612 --> 00:02:26,278 IS CALLING. DON'T GET DIFFICULT, NOT TONIGHT, DARLING. 55 00:02:26,280 --> 00:02:27,779 DON'T GET DIFFICULT, NOT TONIGHT, DARLING. PLEASE FORGIVE THE INTRUSION AND 56 00:02:27,781 --> 00:02:29,414 NOT TONIGHT, DARLING. PLEASE FORGIVE THE INTRUSION AND THE DAMNABLY SHORT NOTICE BUT WE 57 00:02:29,416 --> 00:02:30,782 PLEASE FORGIVE THE INTRUSION AND THE DAMNABLY SHORT NOTICE BUT WE ARE HAVING LATE SUPPER TONIGHT 58 00:02:30,784 --> 00:02:32,084 THE DAMNABLY SHORT NOTICE BUT WE ARE HAVING LATE SUPPER TONIGHT WITH MIDGE AND JOOST VAN DEN 59 00:02:32,086 --> 00:02:34,119 ARE HAVING LATE SUPPER TONIGHT WITH MIDGE AND JOOST VAN DEN HEUVEL AND THEY WOULD SO LIKE 60 00:02:34,121 --> 00:02:36,455 WITH MIDGE AND JOOST VAN DEN HEUVEL AND THEY WOULD SO LIKE THE PLEASURE OF YOUR COMPANY. 61 00:02:36,457 --> 00:02:38,423 HEUVEL AND THEY WOULD SO LIKE THE PLEASURE OF YOUR COMPANY. THEY'LL BE DELIGHTED. 62 00:02:39,159 --> 00:02:40,893 AS WILL I. 63 00:02:41,461 --> 00:02:44,029 AS WILL BROOKS. [LIGHTER SNAPS SHUT] 64 00:02:46,699 --> 00:02:51,003 THANK YOU, DARLING. >> Tony: AND PEOPLE SAY NOW THAT I MUST'VE HATED THEM BECAUSE OF 65 00:02:51,005 --> 00:02:52,037 >> Tony: AND PEOPLE SAY NOW THAT I MUST'VE HATED THEM BECAUSE OF WHAT... 66 00:02:52,039 --> 00:02:53,071 I MUST'VE HATED THEM BECAUSE OF WHAT... [LIGHTER SNAPS SHUT] 67 00:02:53,073 --> 00:02:54,773 WHAT... [LIGHTER SNAPS SHUT] TRANSPIRED... 68 00:02:54,775 --> 00:02:56,341 [LIGHTER SNAPS SHUT] TRANSPIRED... >> Barbara: WE WON'T BE BACK TOO 69 00:02:56,343 --> 00:02:57,609 TRANSPIRED... >> Barbara: WE WON'T BE BACK TOO LATE, I PROMISE. 70 00:02:57,611 --> 00:02:59,011 >> Barbara: WE WON'T BE BACK TOO LATE, I PROMISE. >> Tony: BUT EVERYTHING THAT 71 00:02:59,013 --> 00:03:01,413 LATE, I PROMISE. >> Tony: BUT EVERYTHING THAT HAPPENED... HAPPENED BECAUSE 72 00:03:01,415 --> 00:03:02,614 >> Tony: BUT EVERYTHING THAT HAPPENED... HAPPENED BECAUSE OF LOVE. 73 00:03:03,416 --> 00:03:04,750 >> DO I... 74 00:03:06,553 --> 00:03:08,387 DO I LOOK LIKE A MONKEY TO YOU? 75 00:03:09,656 --> 00:03:14,726 THEN WHY ON EARTH SHOULD I GET DRESSED UP IN A FUCKING MONKEY SUIT JUST TO EAT? 76 00:03:14,728 --> 00:03:16,028 DRESSED UP IN A FUCKING MONKEY SUIT JUST TO EAT? >> YOU DON'T HAVE TO WEAR YOUR 77 00:03:16,030 --> 00:03:17,996 SUIT JUST TO EAT? >> YOU DON'T HAVE TO WEAR YOUR TUX, AND NO NEED TO BE VULGAR. 78 00:03:17,998 --> 00:03:19,598 >> YOU DON'T HAVE TO WEAR YOUR TUX, AND NO NEED TO BE VULGAR. >> IN FRONT OF THE B-O-Y? 79 00:03:19,600 --> 00:03:20,966 TUX, AND NO NEED TO BE VULGAR. >> IN FRONT OF THE B-O-Y? >> JUST WEAR YOUR UNIFORM. 80 00:03:20,968 --> 00:03:22,000 >> IN FRONT OF THE B-O-Y? >> JUST WEAR YOUR UNIFORM. >> I WILL NOT. 81 00:03:22,002 --> 00:03:23,135 >> JUST WEAR YOUR UNIFORM. >> I WILL NOT. >> YOU LOOK SO HANDSOME, SO 82 00:03:23,137 --> 00:03:25,204 >> I WILL NOT. >> YOU LOOK SO HANDSOME, SO DASHING IN YOUR UNIFORM. 83 00:03:25,206 --> 00:03:26,505 >> YOU LOOK SO HANDSOME, SO DASHING IN YOUR UNIFORM. >> THE WAR IS OVER. 84 00:03:26,507 --> 00:03:27,739 DASHING IN YOUR UNIFORM. >> THE WAR IS OVER. HAVE YOU NOT HEARD? 85 00:03:27,741 --> 00:03:29,208 >> THE WAR IS OVER. HAVE YOU NOT HEARD? >> YOU HAVE A RIGHT. 86 00:03:29,210 --> 00:03:30,709 HAVE YOU NOT HEARD? >> YOU HAVE A RIGHT. YOU WON THE WAR, I MEAN, YOU 87 00:03:30,711 --> 00:03:32,578 >> YOU HAVE A RIGHT. YOU WON THE WAR, I MEAN, YOU VOLUNTEERED, SO YOU HAVE A RIGHT 88 00:03:32,580 --> 00:03:34,146 YOU WON THE WAR, I MEAN, YOU VOLUNTEERED, SO YOU HAVE A RIGHT TO WEAR YOUR UNIFORM. 89 00:03:35,148 --> 00:03:39,918 YOU FATHER LOOKED SO HANDSOME, SO DASHING... SO DASHING. 90 00:03:42,188 --> 00:03:46,625 >> IS THE LITTLE PARAGON COMING WITH OR DO YOU PLAN ON LEAVING HIM HERE ALONE? 91 00:03:46,627 --> 00:03:47,960 WITH OR DO YOU PLAN ON LEAVING HIM HERE ALONE? >> NINI WILL BE HERE AT NINE. 92 00:03:47,962 --> 00:03:49,595 HIM HERE ALONE? >> NINI WILL BE HERE AT NINE. >> IN THAT CASE, I'M GLAD THAT 93 00:03:49,597 --> 00:03:51,163 >> NINI WILL BE HERE AT NINE. >> IN THAT CASE, I'M GLAD THAT I SHALL BE DINING OUT. 94 00:03:57,237 --> 00:03:58,770 [TONY GURGLES] 95 00:04:00,907 --> 00:04:04,209 [COOING] >> Woman: TONE... TONY, TONY, TONY... 96 00:04:04,211 --> 00:04:05,410 >> Woman: TONE... TONY, TONY, TONY... >> MOTHER, DO YOU THINK WE 97 00:04:05,412 --> 00:04:06,778 TONY, TONY, TONY... >> MOTHER, DO YOU THINK WE SHOULD CALL HIM "ANTONY"? 98 00:04:06,780 --> 00:04:09,114 >> MOTHER, DO YOU THINK WE SHOULD CALL HIM "ANTONY"? >> ANTONY WILL BE HIS FULL 99 00:04:09,116 --> 00:04:10,849 SHOULD CALL HIM "ANTONY"? >> ANTONY WILL BE HIS FULL NAME, HIS FORMAL NAME, HIS NAME 100 00:04:10,851 --> 00:04:12,084 >> ANTONY WILL BE HIS FULL NAME, HIS FORMAL NAME, HIS NAME TO THE WORLD. 101 00:04:12,086 --> 00:04:13,952 NAME, HIS FORMAL NAME, HIS NAME TO THE WORLD. AND TONY WILL BE HIS NAME AS A 102 00:04:13,954 --> 00:04:16,655 TO THE WORLD. AND TONY WILL BE HIS NAME AS A CHILD... AND AMONG INTIMATES. 103 00:04:16,657 --> 00:04:18,991 AND TONY WILL BE HIS NAME AS A CHILD... AND AMONG INTIMATES. >> WHEN I REFER TO HIM... 104 00:04:18,993 --> 00:04:20,659 CHILD... AND AMONG INTIMATES. >> WHEN I REFER TO HIM... WHEN I AM ASKED IF I HAVE 105 00:04:20,661 --> 00:04:21,760 >> WHEN I REFER TO HIM... WHEN I AM ASKED IF I HAVE A PHOTOGRAPH... 106 00:04:21,762 --> 00:04:22,995 WHEN I AM ASKED IF I HAVE A PHOTOGRAPH... DO I SAY... 107 00:04:22,997 --> 00:04:24,997 A PHOTOGRAPH... DO I SAY... >> YOU SAY, "THIS IS TONY." 108 00:04:24,999 --> 00:04:26,632 DO I SAY... >> YOU SAY, "THIS IS TONY." AND THEY WILL SAY, 109 00:04:26,634 --> 00:04:28,867 >> YOU SAY, "THIS IS TONY." AND THEY WILL SAY, "WHAT AN ANGEL." 110 00:04:28,869 --> 00:04:30,535 AND THEY WILL SAY, "WHAT AN ANGEL." >> OH, YES. 111 00:04:30,537 --> 00:04:34,506 "WHAT AN ANGEL." >> OH, YES. AN ANGEL, WHAT AN ANGEL. 112 00:04:34,508 --> 00:04:36,942 >> OH, YES. AN ANGEL, WHAT AN ANGEL. WHAT AN ANGEL YOU ARE. 113 00:04:36,944 --> 00:04:37,976 AN ANGEL, WHAT AN ANGEL. WHAT AN ANGEL YOU ARE. [TONY GURGLES] 114 00:04:37,978 --> 00:04:39,511 WHAT AN ANGEL YOU ARE. [TONY GURGLES] WE MAY BE OUT LATE. 115 00:04:39,513 --> 00:04:41,046 [TONY GURGLES] WE MAY BE OUT LATE. >> "SHALL." 116 00:04:41,547 --> 00:04:49,087 >> OH YES, YOUR MOTHER LOVES YOU... MMM... [KISSING, COOING] 117 00:04:51,658 --> 00:04:52,991 >> BARBARA. 118 00:04:53,559 --> 00:04:57,896 [BATH WATER SPLASHES] GOOD NIGHT, TONY. YOU'RE IN GOOD HANDS. 119 00:04:57,898 --> 00:04:59,898 GOOD NIGHT, TONY. YOU'RE IN GOOD HANDS. >> ENJOY THE STORK CLUB. 120 00:04:59,900 --> 00:05:02,367 YOU'RE IN GOOD HANDS. >> ENJOY THE STORK CLUB. AND YOU MAY STAY OUT AS LATE AS 121 00:05:02,369 --> 00:05:03,969 >> ENJOY THE STORK CLUB. AND YOU MAY STAY OUT AS LATE AS YOU WISH. 122 00:05:04,337 --> 00:05:05,671 >> FUCK! 123 00:05:08,274 --> 00:05:10,509 [TONY GURGLES, VOCALIZES] 124 00:05:12,011 --> 00:05:18,684 [BIG BAND DANCE MUSIC PLAYS...] [GENERAL CONVERSATION...] 125 00:05:26,859 --> 00:05:32,130 >> MR. AND MRS. BAEKELAND, RIGHT THIS WAY. [¶...] 126 00:05:45,511 --> 00:05:49,548 >> HELLO. [KISS] WONDERFUL TO SEE YOU. 127 00:05:49,550 --> 00:05:50,882 [KISS] WONDERFUL TO SEE YOU. HOW DO YOU DO? 128 00:05:50,884 --> 00:05:54,953 WONDERFUL TO SEE YOU. HOW DO YOU DO? [¶...] 129 00:05:54,955 --> 00:05:56,154 HOW DO YOU DO? [¶...] I'M BARBARA. 130 00:05:56,156 --> 00:05:57,155 [¶...] I'M BARBARA. >> Woman: SIMONE. 131 00:05:57,157 --> 00:05:58,423 I'M BARBARA. >> Woman: SIMONE. >> HOW DO YOU DO? 132 00:05:58,425 --> 00:05:59,658 >> Woman: SIMONE. >> HOW DO YOU DO? [¶...] 133 00:06:00,693 --> 00:06:06,531 ...WHY, IT WAS WITH DIETER THAT BROOKS WENT ON HIS GREAT ADVENTURE... IN PERU. 134 00:06:06,533 --> 00:06:08,300 BROOKS WENT ON HIS GREAT ADVENTURE... IN PERU. IN THE VILLA... 135 00:06:08,302 --> 00:06:09,935 ADVENTURE... IN PERU. IN THE VILLA... [SIGHS] DARLING, YOU KNOW I'M 136 00:06:09,937 --> 00:06:12,070 IN THE VILLA... [SIGHS] DARLING, YOU KNOW I'M NOT AT MY BEST WITH GEOGRAPHY. 137 00:06:13,606 --> 00:06:17,676 BROOKS, HELP ME. VILLA...? >> DARLING, DON'T PRESS. 138 00:06:17,678 --> 00:06:19,211 VILLA...? >> DARLING, DON'T PRESS. MAYBE YOUR HUSBAND DOESN'T FEEL 139 00:06:19,213 --> 00:06:20,712 >> DARLING, DON'T PRESS. MAYBE YOUR HUSBAND DOESN'T FEEL LIKE IN MIDST OF DINNER. 140 00:06:20,714 --> 00:06:22,514 MAYBE YOUR HUSBAND DOESN'T FEEL LIKE IN MIDST OF DINNER. >> BROOKS, PLEASE, IF YOU DON'T 141 00:06:22,516 --> 00:06:23,782 LIKE IN MIDST OF DINNER. >> BROOKS, PLEASE, IF YOU DON'T FEEL LIKE PERFORMING... 142 00:06:23,784 --> 00:06:25,317 >> BROOKS, PLEASE, IF YOU DON'T FEEL LIKE PERFORMING... >> VILCABAMBA. >> AH. 143 00:06:25,818 --> 00:06:28,787 >> DIETER AND I, WE WENT TO THE VILCABAMBA IN PERU. 144 00:06:29,856 --> 00:06:33,325 >> SO TELL US, MAN, WHAT WAS YOUR "LITTLE" ADVENTURE? 145 00:06:34,227 --> 00:06:35,527 >> IT WAS NOTHING. 146 00:06:37,230 --> 00:06:39,998 WELL, I LIE. IT WAS SOMETHING. [ALL CHUCKLE, 147 00:06:40,000 --> 00:06:41,266 IT WAS SOMETHING. [ALL CHUCKLE, BARBARA LAUGHS LOUDEST] 148 00:06:41,268 --> 00:06:42,334 [ALL CHUCKLE, BARBARA LAUGHS LOUDEST] I WAS INTRIGUED BY A 149 00:06:42,336 --> 00:06:43,869 BARBARA LAUGHS LOUDEST] I WAS INTRIGUED BY A 400-YEAR-OLD MYSTERY: WHAT 150 00:06:43,871 --> 00:06:45,604 I WAS INTRIGUED BY A 400-YEAR-OLD MYSTERY: WHAT BECAME OF MANCO INCA. 151 00:06:45,606 --> 00:06:46,972 400-YEAR-OLD MYSTERY: WHAT BECAME OF MANCO INCA. I WANTED TO FIND THE RUINS 152 00:06:46,974 --> 00:06:48,073 BECAME OF MANCO INCA. I WANTED TO FIND THE RUINS OF THE LOST CITY. 153 00:06:48,075 --> 00:06:49,641 I WANTED TO FIND THE RUINS OF THE LOST CITY. >> THIS IS ACTUALLY TRUE. 154 00:06:49,643 --> 00:06:51,109 OF THE LOST CITY. >> THIS IS ACTUALLY TRUE. GIVE HIM A DIRT ROAD AND HE'LL 155 00:06:51,111 --> 00:06:52,210 >> THIS IS ACTUALLY TRUE. GIVE HIM A DIRT ROAD AND HE'LL GO UP IT. 156 00:06:52,212 --> 00:06:53,245 GIVE HIM A DIRT ROAD AND HE'LL GO UP IT. [ALL LAUGH] 157 00:06:53,247 --> 00:06:54,513 GO UP IT. [ALL LAUGH] >> Lippe: THAT'S VERY GOOD. 158 00:06:54,515 --> 00:06:57,048 [ALL LAUGH] >> Lippe: THAT'S VERY GOOD. [APPLAUSE FOR THE BAND...] 159 00:06:57,050 --> 00:06:59,818 >> Lippe: THAT'S VERY GOOD. [APPLAUSE FOR THE BAND...] [¶...] 160 00:06:59,820 --> 00:07:01,753 [APPLAUSE FOR THE BAND...] [¶...] [GLASSES CLINK] 161 00:07:10,163 --> 00:07:14,099 WOULD YOU, SIMONE? >> OH, I DON'T KNOW. >> YOUR HUSBAND ASKED YOU 162 00:07:14,101 --> 00:07:15,734 >> OH, I DON'T KNOW. >> YOUR HUSBAND ASKED YOU A QUESTION. 163 00:07:15,736 --> 00:07:18,236 >> YOUR HUSBAND ASKED YOU A QUESTION. >> THIS SEEMS... UNFAIR. 164 00:07:18,238 --> 00:07:19,704 A QUESTION. >> THIS SEEMS... UNFAIR. THIS SEEMS... [CHERRY PLOPS 165 00:07:19,706 --> 00:07:21,273 >> THIS SEEMS... UNFAIR. THIS SEEMS... [CHERRY PLOPS INTO DRINK] TEDIOUS. 166 00:07:21,275 --> 00:07:22,541 THIS SEEMS... [CHERRY PLOPS INTO DRINK] TEDIOUS. >> HMM... BUT WOULD YOU? 167 00:07:22,543 --> 00:07:24,242 INTO DRINK] TEDIOUS. >> HMM... BUT WOULD YOU? >> YES, WOULD YOU? 168 00:07:25,211 --> 00:07:32,017 >> WOULD I EAT A POUND OF HUMAN FLESH FOR $10 MILLION? NO, I WOULD NOT. 169 00:07:34,420 --> 00:07:38,523 I HAVE EATEN HORSE FLESH, YOU KNOW. >> THERE IS A DIFFERENCE BETWEEN 170 00:07:38,525 --> 00:07:39,825 YOU KNOW. >> THERE IS A DIFFERENCE BETWEEN EATING THE CHEVAL ANDNCE BETWEEN 171 00:07:39,827 --> 00:07:40,859 >> THERE IS A DIFFERENCE BETWEEN EATING THE CHEVAL ANDNCE BETWEEN EATING THE CHEVALIER. 172 00:07:40,861 --> 00:07:41,593 EATING THE CHEVAL ANDNCE BETWEEN EATING THE CHEVALIER. [CHUCKLING] 173 00:07:41,595 --> 00:07:42,594 EATING THE CHEVALIER. [CHUCKLING] >> BROOKS, FOR $10 MILLION, 174 00:07:42,596 --> 00:07:44,095 [CHUCKLING] >> BROOKS, FOR $10 MILLION, WOULD YOU SLEEP WITH SIMONE? 175 00:07:46,933 --> 00:07:52,237 FOR $10 MILLION, WOULD YOU-- >> DON'T, BARBARA, PLEASE. DON'T BE TEDIOUS. 176 00:07:53,873 --> 00:07:58,043 >> WOULD YOU GO HOME WITH THE FIRST PERSON THAT YOU MET, GOING THROUGH A NIGHT CLUB DOOR? 177 00:08:00,046 --> 00:08:01,513 >> YES, I WOULD. 178 00:08:02,915 --> 00:08:08,086 SO... SHALL WE GET ON WITH OUR DRINKS? >> BROOKS, BARBARA, HAVE YOU 179 00:08:08,088 --> 00:08:10,155 WITH OUR DRINKS? >> BROOKS, BARBARA, HAVE YOU EVER BEEN TO THE ENGADIN? 180 00:08:10,157 --> 00:08:11,656 >> BROOKS, BARBARA, HAVE YOU EVER BEEN TO THE ENGADIN? >> OH, I WAS PRACTICALLY BORN 181 00:08:11,658 --> 00:08:12,791 EVER BEEN TO THE ENGADIN? >> OH, I WAS PRACTICALLY BORN IN GSTAAD! 182 00:08:12,793 --> 00:08:14,125 >> OH, I WAS PRACTICALLY BORN IN GSTAAD! >> SHE PRACTICALLY LOVES 183 00:08:14,127 --> 00:08:15,560 IN GSTAAD! >> SHE PRACTICALLY LOVES THE SKI INSTRUCTORS. 184 00:08:15,995 --> 00:08:21,833 [BARBARA LAUGHS...] [¶...] 185 00:08:28,474 --> 00:08:32,511 >> Man: THANK YOU FOR COMING THIS EVENING. >> Barbara: GOOD-BYE. 186 00:08:32,513 --> 00:08:34,746 THIS EVENING. >> Barbara: GOOD-BYE. [¶...] 187 00:08:34,748 --> 00:08:35,780 >> Barbara: GOOD-BYE. [¶...] >> Brooks: BARBARA. 188 00:08:35,782 --> 00:08:36,982 [¶...] >> Brooks: BARBARA. >> YOU SAID THAT YOU WOULD GO 189 00:08:36,984 --> 00:08:38,450 >> Brooks: BARBARA. >> YOU SAID THAT YOU WOULD GO HOME WITH THE FIRST PERSON THAT 190 00:08:38,452 --> 00:08:39,484 >> YOU SAID THAT YOU WOULD GO HOME WITH THE FIRST PERSON THAT YOU MET GOING THROUGH 191 00:08:39,486 --> 00:08:40,485 HOME WITH THE FIRST PERSON THAT YOU MET GOING THROUGH A NIGHT CLUB DOOR-- 192 00:08:40,487 --> 00:08:41,553 YOU MET GOING THROUGH A NIGHT CLUB DOOR-- >> NO, I SAID-- 193 00:08:41,555 --> 00:08:43,822 A NIGHT CLUB DOOR-- >> NO, I SAID-- >> SO I THOUGHT I MIGHT GO HOME 194 00:08:43,824 --> 00:08:46,191 >> NO, I SAID-- >> SO I THOUGHT I MIGHT GO HOME WITH THE FIRST PERSON... HELLO! 195 00:08:46,193 --> 00:08:48,527 >> SO I THOUGHT I MIGHT GO HOME WITH THE FIRST PERSON... HELLO! HELLO, I'M AWFULLY THIRSTY, 196 00:08:48,529 --> 00:08:50,262 WITH THE FIRST PERSON... HELLO! HELLO, I'M AWFULLY THIRSTY, WOULD YOU BUY ME A DRINK? 197 00:08:50,264 --> 00:08:52,330 HELLO, I'M AWFULLY THIRSTY, WOULD YOU BUY ME A DRINK? ASCHWIN, SIMONE... 198 00:08:52,332 --> 00:08:53,431 WOULD YOU BUY ME A DRINK? ASCHWIN, SIMONE... >> [ANGRILY]: BARBARA. 199 00:08:53,433 --> 00:08:55,267 ASCHWIN, SIMONE... >> [ANGRILY]: BARBARA. >> BROOKS. 200 00:08:55,269 --> 00:08:56,401 >> [ANGRILY]: BARBARA. >> BROOKS. [TAXI ENGINE RUNNING, 201 00:08:56,403 --> 00:08:57,669 >> BROOKS. [TAXI ENGINE RUNNING, HORN HONKS] 202 00:08:57,671 --> 00:08:59,571 [TAXI ENGINE RUNNING, HORN HONKS] ...LOVELY TO SEE YOU ALL. 203 00:09:01,807 --> 00:09:04,342 [BARBARA LAUGHS, 204 00:09:05,912 --> 00:09:08,780 [¶...] 205 00:09:12,485 --> 00:09:16,021 [¶...] 206 00:09:24,864 --> 00:09:29,534 >> NINI? >> OH, I'M SORRY. >> QUITE ALL RIGHT. 207 00:09:29,536 --> 00:09:31,002 >> OH, I'M SORRY. >> QUITE ALL RIGHT. >> I'M SORRY. 208 00:09:31,470 --> 00:09:35,106 I MUST HAVE-- >> YOU FELL ASLEEP, QUITE NATURAL. 209 00:09:35,775 --> 00:09:38,243 IT'S LATE, IT GOT LATE, YOU FELL ASLEEP. 210 00:09:39,679 --> 00:09:42,914 I TRUST YOUR EVENING WAS-- >> OH, WE HAD A FINE TIME. 211 00:09:44,550 --> 00:09:45,817 >> I CAN HOLD DOWN THE FORT. 212 00:09:46,218 --> 00:09:50,622 >> WHERE'S BARBARA? >> SHE'S RETURNING SEPARATELY. MAY I GET YOUR COAT? 213 00:09:50,624 --> 00:09:52,290 >> SHE'S RETURNING SEPARATELY. MAY I GET YOUR COAT? >> I'LL JUST GO. 214 00:09:52,292 --> 00:09:53,858 MAY I GET YOUR COAT? >> I'LL JUST GO. AND WAS THE PRINCE THERE? 215 00:09:53,860 --> 00:09:54,993 >> I'LL JUST GO. AND WAS THE PRINCE THERE? >> EXCUSE ME? 216 00:09:55,561 --> 00:09:58,029 >> THE PRINCE. THE PRINCE OF AMSTERDAM. >> AH. 217 00:09:58,031 --> 00:09:59,064 THE PRINCE OF AMSTERDAM. >> AH. >> WAS HE THERE? 218 00:09:59,066 --> 00:10:00,098 >> AH. >> WAS HE THERE? >> I THINK YOU'RE THINKING OF 219 00:10:00,100 --> 00:10:01,666 >> WAS HE THERE? >> I THINK YOU'RE THINKING OF PRINCE BERNHARD, PRINCE BERNHARD 220 00:10:01,668 --> 00:10:02,500 >> I THINK YOU'RE THINKING OF PRINCE BERNHARD, PRINCE BERNHARD OF THE NETHERLANDS. 221 00:10:03,202 --> 00:10:06,838 HE WAS COUNT LIPPE-BIESTERFELD, OF COURSE, BEFORE HE MARRIED JULIANA. 222 00:10:06,840 --> 00:10:08,340 OF COURSE, BEFORE HE MARRIED JULIANA. THE MAN WITH WHOM WE DINED, 223 00:10:08,342 --> 00:10:09,975 JULIANA. THE MAN WITH WHOM WE DINED, ASCHWIN LIPPE, IS JUST 224 00:10:09,977 --> 00:10:12,477 THE MAN WITH WHOM WE DINED, ASCHWIN LIPPE, IS JUST ASCHWIN LIPPE, YOUNGER BROTHER, 225 00:10:12,479 --> 00:10:13,511 ASCHWIN LIPPE, IS JUST ASCHWIN LIPPE, YOUNGER BROTHER, A PRINCE IN TITLE, 226 00:10:13,513 --> 00:10:14,746 ASCHWIN LIPPE, YOUNGER BROTHER, A PRINCE IN TITLE, BUT NOT IN ANY WAY... 227 00:10:14,748 --> 00:10:16,615 A PRINCE IN TITLE, BUT NOT IN ANY WAY... >> OH, BECAUSE BARBARA SAID-- 228 00:10:16,617 --> 00:10:17,782 BUT NOT IN ANY WAY... >> OH, BECAUSE BARBARA SAID-- >> "BARBARA SAID." 229 00:10:27,193 --> 00:10:28,693 DECENT MAN, NONETHELESS. 230 00:10:29,528 --> 00:10:30,829 >> I SEE. 231 00:10:31,330 --> 00:10:32,797 >> Brooks: GOOD MAN. 232 00:10:34,066 --> 00:10:43,508 [CLOCK CHIMING 5:00...] [DOOR CLOSES, FOOTSTEPS APPROACH] 233 00:10:44,777 --> 00:10:48,413 [CLOCK TICKING...] 234 00:10:55,921 --> 00:10:59,491 [CAR PASSES OUTSIDE] 235 00:11:01,360 --> 00:11:02,827 [BABY COUGHS] 236 00:11:06,632 --> 00:11:09,601 [¶...] 237 00:11:12,538 --> 00:11:16,808 [BARBARA KISSES TONY] [¶...] 238 00:11:19,011 --> 00:11:23,448 [TONY COOS] >> OH YES, OH YES. 239 00:11:23,450 --> 00:11:25,150 >> OH YES, OH YES. HEY KID. 240 00:11:25,152 --> 00:11:27,852 OH YES. HEY KID. AH, WHAT A LIFE. 241 00:11:28,688 --> 00:11:31,189 THIRSTY? HMM, THIRSTY BOY? 242 00:11:31,657 --> 00:11:33,425 TONY A THIRSTY BOY? 243 00:11:35,795 --> 00:11:41,833 >> Tony: PAPA USED TO SAY, "FOR $2, THE COURT FEE, AND $10 FOR A WEDDING BAND, 244 00:11:41,835 --> 00:11:43,401 "FOR $2, THE COURT FEE, AND $10 FOR A WEDDING BAND, I MADE YOUR MUMMY INTO 245 00:11:43,403 --> 00:11:45,670 AND $10 FOR A WEDDING BAND, I MADE YOUR MUMMY INTO 'MRS. BROOKS BAEKELAND'... 246 00:11:45,672 --> 00:11:46,705 I MADE YOUR MUMMY INTO 'MRS. BROOKS BAEKELAND'... [¶...] 247 00:11:46,707 --> 00:11:47,772 'MRS. BROOKS BAEKELAND'... [¶...] S'IL VOUS PLAIT! 248 00:11:47,774 --> 00:11:48,807 [¶...] S'IL VOUS PLAIT! >> Tony: "...AND MYSELF 249 00:11:48,809 --> 00:11:50,475 S'IL VOUS PLAIT! >> Tony: "...AND MYSELF FOR THE NEXT 30 YEARS 250 00:11:50,477 --> 00:11:52,711 >> Tony: "...AND MYSELF FOR THE NEXT 30 YEARS INTO 'BARBARA'S HUSBAND.'" 251 00:11:52,713 --> 00:11:56,047 FOR THE NEXT 30 YEARS INTO 'BARBARA'S HUSBAND.'" [POLICEMAN SPEAKING FRENCH] 252 00:11:56,049 --> 00:11:58,850 INTO 'BARBARA'S HUSBAND.'" [POLICEMAN SPEAKING FRENCH] [¶...] 253 00:12:11,030 --> 00:12:15,066 [¶...] 254 00:12:25,845 --> 00:12:33,251 >> OH... YOU ARE AN ANGEL. >> WHERE'S PAPA? >> HE WENT TO VISIT DURAN. 255 00:12:34,754 --> 00:12:36,354 >> WHAT SHALL WE DO TODAY? 256 00:12:36,789 --> 00:12:45,497 >> AH, WELL, TONIGHT WE'RE GOING TO L'HIPPO, WITH MARCEL AND HIS WIFE TEENY, YOU REMEMBER THEM. 257 00:12:45,499 --> 00:12:46,931 TO L'HIPPO, WITH MARCEL AND HIS WIFE TEENY, YOU REMEMBER THEM. [TONY SPEAKS FRENCH] 258 00:12:47,600 --> 00:12:51,469 ...ANGLAIS, S'IL VOUS PLAIT. >> THAT DOESN'T SOUND LIKE VERY MUCH FUN FOR A KID. 259 00:12:51,471 --> 00:12:52,470 >> THAT DOESN'T SOUND LIKE VERY MUCH FUN FOR A KID. >> WELL, YOU DON'T HAVE TO COME. 260 00:12:52,472 --> 00:12:53,171 MUCH FUN FOR A KID. >> WELL, YOU DON'T HAVE TO COME. >> BUT WHEN YOU 261 00:12:53,173 --> 00:12:54,038 >> WELL, YOU DON'T HAVE TO COME. >> BUT WHEN YOU LEAVE ME ALONE... 262 00:12:54,040 --> 00:12:55,073 >> BUT WHEN YOU LEAVE ME ALONE... >> TONY. 263 00:12:55,075 --> 00:12:56,141 LEAVE ME ALONE... >> TONY. >> I FEEL NO BIGGER 264 00:12:56,143 --> 00:12:57,809 >> TONY. >> I FEEL NO BIGGER THAN A LIMA BEAN. 265 00:12:57,811 --> 00:13:00,211 >> I FEEL NO BIGGER THAN A LIMA BEAN. >> OH... YOU WON'T BE ALONE. 266 00:13:00,213 --> 00:13:01,246 THAN A LIMA BEAN. >> OH... YOU WON'T BE ALONE. YOU'LL BE WITH CLOTHILDE. 267 00:13:01,248 --> 00:13:02,413 >> OH... YOU WON'T BE ALONE. YOU'LL BE WITH CLOTHILDE. >> WELL, MAYBE SINCE I'LL BE 268 00:13:02,415 --> 00:13:03,915 YOU'LL BE WITH CLOTHILDE. >> WELL, MAYBE SINCE I'LL BE WITH BORING CLOTHILDE, WE CAN 269 00:13:03,917 --> 00:13:05,116 >> WELL, MAYBE SINCE I'LL BE WITH BORING CLOTHILDE, WE CAN BALANCE IT OUT WITH SOMETHING 270 00:13:05,118 --> 00:13:07,085 WITH BORING CLOTHILDE, WE CAN BALANCE IT OUT WITH SOMETHING MORE FUN DURING THE DAY? 271 00:13:07,087 --> 00:13:08,686 BALANCE IT OUT WITH SOMETHING MORE FUN DURING THE DAY? >> AH, I SEE WHERE 272 00:13:08,688 --> 00:13:10,889 MORE FUN DURING THE DAY? >> AH, I SEE WHERE THIS IS GOING. 273 00:13:10,891 --> 00:13:12,257 >> AH, I SEE WHERE THIS IS GOING. YOUR MOTHER NEEDS TIME TO PAINT. 274 00:13:12,259 --> 00:13:13,625 THIS IS GOING. YOUR MOTHER NEEDS TIME TO PAINT. >> I WOULD LIKE TO GO ON 275 00:13:13,627 --> 00:13:14,692 YOUR MOTHER NEEDS TIME TO PAINT. >> I WOULD LIKE TO GO ON THE FERRIS WHEEL. >> REALLY. 276 00:13:14,694 --> 00:13:15,426 >> I WOULD LIKE TO GO ON THE FERRIS WHEEL. >> REALLY. >> AND THEN FOR LUNCH, 277 00:13:15,428 --> 00:13:16,394 THE FERRIS WHEEL. >> REALLY. >> AND THEN FOR LUNCH, I WOULD LIKE SOME ICE CREAM. 278 00:13:16,396 --> 00:13:17,796 >> AND THEN FOR LUNCH, I WOULD LIKE SOME ICE CREAM. >> AH! 279 00:13:17,798 --> 00:13:19,063 I WOULD LIKE SOME ICE CREAM. >> AH! BUT YOU HAD ICE CREAM 280 00:13:19,065 --> 00:13:20,064 >> AH! BUT YOU HAD ICE CREAM FOR BREAKFAST. 281 00:13:20,066 --> 00:13:21,132 BUT YOU HAD ICE CREAM FOR BREAKFAST. [BOTH LAUGH] 282 00:13:21,134 --> 00:13:22,500 FOR BREAKFAST. [BOTH LAUGH] [KISSING] 283 00:13:22,502 --> 00:13:23,902 [BOTH LAUGH] [KISSING] >> MMM... MWAH! 284 00:13:23,904 --> 00:13:25,003 [KISSING] >> MMM... MWAH! [BARBARA LAUGHS] 285 00:13:25,005 --> 00:13:26,604 >> MMM... MWAH! [BARBARA LAUGHS] >> PLEASE DON'T TELL PAPA. 286 00:13:26,606 --> 00:13:27,939 [BARBARA LAUGHS] >> PLEASE DON'T TELL PAPA. >> I WON'T. 287 00:13:27,941 --> 00:13:30,341 >> PLEASE DON'T TELL PAPA. >> I WON'T. IT WILL BE OUR SECRET, AS WILL 288 00:13:30,343 --> 00:13:31,776 >> I WON'T. IT WILL BE OUR SECRET, AS WILL THE ASPIRINS YOU ARE GOING TO 289 00:13:31,778 --> 00:13:32,911 IT WILL BE OUR SECRET, AS WILL THE ASPIRINS YOU ARE GOING TO FETCH FROM THE CABINET. 290 00:13:32,913 --> 00:13:33,978 THE ASPIRINS YOU ARE GOING TO FETCH FROM THE CABINET. >> FROM THE BATHROOM, 291 00:13:33,980 --> 00:13:35,313 FETCH FROM THE CABINET. >> FROM THE BATHROOM, NEXT TO THE SINK. 292 00:13:37,082 --> 00:13:39,717 >> YOUR MOTHER HAS A SHOCKING HANGOVER. 293 00:13:43,389 --> 00:13:44,923 >> MUMMY... 294 00:13:46,692 --> 00:13:48,092 I SHALL CURE YOU. 295 00:13:51,597 --> 00:13:56,334 [FOILS CLASHING] [FENCERS GRUNTING] 296 00:13:59,271 --> 00:14:01,139 >> HEH-- OH! 297 00:14:13,986 --> 00:14:21,025 >> HA! >> HEY, O.K., O.K.-- OOF! I CONCEDE, I RESIGN. 298 00:14:21,027 --> 00:14:22,927 >> HEY, O.K., O.K.-- OOF! I CONCEDE, I RESIGN. >> WELL, SIR, I'M PRETTY EXPERT. 299 00:14:22,929 --> 00:14:23,962 I CONCEDE, I RESIGN. >> WELL, SIR, I'M PRETTY EXPERT. SO THERE'S NO EMBARRASSMENT IN 300 00:14:23,964 --> 00:14:25,463 >> WELL, SIR, I'M PRETTY EXPERT. SO THERE'S NO EMBARRASSMENT IN LOSING, IF THAT'S A CONCERN. 301 00:14:26,198 --> 00:14:33,104 >> HOO! [PANTING] >> Barbara: DO YOU LOVE ME? >> Tony: OF COURSE. 302 00:14:33,106 --> 00:14:34,572 >> Barbara: DO YOU LOVE ME? >> Tony: OF COURSE. >> WILL YOU STILL LOVE ME WHEN 303 00:14:34,574 --> 00:14:36,207 >> Tony: OF COURSE. >> WILL YOU STILL LOVE ME WHEN MY HAIR IS GRAY AND MY TITS 304 00:14:36,209 --> 00:14:37,208 >> WILL YOU STILL LOVE ME WHEN MY HAIR IS GRAY AND MY TITS ARE SAGGING? 305 00:14:37,210 --> 00:14:38,943 MY HAIR IS GRAY AND MY TITS ARE SAGGING? >> WELL, OF COURSE. 306 00:14:38,945 --> 00:14:41,512 ARE SAGGING? >> WELL, OF COURSE. [¶...] 307 00:14:41,514 --> 00:14:43,014 >> WELL, OF COURSE. [¶...] DO YOU REMEMBER THE DOG? 308 00:14:43,016 --> 00:14:44,616 [¶...] DO YOU REMEMBER THE DOG? >> WHAT DOG? 309 00:14:44,618 --> 00:14:46,517 DO YOU REMEMBER THE DOG? >> WHAT DOG? WHICH DOG? 310 00:14:46,519 --> 00:14:48,519 >> WHAT DOG? WHICH DOG? >> THE ONE WE HAD IN ITALY. 311 00:14:48,521 --> 00:14:49,988 WHICH DOG? >> THE ONE WE HAD IN ITALY. >> GIOTTO. 312 00:14:51,690 --> 00:14:56,094 >> I REMEMBER WHEN GIOTTO DIED. >> HE WAS OLD. >> NO, HE WASN'T. 313 00:14:56,096 --> 00:14:57,929 >> HE WAS OLD. >> NO, HE WASN'T. >> IN DOG YEARS. 314 00:14:58,330 --> 00:15:02,567 WE STILL HAVE HIS COLLAR. >> I KNOW. >> SOMEWHERE. 315 00:15:02,569 --> 00:15:03,835 >> I KNOW. >> SOMEWHERE. >> I KNOW WHERE. 316 00:15:03,837 --> 00:15:05,803 >> SOMEWHERE. >> I KNOW WHERE. >> Brooks: LEO WAS FAMOUS. 317 00:15:07,139 --> 00:15:10,675 NOT LIKE YOU'RE FAMOUS, OF COURSE. >> OH WELL, I'M NOT... 318 00:15:10,677 --> 00:15:11,910 FAMOUS, OF COURSE. >> OH WELL, I'M NOT... >> OH, FOR HEAVEN'S SAKE. 319 00:15:11,912 --> 00:15:13,044 >> OH WELL, I'M NOT... >> OH, FOR HEAVEN'S SAKE. YOU WON THE PREMIO NADAL, 320 00:15:13,046 --> 00:15:13,845 >> OH, FOR HEAVEN'S SAKE. YOU WON THE PREMIO NADAL, YOU KNOW PICASSO, 321 00:15:13,847 --> 00:15:14,612 YOU WON THE PREMIO NADAL, YOU KNOW PICASSO, YOU KNOW CAMUS, 322 00:15:14,614 --> 00:15:15,880 YOU KNOW PICASSO, YOU KNOW CAMUS, YOU KNOW MALRAUX, YOU KNOW 323 00:15:15,882 --> 00:15:16,981 YOU KNOW CAMUS, YOU KNOW MALRAUX, YOU KNOW DALI... 324 00:15:16,983 --> 00:15:18,216 YOU KNOW MALRAUX, YOU KNOW DALI... >> PILAR KNOWS THEM. 325 00:15:18,218 --> 00:15:19,350 DALI... >> PILAR KNOWS THEM. I JUST WRITE. 326 00:15:19,352 --> 00:15:21,119 >> PILAR KNOWS THEM. I JUST WRITE. >> WHAT I'M SAYING, CARLOS, IS 327 00:15:21,121 --> 00:15:23,521 I JUST WRITE. >> WHAT I'M SAYING, CARLOS, IS THAT LEO'S FAME, LIKE YOURS, WAS 328 00:15:23,523 --> 00:15:25,390 >> WHAT I'M SAYING, CARLOS, IS THAT LEO'S FAME, LIKE YOURS, WAS A FUNCTION OF ACHIEVEMENT, CAME 329 00:15:25,392 --> 00:15:26,724 THAT LEO'S FAME, LIKE YOURS, WAS A FUNCTION OF ACHIEVEMENT, CAME FROM WHAT HE DID. 330 00:15:27,526 --> 00:15:31,763 SO HIS STROKE, LEO'S STROKE OF GENIUS, WAS THE NOTION THAT THE FORMALDEHYDE MIGHT STABILIZE THE 331 00:15:31,765 --> 00:15:33,031 GENIUS, WAS THE NOTION THAT THE FORMALDEHYDE MIGHT STABILIZE THE PHENOL, GIVE IT STRENGTH, 332 00:15:33,033 --> 00:15:34,799 FORMALDEHYDE MIGHT STABILIZE THE PHENOL, GIVE IT STRENGTH, COHESION, SOLIDITY, BUT THEY 333 00:15:34,801 --> 00:15:36,000 PHENOL, GIVE IT STRENGTH, COHESION, SOLIDITY, BUT THEY NEVER REALLY MIXED, AND IT WAS 334 00:15:36,002 --> 00:15:37,468 COHESION, SOLIDITY, BUT THEY NEVER REALLY MIXED, AND IT WAS LEO WHO THOUGHT, "LET'S TRY 335 00:15:37,470 --> 00:15:38,770 NEVER REALLY MIXED, AND IT WAS LEO WHO THOUGHT, "LET'S TRY PUTTING IT UNDER PRESSURE." 336 00:15:38,772 --> 00:15:40,872 LEO WHO THOUGHT, "LET'S TRY PUTTING IT UNDER PRESSURE." POOF-- LONG CHAIN MOLECULES. 337 00:15:40,874 --> 00:15:42,674 PUTTING IT UNDER PRESSURE." POOF-- LONG CHAIN MOLECULES. BAKELITE-- PLASTIC. 338 00:15:44,009 --> 00:15:49,547 THE TELEPHONE, BRACELETS, RADIOS, RECORDS, COFFINS, SUBMARINES, THE HOUSING FOR THE 339 00:15:49,549 --> 00:15:51,516 RADIOS, RECORDS, COFFINS, SUBMARINES, THE HOUSING FOR THE ATOM BOMB, THE WORLD AS WE KNOW 340 00:15:51,518 --> 00:15:53,217 SUBMARINES, THE HOUSING FOR THE ATOM BOMB, THE WORLD AS WE KNOW IT TODAY. 341 00:15:53,686 --> 00:15:58,356 >> THAT WAS YOUR FATHER? >> NO, THAT WAS MY GRANDFATHER. MY FATHER IS AS MY GRANDFATHER. 342 00:15:58,358 --> 00:15:59,357 >> NO, THAT WAS MY GRANDFATHER. MY FATHER IS AS MY GRANDFATHER. CRAPULE. 343 00:15:59,359 --> 00:16:00,692 MY FATHER IS AS MY GRANDFATHER. CRAPULE. MY GRANDFATHER DECIDEDLY 344 00:16:00,694 --> 00:16:01,793 CRAPULE. MY GRANDFATHER DECIDEDLY WAS NOT. 345 00:16:02,995 --> 00:16:08,299 >> WHAT DOES PAPA DO? >> HOW DO YOU MEAN? >> WELL, FRANCOIS AT THE-- 346 00:16:08,301 --> 00:16:09,667 >> HOW DO YOU MEAN? >> WELL, FRANCOIS AT THE-- >> THE ECOLE? 347 00:16:09,669 --> 00:16:10,935 >> WELL, FRANCOIS AT THE-- >> THE ECOLE? >> FRANCOIS ASKED ME-- 348 00:16:10,937 --> 00:16:13,638 >> THE ECOLE? >> FRANCOIS ASKED ME-- >> AND YOU CAN TELL HIM 349 00:16:13,640 --> 00:16:16,207 >> FRANCOIS ASKED ME-- >> AND YOU CAN TELL HIM "MY FATHER WRITES." 350 00:16:16,209 --> 00:16:18,343 >> AND YOU CAN TELL HIM "MY FATHER WRITES." "MY FATHER EXPLORES." 351 00:16:18,345 --> 00:16:20,812 "MY FATHER WRITES." "MY FATHER EXPLORES." "MY FATHER HAS A VERY REFINED 352 00:16:20,814 --> 00:16:22,947 "MY FATHER EXPLORES." "MY FATHER HAS A VERY REFINED KNOWLEDGE OF MATHEMATICS." 353 00:16:22,949 --> 00:16:24,082 "MY FATHER HAS A VERY REFINED KNOWLEDGE OF MATHEMATICS." >> OH. 354 00:16:24,084 --> 00:16:26,184 KNOWLEDGE OF MATHEMATICS." >> OH. >> AND YOU CAN TELL HIM THAT 355 00:16:26,186 --> 00:16:27,752 >> OH. >> AND YOU CAN TELL HIM THAT YOUR MOTHER WAS ALMOST 356 00:16:27,754 --> 00:16:28,786 >> AND YOU CAN TELL HIM THAT YOUR MOTHER WAS ALMOST A MOVIE STAR. 357 00:16:28,788 --> 00:16:31,622 YOUR MOTHER WAS ALMOST A MOVIE STAR. [MEN GRUNTING] 358 00:16:32,191 --> 00:16:34,392 >> DO YOU FIND MY WIFE ATTRACTIVE? 359 00:16:34,927 --> 00:16:36,327 MOST MEN DO. 360 00:16:37,763 --> 00:16:39,063 BUT WHAT SHE DOESN'T... 361 00:16:39,832 --> 00:16:42,033 WHAT BARBARA DOESN'T REALIZE... 362 00:16:43,402 --> 00:16:45,403 IS THAT WOMEN FIND ME... 363 00:16:47,573 --> 00:16:48,840 YOU KNOW... 364 00:16:50,743 --> 00:16:51,909 ATTRACTIVE. 365 00:16:53,779 --> 00:17:00,318 >> Barbara: SOME PEOPLE'S FATHERS, SOME PEOPLE'S MOTHERS, THEY HAVE TO GO TO AN OFFICE OR 366 00:17:00,320 --> 00:17:02,120 FATHERS, SOME PEOPLE'S MOTHERS, THEY HAVE TO GO TO AN OFFICE OR A FACTORY OR A STORE, I GUESS, 367 00:17:02,122 --> 00:17:04,188 THEY HAVE TO GO TO AN OFFICE OR A FACTORY OR A STORE, I GUESS, EVERY DAY, BUT WE ARE FORTUNATE. 368 00:17:04,190 --> 00:17:06,257 A FACTORY OR A STORE, I GUESS, EVERY DAY, BUT WE ARE FORTUNATE. [CHILD LAUGHS] 369 00:17:06,259 --> 00:17:08,426 EVERY DAY, BUT WE ARE FORTUNATE. [CHILD LAUGHS] BECAUSE WHAT WE DO 370 00:17:08,428 --> 00:17:10,028 [CHILD LAUGHS] BECAUSE WHAT WE DO IS WHAT WE LOVE. 371 00:17:10,030 --> 00:17:11,929 BECAUSE WHAT WE DO IS WHAT WE LOVE. WHAT DOES FRANCOIS'S FATHER DO? 372 00:17:13,932 --> 00:17:18,669 >> HE WORKS. >> AH, WELL, WE WORKED. I MEAN, FATHER WORKED, NINI 373 00:17:18,671 --> 00:17:21,239 >> AH, WELL, WE WORKED. I MEAN, FATHER WORKED, NINI WORKED, THERE WAS NO OTHER WAY-- 374 00:17:21,241 --> 00:17:23,074 I MEAN, FATHER WORKED, NINI WORKED, THERE WAS NO OTHER WAY-- I KIND OF HAD TO RAISE MYSELF 375 00:17:23,076 --> 00:17:24,742 WORKED, THERE WAS NO OTHER WAY-- I KIND OF HAD TO RAISE MYSELF AND THEN I WORKED TOO. 376 00:17:24,744 --> 00:17:26,010 I KIND OF HAD TO RAISE MYSELF AND THEN I WORKED TOO. AT FILENE'S. 377 00:17:26,012 --> 00:17:27,879 AND THEN I WORKED TOO. AT FILENE'S. THEN WHEN I COULD, I LEFT. 378 00:17:29,148 --> 00:17:30,648 I JUST LEFT. 379 00:17:32,151 --> 00:17:38,623 NINI WANTED WHAT WAS BEST FOR ME, ONLY WHAT WAS BEST FOR ME. "FIND THE MUN," SHE'D SAY. 380 00:17:38,625 --> 00:17:41,859 ME, ONLY WHAT WAS BEST FOR ME. "FIND THE MUN," SHE'D SAY. SHE MEANT "MEN," I GUESS, 381 00:17:41,861 --> 00:17:43,995 "FIND THE MUN," SHE'D SAY. SHE MEANT "MEN," I GUESS, AND SHE MEANT "MONEY." 382 00:17:45,998 --> 00:17:50,334 THE RICH, THEY DON'T HAVE PET NAMES FOR MONEY. >> DID YOU KNOW LEONARDO 383 00:17:50,336 --> 00:17:51,936 NAMES FOR MONEY. >> DID YOU KNOW LEONARDO DA VINCI WROTE BACKWARDS? 384 00:17:51,938 --> 00:17:52,970 >> DID YOU KNOW LEONARDO DA VINCI WROTE BACKWARDS? SO HE COULD ONLY READ IT 385 00:17:52,972 --> 00:17:54,205 DA VINCI WROTE BACKWARDS? SO HE COULD ONLY READ IT IN THE MIRROR. 386 00:17:54,207 --> 00:17:56,074 SO HE COULD ONLY READ IT IN THE MIRROR. [¶...] 387 00:17:59,211 --> 00:18:02,880 [SPEAKING SPANISH...] 388 00:18:16,762 --> 00:18:20,832 >> Barbara: ENTREZ... >> Carlos: HI. >> CARLOS! 389 00:18:20,834 --> 00:18:21,966 >> Carlos: HI. >> CARLOS! [BIRDS CHIRPING...] 390 00:18:21,968 --> 00:18:23,034 >> CARLOS! [BIRDS CHIRPING...] PILAR! 391 00:18:23,036 --> 00:18:24,936 [BIRDS CHIRPING...] PILAR! MY, YOU'RE LOOKING SWELL. 392 00:18:24,938 --> 00:18:26,037 PILAR! MY, YOU'RE LOOKING SWELL. >> Pilar: GRACIAS. SWELL. 393 00:18:26,039 --> 00:18:27,939 MY, YOU'RE LOOKING SWELL. >> Pilar: GRACIAS. SWELL. MRS. BAEKELAND, PERMIT ME TO 394 00:18:27,941 --> 00:18:30,374 >> Pilar: GRACIAS. SWELL. MRS. BAEKELAND, PERMIT ME TO INTRODUCE MONSIEUR SOUVESTRE. 395 00:18:30,376 --> 00:18:31,809 MRS. BAEKELAND, PERMIT ME TO INTRODUCE MONSIEUR SOUVESTRE. >> JEAN-PIERRE, I AM SO HAPPY 396 00:18:31,811 --> 00:18:33,478 INTRODUCE MONSIEUR SOUVESTRE. >> JEAN-PIERRE, I AM SO HAPPY TO MEET YOU. 397 00:18:34,079 --> 00:18:35,680 PLEASE, COME IN. 398 00:18:38,851 --> 00:18:43,387 I HAVE BEEN DYING TO ASK YOU ABOUT MARCEL PROUST, THE BIOGRAPHY OF WHOM, WRITTEN BY 399 00:18:43,389 --> 00:18:45,323 ABOUT MARCEL PROUST, THE BIOGRAPHY OF WHOM, WRITTEN BY YOURSELF, I HAVE YET TO READ AS 400 00:18:45,325 --> 00:18:47,058 BIOGRAPHY OF WHOM, WRITTEN BY YOURSELF, I HAVE YET TO READ AS MY FRENCH READING SKILLS ARE NOT 401 00:18:47,060 --> 00:18:48,593 YOURSELF, I HAVE YET TO READ AS MY FRENCH READING SKILLS ARE NOT WHAT THEY WILL BE. 402 00:18:48,595 --> 00:18:49,794 MY FRENCH READING SKILLS ARE NOT WHAT THEY WILL BE. >> IT'S NOT NECESSARY TO 403 00:18:49,796 --> 00:18:50,895 WHAT THEY WILL BE. >> IT'S NOT NECESSARY TO APOLOGIZE FOR THAT. 404 00:18:50,897 --> 00:18:52,396 >> IT'S NOT NECESSARY TO APOLOGIZE FOR THAT. >> BROOKS, OF COURSE, READS THE 405 00:18:52,398 --> 00:18:53,798 APOLOGIZE FOR THAT. >> BROOKS, OF COURSE, READS THE LANGUAGE LIKE A NATIVE, AND OUR 406 00:18:53,800 --> 00:18:55,299 >> BROOKS, OF COURSE, READS THE LANGUAGE LIKE A NATIVE, AND OUR TONY IS MASTERING IT EVERY DAY 407 00:18:55,301 --> 00:18:57,168 LANGUAGE LIKE A NATIVE, AND OUR TONY IS MASTERING IT EVERY DAY AT THE ECOLE BILANGUE, BUT FOR 408 00:18:57,170 --> 00:18:59,270 TONY IS MASTERING IT EVERY DAY AT THE ECOLE BILANGUE, BUT FOR POOR MOI, I MUST CONFESS, IT'S 409 00:18:59,272 --> 00:19:01,072 AT THE ECOLE BILANGUE, BUT FOR POOR MOI, I MUST CONFESS, IT'S BEEN A STRUGGLE, N'EST-CE PAS? 410 00:19:01,074 --> 00:19:02,740 POOR MOI, I MUST CONFESS, IT'S BEEN A STRUGGLE, N'EST-CE PAS? >> UNDERSTOOD. 411 00:19:02,742 --> 00:19:03,841 BEEN A STRUGGLE, N'EST-CE PAS? >> UNDERSTOOD. >> WHAT WAS I SAYING? 412 00:19:03,843 --> 00:19:06,277 >> UNDERSTOOD. >> WHAT WAS I SAYING? OH, YES. 413 00:19:06,279 --> 00:19:09,180 >> WHAT WAS I SAYING? OH, YES. JEAN-PIERRE, WAS PROUST TRULY 414 00:19:09,182 --> 00:19:10,214 OH, YES. JEAN-PIERRE, WAS PROUST TRULY A HOMOSEXUAL? 415 00:19:10,216 --> 00:19:12,316 JEAN-PIERRE, WAS PROUST TRULY A HOMOSEXUAL? QU'EST-CE QUE TU PENSES? 416 00:19:16,388 --> 00:19:20,124 >> SO YOU MET CARLOS HERE, IN PARIS. >> Pilar: I WAS AT 417 00:19:20,126 --> 00:19:20,925 IN PARIS. >> Pilar: I WAS AT THE SORBONNE... 418 00:19:20,927 --> 00:19:22,560 >> Pilar: I WAS AT THE SORBONNE... THE ADORING GRADUATE STUDENT 419 00:19:22,562 --> 00:19:24,462 THE SORBONNE... THE ADORING GRADUATE STUDENT WRITING ABOUT HIS WORK. 420 00:19:24,464 --> 00:19:26,397 THE ADORING GRADUATE STUDENT WRITING ABOUT HIS WORK. BUT, THEN... 421 00:19:26,932 --> 00:19:32,570 WE WOKE UP ONE MORNING AND NONE OF THAT SEEMED TO MATTER. I THINK I KNEW HE WAS SERIOUS 422 00:19:32,572 --> 00:19:34,872 OF THAT SEEMED TO MATTER. I THINK I KNEW HE WAS SERIOUS WHEN HE INTRODUCED ME TO MARCEL 423 00:19:34,874 --> 00:19:36,874 I THINK I KNEW HE WAS SERIOUS WHEN HE INTRODUCED ME TO MARCEL AND TEENY DUCHAMP. 424 00:19:36,876 --> 00:19:39,177 WHEN HE INTRODUCED ME TO MARCEL AND TEENY DUCHAMP. >> OH, I RAN INTO THEM TODAY AT 425 00:19:39,179 --> 00:19:40,211 AND TEENY DUCHAMP. >> OH, I RAN INTO THEM TODAY AT L'EQUIPE. 426 00:19:40,213 --> 00:19:41,546 >> OH, I RAN INTO THEM TODAY AT L'EQUIPE. THEY SAID THEY MIGHT STOP 427 00:19:41,548 --> 00:19:43,447 L'EQUIPE. THEY SAID THEY MIGHT STOP OVER, LATER. 428 00:19:43,449 --> 00:19:44,982 THEY SAID THEY MIGHT STOP OVER, LATER. JE PEUX LUI TELEPHONER? 429 00:19:44,984 --> 00:19:46,150 OVER, LATER. JE PEUX LUI TELEPHONER? >> YOU MAY BE ASSURED THEY WERE 430 00:19:46,152 --> 00:19:47,385 JE PEUX LUI TELEPHONER? >> YOU MAY BE ASSURED THEY WERE ONLY BEING POLITE. 431 00:19:51,490 --> 00:19:56,294 >> I DON'T WANT TO BE IMPOLITE, BUT MONSIEUR SOUVESTRE HAS THE EARLY DAY TOMORROW. 432 00:19:56,296 --> 00:19:57,695 BUT MONSIEUR SOUVESTRE HAS THE EARLY DAY TOMORROW. HE'S OFF TO VITTEL. 433 00:19:58,530 --> 00:20:04,402 >> IT IS REGRETTABLE, BUT WHAT MRS. DURAN SAYS IS THE TRUTH. >> A PETIT CAFE FOR THE ROAD? 434 00:20:04,404 --> 00:20:06,971 MRS. DURAN SAYS IS THE TRUTH. >> A PETIT CAFE FOR THE ROAD? AND YOU'VE YET TO MEET TONY. 435 00:20:07,539 --> 00:20:08,873 EXCUSEZ-MOI... 436 00:20:09,775 --> 00:20:11,342 >> Souvestre, quietly: 437 00:20:17,282 --> 00:20:23,221 >> MONSIEUR SOUVESTRE, PERMETTEZ-MOI DE VOUS PRESENTER MON FILS, TONY. 438 00:20:23,223 --> 00:20:24,655 PERMETTEZ-MOI DE VOUS PRESENTER MON FILS, TONY. DID I GET IT RIGHT? 439 00:20:24,657 --> 00:20:25,790 MON FILS, TONY. DID I GET IT RIGHT? DID I GET THE ORDER RIGHT? 440 00:20:25,792 --> 00:20:26,824 DID I GET IT RIGHT? DID I GET THE ORDER RIGHT? >> THE YOUNGER IS PRESENTED TO 441 00:20:26,826 --> 00:20:27,725 DID I GET THE ORDER RIGHT? >> THE YOUNGER IS PRESENTED TO THE OLDER, THE LESS 442 00:20:27,727 --> 00:20:28,793 >> THE YOUNGER IS PRESENTED TO THE OLDER, THE LESS DISTINGUISHED TO THE MORE SO. 443 00:20:28,795 --> 00:20:30,027 THE OLDER, THE LESS DISTINGUISHED TO THE MORE SO. THE EXCEPTION TO THE RULE: THE 444 00:20:30,029 --> 00:20:31,162 DISTINGUISHED TO THE MORE SO. THE EXCEPTION TO THE RULE: THE GENTLEMAN IS ALWAYS PRESENTED 445 00:20:31,164 --> 00:20:32,230 THE EXCEPTION TO THE RULE: THE GENTLEMAN IS ALWAYS PRESENTED TO THE LADY. 446 00:20:32,232 --> 00:20:33,798 GENTLEMAN IS ALWAYS PRESENTED TO THE LADY. THE EXCEPTION TO THE EXCEPTION: 447 00:20:33,800 --> 00:20:35,600 TO THE LADY. THE EXCEPTION TO THE EXCEPTION: UNLESS THE MAN IS A PRESIDENT, 448 00:20:35,602 --> 00:20:37,435 THE EXCEPTION TO THE EXCEPTION: UNLESS THE MAN IS A PRESIDENT, A CARDINAL, OR A REIGNING 449 00:20:37,437 --> 00:20:38,469 UNLESS THE MAN IS A PRESIDENT, A CARDINAL, OR A REIGNING SOVEREIGN. 450 00:20:38,471 --> 00:20:39,770 A CARDINAL, OR A REIGNING SOVEREIGN. >> SO THEN IT'S RIGHT. 451 00:20:40,706 --> 00:20:46,611 WELL, EVERYONE, THIS IS TONY. SAY HELLO. >> BUENOS NOCHES, SEÑOR 452 00:20:46,613 --> 00:20:47,678 SAY HELLO. >> BUENOS NOCHES, SEÑOR Y SEÑORA DURAN. 453 00:20:47,680 --> 00:20:49,113 >> BUENOS NOCHES, SEÑOR Y SEÑORA DURAN. >> BUENOS NOCHES. 454 00:20:49,115 --> 00:20:50,615 Y SEÑORA DURAN. >> BUENOS NOCHES. >> BONSOIR, MONSIEUR SOUVESTRE. 455 00:20:50,617 --> 00:20:51,749 >> BUENOS NOCHES. >> BONSOIR, MONSIEUR SOUVESTRE. ENCHANTE DE FAIRE VOTRE 456 00:20:51,751 --> 00:20:52,750 >> BONSOIR, MONSIEUR SOUVESTRE. ENCHANTE DE FAIRE VOTRE CONNAISSANCE.AIRE VOTRE 457 00:20:52,752 --> 00:20:53,884 ENCHANTE DE FAIRE VOTRE CONNAISSANCE.AIRE VOTRE >> Souvestre: HMM, BONSOIR. 458 00:20:53,886 --> 00:20:54,919 CONNAISSANCE.AIRE VOTRE >> Souvestre: HMM, BONSOIR. >> Barbara: I TOLD YOU HIS 459 00:20:54,921 --> 00:20:55,920 >> Souvestre: HMM, BONSOIR. >> Barbara: I TOLD YOU HIS FRENCH WAS BETTER THAN MINE. 460 00:20:55,922 --> 00:20:56,887 >> Barbara: I TOLD YOU HIS FRENCH WAS BETTER THAN MINE. NOW, PERHAPS YOU'D LIKE TO 461 00:20:56,889 --> 00:20:58,055 FRENCH WAS BETTER THAN MINE. NOW, PERHAPS YOU'D LIKE TO READ SOMETHING. 462 00:20:59,825 --> 00:21:04,362 >> PERHAPS TONY WOULD PREFER TO GET HIS SLEEP. ESPECIALLY AS MONSIEUR SOUVESTRE 463 00:21:04,364 --> 00:21:05,663 GET HIS SLEEP. ESPECIALLY AS MONSIEUR SOUVESTRE HAS AN EARLY START. 464 00:21:05,665 --> 00:21:07,565 ESPECIALLY AS MONSIEUR SOUVESTRE HAS AN EARLY START. >> Barbara, whispering: PLEASE. 465 00:21:07,567 --> 00:21:08,666 HAS AN EARLY START. >> Barbara, whispering: PLEASE. [NORMAL VOICE]: FOR ME. 466 00:21:17,609 --> 00:21:20,544 [¶...] 467 00:21:29,054 --> 00:21:32,990 >> Pilar: THANK YOU, TONY. IT WAS GRACIOUS OF YOU TO VOLUNTEER. 468 00:21:32,992 --> 00:21:34,292 IT WAS GRACIOUS OF YOU TO VOLUNTEER. >> YOU ARE WELCOME, SEÑORA. 469 00:21:34,294 --> 00:21:35,359 TO VOLUNTEER. >> YOU ARE WELCOME, SEÑORA. >> Pilar: YOUR MOTHER IS A BIT 470 00:21:35,361 --> 00:21:37,094 >> YOU ARE WELCOME, SEÑORA. >> Pilar: YOUR MOTHER IS A BIT TIRED, AS ARE WE... 471 00:21:37,096 --> 00:21:38,963 >> Pilar: YOUR MOTHER IS A BIT TIRED, AS ARE WE... AS, I'M SURE, ARE YOU. 472 00:21:38,965 --> 00:21:40,131 TIRED, AS ARE WE... AS, I'M SURE, ARE YOU. >> UM... 473 00:21:40,133 --> 00:21:41,899 AS, I'M SURE, ARE YOU. >> UM... >> THEN WE CALL IT AN EVENING. 474 00:21:41,901 --> 00:21:43,267 >> UM... >> THEN WE CALL IT AN EVENING. AS YOUR FRIEND, MONSIEUR 475 00:21:43,269 --> 00:21:44,468 >> THEN WE CALL IT AN EVENING. AS YOUR FRIEND, MONSIEUR DUCHAMP, SAYS... 476 00:21:46,805 --> 00:21:50,975 YOUR HUSBAND, OR YOUR SON, WILL TRANSLATE. >> Barbara: DON'T YOU DARE. 477 00:21:51,576 --> 00:21:56,113 DON'T YOU DARE CONDESCEND TO ME. THE FUCKING FRENCH, YOU KNOW? THEY TELL YOU HOW TO RAISE YOUR 478 00:21:56,115 --> 00:21:57,281 THE FUCKING FRENCH, YOU KNOW? THEY TELL YOU HOW TO RAISE YOUR CHILD AND WHEN YOUR BACK IS 479 00:21:57,283 --> 00:21:58,416 THEY TELL YOU HOW TO RAISE YOUR CHILD AND WHEN YOUR BACK IS TURNED, THEY STARE AT YOUR ASS! 480 00:21:58,418 --> 00:21:59,650 CHILD AND WHEN YOUR BACK IS TURNED, THEY STARE AT YOUR ASS! YES, "CUL!"Y STARE AT YOUR ASS! 481 00:21:59,652 --> 00:22:01,419 TURNED, THEY STARE AT YOUR ASS! YES, "CUL!"Y STARE AT YOUR ASS! I KNOW THE WORD! 482 00:22:01,421 --> 00:22:02,653 YES, "CUL!"Y STARE AT YOUR ASS! I KNOW THE WORD! IT'S SICK. 483 00:22:02,655 --> 00:22:04,989 I KNOW THE WORD! IT'S SICK. THIS SOCIETY IS SICK. 484 00:22:04,991 --> 00:22:06,223 IT'S SICK. THIS SOCIETY IS SICK. EXCUSE ME. 485 00:22:06,225 --> 00:22:08,092 THIS SOCIETY IS SICK. EXCUSE ME. "MOU-VAY!" 486 00:22:12,097 --> 00:22:20,071 [DOG BARKS, BIRDS CHIRPING...] >> Brooks: I SHALL BE LEAVING TOO. 487 00:22:20,073 --> 00:22:21,505 >> Brooks: I SHALL BE LEAVING TOO. TELL TONY HIS FATHER SAYS 488 00:22:21,507 --> 00:22:22,640 LEAVING TOO. TELL TONY HIS FATHER SAYS GOOD NIGHT. 489 00:22:22,642 --> 00:22:24,442 TELL TONY HIS FATHER SAYS GOOD NIGHT. UNO MOMENTO, POR FAVOR. 490 00:22:27,846 --> 00:22:29,113 VOS CLES. 491 00:22:30,248 --> 00:22:34,118 [¶...] 492 00:22:56,675 --> 00:22:58,909 [DOOR SQUEAKS OPEN] [GASPS] 493 00:23:01,580 --> 00:23:06,917 [SLOW FOOTSTEPS APPROACHING] >> WHAT ARE YOU DOING IN MY HOTEL ROOM? 494 00:23:07,886 --> 00:23:11,489 [¶...] 495 00:23:14,126 --> 00:23:17,895 YOU BRIBED THE CONCIERGE, DIDN'T YOU? [BARBARA MOANS] 496 00:23:17,897 --> 00:23:19,497 DIDN'T YOU? [BARBARA MOANS] [BROOKS INHALES DEEPLY] 497 00:23:21,133 --> 00:23:23,033 [¶...] 498 00:24:02,574 --> 00:24:13,818 [BARBARA PANTING...] [¶...] [BARBARA SHOUTS, MOANS] 499 00:24:17,689 --> 00:24:18,989 >> [SPITS] 500 00:24:21,226 --> 00:24:24,962 [¶...] 501 00:24:32,471 --> 00:24:45,082 [BED CREAKING...] [PANTING...] [¶...] 502 00:25:02,267 --> 00:25:03,400 [SHORT GASP] 503 00:25:05,170 --> 00:25:08,506 [BIRDS CHIRPING...] >> Barbara: HELLO? 504 00:25:09,841 --> 00:25:11,208 HELLO? 505 00:25:19,618 --> 00:25:20,651 >> Tony: MUMMY? 506 00:25:23,488 --> 00:25:25,055 MUMMY... 507 00:25:26,758 --> 00:25:30,060 [SPLASHING] 508 00:25:31,196 --> 00:25:32,730 [EXHALES DEEPLY] 509 00:25:42,407 --> 00:25:45,142 BONJOUR, MAMA. >> BONJOUR. 510 00:25:52,617 --> 00:25:55,486 >> WHO IS THAT BOY? >> FRANCOIS... 511 00:25:56,755 --> 00:25:58,222 FROM THE ECOLE. 512 00:25:59,224 --> 00:26:00,891 FROM THE ECOLE BILANGUE. 513 00:26:02,861 --> 00:26:04,562 >> I KNOW WHERE HE'S FROM. 514 00:26:07,566 --> 00:26:13,404 >> WHEN YOU LEFT-- AND THEN WHEN MUMMY LEFT-- I DIDN'T WANT TO BE ALONE, SO I CALLED FRANCOIS 515 00:26:13,406 --> 00:26:15,172 MUMMY LEFT-- I DIDN'T WANT TO BE ALONE, SO I CALLED FRANCOIS AND HE CAME OVER. 516 00:26:15,174 --> 00:26:16,574 ALONE, SO I CALLED FRANCOIS AND HE CAME OVER. WE LISTENED TO THE RADIO. 517 00:26:16,576 --> 00:26:17,741 AND HE CAME OVER. WE LISTENED TO THE RADIO. IT WAS BOULEZ. 518 00:26:17,743 --> 00:26:19,176 WE LISTENED TO THE RADIO. IT WAS BOULEZ. ONE OF THOSE POEMS BY RENE CHAR, 519 00:26:19,178 --> 00:26:21,178 IT WAS BOULEZ. ONE OF THOSE POEMS BY RENE CHAR, WHICH BOULEZ SET TO MUSIC? 520 00:26:21,180 --> 00:26:22,246 ONE OF THOSE POEMS BY RENE CHAR, WHICH BOULEZ SET TO MUSIC? I RATHER LIKE BOULEZ, 521 00:26:22,248 --> 00:26:23,314 WHICH BOULEZ SET TO MUSIC? I RATHER LIKE BOULEZ, DON'T YOU, MUMMY? 522 00:26:23,316 --> 00:26:24,682 I RATHER LIKE BOULEZ, DON'T YOU, MUMMY? I KNOW THAT SOME CONSIDER HIM 523 00:26:24,684 --> 00:26:26,550 DON'T YOU, MUMMY? I KNOW THAT SOME CONSIDER HIM ATONAL AND ALL THAT-- BUT I 524 00:26:26,552 --> 00:26:27,818 I KNOW THAT SOME CONSIDER HIM ATONAL AND ALL THAT-- BUT I THINK THEY JUST DON'T KNOW HOW 525 00:26:27,820 --> 00:26:29,787 ATONAL AND ALL THAT-- BUT I THINK THEY JUST DON'T KNOW HOW TO LISTEN OR WHAT TO LISTEN FOR. 526 00:26:31,089 --> 00:26:32,623 >> YOUR FRIEND LEAVES... 527 00:26:35,393 --> 00:26:36,860 NOW. 528 00:26:38,530 --> 00:26:42,666 >> [SPLASHING WATER] >> GET HIM A TOWEL. 529 00:26:45,570 --> 00:26:47,705 >> [SPLASHING] 530 00:26:50,275 --> 00:26:54,878 [SPLASHING CONTINUES] 531 00:26:58,583 --> 00:27:07,057 [WHOOSHING...] [¶...] [HORSE SNORTS] 532 00:27:13,398 --> 00:27:14,665 [BIRDS CHIRPING] 533 00:27:22,240 --> 00:27:25,776 [¶...] 534 00:27:29,147 --> 00:27:35,486 [LIGHTER CLICKS] [SEAGULLS CAWING, DISTANT BELL TOLLS, MUSIC ENDS] 535 00:27:42,861 --> 00:27:47,865 >> THAT WASN'T BAD, YOU KNOW? TONY... DO YOU HAVE A CIGARETTE FOR ME? 536 00:27:50,435 --> 00:27:51,702 BLACK. 537 00:27:52,771 --> 00:27:54,171 I LIKE BLACK TOBACCO. 538 00:27:54,806 --> 00:28:00,944 BUT SOMETIMES I YEARN FOR THE BROWN. [WAVES CRASHING...] 539 00:28:11,823 --> 00:28:17,127 [¶...] 540 00:28:29,741 --> 00:28:32,109 >> Brooks: YOU KNOW HOW THEY ARE. >> Tony: WHAT? 541 00:28:32,111 --> 00:28:33,010 HOW THEY ARE. >> Tony: WHAT? >> FUSSING, ALWAYS 542 00:28:33,012 --> 00:28:33,777 >> Tony: WHAT? >> FUSSING, ALWAYS MAKING A FUSS. 543 00:28:33,779 --> 00:28:35,512 >> FUSSING, ALWAYS MAKING A FUSS. >> NOT ALL WOMEN. 544 00:28:35,514 --> 00:28:36,914 MAKING A FUSS. >> NOT ALL WOMEN. >> DAMN NEAR ALL. 545 00:28:38,850 --> 00:28:40,884 ALWAYS TELLING US, YOU KNOW? 546 00:28:41,920 --> 00:28:46,890 ALWAYS TELLING US WHERE TO PUT OUR COCKS... WHERE NOT TO... 547 00:28:48,393 --> 00:28:52,529 SO FORTH. [DICE ROLLING] I DON'T NEED TO TELL YOU, 548 00:28:52,531 --> 00:28:53,964 [DICE ROLLING] I DON'T NEED TO TELL YOU, YOU'VE SEEN, YOU KNOW. 549 00:28:55,300 --> 00:28:59,403 >> SO WHAT ARE YOU SAYING? [WAVES CRASHING, SEAGULLS CAWING] 550 00:28:59,405 --> 00:29:01,004 [WAVES CRASHING, SEAGULLS CAWING] >> YOU'LL SOON BE... 551 00:29:01,573 --> 00:29:05,609 HELL, YOU'RE ON YOUR OWN. I JUST WANTED TO GIVE YOU A PIECE OF... 552 00:29:05,611 --> 00:29:07,511 I JUST WANTED TO GIVE YOU A PIECE OF... WHAT FATHERS TELL SONS. 553 00:29:08,613 --> 00:29:13,884 [DICE ROLLING] >> WELL, THANKS. >> I MEAN, YOUR MOTHER WAS 554 00:29:13,886 --> 00:29:15,519 >> WELL, THANKS. >> I MEAN, YOUR MOTHER WAS AN ACTRESS... 555 00:29:15,521 --> 00:29:16,687 >> I MEAN, YOUR MOTHER WAS AN ACTRESS... IN SOME WAYS, 556 00:29:16,689 --> 00:29:17,921 AN ACTRESS... IN SOME WAYS, IS AN ACTRESS. 557 00:29:17,923 --> 00:29:19,623 IN SOME WAYS, IS AN ACTRESS. WILL MOSTLY LIKELY BE... 558 00:29:19,625 --> 00:29:21,358 IS AN ACTRESS. WILL MOSTLY LIKELY BE... >> MUMMY CAN BE HISTRIONIC, 559 00:29:21,360 --> 00:29:22,493 WILL MOSTLY LIKELY BE... >> MUMMY CAN BE HISTRIONIC, BUT SHE'S NOT... 560 00:29:22,495 --> 00:29:23,460 >> MUMMY CAN BE HISTRIONIC, BUT SHE'S NOT... >> DON'T DEFEND HER. 561 00:29:23,462 --> 00:29:25,262 BUT SHE'S NOT... >> DON'T DEFEND HER. YOU NEEDN'T DEFEND HER. 562 00:29:25,264 --> 00:29:27,164 >> DON'T DEFEND HER. YOU NEEDN'T DEFEND HER. YOU LOVE HER, AS DO I, BUT FOR 563 00:29:27,166 --> 00:29:28,665 YOU NEEDN'T DEFEND HER. YOU LOVE HER, AS DO I, BUT FOR THE MOMENT, WE'RE SITTING HERE, 564 00:29:28,667 --> 00:29:31,034 YOU LOVE HER, AS DO I, BUT FOR THE MOMENT, WE'RE SITTING HERE, BROOKS AND ANTONY, TWO MEN. 565 00:29:36,174 --> 00:29:39,610 HAD SHE BEEN ON TIME, WE'D NEVER HAVE HAD THIS DISCUSSION. 566 00:29:40,411 --> 00:29:44,982 [WAVES CRASHING...] 567 00:29:51,723 --> 00:29:53,957 >> DO YOU THINK SHE GETS STONED? 568 00:29:54,826 --> 00:29:56,894 >> WELL, SHE'S SPANISH. 569 00:29:58,096 --> 00:29:59,663 >> WORTH A PULL? 570 00:30:01,833 --> 00:30:05,269 AFTER YOU, PAL. [WAVES CRASHING...] 571 00:30:08,706 --> 00:30:10,207 TE GUSTARIA FUMAR? 572 00:30:11,709 --> 00:30:12,976 >> SI... 573 00:30:13,745 --> 00:30:15,312 GRACIAS. 574 00:30:22,320 --> 00:30:26,523 >> [CHUCKLING...] >> TAUGHT BY EXPERTS. 575 00:30:29,127 --> 00:30:31,895 >> YOU KNOW WHAT THIS PLACE NEEDS? 576 00:30:34,065 --> 00:30:35,933 SOME MUSIC. 577 00:30:36,801 --> 00:30:39,703 >> I HAVE ONE. >> EXCUSE ME? 578 00:30:46,477 --> 00:30:53,450 [PLAYER CLICKS, MUSIC PLAYING] 579 00:31:00,091 --> 00:31:07,598 >> Man: ¶ ONCE... UPON A TIME, A LONG, LONG TIME AGO ¶ ¶ WHERE... EVER YOU LEAD ME, 580 00:31:07,600 --> 00:31:10,167 A LONG, LONG TIME AGO ¶ ¶ WHERE... EVER YOU LEAD ME, I WOULD SURELY FOLLOW ¶ 581 00:31:10,169 --> 00:31:12,536 ¶ WHERE... EVER YOU LEAD ME, I WOULD SURELY FOLLOW ¶ ¶ GIRL, YOU PUT ME THROUGH 582 00:31:12,538 --> 00:31:15,205 I WOULD SURELY FOLLOW ¶ ¶ GIRL, YOU PUT ME THROUGH SOME PAIN AND MISERY ¶ 583 00:31:15,207 --> 00:31:17,908 ¶ GIRL, YOU PUT ME THROUGH SOME PAIN AND MISERY ¶ ¶ AND NOW YOU STAND HERE, 584 00:31:17,910 --> 00:31:20,477 SOME PAIN AND MISERY ¶ ¶ AND NOW YOU STAND HERE, ON MY DOORSTEP ¶ 585 00:31:20,479 --> 00:31:22,479 ¶ AND NOW YOU STAND HERE, ON MY DOORSTEP ¶ ¶ TELLING ME 586 00:31:22,481 --> 00:31:26,283 ON MY DOORSTEP ¶ ¶ TELLING ME HOW MUCH YOU NEED ME ¶ 587 00:31:26,285 --> 00:31:27,517 ¶ TELLING ME HOW MUCH YOU NEED ME ¶ ¶ ¶ 588 00:31:27,519 --> 00:31:30,120 HOW MUCH YOU NEED ME ¶ ¶ ¶ AIN'T NOBODY HOME ¶ 589 00:31:30,122 --> 00:31:32,489 ¶ ¶ AIN'T NOBODY HOME ¶ ¶ GIRL 590 00:31:32,491 --> 00:31:36,927 AIN'T NOBODY HOME ¶ ¶ GIRL ¶ AIN'T NOBODY HOME 591 00:31:36,929 --> 00:31:39,029 ¶ GIRL ¶ AIN'T NOBODY HOME ¶ HOW MANY TIMES 592 00:31:39,031 --> 00:31:41,698 ¶ AIN'T NOBODY HOME ¶ HOW MANY TIMES I BEGGED FOR YOU TO COME HOME ¶ 593 00:31:41,700 --> 00:31:43,567 ¶ HOW MANY TIMES I BEGGED FOR YOU TO COME HOME ¶ ¶ BUT YOU LAUGHED AT ME 594 00:31:43,569 --> 00:31:47,671 I BEGGED FOR YOU TO COME HOME ¶ ¶ BUT YOU LAUGHED AT ME AND SAID, "LET ME ALONE" ¶ 595 00:31:47,673 --> 00:31:50,407 ¶ BUT YOU LAUGHED AT ME AND SAID, "LET ME ALONE" ¶ ¶ AIN'T NOBODY HOME 596 00:31:50,409 --> 00:31:51,408 AND SAID, "LET ME ALONE" ¶ ¶ AIN'T NOBODY HOME ¶ GIRL... 597 00:31:51,410 --> 00:31:52,409 ¶ AIN'T NOBODY HOME ¶ GIRL... >> Tony: I DON'T KNOW. 598 00:31:52,411 --> 00:31:52,926 ¶ GIRL... >> Tony: I DON'T KNOW. >> Barbara: WELL,KNOW. 599 00:31:52,927 --> 00:31:53,442 >> Tony: I DON'T KNOW. >> Barbara: WELL,KNOW. WHAT'S SHE LIKE? 600 00:31:53,445 --> 00:31:54,678 >> Barbara: WELL,KNOW. WHAT'S SHE LIKE? >> Tony: I DON'T KNOW. 601 00:31:54,680 --> 00:31:55,545 WHAT'S SHE LIKE? >> Tony: I DON'T KNOW. SHE'S SPANISH. 602 00:31:55,547 --> 00:31:56,580 >> Tony: I DON'T KNOW. SHE'S SPANISH. >> Brooks: WELL, WITH A NAME 603 00:31:56,582 --> 00:31:57,915 SHE'S SPANISH. >> Brooks: WELL, WITH A NAME LIKE "BLANCA..." 604 00:31:57,917 --> 00:31:59,116 >> Brooks: WELL, WITH A NAME LIKE "BLANCA..." >> BLANCA WHAT? 605 00:31:59,118 --> 00:32:00,918 LIKE "BLANCA..." >> BLANCA WHAT? >> I DON'T KNOW BLANCA WHAT. 606 00:32:00,920 --> 00:32:02,419 >> BLANCA WHAT? >> I DON'T KNOW BLANCA WHAT. THIS IS NOT A CITY, IT'S A PORT, 607 00:32:02,421 --> 00:32:03,954 >> I DON'T KNOW BLANCA WHAT. THIS IS NOT A CITY, IT'S A PORT, SO WHEN WE GET TOGETHER AND WE 608 00:32:03,956 --> 00:32:05,222 THIS IS NOT A CITY, IT'S A PORT, SO WHEN WE GET TOGETHER AND WE HANG OUT, IT'S TYPICALLY ON 609 00:32:05,224 --> 00:32:06,823 SO WHEN WE GET TOGETHER AND WE HANG OUT, IT'S TYPICALLY ON A FIRST-NAME BASIS. 610 00:32:07,425 --> 00:32:12,462 AND IF WHAT YOU'RE ASKING IS DOES SHE COME FROM BONNE FAMILLE... 611 00:32:12,464 --> 00:32:13,563 DOES SHE COME FROM BONNE FAMILLE... YOU KNOW, IF THAT'S WHAT YOU'RE 612 00:32:13,565 --> 00:32:14,998 BONNE FAMILLE... YOU KNOW, IF THAT'S WHAT YOU'RE ASKING, WELL... 613 00:32:16,000 --> 00:32:20,771 AREN'T THERE ENOUGH COUNTS AND COUNTESSES IN THAT STACK OF CARTES DE VISITE IN THE FOYER, 614 00:32:21,506 --> 00:32:26,243 JUST THE WAY THAT NINI TAUGHT YOU? THE CARTE FROM PRINCE BERNHARD, 615 00:32:26,245 --> 00:32:28,111 TAUGHT YOU? THE CARTE FROM PRINCE BERNHARD, SOMEHOW ALWAYS ON THE TOP, 616 00:32:28,113 --> 00:32:29,713 THE CARTE FROM PRINCE BERNHARD, SOMEHOW ALWAYS ON THE TOP, AND THE BILLS ON THE BOTTOM? 617 00:32:29,715 --> 00:32:31,782 SOMEHOW ALWAYS ON THE TOP, AND THE BILLS ON THE BOTTOM? >> YOU WILL NOT SPEAK TO YOUR 618 00:32:31,784 --> 00:32:33,283 AND THE BILLS ON THE BOTTOM? >> YOU WILL NOT SPEAK TO YOUR MOTHER LIKE THAT. 619 00:32:33,285 --> 00:32:35,352 >> YOU WILL NOT SPEAK TO YOUR MOTHER LIKE THAT. I WILL NOT STAND FOR IT. 620 00:32:35,354 --> 00:32:36,887 MOTHER LIKE THAT. I WILL NOT STAND FOR IT. >> OH, PISS OFF. 621 00:32:46,397 --> 00:32:49,700 >> A MOTHER KNOWS... >> HMM? 622 00:32:50,068 --> 00:32:51,335 >> WHEN HER SON... 623 00:32:53,071 --> 00:32:55,238 WHEN HER SON MIGHT LIKE SOMEONE. 624 00:32:58,209 --> 00:33:00,410 [BIRDS CHIRPING...] 625 00:33:10,788 --> 00:33:15,025 [ENGINE REVVING...] 626 00:33:22,233 --> 00:33:24,668 [TIRES SCREECHING] 627 00:33:34,645 --> 00:33:37,581 [TIRES SCREECHING] 628 00:33:49,293 --> 00:33:55,332 [ENGINE REVVING...] [GENERAL CONVERSATION...] >> Brooks: THE DISCOVERY, 629 00:33:55,334 --> 00:33:56,700 [GENERAL CONVERSATION...] >> Brooks: THE DISCOVERY, THAT WAS 1907. 630 00:33:56,702 --> 00:33:58,001 >> Brooks: THE DISCOVERY, THAT WAS 1907. IN LESS THAN 10 YEARS, MY 631 00:33:58,003 --> 00:33:59,169 THAT WAS 1907. IN LESS THAN 10 YEARS, MY GRANDFATHER WAS A VERY 632 00:33:59,171 --> 00:34:00,203 IN LESS THAN 10 YEARS, MY GRANDFATHER WAS A VERY WEALTHY MAN. 633 00:34:00,205 --> 00:34:03,173 GRANDFATHER WAS A VERY WEALTHY MAN. 1924, HIS FACE ON THE COVER OF 634 00:34:03,175 --> 00:34:04,174 WEALTHY MAN. 1924, HIS FACE ON THE COVER OF TIME MAGAZINE. 635 00:34:04,176 --> 00:34:06,777 1924, HIS FACE ON THE COVER OF TIME MAGAZINE. 1930, COCO CHANEL MAKES ALL HER 636 00:34:06,779 --> 00:34:07,878 TIME MAGAZINE. 1930, COCO CHANEL MAKES ALL HER MANNEQUINS WEAR BAKELITE 637 00:34:07,880 --> 00:34:09,046 1930, COCO CHANEL MAKES ALL HER MANNEQUINS WEAR BAKELITE ACCESSORIES. 638 00:34:09,048 --> 00:34:10,781 MANNEQUINS WEAR BAKELITE ACCESSORIES. THEN CAME THE DEPRESSION, WHICH 639 00:34:10,783 --> 00:34:11,882 ACCESSORIES. THEN CAME THE DEPRESSION, WHICH HIT EVERYONE EXCEPT THE 640 00:34:11,884 --> 00:34:13,517 THEN CAME THE DEPRESSION, WHICH HIT EVERYONE EXCEPT THE BAEKELANDS, WE WERE HEADED THE 641 00:34:13,519 --> 00:34:14,751 HIT EVERYONE EXCEPT THE BAEKELANDS, WE WERE HEADED THE OTHER DIRECTION... 642 00:34:15,520 --> 00:34:18,488 OUR TRIUMPH AND OF COURSE, OUR DOWNFALL. 643 00:34:19,057 --> 00:34:20,557 >> HOW DO YOU MEAN? 644 00:34:21,426 --> 00:34:23,460 >> LEO KNEW THE SOCIAL REGISTER, 645 00:34:23,928 --> 00:34:29,366 BUT IT WASN'T WHAT MOVED HIM, IT WASN'T WHAT HE PRIZED. TO HIM, ALL THAT WAS JUST 646 00:34:29,368 --> 00:34:30,467 IT WASN'T WHAT HE PRIZED. TO HIM, ALL THAT WAS JUST LA PARADE. 647 00:34:30,469 --> 00:34:32,269 TO HIM, ALL THAT WAS JUST LA PARADE. BUT NOT TO GEORGE, HIS SON, 648 00:34:32,271 --> 00:34:33,603 LA PARADE. BUT NOT TO GEORGE, HIS SON, MY FATHER. 649 00:34:33,605 --> 00:34:35,272 BUT NOT TO GEORGE, HIS SON, MY FATHER. HE VALUED ALL THAT TO A FAULT, 650 00:34:35,274 --> 00:34:37,040 MY FATHER. HE VALUED ALL THAT TO A FAULT, AND IN THE PROCESS, 651 00:34:37,042 --> 00:34:38,208 HE VALUED ALL THAT TO A FAULT, AND IN THE PROCESS, LOST EVERYTHING. 652 00:34:38,210 --> 00:34:39,376 AND IN THE PROCESS, LOST EVERYTHING. >> Barbara: CAMARERO! 653 00:34:39,378 --> 00:34:40,410 LOST EVERYTHING. >> Barbara: CAMARERO! [SNAPS FINGERS] 654 00:34:40,412 --> 00:34:41,812 >> Barbara: CAMARERO! [SNAPS FINGERS] NO ONE HERE IS DRINKING ENOUGH. 655 00:34:41,814 --> 00:34:43,847 [SNAPS FINGERS] NO ONE HERE IS DRINKING ENOUGH. ANOTHER ROUND OVER HERE. 656 00:34:44,515 --> 00:34:49,019 [SOFTLY]: TONY, LET'S DRINK WHILE YOUR FATHER BORES THE SHIT OUT OF YOUR LITTLE FRIEND. 657 00:34:50,488 --> 00:34:58,695 [GENERAL CONVERSATION...] >> Blanca: SHE'S NOT VERY HAPPY. >> Brooks: AHH... 658 00:34:58,697 --> 00:35:00,430 >> Blanca: SHE'S NOT VERY HAPPY. >> Brooks: AHH... THEN YOU UNDERSTAND. 659 00:35:08,739 --> 00:35:10,974 >> Brooks: WELL, IT'S BEEN A LONG NIGHT. 660 00:35:13,578 --> 00:35:14,778 >> Barbara: BYE, KIDDO. 661 00:35:15,480 --> 00:35:17,881 GOOD NIGHT, BLANCA. >> Blanca: GOOD NIGHT. 662 00:35:28,059 --> 00:35:30,961 >> Tony: ARE YOU SURE THAT... >> YES... 663 00:35:32,396 --> 00:35:33,663 [DOOR SHUTS] 664 00:35:51,616 --> 00:35:54,117 [WATER RUNNING] 665 00:36:05,129 --> 00:36:09,199 YOU KNOW, I DON'T THINK I'VE EVER MET A FAMILY LIKE YOURS... 666 00:36:11,169 --> 00:36:15,071 ALL THIS EXCITEMENT, ALL THIS HISTORY. 667 00:36:15,973 --> 00:36:20,677 >> WELL, THERE IS THAT. >> [CHUCKLES] YES... MMM... 668 00:36:34,292 --> 00:36:36,259 [KISS] 669 00:36:44,368 --> 00:36:48,371 [KISS] [BOTH CHUCKLING] 670 00:37:35,486 --> 00:37:38,588 >> YOU REALLY ARE SUCH A HANDSOME BOY. 671 00:37:50,167 --> 00:37:54,738 >> Tony: LATER, MUMMY SAID THAT I HAD BROUGHT BLANCA HOME LIKE A KITTEN THAT HAD KILLED ITS 672 00:37:54,740 --> 00:37:57,874 I HAD BROUGHT BLANCA HOME LIKE A KITTEN THAT HAD KILLED ITS FIRST MOUSE... AND LAID IT AT 673 00:37:57,876 --> 00:37:59,376 A KITTEN THAT HAD KILLED ITS FIRST MOUSE... AND LAID IT AT YOUR FEET. 674 00:38:01,112 --> 00:38:02,612 AND YOU... 675 00:38:03,748 --> 00:38:05,482 AND YOU TOOK IT. 676 00:38:11,188 --> 00:38:13,723 [¶...] 677 00:38:17,261 --> 00:38:23,433 [PROPELLER PLANE PASSING...] [¶...] 678 00:38:33,010 --> 00:38:38,348 >> POR FAVOR... ¿A DONDE HORA ESTA LA AEROPLANE DE NICE? 679 00:38:39,116 --> 00:38:43,520 ...LANDING, WHEN IT LANDS? >> OH, IT'S BEEN DELAYED. SO, SIX P.M. 680 00:38:43,522 --> 00:38:45,255 >> OH, IT'S BEEN DELAYED. SO, SIX P.M. ANY TIME AFTER THAT. 681 00:38:46,624 --> 00:38:49,993 [¶...] 682 00:39:02,373 --> 00:39:06,943 >> Woman on P.A.: Paging, please, Mr. Baekeland, to the Avianca counter, please. 683 00:39:06,945 --> 00:39:07,944 please, Mr. Baekeland, to the Avianca counter, please. ...PAGING, PLEASE, MR. 684 00:39:07,946 --> 00:39:09,846 to the Avianca counter, please. ...PAGING, PLEASE, MR. BAEKELAND TO AVIANCA. 685 00:39:09,848 --> 00:39:11,548 ...PAGING, PLEASE, MR. BAEKELAND TO AVIANCA. YOUR PARTY IS WAITING. 686 00:39:13,050 --> 00:39:19,456 [¶...] >> Blanca: BOARDING TIME'S AT 1:30, NO? 687 00:39:19,890 --> 00:39:21,291 LET ME SEE. 688 00:39:25,863 --> 00:39:34,404 YEAH, IT'S 1:30. [¶...] >> COME, DARLING. 689 00:39:35,706 --> 00:39:37,474 >> COWARD. 690 00:39:39,610 --> 00:39:41,244 COBARDE! 691 00:39:42,213 --> 00:39:46,249 COBARDE! THAT'S RIGHT, THAT'S YOU I'M TALKING ABOUT YOU, LITTLEI'M 692 00:39:46,251 --> 00:39:47,317 THAT'S RIGHT, THAT'S YOU I'M TALKING ABOUT YOU, LITTLEI'M PUTA. 693 00:39:47,319 --> 00:39:49,119 TALKING ABOUT YOU, LITTLEI'M PUTA. YOU LITTLE WHORE! 694 00:39:49,121 --> 00:39:52,922 PUTA. YOU LITTLE WHORE! >> [SPEAKING SPANISH] 695 00:39:52,924 --> 00:39:54,157 YOU LITTLE WHORE! >> [SPEAKING SPANISH] >> [SPEAKING SPANISH] 696 00:39:54,159 --> 00:39:55,692 >> [SPEAKING SPANISH] >> [SPEAKING SPANISH] >> YOU ARE TRULY DISGUSTING, 697 00:39:55,694 --> 00:39:56,693 >> [SPEAKING SPANISH] >> YOU ARE TRULY DISGUSTING, DO YOU KNOW THAT? 698 00:39:56,695 --> 00:39:57,594 >> YOU ARE TRULY DISGUSTING, DO YOU KNOW THAT? YOU AND YOUR LITTLE 699 00:39:57,596 --> 00:39:58,628 DO YOU KNOW THAT? YOU AND YOUR LITTLE SPANISH CUNT. 700 00:39:58,630 --> 00:39:59,396 YOU AND YOUR LITTLE SPANISH CUNT. >> [WHISPERS] YOU ARE SPEAKING 701 00:39:59,398 --> 00:40:00,230 SPANISH CUNT. >> [WHISPERS] YOU ARE SPEAKING TOO LOUDLY. 702 00:40:00,232 --> 00:40:01,664 >> [WHISPERS] YOU ARE SPEAKING TOO LOUDLY. >> I AM SPEAKING OF A CUNT, 703 00:40:01,666 --> 00:40:02,732 TOO LOUDLY. >> I AM SPEAKING OF A CUNT, HALF YOUR AGE. 704 00:40:02,734 --> 00:40:03,933 >> I AM SPEAKING OF A CUNT, HALF YOUR AGE. SHE LOOKED AT TONY, LOOKED AT 705 00:40:03,935 --> 00:40:04,934 HALF YOUR AGE. SHE LOOKED AT TONY, LOOKED AT YOU, THOUGHT FOR ABOUT FIVE 706 00:40:04,936 --> 00:40:05,602 SHE LOOKED AT TONY, LOOKED AT YOU, THOUGHT FOR ABOUT FIVE SECONDS--D AT TONY, LOOKED AT 707 00:40:05,604 --> 00:40:06,770 YOU, THOUGHT FOR ABOUT FIVE SECONDS--D AT TONY, LOOKED AT CINCO SEGUNDOS-- 708 00:40:06,772 --> 00:40:08,071 SECONDS--D AT TONY, LOOKED AT CINCO SEGUNDOS-- AND SAID TO HERSELF, "HA! 709 00:40:08,073 --> 00:40:10,039 CINCO SEGUNDOS-- AND SAID TO HERSELF, "HA! THAT'S WHERE THE MONEY IS!" 710 00:40:10,041 --> 00:40:11,441 AND SAID TO HERSELF, "HA! THAT'S WHERE THE MONEY IS!" ¿ENTIENDES? 711 00:40:11,443 --> 00:40:12,575 THAT'S WHERE THE MONEY IS!" ¿ENTIENDES? YOU GO ON AND ON AND ON ABOUT 712 00:40:12,577 --> 00:40:13,843 ¿ENTIENDES? YOU GO ON AND ON AND ON ABOUT YOUR GRANDFATHER AND THE LIFE 713 00:40:13,845 --> 00:40:14,577 YOU GO ON AND ON AND ON ABOUT YOUR GRANDFATHER AND THE LIFE OF THE FUCKING MIND. 714 00:40:14,579 --> 00:40:15,812 YOUR GRANDFATHER AND THE LIFE OF THE FUCKING MIND. I GO AWAY FOR ONE WEEK, AND WHAT 715 00:40:15,814 --> 00:40:16,846 OF THE FUCKING MIND. I GO AWAY FOR ONE WEEK, AND WHAT DO YOU DO? 716 00:40:16,848 --> 00:40:17,781 I GO AWAY FOR ONE WEEK, AND WHAT DO YOU DO? [SNIFFING] MMM... 717 00:40:17,783 --> 00:40:19,682 DO YOU DO? [SNIFFING] MMM... SOMETHING VERY INTELLECTUAL, 718 00:40:19,684 --> 00:40:21,684 [SNIFFING] MMM... SOMETHING VERY INTELLECTUAL, VERY INTELLECTUAL INDEED. 719 00:40:21,686 --> 00:40:23,119 SOMETHING VERY INTELLECTUAL, VERY INTELLECTUAL INDEED. OH, OH, DOES HE FUCK YOU 720 00:40:23,121 --> 00:40:23,887 VERY INTELLECTUAL INDEED. OH, OH, DOES HE FUCK YOU UP THE ASS? 721 00:40:23,889 --> 00:40:25,188 OH, OH, DOES HE FUCK YOU UP THE ASS? ¿POR EL CULO? 722 00:40:25,190 --> 00:40:26,356 UP THE ASS? ¿POR EL CULO? [CROWD REACTS] 723 00:40:26,358 --> 00:40:28,124 ¿POR EL CULO? [CROWD REACTS] THAT'S WHAT HE LIKES, YOU KNOW? 724 00:40:28,126 --> 00:40:30,794 [CROWD REACTS] THAT'S WHAT HE LIKES, YOU KNOW? HE THINKS IT'S VERY MANLY. 725 00:40:30,796 --> 00:40:32,829 THAT'S WHAT HE LIKES, YOU KNOW? HE THINKS IT'S VERY MANLY. I THINK... 726 00:40:32,831 --> 00:40:35,298 HE THINKS IT'S VERY MANLY. I THINK... QUITE THE OPPOSITE. 727 00:40:35,300 --> 00:40:37,033 I THINK... QUITE THE OPPOSITE. SHE BATS HER EYES AT YOU 728 00:40:37,035 --> 00:40:40,470 QUITE THE OPPOSITE. SHE BATS HER EYES AT YOU AND SAYS, "OH, BROOKS, YOU... 729 00:40:42,540 --> 00:40:46,843 YOU BIG MAN, YOU..." AND YOU HONOR THE GREAT BAEKELAND TRADITION BY 730 00:40:46,845 --> 00:40:48,344 AND YOU HONOR THE GREAT BAEKELAND TRADITION BY FUCKING HER. 731 00:40:50,414 --> 00:41:00,056 [SOFTLY] O.K., FUCK HER, FUCK HER... I UNDERSTAND... BUT LEAVE ME? 732 00:41:00,058 --> 00:41:02,258 FUCK HER... I UNDERSTAND... BUT LEAVE ME? BREAK MY HEART? 733 00:41:02,260 --> 00:41:03,493 I UNDERSTAND... BUT LEAVE ME? BREAK MY HEART? BREAK TONY'S? 734 00:41:03,495 --> 00:41:04,194 BREAK MY HEART? BREAK TONY'S? >> HE NEVER BROKE 735 00:41:04,196 --> 00:41:06,129 BREAK TONY'S? >> HE NEVER BROKE TONY'S HEART... 736 00:41:08,065 --> 00:41:09,566 AND NEITHER DID I. 737 00:41:10,234 --> 00:41:14,003 >> MUCH OF WHAT YOU'VE JUST SAID IS AN AMALGAM OF PARANOIA AND SPITE. 738 00:41:14,005 --> 00:41:15,104 IS AN AMALGAM OF PARANOIA AND SPITE. >> YOU CAN SELL YOURSELF TO 739 00:41:15,106 --> 00:41:16,005 AND SPITE. >> YOU CAN SELL YOURSELF TO YOURSELF ANY WAY YOU LIKE, 740 00:41:16,007 --> 00:41:18,141 >> YOU CAN SELL YOURSELF TO YOURSELF ANY WAY YOU LIKE, BUT IN YOUR HEART, YOU KNOW... 741 00:41:19,009 --> 00:41:20,977 AND SO DOES EVERYONE ELSE. 742 00:41:21,779 --> 00:41:23,346 ALSO... 743 00:41:24,782 --> 00:41:27,917 YOU'RE A LITTLE OLD FOR THIS, DON'T YOU THINK? 744 00:41:34,959 --> 00:41:43,433 [¶...] [PROPELLER AIRPLANE PASSES...] 745 00:41:46,237 --> 00:41:56,379 [GENERAL CONVERSATION] [¶...] >> ¿DEJA EL EQUIPAJE? 746 00:42:03,220 --> 00:42:06,222 [ENGINE STARTS] >> NO TENGO. 747 00:42:09,059 --> 00:42:10,894 [GUNSHOT, GLASS SHATTERS] 748 00:42:19,370 --> 00:42:21,738 [DOG BARKING, PANTING] 749 00:42:30,948 --> 00:42:32,482 [GUNSHOTS CONTINUE] 750 00:42:38,122 --> 00:42:42,091 [BARKING CONTINUES] [ENGINE STARTS] 751 00:42:49,466 --> 00:42:51,301 [GUNSHOT] 752 00:42:52,336 --> 00:42:55,939 [¶...] 753 00:42:57,708 --> 00:43:07,784 [PROPELLER AIRPLANE PASSES...] [ENGINE REVVING...] >> YOU ARE A VERY NICE MAN. 754 00:43:09,019 --> 00:43:14,157 UN HOMBRE... ENCANTADOR. 755 00:43:15,359 --> 00:43:19,095 [¶...] 756 00:43:34,912 --> 00:43:38,781 [SOBBING] 757 00:43:52,262 --> 00:43:55,932 [¶...] 758 00:44:06,243 --> 00:44:10,446 >> Tony: JAKE WAS LIKE A DEVIL... OR A MAGICIAN. 759 00:44:10,448 --> 00:44:11,280 JAKE WAS LIKE A DEVIL... OR A MAGICIAN. [MUSIC FROM PHONOGRAPH...] 760 00:44:11,282 --> 00:44:12,582 DEVIL... OR A MAGICIAN. [MUSIC FROM PHONOGRAPH...] >> Jake: NOTHING IS TRUE. 761 00:44:12,584 --> 00:44:14,584 [MUSIC FROM PHONOGRAPH...] >> Jake: NOTHING IS TRUE. EVERYTHING IS PERMITTED. 762 00:44:16,153 --> 00:44:21,824 >> HE WORE LITTLE BONES AND THINGS ON HIS VEST, THESE... CERTAIN LITTLE BONES. 763 00:44:22,926 --> 00:44:26,129 >> [KISSING] 764 00:44:27,231 --> 00:44:33,136 >> Barbara: TONY, JAKE! >> YOU MIGHT HAVE KNOCKED. >> I DID. 765 00:44:33,637 --> 00:44:35,505 [KNOCKS PHONOGRAPH, MUSIC STOPS] 766 00:44:37,141 --> 00:44:41,010 YOU KNOW I WENT TO THE AIRPORT TODAY TO PICK UP SAM. WHO SHOULD I SEE BUT 767 00:44:41,012 --> 00:44:42,478 TODAY TO PICK UP SAM. WHO SHOULD I SEE BUT YOUR FATHER? 768 00:44:43,247 --> 00:44:46,115 WE HAD A WORD OR TWO, I CAN TELL YOU THAT. 769 00:44:47,851 --> 00:44:52,021 >> YOU CAN TELL ME, YOU ARE TELLING ME. >> DON'T GET HARSH WITH ME. 770 00:44:52,023 --> 00:44:53,022 TELLING ME. >> DON'T GET HARSH WITH ME. >> I'M SORRY. 771 00:44:53,024 --> 00:44:55,158 >> DON'T GET HARSH WITH ME. >> I'M SORRY. >> ARE YOU DEFENDING HIM? 772 00:44:55,160 --> 00:44:56,826 >> I'M SORRY. >> ARE YOU DEFENDING HIM? ARE YOU TAKING HIS SIDE? 773 00:44:56,828 --> 00:44:57,794 >> ARE YOU DEFENDING HIM? ARE YOU TAKING HIS SIDE? >> Jake: YOU MUST HAVE HAD 774 00:44:57,796 --> 00:44:59,262 ARE YOU TAKING HIS SIDE? >> Jake: YOU MUST HAVE HAD A LONG DRIVE. 775 00:44:59,264 --> 00:45:00,263 >> Jake: YOU MUST HAVE HAD A LONG DRIVE. WHY DON'T YOU SIT DOWN AND LET 776 00:45:00,265 --> 00:45:01,164 A LONG DRIVE. WHY DON'T YOU SIT DOWN AND LET ME POUR YOU SOMETHING TO 777 00:45:01,166 --> 00:45:02,231 WHY DON'T YOU SIT DOWN AND LET ME POUR YOU SOMETHING TO DRINK, O.K.? 778 00:45:02,233 --> 00:45:05,101 ME POUR YOU SOMETHING TO DRINK, O.K.? [WIND CHIMES CLINKING LIGHTLY] 779 00:45:21,018 --> 00:45:23,986 >> SO I TOLD SAM YOU'D BE JOINING US FOR DINNER. 780 00:45:25,556 --> 00:45:27,724 I'LL SEE YOU AROUND NINE. 781 00:45:30,728 --> 00:45:33,129 HOW CAN YOU LIVE IN THIS SHIT HOLE? 782 00:45:34,832 --> 00:45:38,601 [BEADED CURTAIN RUSTLES] 783 00:45:40,971 --> 00:45:43,873 [BOTH CHUCKLING] 784 00:45:54,618 --> 00:45:59,021 >> Tony: SAM WAS OFTEN CALLED A WALKER... 785 00:45:59,023 --> 00:46:00,857 SAM WAS OFTEN CALLED A WALKER... ONE OF THOSE HOMOSEXUALS WHO 786 00:46:00,859 --> 00:46:02,358 A WALKER... ONE OF THOSE HOMOSEXUALS WHO ESCORT WEALTHY WOMEN TO DINNER 787 00:46:02,360 --> 00:46:03,593 ONE OF THOSE HOMOSEXUALS WHO ESCORT WEALTHY WOMEN TO DINNER OR TO THE OPERA WHEN THEIR 788 00:46:03,595 --> 00:46:05,228 ESCORT WEALTHY WOMEN TO DINNER OR TO THE OPERA WHEN THEIR HUSBANDS ARE NOT ABLE. 789 00:46:05,230 --> 00:46:07,263 OR TO THE OPERA WHEN THEIR HUSBANDS ARE NOT ABLE. BUT SAM'S DEVOTION TO BARBARA 790 00:46:07,265 --> 00:46:08,965 HUSBANDS ARE NOT ABLE. BUT SAM'S DEVOTION TO BARBARA WAS NEVER ABOUT THE MONEY. 791 00:46:08,967 --> 00:46:10,533 BUT SAM'S DEVOTION TO BARBARA WAS NEVER ABOUT THE MONEY. IN FACT, HE LIKED US MORE WHEN 792 00:46:10,535 --> 00:46:11,934 WAS NEVER ABOUT THE MONEY. IN FACT, HE LIKED US MORE WHEN THERE WAS LESS OF IT. 793 00:46:11,936 --> 00:46:13,169 IN FACT, HE LIKED US MORE WHEN THERE WAS LESS OF IT. >> Sam: DO YOU REMEMBER HOW IT 794 00:46:13,171 --> 00:46:15,204 THERE WAS LESS OF IT. >> Sam: DO YOU REMEMBER HOW IT WAS WITH MAXIME DE LA FALAISE? 795 00:46:15,206 --> 00:46:17,907 >> Sam: DO YOU REMEMBER HOW IT WAS WITH MAXIME DE LA FALAISE? THERE WAS A DIFFICULT PERIOD. 796 00:46:17,909 --> 00:46:20,042 WAS WITH MAXIME DE LA FALAISE? THERE WAS A DIFFICULT PERIOD. I HELPED HER, AS MUCH AS I 797 00:46:20,044 --> 00:46:21,310 THERE WAS A DIFFICULT PERIOD. I HELPED HER, AS MUCH AS I COULD, A FEW OF US, WE DID WHAT 798 00:46:21,312 --> 00:46:25,248 I HELPED HER, AS MUCH AS I COULD, A FEW OF US, WE DID WHAT WE COULD AND... NOW, WELL, 799 00:46:25,250 --> 00:46:26,849 COULD, A FEW OF US, WE DID WHAT WE COULD AND... NOW, WELL, NO ONE REMEMBERS THE SAD PERIOD 800 00:46:26,851 --> 00:46:28,251 WE COULD AND... NOW, WELL, NO ONE REMEMBERS THE SAD PERIOD NOW, DO THEY? 801 00:46:28,253 --> 00:46:30,887 NO ONE REMEMBERS THE SAD PERIOD NOW, DO THEY? [CORK POPS, BIRDS CHIRPING] 802 00:46:30,889 --> 00:46:32,989 NOW, DO THEY? [CORK POPS, BIRDS CHIRPING] THESE ARE THE FACTS WE HAVE 803 00:46:32,991 --> 00:46:34,624 [CORK POPS, BIRDS CHIRPING] THESE ARE THE FACTS WE HAVE TO FACE. 804 00:46:34,626 --> 00:46:37,226 THESE ARE THE FACTS WE HAVE TO FACE. ONE, WE ARE DEALING WITH AN 805 00:46:37,228 --> 00:46:39,228 TO FACE. ONE, WE ARE DEALING WITH AN INSECURE AND CAPRICIOUS CROWD 806 00:46:39,230 --> 00:46:40,496 ONE, WE ARE DEALING WITH AN INSECURE AND CAPRICIOUS CROWD WHO, GIVEN ANY DOUBT OR 807 00:46:40,498 --> 00:46:42,932 INSECURE AND CAPRICIOUS CROWD WHO, GIVEN ANY DOUBT OR HESITATION, WILL ALWAYS FOLLOW 808 00:46:42,934 --> 00:46:45,468 WHO, GIVEN ANY DOUBT OR HESITATION, WILL ALWAYS FOLLOW THE MONEY... IN THIS CASE, 809 00:46:45,470 --> 00:46:47,670 HESITATION, WILL ALWAYS FOLLOW THE MONEY... IN THIS CASE, MEANING BROOKS. 810 00:46:50,974 --> 00:47:00,149 SECOND-- AND THIS IS IN YOUR FAVOR-- YOU WERE, TO ANY SENSIBLE OBSERVER, THE CHARM AND 811 00:47:00,151 --> 00:47:02,318 FAVOR-- YOU WERE, TO ANY SENSIBLE OBSERVER, THE CHARM AND VIVACITY OF THE COUPLE. 812 00:47:02,320 --> 00:47:04,754 SENSIBLE OBSERVER, THE CHARM AND VIVACITY OF THE COUPLE. SO, WE MUST MAKE THAT WORK TO 813 00:47:04,756 --> 00:47:05,488 VIVACITY OF THE COUPLE. SO, WE MUST MAKE THAT WORK TO YOUR BENEFIT. 814 00:47:05,490 --> 00:47:08,124 SO, WE MUST MAKE THAT WORK TO YOUR BENEFIT. >> I'M SO GLAD YOU'RE HERE. 815 00:47:08,126 --> 00:47:09,692 YOUR BENEFIT. >> I'M SO GLAD YOU'RE HERE. >> IT'S MY PLEASURE. 816 00:47:09,694 --> 00:47:11,494 >> I'M SO GLAD YOU'RE HERE. >> IT'S MY PLEASURE. POP ACROSS TO CADAQUES FOR A DAY 817 00:47:11,496 --> 00:47:12,662 >> IT'S MY PLEASURE. POP ACROSS TO CADAQUES FOR A DAY OR TWO. 818 00:47:12,664 --> 00:47:13,830 POP ACROSS TO CADAQUES FOR A DAY OR TWO. YOU NEED TO BE PROUD-- 819 00:47:13,832 --> 00:47:15,531 OR TWO. YOU NEED TO BE PROUD-- NOT EMBARRASSED-- TO BE SEEN 820 00:47:15,533 --> 00:47:16,966 YOU NEED TO BE PROUD-- NOT EMBARRASSED-- TO BE SEEN IN PUBLIC. 821 00:47:16,968 --> 00:47:18,467 NOT EMBARRASSED-- TO BE SEEN IN PUBLIC. AND THAT WILL GIVE PEOPLE 822 00:47:18,469 --> 00:47:20,436 IN PUBLIC. AND THAT WILL GIVE PEOPLE PERMISSION TO BE SEEN WITH YOU. 823 00:47:21,004 --> 00:47:27,844 >> HOLA, UN CAFE... >> Sam: LET US THINK, WHO ARE THOSE, YOU KNOW, FROM WHOM 824 00:47:27,846 --> 00:47:30,246 >> Sam: LET US THINK, WHO ARE THOSE, YOU KNOW, FROM WHOM OTHERS TAKE THEIR CUE? 825 00:47:30,248 --> 00:47:31,714 THOSE, YOU KNOW, FROM WHOM OTHERS TAKE THEIR CUE? SOMEONE LIKE PILAR DURAN WOULD 826 00:47:31,716 --> 00:47:34,450 OTHERS TAKE THEIR CUE? SOMEONE LIKE PILAR DURAN WOULD BE TERRIFIC, AND THEN, OF 827 00:47:34,452 --> 00:47:36,385 SOMEONE LIKE PILAR DURAN WOULD BE TERRIFIC, AND THEN, OF COURSE, WE NEED A DOYENNE TO 828 00:47:36,387 --> 00:47:38,621 BE TERRIFIC, AND THEN, OF COURSE, WE NEED A DOYENNE TO SEAL IT. 829 00:47:38,623 --> 00:47:39,422 COURSE, WE NEED A DOYENNE TO SEAL IT. YOU DO, OF COURSE, 830 00:47:39,424 --> 00:47:40,823 SEAL IT. YOU DO, OF COURSE, KNOW TEENY DUCHAMP? 831 00:47:40,825 --> 00:47:43,025 YOU DO, OF COURSE, KNOW TEENY DUCHAMP? TEENY MATISSE DUCHAMP? 832 00:47:43,660 --> 00:47:49,765 AND I SHALL, NATURALLY, MAKE SURE THAT THE WORD GETS OUT... AS WILL OTHERS... 833 00:47:49,767 --> 00:47:52,535 SURE THAT THE WORD GETS OUT... AS WILL OTHERS... [CHUCKLES] AS WILL OTHERS. 834 00:47:52,537 --> 00:47:56,038 AS WILL OTHERS... [CHUCKLES] AS WILL OTHERS. >> [LAUGHS] 835 00:47:56,040 --> 00:47:57,273 [CHUCKLES] AS WILL OTHERS. >> [LAUGHS] >> YOU'VE GOT TO START 836 00:47:57,275 --> 00:47:58,207 >> [LAUGHS] >> YOU'VE GOT TO START PAINTING AGAIN. 837 00:47:58,209 --> 00:47:59,876 >> YOU'VE GOT TO START PAINTING AGAIN. THE DIFFERENCE BETWEEN... 838 00:47:59,878 --> 00:48:02,044 PAINTING AGAIN. THE DIFFERENCE BETWEEN... >> AN ARTIST AND A DIVORCEE. 839 00:48:02,679 --> 00:48:04,580 >> SO YOU UNDERSTAND. 840 00:48:05,749 --> 00:48:11,153 WELL, THAT'S FOR STARTERS. SOME OF IT WILL, I'VE NO DOUBT, BE EMOTIONALLY UNPLEASANT... 841 00:48:11,155 --> 00:48:12,388 SOME OF IT WILL, I'VE NO DOUBT, BE EMOTIONALLY UNPLEASANT... >> OH, PLEASE. 842 00:48:12,390 --> 00:48:13,389 BE EMOTIONALLY UNPLEASANT... >> OH, PLEASE. WHERE IS HE? 843 00:48:13,391 --> 00:48:15,091 >> OH, PLEASE. WHERE IS HE? >> OH, I'M SURE HE'LL BE 844 00:48:15,093 --> 00:48:16,058 WHERE IS HE? >> OH, I'M SURE HE'LL BE ALONG, BARBARA. 845 00:48:16,060 --> 00:48:18,294 >> OH, I'M SURE HE'LL BE ALONG, BARBARA. HE'S JUST BEING TONY. 846 00:48:19,096 --> 00:48:21,731 [ENGINE REVVING] 847 00:48:24,568 --> 00:48:28,604 >> MUMMY, WHAT I DON'T UNDERSTAND IS BROOKS. WHAT I DON'T UNDERSTAND IS, OF 848 00:48:28,606 --> 00:48:29,805 UNDERSTAND IS BROOKS. WHAT I DON'T UNDERSTAND IS, OF ALL THE PLACES BROOKS WOULD WANT 849 00:48:29,807 --> 00:48:31,107 WHAT I DON'T UNDERSTAND IS, OF ALL THE PLACES BROOKS WOULD WANT TO GO FOR THE SEASON IN ALL THE 850 00:48:31,109 --> 00:48:32,308 ALL THE PLACES BROOKS WOULD WANT TO GO FOR THE SEASON IN ALL THE WORLD, HE WOULD CHOOSE A PLACE 851 00:48:32,310 --> 00:48:34,043 TO GO FOR THE SEASON IN ALL THE WORLD, HE WOULD CHOOSE A PLACE RIGHT NEAR US AND THEN NOT WANT 852 00:48:34,045 --> 00:48:34,677 WORLD, HE WOULD CHOOSE A PLACE RIGHT NEAR US AND THEN NOT WANT TO SEE US... 853 00:48:34,679 --> 00:48:35,544 RIGHT NEAR US AND THEN NOT WANT TO SEE US... AND BLANCA, TOO. 854 00:48:35,546 --> 00:48:36,545 TO SEE US... AND BLANCA, TOO. WHY WOULD SHE WANT TO GO TO 855 00:48:36,547 --> 00:48:37,513 AND BLANCA, TOO. WHY WOULD SHE WANT TO GO TO MALLORCA WHEN SHE HATES ME 856 00:48:37,515 --> 00:48:38,247 WHY WOULD SHE WANT TO GO TO MALLORCA WHEN SHE HATES ME SO MUCH? 857 00:48:38,249 --> 00:48:40,416 MALLORCA WHEN SHE HATES ME SO MUCH? >> SHE DOESN'T HATE YOU. 858 00:48:42,119 --> 00:48:46,656 >> AND BROOKS? >> HE DOESN'T HATE YOU EITHER. >> THEN WHY WON'T HE...? 859 00:48:46,658 --> 00:48:48,824 >> HE DOESN'T HATE YOU EITHER. >> THEN WHY WON'T HE...? >> I'VE LONG SINCE GIVEN UP 860 00:48:48,826 --> 00:48:51,427 >> THEN WHY WON'T HE...? >> I'VE LONG SINCE GIVEN UP TRYING TO UNDERSTAND BROOKS. 861 00:48:51,429 --> 00:48:54,130 >> I'VE LONG SINCE GIVEN UP TRYING TO UNDERSTAND BROOKS. EXPLAIN HIM, JUSTIFY HIS WAYS. 862 00:48:54,132 --> 00:48:56,499 TRYING TO UNDERSTAND BROOKS. EXPLAIN HIM, JUSTIFY HIS WAYS. MEN DO... THIS IS SOMETHING 863 00:48:56,501 --> 00:48:57,767 EXPLAIN HIM, JUSTIFY HIS WAYS. MEN DO... THIS IS SOMETHING YOU KNOW VERY WELL. 864 00:48:57,769 --> 00:49:01,304 MEN DO... THIS IS SOMETHING YOU KNOW VERY WELL. MEN DO... WHAT MEN DO. 865 00:49:01,306 --> 00:49:04,373 YOU KNOW VERY WELL. MEN DO... WHAT MEN DO. >> MUMMY? 866 00:49:04,375 --> 00:49:05,775 MEN DO... WHAT MEN DO. >> MUMMY? I THINK HE'S WRITING US 867 00:49:05,777 --> 00:49:07,677 >> MUMMY? I THINK HE'S WRITING US A LETTER. 868 00:49:07,679 --> 00:49:09,178 I THINK HE'S WRITING US A LETTER. I THINK HE IS WRITING US 869 00:49:09,180 --> 00:49:10,813 A LETTER. I THINK HE IS WRITING US A LETTER... 870 00:49:10,815 --> 00:49:11,948 I THINK HE IS WRITING US A LETTER... BUT IN ANOTHER ALPHABET, 871 00:49:11,950 --> 00:49:13,849 A LETTER... BUT IN ANOTHER ALPHABET, IN BAEKELAND WRITING... 872 00:49:14,952 --> 00:49:19,822 NO ONE ELSE CAN READ. THE THING WITH BROOKS IS HE... >> OH, PLEASE. 873 00:49:19,824 --> 00:49:22,758 THE THING WITH BROOKS IS HE... >> OH, PLEASE. >> MUMMY, DON'T BE ANGRY. 874 00:49:23,427 --> 00:49:25,061 >> I'M NOT ANGRY. 875 00:49:27,531 --> 00:49:29,699 >> I LOVE YOU. 876 00:49:30,467 --> 00:49:33,202 MUMMY, I LOVE YOU. 877 00:49:36,907 --> 00:49:42,044 [¶...] [BIRDS CHIRPING] 878 00:49:53,724 --> 00:49:57,526 Tony: NO, YOU'VE BEEN FANTASTIC. >> NO, NO, NO, YOU NEEDN'T... >> NO, BUT, REALLY, I WANTED TO, 879 00:49:57,528 --> 00:49:58,894 >> NO, NO, NO, YOU NEEDN'T... >> NO, BUT, REALLY, I WANTED TO, REALLY... REALLY. 880 00:49:58,896 --> 00:50:00,429 >> NO, BUT, REALLY, I WANTED TO, REALLY... REALLY. I CAN'T BEGIN TO TELL YOU HOW 881 00:50:00,431 --> 00:50:01,964 REALLY... REALLY. I CAN'T BEGIN TO TELL YOU HOW MUCH OF AN IMPROVEMENT... 882 00:50:01,966 --> 00:50:05,201 I CAN'T BEGIN TO TELL YOU HOW MUCH OF AN IMPROVEMENT... >> WELL, SHE'LL BE ALL RIGHT. 883 00:50:05,203 --> 00:50:06,402 MUCH OF AN IMPROVEMENT... >> WELL, SHE'LL BE ALL RIGHT. >> WELL, SHE'LL ALWAYS 884 00:50:06,404 --> 00:50:07,670 >> WELL, SHE'LL BE ALL RIGHT. >> WELL, SHE'LL ALWAYS BE BARBARA. 885 00:50:07,672 --> 00:50:10,506 >> WELL, SHE'LL ALWAYS BE BARBARA. >> [CHUCKLES] 886 00:50:10,508 --> 00:50:13,509 BE BARBARA. >> [CHUCKLES] AND... WHAT OF YOU? 887 00:50:13,511 --> 00:50:15,144 >> [CHUCKLES] AND... WHAT OF YOU? WHAT OF LIFE IN THE WORLD OF 888 00:50:15,146 --> 00:50:17,413 AND... WHAT OF YOU? WHAT OF LIFE IN THE WORLD OF TONY BAEKELAND? 889 00:50:17,415 --> 00:50:19,181 WHAT OF LIFE IN THE WORLD OF TONY BAEKELAND? >> CA VA. 890 00:50:21,084 --> 00:50:26,622 >> "CA VA"? "PAS MAL"? NO, NO, NO, NO. 891 00:50:27,357 --> 00:50:34,196 THAT ISN'T GOOD ENOUGH BY HALF. TONY TAKES CARE OF JAKE. TONY TAKES CARE OF BARBARA. 892 00:50:34,998 --> 00:50:37,700 SOMEONE MUST TAKE CARE OF TONY. 893 00:50:45,008 --> 00:50:52,648 [¶...] [BIRDS CHIRPING] 894 00:51:13,236 --> 00:51:17,273 [¶...] 895 00:51:33,523 --> 00:51:37,593 [¶...] 896 00:51:52,909 --> 00:51:58,514 >> Sam: WHAT I WOULD LIKE TO DO, IDEALLY, IS TO PLACE YOU WITH A GALLERY OR, FAILING THAT, WITH 897 00:51:58,516 --> 00:52:00,049 IDEALLY, IS TO PLACE YOU WITH A GALLERY OR, FAILING THAT, WITH A... PRIVATE DEALER-- AND THAT 898 00:52:00,051 --> 00:52:01,684 A GALLERY OR, FAILING THAT, WITH A... PRIVATE DEALER-- AND THAT IS SOMETHING IEALER-- AND THAT 899 00:52:01,686 --> 00:52:03,152 A... PRIVATE DEALER-- AND THAT IS SOMETHING IEALER-- AND THAT KNOW I CAN DO-- 900 00:52:12,295 --> 00:52:14,630 >> YOU SHOULDN'T HAVE DONE THAT. 901 00:52:17,267 --> 00:52:19,034 SAM... 902 00:52:20,103 --> 00:52:22,705 YOU SHOULD NOT HAVE DONE THAT. 903 00:52:26,543 --> 00:52:32,748 >> HE'S YOUR CHILD, AND HE WILL ALWAYS BE YOUR CHILD, BUT HE IS A GROWN MAN WITH HIS OWN LIFE 904 00:52:32,750 --> 00:52:34,216 ALWAYS BE YOUR CHILD, BUT HE IS A GROWN MAN WITH HIS OWN LIFE AND HIS OWN CHOICES. 905 00:52:34,218 --> 00:52:35,117 A GROWN MAN WITH HIS OWN LIFE AND HIS OWN CHOICES. >> YOU DON'T KNOW WHAT YOU'RE 906 00:52:35,119 --> 00:52:36,018 AND HIS OWN CHOICES. >> YOU DON'T KNOW WHAT YOU'RE TALKING ABOUT. 907 00:52:36,020 --> 00:52:38,254 >> YOU DON'T KNOW WHAT YOU'RE TALKING ABOUT. >> TONY IS WHO TONY IS. 908 00:52:38,256 --> 00:52:40,756 TALKING ABOUT. >> TONY IS WHO TONY IS. [PLATE SHATTERS] 909 00:52:40,758 --> 00:52:43,025 >> TONY IS WHO TONY IS. [PLATE SHATTERS] >> TONY IS NOT WHO TONY "IS"! 910 00:52:43,027 --> 00:52:45,761 [PLATE SHATTERS] >> TONY IS NOT WHO TONY "IS"! [RECORD PLAYS SOFT MUSIC...] 911 00:52:49,332 --> 00:52:54,203 [¶...] 912 00:53:26,403 --> 00:53:30,506 >> Tony, writing: DEAR PAPA, I DON'T KNOW ANY OTHER WAY TO 913 00:53:30,508 --> 00:53:33,108 DEAR PAPA, I DON'T KNOW ANY OTHER WAY TO SAY THIS, BUT STRAIGHT OUT: 914 00:53:34,678 --> 00:53:39,114 WOULD YOU PLEASE COME BACK TO MUMMY? SHE'S SO UNHAPPY. 915 00:53:40,917 --> 00:53:43,252 SHE NEEDS YOU... 916 00:53:44,054 --> 00:53:47,223 BUT IS TOO FULL OF PRIDE TO ASK. 917 00:53:49,059 --> 00:53:52,928 DO YOU REMEMBER OUR DOG WHOM YOU NAMED GIOTTO? 918 00:53:53,763 --> 00:53:56,832 THE DOG IS GONE, BUT THE COLLAR REMAINS. 919 00:53:58,268 --> 00:54:02,471 DO YOU KNOW THAT FOR ALL THE TIMES WE'VE MOVED, I'VE TAKEN IT FROM PLACE TO PLACE-- 920 00:54:02,473 --> 00:54:03,572 TIMES WE'VE MOVED, I'VE TAKEN IT FROM PLACE TO PLACE-- IT'S NEVER GOTTEN LOST, 921 00:54:03,574 --> 00:54:04,840 IT FROM PLACE TO PLACE-- IT'S NEVER GOTTEN LOST, NOT EVEN ONCE. 922 00:54:09,913 --> 00:54:12,848 I DO NOT KNOW WHY YOU FEAR ME. 923 00:54:14,084 --> 00:54:16,752 I DO NOT FEAR YOU. 924 00:54:18,054 --> 00:54:24,560 SOMETIMES I HAVE A BLOODY MIND AND I DON'T KNOW WHAT TO DO ABOUT IT, BUT I FIGHT IT WITH 925 00:54:24,562 --> 00:54:26,495 AND I DON'T KNOW WHAT TO DO ABOUT IT, BUT I FIGHT IT WITH EVERYTHING I'VE GOT. 926 00:54:27,831 --> 00:54:31,133 WITH MY BEST LOVE, ANTONY. 927 00:55:04,701 --> 00:55:11,907 >> TONY! TONY! [BICYCLE RATTLES] 928 00:55:16,112 --> 00:55:20,482 [WIND BLOWS THROUGH THE TREES] 929 00:55:29,426 --> 00:55:31,593 [¶...] 930 00:55:35,965 --> 00:55:41,136 BROOKS! [¶...] 931 00:55:47,077 --> 00:55:50,546 [¶...] 932 00:56:14,504 --> 00:56:20,409 [BRUSH CLATTERS TO THE FLOOR] [¶...] 933 00:56:23,713 --> 00:56:27,716 >> [WHISPERS]: EVERYTHING IS GOING TO BE ALL RIGHT. 934 00:56:29,119 --> 00:56:32,254 [¶...] 935 00:56:54,177 --> 00:56:59,381 [¶...] 936 00:57:11,895 --> 00:57:16,899 [CIGARETTE BURNS, SOMEONE EXHALES] [BICYCLE RATTLES] 937 00:57:17,934 --> 00:57:21,970 [¶...] >> Tony: MY MUMMY TOLD ME 938 00:57:21,972 --> 00:57:24,473 >> Tony: MY MUMMY TOLD ME EVER SINCE I WAS SEVEN, 939 00:57:24,475 --> 00:57:26,442 MY MUMMY TOLD ME EVER SINCE I WAS SEVEN, "HOLD YOUR HEAD UP HIGH." 940 00:57:26,444 --> 00:57:27,876 EVER SINCE I WAS SEVEN, "HOLD YOUR HEAD UP HIGH." [¶...] 941 00:57:27,878 --> 00:57:29,645 "HOLD YOUR HEAD UP HIGH." [¶...] [BICYCLE RATTLES] 942 00:57:33,450 --> 00:57:34,817 [BICYCLE CRASHES LOUDLY] 943 00:57:35,552 --> 00:57:39,822 A VERY STRANGE THING IS WHEN YOUR CHARM CEASES. 944 00:57:41,458 --> 00:57:50,299 AND FOR ONE REASON OR ANOTHER, YOU BECOME GLOOMY. [¶...] 945 00:57:50,301 --> 00:57:52,201 YOU BECOME GLOOMY. [¶...] AND PEOPLE CEASE TO UNDERSTAND 946 00:57:52,203 --> 00:57:53,368 [¶...] AND PEOPLE CEASE TO UNDERSTAND YOU WHEN YOU NEED UNDERSTANDING 947 00:57:53,370 --> 00:57:54,837 AND PEOPLE CEASE TO UNDERSTAND YOU WHEN YOU NEED UNDERSTANDING THE MOST. 948 00:57:54,839 --> 00:57:58,507 YOU WHEN YOU NEED UNDERSTANDING THE MOST. [¶...] 949 00:58:06,449 --> 00:58:12,454 I NOW REALIZE THAT FOR MANY YEARS, I HAVE BEEN LIVING A TOTALLY FALSE LIFE. 950 00:58:12,456 --> 00:58:13,689 YEARS, I HAVE BEEN LIVING A TOTALLY FALSE LIFE. [BOTTLE CLINKS, 951 00:58:13,691 --> 00:58:15,557 A TOTALLY FALSE LIFE. [BOTTLE CLINKS, ROLLS ON THE FLOOR] 952 00:58:15,559 --> 00:58:19,161 [BOTTLE CLINKS, ROLLS ON THE FLOOR] [¶...] 953 00:58:20,930 --> 00:58:22,564 I KNEW IT. 954 00:58:23,299 --> 00:58:27,836 BUT FOR MUMMY'S SAKE, I'VE DECIDED TO MAKE A NEW PERSON OF MYSELF. 955 00:58:27,838 --> 00:58:31,173 DECIDED TO MAKE A NEW PERSON OF MYSELF. [¶...] 956 00:59:22,559 --> 00:59:30,265 [¶...] [BIRDS CHIRPING] 957 00:59:59,562 --> 01:00:00,495 [LAUGHING...] 958 01:00:04,567 --> 01:00:07,869 [ALL LAUGHING...] 959 01:00:17,480 --> 01:00:25,220 [LAUGHING STOPS] [BIRDS CHIRPING] 960 01:00:51,447 --> 01:00:54,182 [BIRDS CHIRPING...] 961 01:00:56,519 --> 01:01:01,323 >> Barbara: WE'LL BE BORED RIGID WITHOUT YOU. >> Tony: IT'S HARDER TO GET 962 01:01:01,325 --> 01:01:02,190 WITHOUT YOU. >> Tony: IT'S HARDER TO GET PEOPLE TO COME-- 963 01:01:02,192 --> 01:01:03,859 >> Tony: IT'S HARDER TO GET PEOPLE TO COME-- >> Sam: THAN IT WAS IN CADAQUES, 964 01:01:03,861 --> 01:01:05,661 PEOPLE TO COME-- >> Sam: THAN IT WAS IN CADAQUES, I KNOW. 965 01:01:05,663 --> 01:01:07,329 >> Sam: THAN IT WAS IN CADAQUES, I KNOW. I KNOW. 966 01:01:08,798 --> 01:01:10,699 >> Tony: IT'S TIME. 967 01:01:14,837 --> 01:01:16,738 >> IT'S TIME. 968 01:01:29,852 --> 01:01:31,620 [MOTOR STARTS...] 969 01:01:42,865 --> 01:01:45,067 >> I'M GLAD HE'S GONE. 970 01:01:46,102 --> 01:01:49,604 [LAUGHING] 971 01:01:55,478 --> 01:01:58,613 >> Tony: I'M NOT SURE, PAPA, YOU WOULD WANT TO KNOW THIS. 972 01:01:58,615 --> 01:01:59,715 I'M NOT SURE, PAPA, YOU WOULD WANT TO KNOW THIS. BUT SHE USED SLEEPING 973 01:01:59,717 --> 01:02:01,883 YOU WOULD WANT TO KNOW THIS. BUT SHE USED SLEEPING SUPPOSITORIES... SIX OR SEVEN 974 01:02:01,885 --> 01:02:03,351 BUT SHE USED SLEEPING SUPPOSITORIES... SIX OR SEVEN OF THEM, SO THAT SHE WOULDN'T 975 01:02:03,353 --> 01:02:06,455 SUPPOSITORIES... SIX OR SEVEN OF THEM, SO THAT SHE WOULDN'T CHANGE HER MIND... COULDN'T. 976 01:02:06,457 --> 01:02:08,023 OF THEM, SO THAT SHE WOULDN'T CHANGE HER MIND... COULDN'T. I REMEMBER SHE TOLD ME THAT HER 977 01:02:08,025 --> 01:02:09,758 CHANGE HER MIND... COULDN'T. I REMEMBER SHE TOLD ME THAT HER FATHER, MY GRANDFATHER, 978 01:02:09,760 --> 01:02:12,027 I REMEMBER SHE TOLD ME THAT HER FATHER, MY GRANDFATHER, HAD KILLED HIMSELF, SO I FEAR 979 01:02:12,029 --> 01:02:15,163 FATHER, MY GRANDFATHER, HAD KILLED HIMSELF, SO I FEAR THAT ALL THIS RAN VERY DEEP 980 01:02:15,165 --> 01:02:17,733 HAD KILLED HIMSELF, SO I FEAR THAT ALL THIS RAN VERY DEEP WITHIN HER. 981 01:02:17,735 --> 01:02:19,000 THAT ALL THIS RAN VERY DEEP WITHIN HER. IT WAS A MIRACLE OF COURSE THAT 982 01:02:19,002 --> 01:02:20,335 WITHIN HER. IT WAS A MIRACLE OF COURSE THAT I CAME HOME THAT NIGHT INSTEAD 983 01:02:20,337 --> 01:02:22,704 IT WAS A MIRACLE OF COURSE THAT I CAME HOME THAT NIGHT INSTEAD OF STAYING OUT TILL MORNING, 984 01:02:22,706 --> 01:02:24,473 I CAME HOME THAT NIGHT INSTEAD OF STAYING OUT TILL MORNING, AS IS MY CUSTOM. 985 01:02:24,475 --> 01:02:25,874 OF STAYING OUT TILL MORNING, AS IS MY CUSTOM. AND A MIRACLE THAT WHEN I DID 986 01:02:25,876 --> 01:02:28,343 AS IS MY CUSTOM. AND A MIRACLE THAT WHEN I DID COME HOME, SHE WAS STILL ALIVE. 987 01:02:30,880 --> 01:02:34,149 TAKING CARE OF MUMMY HAD BEEN YOUR JOB. 988 01:02:36,319 --> 01:02:38,587 BUT WHEN YOU LEFT, BROOKS, 989 01:02:39,522 --> 01:02:43,458 TAKING CARE OF MUMMY BECAME MY INHERITANCE. 990 01:02:45,461 --> 01:02:47,329 >> BARBARA? 991 01:02:48,865 --> 01:02:52,534 [¶...] 992 01:03:20,663 --> 01:03:29,237 [FINGERS SQUEAK ON THE WAXED WOOD...] [¶...] 993 01:03:43,119 --> 01:03:44,419 >> HI. 994 01:03:45,121 --> 01:03:48,990 WE JUST MISSED EACH OTHER. >> A L'HOPITAL? 995 01:03:49,959 --> 01:03:53,528 THEY TOLD ME THAT YOU HAD BEEN THERE. >> THIS... 996 01:03:54,297 --> 01:03:56,198 MUST BE VERY HARD FOR YOU. 997 01:04:00,636 --> 01:04:05,607 YOUR MUSIC? YOUR WRITING? >> THAT. >> CARLOS THINKS VERY HIGHLY 998 01:04:05,609 --> 01:04:07,709 >> THAT. >> CARLOS THINKS VERY HIGHLY OF YOU, ALWAYS HAS. 999 01:04:07,711 --> 01:04:08,944 >> CARLOS THINKS VERY HIGHLY OF YOU, ALWAYS HAS. AND I'M SURE HE'LL-- 1000 01:04:08,946 --> 01:04:10,946 OF YOU, ALWAYS HAS. AND I'M SURE HE'LL-- >> HAVE YOU SEEN BROOKS? 1001 01:04:12,615 --> 01:04:14,349 >> CARLOS SAW HIM. 1002 01:04:17,820 --> 01:04:22,224 >> I DON'T THINK THAT BROOKS IS LIKING ME VERY MUCH THESE DAYS. 1003 01:04:24,927 --> 01:04:29,164 HE SAID I WAS A CRAPULE. >> OH, PLEASE-- TO BROOKS, 1004 01:04:29,166 --> 01:04:30,498 CRAPULE. >> OH, PLEASE-- TO BROOKS, EVERYONE IS A LITTLE SHIT. 1005 01:04:30,500 --> 01:04:31,900 >> OH, PLEASE-- TO BROOKS, EVERYONE IS A LITTLE SHIT. EVERYONE IN THE WHOLE WIDE 1006 01:04:31,902 --> 01:04:33,435 EVERYONE IS A LITTLE SHIT. EVERYONE IN THE WHOLE WIDE WORLD, INCLUDING ME, 1007 01:04:33,437 --> 01:04:34,769 EVERYONE IN THE WHOLE WIDE WORLD, INCLUDING ME, INCLUDING YOU... 1008 01:04:34,771 --> 01:04:35,837 WORLD, INCLUDING ME, INCLUDING YOU... INCLUDING EVEN CARLOS, 1009 01:04:35,839 --> 01:04:37,172 INCLUDING YOU... INCLUDING EVEN CARLOS, FOR GOD'S SAKE. 1010 01:04:37,174 --> 01:04:39,107 INCLUDING EVEN CARLOS, FOR GOD'S SAKE. >> BUT NOT LEO. 1011 01:04:41,444 --> 01:04:43,712 NOT THE SAINTED GRANDFATHER. 1012 01:04:47,750 --> 01:04:51,519 [¶...] >> Barbara: WHAT WAS IT HE SAID? >> Tony: WHO? 1013 01:04:51,521 --> 01:04:53,288 >> Barbara: WHAT WAS IT HE SAID? >> Tony: WHO? >> HEMINGWAY, I THINK, 1014 01:04:53,290 --> 01:04:54,823 >> Tony: WHO? >> HEMINGWAY, I THINK, OR THE OTHER ONE... 1015 01:04:54,825 --> 01:04:55,490 >> HEMINGWAY, I THINK, OR THE OTHER ONE... >> FITZGERALD? 1016 01:04:55,492 --> 01:04:56,858 OR THE OTHER ONE... >> FITZGERALD? >> HEMINGWAY OR FITZGERALD, YES. 1017 01:04:56,860 --> 01:04:58,026 >> FITZGERALD? >> HEMINGWAY OR FITZGERALD, YES. IT WAS ONE OF THEM. 1018 01:04:58,028 --> 01:04:58,793 >> HEMINGWAY OR FITZGERALD, YES. IT WAS ONE OF THEM. >> WHO SAID...? 1019 01:04:58,795 --> 01:05:00,228 IT WAS ONE OF THEM. >> WHO SAID...? >> WHO SAID WHAT IT IS I'M 1020 01:05:00,230 --> 01:05:02,564 >> WHO SAID...? >> WHO SAID WHAT IT IS I'M TRYING TO REMEMBER! 1021 01:05:03,032 --> 01:05:10,672 GOD... I'M TURNING INTO NINI. >> MONSIEUR, ENCORE. MERCI BIEN. 1022 01:05:10,674 --> 01:05:12,540 >> MONSIEUR, ENCORE. MERCI BIEN. >> I KNOW, IT WAS ABOUT PARIS, 1023 01:05:12,542 --> 01:05:13,341 MERCI BIEN. >> I KNOW, IT WAS ABOUT PARIS, I THINK. 1024 01:05:13,343 --> 01:05:14,409 >> I KNOW, IT WAS ABOUT PARIS, I THINK. "IF YOU'RE TIRED OF PARIS, 1025 01:05:14,411 --> 01:05:16,344 I THINK. "IF YOU'RE TIRED OF PARIS, YOU'RE TIRED OF EVERYTHING." 1026 01:05:18,214 --> 01:05:20,048 I REMEMBER. 1027 01:05:20,650 --> 01:05:27,989 "TO SAY THAT ONE IS TIRED OF PARIS IS IN FACT TO SAY THAT ONE IS TIRED OF LIFE," 1028 01:05:27,991 --> 01:05:29,791 PARIS IS IN FACT TO SAY THAT ONE IS TIRED OF LIFE," SOMETHING LIKE THAT. 1029 01:05:29,793 --> 01:05:30,342 THAT ONE IS TIRED OF LIFE," SOMETHING LIKE THAT. >> Tony:G LIKE THAT. 1030 01:05:30,343 --> 01:05:30,892 SOMETHING LIKE THAT. >> Tony:G LIKE THAT. MUMMY HOPED THAT WITH 1031 01:05:30,894 --> 01:05:32,394 >> Tony:G LIKE THAT. MUMMY HOPED THAT WITH A NEW PLACE WOULD COME BETTER 1032 01:05:32,396 --> 01:05:35,096 MUMMY HOPED THAT WITH A NEW PLACE WOULD COME BETTER THINGS FOR US. 1033 01:05:35,098 --> 01:05:36,698 A NEW PLACE WOULD COME BETTER THINGS FOR US. AND SHE WAS RIGHT, 1034 01:05:36,700 --> 01:05:38,600 THINGS FOR US. AND SHE WAS RIGHT, BUT NOT COMPLETELY SO. 1035 01:05:38,602 --> 01:05:40,735 AND SHE WAS RIGHT, BUT NOT COMPLETELY SO. BUT STILL, PARIS WAS A STEP UP 1036 01:05:40,737 --> 01:05:42,437 BUT NOT COMPLETELY SO. BUT STILL, PARIS WAS A STEP UP IN THE WORLD. 1037 01:05:42,439 --> 01:05:44,439 BUT STILL, PARIS WAS A STEP UP IN THE WORLD. IT WAS IN PARIS THAT I STARTED 1038 01:05:44,441 --> 01:05:45,707 IN THE WORLD. IT WAS IN PARIS THAT I STARTED WRITING BACKWARDS IN MY 1039 01:05:45,709 --> 01:05:48,443 IT WAS IN PARIS THAT I STARTED WRITING BACKWARDS IN MY NOTEBOOK SO THAT NO ONE COULD 1040 01:05:48,445 --> 01:05:51,680 WRITING BACKWARDS IN MY NOTEBOOK SO THAT NO ONE COULD READ MY THOUGHTS, BUT MUMMY 1041 01:05:51,682 --> 01:05:52,781 NOTEBOOK SO THAT NO ONE COULD READ MY THOUGHTS, BUT MUMMY SEEMED TO BE ABLE TO READ THEM 1042 01:05:52,783 --> 01:05:55,550 READ MY THOUGHTS, BUT MUMMY SEEMED TO BE ABLE TO READ THEM ANYWAY, AS IF SHE WERE INSIDE 1043 01:05:55,552 --> 01:05:57,352 SEEMED TO BE ABLE TO READ THEM ANYWAY, AS IF SHE WERE INSIDE MY HEAD, LOOKING OUT. 1044 01:05:57,354 --> 01:06:01,323 ANYWAY, AS IF SHE WERE INSIDE MY HEAD, LOOKING OUT. [¶...] 1045 01:06:04,660 --> 01:06:10,432 MY GREAT-GRANDFATHER LEO ONCE SAID, "ONE OF THE USES OF MONEY IS THAT IT ALLOWS US NOT 1046 01:06:10,434 --> 01:06:11,866 SAID, "ONE OF THE USES OF MONEY IS THAT IT ALLOWS US NOT TO LIVE WITH THE CONSEQUENCES 1047 01:06:11,868 --> 01:06:13,802 IS THAT IT ALLOWS US NOT TO LIVE WITH THE CONSEQUENCES OF OUR MISTAKES." 1048 01:06:14,904 --> 01:06:19,808 BUT I FEAR THAT IN THIS, LEO WAS WRONG. 1049 01:06:21,877 --> 01:06:26,414 >> Barbara: TONY! DO YOU KNOW WHAT I WOULD REALLY LOVE? 1050 01:06:27,917 --> 01:06:31,987 >> WHAT WOULD YOU REALLY LOVE? >> WHAT DO YOU THINK? 1051 01:06:34,123 --> 01:06:40,395 ...THIS IS SO GOOD. >> I'M GLAD. >> IT'S EXACTLY WHAT I WANTED. 1052 01:06:40,397 --> 01:06:41,763 >> I'M GLAD. >> IT'S EXACTLY WHAT I WANTED. >> THEN I'M ALL THE MORE GLAD 1053 01:06:41,765 --> 01:06:43,565 >> IT'S EXACTLY WHAT I WANTED. >> THEN I'M ALL THE MORE GLAD THAT I WAS ABLE TO OBTAIN IT. 1054 01:06:43,567 --> 01:06:45,600 >> THEN I'M ALL THE MORE GLAD THAT I WAS ABLE TO OBTAIN IT. >> IS THERE A BETTER ICE CREAM 1055 01:06:45,602 --> 01:06:47,736 THAT I WAS ABLE TO OBTAIN IT. >> IS THERE A BETTER ICE CREAM IN THE WHOLE WORLD? 1056 01:06:49,205 --> 01:06:52,574 IS IT THURSDAY? >> YES, IT IS. 1057 01:06:54,777 --> 01:06:58,880 >> I HAVE DINNER WITH ETHEL TONIGHT. ETHEL DE CROISSET. 1058 01:06:58,882 --> 01:07:00,248 WITH ETHEL TONIGHT. ETHEL DE CROISSET. >> I'LL MAKE OTHER PLANS. 1059 01:07:00,250 --> 01:07:01,416 ETHEL DE CROISSET. >> I'LL MAKE OTHER PLANS. >> I'M SURE SHE WOULDN'T MIND IF 1060 01:07:01,418 --> 01:07:02,017 >> I'LL MAKE OTHER PLANS. >> I'M SURE SHE WOULDN'T MIND IF YOU TAGGED ALONG. 1061 01:07:02,019 --> 01:07:03,118 >> I'M SURE SHE WOULDN'T MIND IF YOU TAGGED ALONG. >> I WOULDN'T WANT TO IMPOSE. 1062 01:07:03,120 --> 01:07:05,687 YOU TAGGED ALONG. >> I WOULDN'T WANT TO IMPOSE. >> I DON'T LIKE WHAT HAPPENS... 1063 01:07:05,689 --> 01:07:07,188 >> I WOULDN'T WANT TO IMPOSE. >> I DON'T LIKE WHAT HAPPENS... WHEN YOU "MAKE OTHER PLANS." 1064 01:07:07,190 --> 01:07:11,126 >> I DON'T LIKE WHAT HAPPENS... WHEN YOU "MAKE OTHER PLANS." >> MUMMY... PLEASE. 1065 01:07:11,128 --> 01:07:11,893 WHEN YOU "MAKE OTHER PLANS." >> MUMMY... PLEASE. >> "THE AFTERNOON 1066 01:07:11,895 --> 01:07:12,994 >> MUMMY... PLEASE. >> "THE AFTERNOON OF THE LONGEST LAUNDRY"? 1067 01:07:12,996 --> 01:07:15,096 >> "THE AFTERNOON OF THE LONGEST LAUNDRY"? >> [SNICKERS] I DON'T DO THAT 1068 01:07:15,098 --> 01:07:15,864 OF THE LONGEST LAUNDRY"? >> [SNICKERS] I DON'T DO THAT ANYMORE. 1069 01:07:15,866 --> 01:07:18,566 >> [SNICKERS] I DON'T DO THAT ANYMORE. >> MM... HMM. 1070 01:07:19,835 --> 01:07:22,103 >> WHAT DOES THE "G" STAND FOR? 1071 01:07:23,839 --> 01:07:26,441 >> WHAT, DEAR? >> THE "G". 1072 01:07:27,710 --> 01:07:30,845 >> GEORGE. LIKE HIS FATHER. 1073 01:07:34,316 --> 01:07:36,918 DO MY WRISTS, WOULD YOU? 1074 01:07:40,656 --> 01:07:42,924 [MAGAZINE DROPS ON THE FLOOR] 1075 01:07:50,099 --> 01:07:52,934 [WATER IN THE TUB SPLASHES] 1076 01:08:40,883 --> 01:08:49,824 THAT WAS LOVELY. AND NOW... [WATER SPLASHING] I NEED SOME PRIVACY. 1077 01:08:51,894 --> 01:08:56,831 [WATER SPLASHES] SCOOT, SO THAT I CAN GET DRESSED. 1078 01:09:04,707 --> 01:09:09,410 TEENY... I'M SO SORRY. >> Tony: I'M SO SORRY. MUMMY ALWAYS SAID THAT 1079 01:09:09,412 --> 01:09:10,979 >> Tony: I'M SO SORRY. MUMMY ALWAYS SAID THAT I SHOULD BE FURIOUS WITH YOU 1080 01:09:10,981 --> 01:09:13,348 MUMMY ALWAYS SAID THAT I SHOULD BE FURIOUS WITH YOU FOR STEALING MY GIRL. 1081 01:09:13,350 --> 01:09:16,050 I SHOULD BE FURIOUS WITH YOU FOR STEALING MY GIRL. BUT I SAID, "MUMMY, 1082 01:09:16,052 --> 01:09:18,353 FOR STEALING MY GIRL. BUT I SAID, "MUMMY, HE DIDN'T HURT ME. 1083 01:09:18,355 --> 01:09:20,188 BUT I SAID, "MUMMY, HE DIDN'T HURT ME. HE HURT YOU." 1084 01:09:20,190 --> 01:09:22,090 HE DIDN'T HURT ME. HE HURT YOU." STILL, PAPA, YOU SHOULD HAVE 1085 01:09:22,092 --> 01:09:23,191 HE HURT YOU." STILL, PAPA, YOU SHOULD HAVE COME BACK. 1086 01:09:23,193 --> 01:09:24,893 STILL, PAPA, YOU SHOULD HAVE COME BACK. I THOUGHT THAT ONE DAY YOU'D 1087 01:09:24,895 --> 01:09:27,195 COME BACK. I THOUGHT THAT ONE DAY YOU'D WAKE UP AND KNOW THAT TOO. 1088 01:09:28,130 --> 01:09:30,098 BUT YOU NEVER DID. 1089 01:09:32,168 --> 01:09:37,038 AND SOMETHING ELSE I WANT YOU TO KNOW. GIOTTO'S COLLAR HAS 1090 01:09:37,040 --> 01:09:39,908 TO KNOW. GIOTTO'S COLLAR HAS DISAPPEARED, AND I WILL NOT BE 1091 01:09:39,910 --> 01:09:43,578 GIOTTO'S COLLAR HAS DISAPPEARED, AND I WILL NOT BE ABLE TO SLEEP UNTIL WE FIND IT. 1092 01:09:45,748 --> 01:09:51,586 [BIRDS CHIRPING, CAWING] [¶...] 1093 01:09:52,121 --> 01:09:54,989 [LIGHTER SNAPS OPEN, CLICKS] 1094 01:09:57,026 --> 01:10:02,096 [LIGHTER CLICKS CLOSED] [¶...] 1095 01:10:28,290 --> 01:10:29,958 [LIGHTER CLICKS CLOSED] 1096 01:10:41,604 --> 01:10:46,474 >> Barbara: NOT THE FORMAL OPENING DINNER, OF COURSE, THAT'S ME AND 17 OF THE DEALER'S 1097 01:10:46,476 --> 01:10:47,709 OPENING DINNER, OF COURSE, THAT'S ME AND 17 OF THE DEALER'S CLOSEST FRIENDS, YOU KNOW, 1098 01:10:47,711 --> 01:10:49,344 THAT'S ME AND 17 OF THE DEALER'S CLOSEST FRIENDS, YOU KNOW, GETTING PISSED AT REGINE'S. 1099 01:10:49,346 --> 01:10:50,578 CLOSEST FRIENDS, YOU KNOW, GETTING PISSED AT REGINE'S. [WOMAN CHUCKLES] 1100 01:10:50,580 --> 01:10:51,579 GETTING PISSED AT REGINE'S. [WOMAN CHUCKLES] THIS IS DIFFERENT, MORE 1101 01:10:51,581 --> 01:10:52,780 [WOMAN CHUCKLES] THIS IS DIFFERENT, MORE INTIME. 1102 01:10:52,782 --> 01:10:53,915 THIS IS DIFFERENT, MORE INTIME. WHAT I WAS THINKING WAS THAT 1103 01:10:53,917 --> 01:10:55,883 INTIME. WHAT I WAS THINKING WAS THAT AFTER THE VERNISSAGE, I WOULD 1104 01:10:55,885 --> 01:10:57,385 WHAT I WAS THINKING WAS THAT AFTER THE VERNISSAGE, I WOULD GATHER TOGETHER A SMALL GROUP: 1105 01:10:57,387 --> 01:10:59,921 AFTER THE VERNISSAGE, I WOULD GATHER TOGETHER A SMALL GROUP: YOU AND MISHKA, OF COURSE, AND 1106 01:10:59,923 --> 01:11:01,589 GATHER TOGETHER A SMALL GROUP: YOU AND MISHKA, OF COURSE, AND ETHEL DE CROISSET AND THE DURANS 1107 01:11:01,591 --> 01:11:04,525 YOU AND MISHKA, OF COURSE, AND ETHEL DE CROISSET AND THE DURANS AND BILL AND ROSE STYRON, IF 1108 01:11:04,527 --> 01:11:06,127 ETHEL DE CROISSET AND THE DURANS AND BILL AND ROSE STYRON, IF THEY ARE STILL IN TOWN. 1109 01:11:06,129 --> 01:11:06,961 AND BILL AND ROSE STYRON, IF THEY ARE STILL IN TOWN. NOT, NOT "BUYERS," 1110 01:11:06,963 --> 01:11:08,930 THEY ARE STILL IN TOWN. NOT, NOT "BUYERS," NOT, NOT A BUSINESS THING. 1111 01:11:08,932 --> 01:11:09,797 NOT, NOT "BUYERS," NOT, NOT A BUSINESS THING. THANK YOU. 1112 01:11:09,799 --> 01:11:11,065 NOT, NOT A BUSINESS THING. THANK YOU. >> PEOPLE YOU LOVE AND WHO 1113 01:11:11,067 --> 01:11:12,533 THANK YOU. >> PEOPLE YOU LOVE AND WHO I KNOW WOULD LOVE EACH OTHER. 1114 01:11:12,535 --> 01:11:13,601 >> PEOPLE YOU LOVE AND WHO I KNOW WOULD LOVE EACH OTHER. OH, I CAN'T BEGIN TO TELL YOU 1115 01:11:13,603 --> 01:11:15,670 I KNOW WOULD LOVE EACH OTHER. OH, I CAN'T BEGIN TO TELL YOU HOW MUCH TONY ADORES LONDON. 1116 01:11:15,672 --> 01:11:17,205 OH, I CAN'T BEGIN TO TELL YOU HOW MUCH TONY ADORES LONDON. I BELIEVE IT'S BROUGHT ABOUT 1117 01:11:17,207 --> 01:11:19,574 HOW MUCH TONY ADORES LONDON. I BELIEVE IT'S BROUGHT ABOUT A SEA CHANGE IN HIM. 1118 01:11:20,142 --> 01:11:25,880 DO YOU REMEMBER IN PARIS HOW DOWN HE COULD GET? HOW... PULLED WITHIN HIMSELF AND THEN IN THE 1119 01:11:25,882 --> 01:11:27,915 DOWN HE COULD GET? HOW... PULLED WITHIN HIMSELF AND THEN IN THE MORNING, HOW AGITATED? 1120 01:11:27,917 --> 01:11:29,951 WITHIN HIMSELF AND THEN IN THE MORNING, HOW AGITATED? >> WELL, THAT'S STILL TONY, OF 1121 01:11:29,953 --> 01:11:32,020 MORNING, HOW AGITATED? >> WELL, THAT'S STILL TONY, OF COURSE, BUT IN LONDON, HE EATS, 1122 01:11:32,022 --> 01:11:34,055 >> WELL, THAT'S STILL TONY, OF COURSE, BUT IN LONDON, HE EATS, HE WALKS, HE EVEN SHOPS. 1123 01:11:34,057 --> 01:11:35,657 COURSE, BUT IN LONDON, HE EATS, HE WALKS, HE EVEN SHOPS. THIS MORNING, WE STAYED IN BED 1124 01:11:35,659 --> 01:11:36,958 HE WALKS, HE EVEN SHOPS. THIS MORNING, WE STAYED IN BED UNTIL 11, READING THE 1125 01:11:36,960 --> 01:11:37,458 THIS MORNING, WE STAYED IN BED UNTIL 11, READING THE NEWSPAPERS. 1126 01:11:37,460 --> 01:11:38,726 UNTIL 11, READING THE NEWSPAPERS. FOR HIM, THAT'S UNHEARD OF. 1127 01:11:38,728 --> 01:11:41,195 NEWSPAPERS. FOR HIM, THAT'S UNHEARD OF. FOR ME, PARADISE. 1128 01:11:41,197 --> 01:11:42,730 FOR HIM, THAT'S UNHEARD OF. FOR ME, PARADISE. >> OH, THANK YOU. 1129 01:11:42,732 --> 01:11:45,233 FOR ME, PARADISE. >> OH, THANK YOU. >> IT'S A PLEASURE. 1130 01:11:45,235 --> 01:11:46,367 >> OH, THANK YOU. >> IT'S A PLEASURE. >> NOW, WHAT DO YOU THINK, 1131 01:11:46,369 --> 01:11:47,568 >> IT'S A PLEASURE. >> NOW, WHAT DO YOU THINK, MISHKA, OF A SMALL DINNER 1132 01:11:47,570 --> 01:11:49,070 >> NOW, WHAT DO YOU THINK, MISHKA, OF A SMALL DINNER FOLLOWING THE VERNISSAGE? 1133 01:11:49,072 --> 01:11:50,038 MISHKA, OF A SMALL DINNER FOLLOWING THE VERNISSAGE? >> WHAT'S NOT TO LIKE? 1134 01:11:50,040 --> 01:11:51,372 FOLLOWING THE VERNISSAGE? >> WHAT'S NOT TO LIKE? IT SOUNDS LIKE A GREAT IDEA. 1135 01:11:51,374 --> 01:11:53,141 >> WHAT'S NOT TO LIKE? IT SOUNDS LIKE A GREAT IDEA. >> WELL, I WAS THINKING I MIGHT 1136 01:11:53,143 --> 01:11:53,975 IT SOUNDS LIKE A GREAT IDEA. >> WELL, I WAS THINKING I MIGHT HAVE IT HERE. 1137 01:11:53,977 --> 01:11:55,810 >> WELL, I WAS THINKING I MIGHT HAVE IT HERE. I THOUGHT IT MIGHT ADD A NOTE OF 1138 01:11:55,812 --> 01:11:57,378 HAVE IT HERE. I THOUGHT IT MIGHT ADD A NOTE OF CLASS TO MY OWN LITTLE WORKS 1139 01:11:57,380 --> 01:11:59,047 I THOUGHT IT MIGHT ADD A NOTE OF CLASS TO MY OWN LITTLE WORKS WHICH THEY IN NO WAY ON THEIR 1140 01:11:59,049 --> 01:11:59,714 CLASS TO MY OWN LITTLE WORKS WHICH THEY IN NO WAY ON THEIR OWN MERITS... 1141 01:11:59,716 --> 01:12:01,182 WHICH THEY IN NO WAY ON THEIR OWN MERITS... >> OF COURSE YOU CAN HAVE YOUR 1142 01:12:01,184 --> 01:12:04,085 OWN MERITS... >> OF COURSE YOU CAN HAVE YOUR LITTLE DINNER OVER HERE. 1143 01:12:04,087 --> 01:12:04,952 >> OF COURSE YOU CAN HAVE YOUR LITTLE DINNER OVER HERE. [MUNCHING SALAD] 1144 01:12:04,954 --> 01:12:06,020 LITTLE DINNER OVER HERE. [MUNCHING SALAD] >> I DON'T KNOW HOW 1145 01:12:06,022 --> 01:12:08,089 [MUNCHING SALAD] >> I DON'T KNOW HOW TO THANK YOU. 1146 01:12:09,958 --> 01:12:12,360 TONY WILL BE THRILLED. 1147 01:12:13,262 --> 01:12:17,332 >> [SIGHS] [BIRDS CHIRPING] 1148 01:12:17,800 --> 01:12:24,038 [DOOR SHUTS] >> WELL...? WHERE IS IT? 1149 01:12:26,642 --> 01:12:31,446 WHERE IS IT? WHERE DID YOU PUT IT? >> Barbara: IT IS NOT MY 1150 01:12:31,448 --> 01:12:32,847 WHERE DID YOU PUT IT? >> Barbara: IT IS NOT MY RESPONSIBILITY TO KEEP TRACK OF 1151 01:12:32,849 --> 01:12:33,815 >> Barbara: IT IS NOT MY RESPONSIBILITY TO KEEP TRACK OF YOUR OBJECTS. 1152 01:12:33,817 --> 01:12:35,850 RESPONSIBILITY TO KEEP TRACK OF YOUR OBJECTS. >> BUT IT'S NOT ANYWHERE. 1153 01:12:35,852 --> 01:12:38,786 YOUR OBJECTS. >> BUT IT'S NOT ANYWHERE. >> MISSY HARNDEN IS THE SOUL 1154 01:12:38,788 --> 01:12:40,254 >> BUT IT'S NOT ANYWHERE. >> MISSY HARNDEN IS THE SOUL OF GRACIOUSNESS. 1155 01:12:40,256 --> 01:12:41,489 >> MISSY HARNDEN IS THE SOUL OF GRACIOUSNESS. WHEN I MENTIONED THAT THERE 1156 01:12:41,491 --> 01:12:43,191 OF GRACIOUSNESS. WHEN I MENTIONED THAT THERE WOULD BE A VERNISSAGE AFTER THE 1157 01:12:43,193 --> 01:12:45,426 WHEN I MENTIONED THAT THERE WOULD BE A VERNISSAGE AFTER THE OPENING, SHE OFFERED TO HOST 1158 01:12:45,428 --> 01:12:47,028 WOULD BE A VERNISSAGE AFTER THE OPENING, SHE OFFERED TO HOST A LITTLE DINNER,ERED TO HOST 1159 01:12:47,030 --> 01:12:48,463 OPENING, SHE OFFERED TO HOST A LITTLE DINNER,ERED TO HOST CHEZ HARNDEN. 1160 01:12:48,465 --> 01:12:50,164 A LITTLE DINNER,ERED TO HOST CHEZ HARNDEN. >> I'M SO HAPPY FOR YOU, MUMMY. 1161 01:12:50,166 --> 01:12:51,632 CHEZ HARNDEN. >> I'M SO HAPPY FOR YOU, MUMMY. >> I DO LIKE THE WAY YOU'VE BEEN 1162 01:12:51,634 --> 01:12:52,834 >> I'M SO HAPPY FOR YOU, MUMMY. >> I DO LIKE THE WAY YOU'VE BEEN DRESSING LATELY. 1163 01:12:52,836 --> 01:12:54,035 >> I DO LIKE THE WAY YOU'VE BEEN DRESSING LATELY. IS THAT FROM GIEVES? 1164 01:12:54,037 --> 01:12:55,136 DRESSING LATELY. IS THAT FROM GIEVES? >> NO, ACTUALLY, IT'S 1165 01:12:55,138 --> 01:12:56,270 IS THAT FROM GIEVES? >> NO, ACTUALLY, IT'S FROM ANDERSON. 1166 01:12:56,272 --> 01:12:58,106 >> NO, ACTUALLY, IT'S FROM ANDERSON. FROM ANDERSON AND SHEPPARD. 1167 01:12:58,108 --> 01:12:59,941 FROM ANDERSON. FROM ANDERSON AND SHEPPARD. >> DID YOU JUST WALK IN? 1168 01:12:59,943 --> 01:13:01,342 FROM ANDERSON AND SHEPPARD. >> DID YOU JUST WALK IN? >> NO, YOU MIGHT JUST WALK INTO 1169 01:13:01,344 --> 01:13:02,877 >> DID YOU JUST WALK IN? >> NO, YOU MIGHT JUST WALK INTO GIEVES, BUT YOU'RE NOT GOING TO 1170 01:13:02,879 --> 01:13:03,845 >> NO, YOU MIGHT JUST WALK INTO GIEVES, BUT YOU'RE NOT GOING TO WALK INTO ANDERSON. 1171 01:13:03,847 --> 01:13:05,246 GIEVES, BUT YOU'RE NOT GOING TO WALK INTO ANDERSON. YOU GET WALKED INTO ANDERSON. 1172 01:13:05,248 --> 01:13:08,249 WALK INTO ANDERSON. YOU GET WALKED INTO ANDERSON. IN MY CASE, BY TIMOTHY CHALMERS. 1173 01:13:08,251 --> 01:13:10,551 YOU GET WALKED INTO ANDERSON. IN MY CASE, BY TIMOTHY CHALMERS. >> HAVE YOU BEEN SEEING A LOT OF 1174 01:13:10,553 --> 01:13:14,122 IN MY CASE, BY TIMOTHY CHALMERS. >> HAVE YOU BEEN SEEING A LOT OF YOUNG TIMOTHY CHALMERS? 1175 01:13:14,124 --> 01:13:15,523 >> HAVE YOU BEEN SEEING A LOT OF YOUNG TIMOTHY CHALMERS? BECAUSE I DON'T THINK HE'S THE 1176 01:13:15,525 --> 01:13:16,891 YOUNG TIMOTHY CHALMERS? BECAUSE I DON'T THINK HE'S THE KIND OF PERSON YOU WANT TO BE 1177 01:13:16,893 --> 01:13:18,292 BECAUSE I DON'T THINK HE'S THE KIND OF PERSON YOU WANT TO BE LEARNING FROM, IF WHAT YOU WANT 1178 01:13:18,294 --> 01:13:21,095 KIND OF PERSON YOU WANT TO BE LEARNING FROM, IF WHAT YOU WANT TO LEARN IS HOW TO BE A MAN. 1179 01:13:22,898 --> 01:13:27,468 >> WHAT DO YOU MEAN? >> I MEAN I DON'T THINK TIMOTHY LIKES WOMEN VERY MUCH. 1180 01:13:27,470 --> 01:13:30,071 >> I MEAN I DON'T THINK TIMOTHY LIKES WOMEN VERY MUCH. >> OH, HE'S ENGLISH, IS ALL. 1181 01:13:30,073 --> 01:13:31,439 LIKES WOMEN VERY MUCH. >> OH, HE'S ENGLISH, IS ALL. HE'S THE KIND OF PERSON THAT 1182 01:13:31,441 --> 01:13:33,341 >> OH, HE'S ENGLISH, IS ALL. HE'S THE KIND OF PERSON THAT DOES THINGS FOR PEOPLE... 1183 01:13:33,343 --> 01:13:34,876 HE'S THE KIND OF PERSON THAT DOES THINGS FOR PEOPLE... IN THE WAY THAT MISSY HARNDEN 1184 01:13:34,878 --> 01:13:37,278 DOES THINGS FOR PEOPLE... IN THE WAY THAT MISSY HARNDEN DOES FOR YOU. 1185 01:13:37,280 --> 01:13:38,446 IN THE WAY THAT MISSY HARNDEN DOES FOR YOU. >> I HOPE YOU HAVEN'T INCURRED 1186 01:13:38,448 --> 01:13:39,914 DOES FOR YOU. >> I HOPE YOU HAVEN'T INCURRED ANY KIND OF OBLIGATION. 1187 01:13:39,916 --> 01:13:40,915 >> I HOPE YOU HAVEN'T INCURRED ANY KIND OF OBLIGATION. >> MOTHER, WE'RE TALKING ABOUT 1188 01:13:40,917 --> 01:13:42,817 ANY KIND OF OBLIGATION. >> MOTHER, WE'RE TALKING ABOUT AN INTRODUCTION TO A TAILOR, 1189 01:13:42,819 --> 01:13:43,951 >> MOTHER, WE'RE TALKING ABOUT AN INTRODUCTION TO A TAILOR, A CLOTHIER. 1190 01:13:43,953 --> 01:13:45,386 AN INTRODUCTION TO A TAILOR, A CLOTHIER. >> WELL, I VERY MUCH LIKE 1191 01:13:45,388 --> 01:13:47,655 A CLOTHIER. >> WELL, I VERY MUCH LIKE THIS MATERIAL... 1192 01:13:47,657 --> 01:13:49,657 >> WELL, I VERY MUCH LIKE THIS MATERIAL... THIS FABRIC. 1193 01:13:51,193 --> 01:13:55,196 WHAT WOULD YOU CALL IT? >> IT'S A WORSTED, I SHOULD THINK. 1194 01:13:55,198 --> 01:13:56,431 >> IT'S A WORSTED, I SHOULD THINK. >> MMM, WELL, IT'S MUCH NICER 1195 01:13:56,433 --> 01:13:57,398 I SHOULD THINK. >> MMM, WELL, IT'S MUCH NICER THAN YOUR OTHER WORSTED. 1196 01:13:57,400 --> 01:13:59,467 >> MMM, WELL, IT'S MUCH NICER THAN YOUR OTHER WORSTED. >> WELL, THAT'S ANDERSON. 1197 01:14:04,206 --> 01:14:08,943 >> THIS IS INTERESTING. >> BARBARA... 1198 01:14:10,446 --> 01:14:14,182 PLEASE. >> YOU DON'T SEEM TO MIND IT. PART OF YOU DOESN'T SEEM TO 1199 01:14:14,184 --> 01:14:15,917 >> YOU DON'T SEEM TO MIND IT. PART OF YOU DOESN'T SEEM TO MIND IT. 1200 01:14:16,585 --> 01:14:18,619 >> WELL, I SUPPOSE I DON'T... 1201 01:14:20,355 --> 01:14:24,158 MIND. >> YOU MIGHT EVEN ENJOY IT. >> I MIGHT. 1202 01:14:24,160 --> 01:14:25,793 >> YOU MIGHT EVEN ENJOY IT. >> I MIGHT. >> AH, I'M FINDING SOME 1203 01:14:25,795 --> 01:14:28,729 >> I MIGHT. >> AH, I'M FINDING SOME BUTTONS HERE. 1204 01:14:28,731 --> 01:14:30,198 >> AH, I'M FINDING SOME BUTTONS HERE. HOW MANY? 1205 01:14:30,200 --> 01:14:32,099 BUTTONS HERE. HOW MANY? >> FIVE. 1206 01:14:32,101 --> 01:14:33,367 HOW MANY? >> FIVE. THEY DO THEM WITH FIVE. 1207 01:14:33,369 --> 01:14:35,403 >> FIVE. THEY DO THEM WITH FIVE. >> THAT'S FIVE. 1208 01:14:36,371 --> 01:14:38,206 THAT'S FOUR... 1209 01:14:39,374 --> 01:14:41,709 AND THAT'S THREE... 1210 01:14:44,213 --> 01:14:46,180 HOLD THAT THOUGHT. 1211 01:14:52,120 --> 01:14:57,492 [DOOR SHUTS] [CLOCK TICKING...] 1212 01:15:00,095 --> 01:15:05,166 [CLOCK CHIMING...] 1213 01:15:07,603 --> 01:15:10,271 [DOOR OPENS, CLOSES] 1214 01:15:20,682 --> 01:15:25,887 I LIKE THE BOXERS YOU'VE CHOSEN. >> I PICKED THEM OUT FOR MYSELF. 1215 01:15:43,939 --> 01:15:49,076 >> [SOFTLY]: HOW DOES THAT FEEL? >> [SOFTLY]: I THINK YOU KNOW. 1216 01:16:03,225 --> 01:16:07,562 >> [PANTING...] 1217 01:16:20,042 --> 01:16:23,077 [PANTING FASTER...] 1218 01:16:43,799 --> 01:16:49,136 [PANTING SLOWS, FADES...] 1219 01:16:58,914 --> 01:17:00,982 DID YOU COME? 1220 01:17:02,417 --> 01:17:04,385 >> NO. 1221 01:17:09,925 --> 01:17:12,693 >> WE CAN DO SOMETHING ABOUT THAT. 1222 01:17:37,052 --> 01:17:39,654 [TONY PANTING...] 1223 01:17:46,461 --> 01:17:48,262 [TONY GROANS] 1224 01:17:57,039 --> 01:18:00,174 [BARBARA SIGHS] 1225 01:18:08,717 --> 01:18:17,992 [SOFTLY]: YOU'RE THE BEST. YOU ARE. YOU ARE THE BEST. 1226 01:18:17,994 --> 01:18:19,827 YOU ARE. YOU ARE THE BEST. >> ARE YOU SURE YOU DIDN'T PUT 1227 01:18:19,829 --> 01:18:22,463 YOU ARE THE BEST. >> ARE YOU SURE YOU DIDN'T PUT IT ANYWHERE? 1228 01:18:22,465 --> 01:18:26,500 >> ARE YOU SURE YOU DIDN'T PUT IT ANYWHERE? [¶...] 1229 01:18:41,950 --> 01:18:47,621 >> WHY DO YOU CARE SO MUCH ABOUT THIS THING? >> FOR THE SAME REASON THAT 1230 01:18:47,623 --> 01:18:50,224 ABOUT THIS THING? >> FOR THE SAME REASON THAT ANYONE CARES ABOUT ANYTHING... 1231 01:18:50,226 --> 01:18:52,226 >> FOR THE SAME REASON THAT ANYONE CARES ABOUT ANYTHING... FOR ITS VALUE. 1232 01:18:52,228 --> 01:18:53,828 ANYONE CARES ABOUT ANYTHING... FOR ITS VALUE. ITS SENTIMENTAL VALUE. 1233 01:18:53,830 --> 01:18:55,062 FOR ITS VALUE. ITS SENTIMENTAL VALUE. >> WE ARE TALKING ABOUT A DOG 1234 01:18:55,064 --> 01:18:56,230 ITS SENTIMENTAL VALUE. >> WE ARE TALKING ABOUT A DOG COLLAR, A STUPID DOG COL... 1235 01:18:56,232 --> 01:18:57,598 >> WE ARE TALKING ABOUT A DOG COLLAR, A STUPID DOG COL... >> WE ARE TALKING ABOUT A COLLAR 1236 01:18:57,600 --> 01:18:59,900 COLLAR, A STUPID DOG COL... >> WE ARE TALKING ABOUT A COLLAR THAT BELONGED TO GIOTTO, A DOG 1237 01:18:59,902 --> 01:19:01,869 >> WE ARE TALKING ABOUT A COLLAR THAT BELONGED TO GIOTTO, A DOG I LOVED AND A DOG THAT DIED! 1238 01:19:01,871 --> 01:19:02,970 THAT BELONGED TO GIOTTO, A DOG I LOVED AND A DOG THAT DIED! >> INSIDE VOICE, PLEASE. 1239 01:19:02,972 --> 01:19:04,405 I LOVED AND A DOG THAT DIED! >> INSIDE VOICE, PLEASE. >> NOW THE DOG IS GONE BUT WE 1240 01:19:04,407 --> 01:19:05,840 >> INSIDE VOICE, PLEASE. >> NOW THE DOG IS GONE BUT WE STILL HAVE THE COLLAR AND WE 1241 01:19:05,842 --> 01:19:08,442 >> NOW THE DOG IS GONE BUT WE STILL HAVE THE COLLAR AND WE HAVE MOVED AND MOVED AND MOVED 1242 01:19:08,444 --> 01:19:10,678 STILL HAVE THE COLLAR AND WE HAVE MOVED AND MOVED AND MOVED AND WE HAVE NEVER LOST IT! 1243 01:19:10,680 --> 01:19:13,280 HAVE MOVED AND MOVED AND MOVED AND WE HAVE NEVER LOST IT! >> OH, TONY, PLEASE. 1244 01:19:14,883 --> 01:19:20,087 [¶...] >> [SOFTLY]: GO LOOK FOR IT. 1245 01:19:24,493 --> 01:19:29,497 GO! [¶...] 1246 01:20:03,198 --> 01:20:04,999 >> TONY? 1247 01:20:06,601 --> 01:20:12,773 TONY! [CLOCK CHIMING...] 1248 01:20:17,746 --> 01:20:23,684 GET YOUR THUMB OUT OF YOUR MOUTH. YOU ARE NOT A FUCKING BABY. 1249 01:20:23,686 --> 01:20:26,520 YOUR MOUTH. YOU ARE NOT A FUCKING BABY. [CHIMING CONTINUES...] 1250 01:20:31,860 --> 01:20:36,063 [FINAL CHIME FADES...] >> YOU HID IT. 1251 01:20:37,365 --> 01:20:43,370 YOU HID IT IN THE CUPBOARD... AT THE VERY BACK OF THE CUPBOARD WITH NINI'S SILVER... 1252 01:20:43,372 --> 01:20:45,706 AT THE VERY BACK OF THE CUPBOARD WITH NINI'S SILVER... >> I DID NO SUCH THING. 1253 01:20:45,708 --> 01:20:47,241 WITH NINI'S SILVER... >> I DID NO SUCH THING. >> THEN HOW DID IT GET THERE? 1254 01:20:47,243 --> 01:20:48,642 >> I DID NO SUCH THING. >> THEN HOW DID IT GET THERE? >> WELL, MAYBE YOU PUT IT THERE 1255 01:20:48,644 --> 01:20:50,578 >> THEN HOW DID IT GET THERE? >> WELL, MAYBE YOU PUT IT THERE FOR SAFEKEEPING AND THEN 1256 01:20:50,580 --> 01:20:52,880 >> WELL, MAYBE YOU PUT IT THERE FOR SAFEKEEPING AND THEN YOU FORGOT. 1257 01:21:06,628 --> 01:21:09,363 EVERYTHING'S GONNA BE ALL RIGHT. 1258 01:21:12,934 --> 01:21:16,003 LET ME HELP YOU. TONY, TONY... 1259 01:21:24,746 --> 01:21:28,816 [DISHES CLATTER...] 1260 01:21:35,924 --> 01:21:42,096 >> AFTER WE FOUGHT THIS MORNING, YOU WROTE SOMETHING ON A PIECE OF PAPER... 1261 01:21:42,098 --> 01:21:44,732 YOU WROTE SOMETHING ON A PIECE OF PAPER... AND I WAS SO ANGRY THAT WHEN YOU 1262 01:21:44,734 --> 01:21:47,601 OF PAPER... AND I WAS SO ANGRY THAT WHEN YOU WENT OUT FOR LUNCH, I JUST HAD 1263 01:21:47,603 --> 01:21:49,069 AND I WAS SO ANGRY THAT WHEN YOU WENT OUT FOR LUNCH, I JUST HAD TO TEAR IT UP. 1264 01:21:49,071 --> 01:21:50,371 WENT OUT FOR LUNCH, I JUST HAD TO TEAR IT UP. >> WE DIDN'T FIGHT THIS MORNING. 1265 01:21:50,373 --> 01:21:51,705 TO TEAR IT UP. >> WE DIDN'T FIGHT THIS MORNING. WE STAYED IN AND READ THE 1266 01:21:51,707 --> 01:21:54,008 >> WE DIDN'T FIGHT THIS MORNING. WE STAYED IN AND READ THE PAPERS, REMEMBER? 1267 01:21:56,411 --> 01:22:02,316 >> YOU WROTE IT IN THAT BACKWARDS WRITING... BUT I'M NOT STUPID. 1268 01:22:02,318 --> 01:22:05,052 BACKWARDS WRITING... BUT I'M NOT STUPID. I KNOW THAT YOU THINK I'M NOT 1269 01:22:05,054 --> 01:22:06,587 BUT I'M NOT STUPID. I KNOW THAT YOU THINK I'M NOT SMART, BUT I'M... 1270 01:22:06,589 --> 01:22:07,588 I KNOW THAT YOU THINK I'M NOT SMART, BUT I'M... [KNIFE SCRAPES] 1271 01:22:07,590 --> 01:22:08,555 SMART, BUT I'M... [KNIFE SCRAPES] ...SMART ENOUGH TO KNOW 1272 01:22:08,557 --> 01:22:09,823 [KNIFE SCRAPES] ...SMART ENOUGH TO KNOW THAT IF THERE IS A PIECE 1273 01:22:09,825 --> 01:22:11,992 ...SMART ENOUGH TO KNOW THAT IF THERE IS A PIECE OF BACKWARD WRITING... 1274 01:22:11,994 --> 01:22:13,327 THAT IF THERE IS A PIECE OF BACKWARD WRITING... [SNIFFLES] 1275 01:22:13,329 --> 01:22:15,062 OF BACKWARD WRITING... [SNIFFLES] WHY, YOU JUST HOLD IT UP TO 1276 01:22:15,064 --> 01:22:18,465 [SNIFFLES] WHY, YOU JUST HOLD IT UP TO A MIRROR. 1277 01:22:18,467 --> 01:22:21,168 WHY, YOU JUST HOLD IT UP TO A MIRROR. SO I TORE IT INTO LITTLE PIECES 1278 01:22:21,170 --> 01:22:22,036 A MIRROR. SO I TORE IT INTO LITTLE PIECES AND I FLUSHED IT DOWN THE 1279 01:22:22,038 --> 01:22:23,237 SO I TORE IT INTO LITTLE PIECES AND I FLUSHED IT DOWN THE TOILET, BUT YOU KNOW HOW THAT 1280 01:22:23,239 --> 01:22:25,506 AND I FLUSHED IT DOWN THE TOILET, BUT YOU KNOW HOW THAT TOILET IS, AND THOSE PIECES, 1281 01:22:25,508 --> 01:22:27,741 TOILET, BUT YOU KNOW HOW THAT TOILET IS, AND THOSE PIECES, THEY JUST KEPT... 1282 01:22:27,743 --> 01:22:28,976 TOILET IS, AND THOSE PIECES, THEY JUST KEPT... THEY KEPT FLOATING TO THE TOP. 1283 01:22:28,978 --> 01:22:30,444 THEY JUST KEPT... THEY KEPT FLOATING TO THE TOP. >> I DON'T KNOW WHAT YOU'RE 1284 01:22:30,446 --> 01:22:30,978 THEY KEPT FLOATING TO THE TOP. >> I DON'T KNOW WHAT YOU'RE TALKING ABOUT. 1285 01:22:30,980 --> 01:22:31,879 >> I DON'T KNOW WHAT YOU'RE TALKING ABOUT. WHEN YOU TALK NONSENSE LIKE 1286 01:22:31,881 --> 01:22:33,080 TALKING ABOUT. WHEN YOU TALK NONSENSE LIKE THIS, I CAN'T UNDERSTAND YOU... 1287 01:22:33,082 --> 01:22:34,081 WHEN YOU TALK NONSENSE LIKE THIS, I CAN'T UNDERSTAND YOU... >> I'M NOT TALKING... 1288 01:22:34,083 --> 01:22:35,182 THIS, I CAN'T UNDERSTAND YOU... >> I'M NOT TALKING... >> I CAN'T HELP YOU. 1289 01:22:35,184 --> 01:22:36,183 >> I'M NOT TALKING... >> I CAN'T HELP YOU. >> I AM TELLING YOU! 1290 01:22:36,185 --> 01:22:37,051 >> I CAN'T HELP YOU. >> I AM TELLING YOU! >> YOU ARE SPOUTING! 1291 01:22:37,053 --> 01:22:38,819 >> I AM TELLING YOU! >> YOU ARE SPOUTING! [KNIFE PENETRATES] 1292 01:23:00,942 --> 01:23:03,177 [PULLS OUT KNIFE] 1293 01:23:22,864 --> 01:23:26,066 [CHILDREN SHOUTING IN DISTANCE...] 1294 01:23:30,405 --> 01:23:33,273 >> I'M GOING TO CALL AN AMBULANCE. 1295 01:23:50,959 --> 01:23:52,693 >> Tony: YES... 1296 01:23:53,261 --> 01:24:02,536 83... CADOGAN SQUARE. [CLOCK TICKING] THANK YOU. 1297 01:24:02,538 --> 01:24:04,738 [CLOCK TICKING] THANK YOU. [HANGS UP PHONE] 1298 01:24:06,541 --> 01:24:16,450 [DIALING ROTARY PHONE...] [¶...] 1299 01:24:28,830 --> 01:24:31,665 YES, I'D LIKE TO PLACE AN ORDER. 1300 01:24:33,968 --> 01:24:35,969 TO BE DELIVERED. 1301 01:24:37,906 --> 01:24:40,808 YES, BAEKELAND. 1302 01:24:43,745 --> 01:24:45,846 I'M VERY HUNGRY. 1303 01:24:47,415 --> 01:24:53,087 YEAH, THOSE THIN RICE NOODLES WITH PORK, SHREDDED PORK. 1304 01:24:54,055 --> 01:24:59,927 YEAH, THAT WOULD BE IT. AND SOME RICE, SOME FRIED RICE. 1305 01:25:01,029 --> 01:25:02,996 NO, THE LARGE. 1306 01:25:15,210 --> 01:25:20,280 DEAR PAPA... I'M HOPING YOU RECEIVE THIS LETTER... 1307 01:25:22,383 --> 01:25:24,685 [CHAIR SQUEAKS] 1308 01:25:26,321 --> 01:25:32,392 DURING THE TIME PRECEDING WHAT HAPPENED, A LOT OF RATHER STRANGE THINGS WERE HAPPENING. 1309 01:25:32,394 --> 01:25:34,394 HAPPENED, A LOT OF RATHER STRANGE THINGS WERE HAPPENING. EARLIER THAT AFTERNOON, I HAD 1310 01:25:34,396 --> 01:25:36,597 STRANGE THINGS WERE HAPPENING. EARLIER THAT AFTERNOON, I HAD A TELEPHONE CALL FROM A FRIEND 1311 01:25:36,599 --> 01:25:39,533 EARLIER THAT AFTERNOON, I HAD A TELEPHONE CALL FROM A FRIEND OF OURS WHO LIVES IN WALES. 1312 01:25:39,535 --> 01:25:41,135 A TELEPHONE CALL FROM A FRIEND OF OURS WHO LIVES IN WALES. SHE TOLD ME I HAD FALLEN DOWN 1313 01:25:41,137 --> 01:25:43,670 OF OURS WHO LIVES IN WALES. SHE TOLD ME I HAD FALLEN DOWN AN ELEVATOR SHAFT. 1314 01:25:43,672 --> 01:25:44,771 SHE TOLD ME I HAD FALLEN DOWN AN ELEVATOR SHAFT. [DOORBELL RINGS] 1315 01:25:44,773 --> 01:25:47,474 AN ELEVATOR SHAFT. [DOORBELL RINGS] I THOUGHT THIS RATHER STRANGE, 1316 01:25:47,476 --> 01:25:48,909 [DOORBELL RINGS] I THOUGHT THIS RATHER STRANGE, AND YET IT HAD A PROFOUND 1317 01:25:48,911 --> 01:25:50,744 I THOUGHT THIS RATHER STRANGE, AND YET IT HAD A PROFOUND EFFECT ON ME. 1318 01:25:56,484 --> 01:25:58,886 I WAS IN A DREADFUL STATE. 1319 01:26:00,388 --> 01:26:05,626 FOR A LONG TIME I DIDN'T KNOW WHERE I WAS. PAST MEMORIES KEPT FLOODING MY 1320 01:26:05,628 --> 01:26:08,095 WHERE I WAS. PAST MEMORIES KEPT FLOODING MY MIND AND I FELT LIKE I WAS 1321 01:26:08,097 --> 01:26:10,330 PAST MEMORIES KEPT FLOODING MY MIND AND I FELT LIKE I WAS RE-ENACTING PARTS OF MY 1322 01:26:10,332 --> 01:26:11,999 MIND AND I FELT LIKE I WAS RE-ENACTING PARTS OF MY FORMER LIFE. 1323 01:26:12,001 --> 01:26:13,367 RE-ENACTING PARTS OF MY FORMER LIFE. [SIREN WAILING...] 1324 01:26:13,369 --> 01:26:15,035 FORMER LIFE. [SIREN WAILING...] YOU KNOW I LOVED, AND STILL 1325 01:26:15,037 --> 01:26:16,503 [SIREN WAILING...] YOU KNOW I LOVED, AND STILL LOVE AND ADORE MY MUMMY MORE 1326 01:26:16,505 --> 01:26:19,306 YOU KNOW I LOVED, AND STILL LOVE AND ADORE MY MUMMY MORE THAN ANYONE IN THE WORLD. 1327 01:26:19,308 --> 01:26:21,175 LOVE AND ADORE MY MUMMY MORE THAN ANYONE IN THE WORLD. >> HELLO? 1328 01:26:23,077 --> 01:26:24,912 HELLO? 1329 01:26:26,447 --> 01:26:28,248 MR. BAEKELAND? 1330 01:26:33,688 --> 01:26:39,927 YOU WOULD BE MR. BAEKELAND, SIR? >> YES. >> AND THIS WOULD BE...? 1331 01:26:39,929 --> 01:26:41,695 >> YES. >> AND THIS WOULD BE...? >> MY MOTHER. 1332 01:26:45,366 --> 01:26:49,136 I DO WISH WE COULD ALL BE TOGETHER AGAIN. 1333 01:26:51,673 --> 01:26:58,011 AND ANOTHER THING IS, I HAVE SO MUCH IN MY HEAD THAT... TO LET IT OUT WOULD SURELY 1334 01:26:58,013 --> 01:26:59,146 MUCH IN MY HEAD THAT... TO LET IT OUT WOULD SURELY KILL ME. 1335 01:26:59,148 --> 01:27:00,948 TO LET IT OUT WOULD SURELY KILL ME. [GENERAL CONVERSATION...] 1336 01:27:00,950 --> 01:27:05,352 KILL ME. [GENERAL CONVERSATION...] NEVERTHELESS, I FEEL BETTER NOW 1337 01:27:05,354 --> 01:27:06,753 [GENERAL CONVERSATION...] NEVERTHELESS, I FEEL BETTER NOW AND EVEN FEEL THAT A GREAT 1338 01:27:06,755 --> 01:27:08,188 NEVERTHELESS, I FEEL BETTER NOW AND EVEN FEEL THAT A GREAT WEIGHT HAS BEEN LIFTED FROM 1339 01:27:08,190 --> 01:27:10,224 AND EVEN FEEL THAT A GREAT WEIGHT HAS BEEN LIFTED FROM MY SHOULDERS. 1340 01:27:11,226 --> 01:27:16,029 [GENERAL CONVERSATION...] 1341 01:27:21,102 --> 01:27:26,440 >> Man: ...IS IT SOMEONE FAMOUS? [GENERAL CONVERSATION...] >> Man 2: THEY SAID TO MOVE ON. 1342 01:27:26,442 --> 01:27:27,308 [GENERAL CONVERSATION...] >> Man 2: THEY SAID TO MOVE ON. >> Tony:: THEY SAID TO MOVE ON. 1343 01:27:27,309 --> 01:27:28,175 >> Man 2: THEY SAID TO MOVE ON. >> Tony:: THEY SAID TO MOVE ON. YES, IT IS VERY BORING 1344 01:27:28,177 --> 01:27:30,811 >> Tony:: THEY SAID TO MOVE ON. YES, IT IS VERY BORING HERE, BUT I TRY TO BE GOOD AND 1345 01:27:30,813 --> 01:27:32,779 YES, IT IS VERY BORING HERE, BUT I TRY TO BE GOOD AND NOT FRET... 1346 01:27:36,150 --> 01:27:39,853 AND YOU ASK ME WHAT IT'S LIKE TO BE IN PRISON, WELL... 1347 01:27:40,755 --> 01:27:43,757 JUST EXACTLY AS ONE WOULD IMAGINE. 1348 01:27:44,792 --> 01:27:52,766 [¶...] >> Brooks: THERE WILL BE A MASS 1349 01:27:52,768 --> 01:27:54,568 >> Brooks: THERE WILL BE A MASS GIVEN BY BARBARA'S FRIENDS WHO 1350 01:27:54,570 --> 01:27:56,370 THERE WILL BE A MASS GIVEN BY BARBARA'S FRIENDS WHO KNEW HER WELL AND REMEMBER WHAT 1351 01:27:56,372 --> 01:27:59,740 GIVEN BY BARBARA'S FRIENDS WHO KNEW HER WELL AND REMEMBER WHAT WAS LOVABLE AND BRAVE IN HER AT 1352 01:27:59,742 --> 01:28:02,609 KNEW HER WELL AND REMEMBER WHAT WAS LOVABLE AND BRAVE IN HER AT ST. MARY'S, CADOGAN GARDENS, 1353 01:28:02,611 --> 01:28:07,347 WAS LOVABLE AND BRAVE IN HER AT ST. MARY'S, CADOGAN GARDENS, AT 6:30 P.M. ON NOVEMBER 30th. 1354 01:28:07,849 --> 01:28:11,985 SHE WOULD HAVE BEEN HAPPY TO KNOW YOU HAD BEEN THERE TOO. 1355 01:28:13,054 --> 01:28:17,090 [¶...] 1356 01:29:22,290 --> 01:29:26,326 [¶...] 1357 01:29:40,675 --> 01:29:44,878 [¶...] >> Woman: ¶ LET'S GET OUT OF TOWN, 1358 01:29:44,880 --> 01:29:48,915 >> Woman: ¶ LET'S GET OUT OF TOWN, GO SWIMMING, SWIMMING ¶ 1359 01:29:48,917 --> 01:29:51,518 OF TOWN, GO SWIMMING, SWIMMING ¶ ¶ MOVE YOUR ARMS AROUND, 1360 01:29:51,520 --> 01:29:56,289 GO SWIMMING, SWIMMING ¶ ¶ MOVE YOUR ARMS AROUND, WADING SO FAR OUT ¶ 1361 01:29:56,291 --> 01:30:00,394 ¶ MOVE YOUR ARMS AROUND, WADING SO FAR OUT ¶ ¶ NOTHING TO CRY ABOUT 1362 01:30:00,396 --> 01:30:03,363 WADING SO FAR OUT ¶ ¶ NOTHING TO CRY ABOUT ¶ MMM, MMM 1363 01:30:03,365 --> 01:30:07,067 ¶ NOTHING TO CRY ABOUT ¶ MMM, MMM ¶ IT BARELY MAKES A SOUND 1364 01:30:07,069 --> 01:30:12,205 ¶ MMM, MMM ¶ IT BARELY MAKES A SOUND [¶...] 1365 01:30:12,207 --> 01:30:14,674 ¶ IT BARELY MAKES A SOUND [¶...] ¶ LET'S GET OUT OF HERE, 1366 01:30:14,676 --> 01:30:18,512 [¶...] ¶ LET'S GET OUT OF HERE, GO FLYING, FLYING ¶ 1367 01:30:18,514 --> 01:30:21,014 ¶ LET'S GET OUT OF HERE, GO FLYING, FLYING ¶ ¶ YOU'RE SO PRETTY, DEAR, 1368 01:30:21,016 --> 01:30:23,283 GO FLYING, FLYING ¶ ¶ YOU'RE SO PRETTY, DEAR, AND YOU'RE MINE NOW, 1369 01:30:23,285 --> 01:30:26,453 ¶ YOU'RE SO PRETTY, DEAR, AND YOU'RE MINE NOW, AREN'T YOU, NOW? ¶ 1370 01:30:26,455 --> 01:30:29,923 AND YOU'RE MINE NOW, AREN'T YOU, NOW? ¶ ¶ HIGHER THAN A CLOUD 1371 01:30:29,925 --> 01:30:32,893 AREN'T YOU, NOW? ¶ ¶ HIGHER THAN A CLOUD ¶ MMM, MMM 1372 01:30:32,895 --> 01:30:38,432 ¶ HIGHER THAN A CLOUD ¶ MMM, MMM ¶ IT BARELY MAKES A SOUND 1373 01:30:38,434 --> 01:30:41,501 ¶ MMM, MMM ¶ IT BARELY MAKES A SOUND [¶...] 1374 01:30:41,503 --> 01:30:47,240 ¶ IT BARELY MAKES A SOUND [¶...] ¶ AHH-AHH, AHH-AHH, AHH... 1375 01:30:47,242 --> 01:30:49,176 [¶...] ¶ AHH-AHH, AHH-AHH, AHH... ¶ (AHH, AHH) AHH-AHH, 1376 01:30:49,178 --> 01:30:53,747 ¶ AHH-AHH, AHH-AHH, AHH... ¶ (AHH, AHH) AHH-AHH, AHH-AHH, AHH... ¶ 1377 01:30:53,749 --> 01:30:55,615 ¶ (AHH, AHH) AHH-AHH, AHH-AHH, AHH... ¶ ¶ (AHH, AHH) AHH-AHH, 1378 01:30:55,617 --> 01:31:00,187 AHH-AHH, AHH... ¶ ¶ (AHH, AHH) AHH-AHH, AHH-AHH, AHH... ¶ 1379 01:31:00,189 --> 01:31:02,088 ¶ (AHH, AHH) AHH-AHH, AHH-AHH, AHH... ¶ ¶ (AHH, AHH) AHH-AHH, 1380 01:31:02,090 --> 01:31:06,259 AHH-AHH, AHH... ¶ ¶ (AHH, AHH) AHH-AHH, AHH-AHH, AHH... ¶ 1381 01:31:06,261 --> 01:31:10,163 ¶ (AHH, AHH) AHH-AHH, AHH-AHH, AHH... ¶ ¶ OH, DIDN'T YOU FIND ME 1382 01:31:10,165 --> 01:31:13,233 AHH-AHH, AHH... ¶ ¶ OH, DIDN'T YOU FIND ME DRAWN ON LIGHTLY? ¶ 1383 01:31:13,235 --> 01:31:18,872 ¶ OH, DIDN'T YOU FIND ME DRAWN ON LIGHTLY? ¶ ¶ DRAGGING IT OUT... 1384 01:31:18,874 --> 01:31:22,609 DRAWN ON LIGHTLY? ¶ ¶ DRAGGING IT OUT... ¶ OH, DIDN'T YOU KNOW ME? 1385 01:31:22,611 --> 01:31:25,278 ¶ DRAGGING IT OUT... ¶ OH, DIDN'T YOU KNOW ME? ¶ NOTHING TO SHOW ME 1386 01:31:25,280 --> 01:31:31,852 ¶ OH, DIDN'T YOU KNOW ME? ¶ NOTHING TO SHOW ME ¶ JUST GOTTA GET OUT... 1387 01:31:31,854 --> 01:31:36,189 ¶ NOTHING TO SHOW ME ¶ JUST GOTTA GET OUT... ¶ OOH, OOH 1388 01:31:36,191 --> 01:31:39,326 ¶ JUST GOTTA GET OUT... ¶ OOH, OOH [¶...] 1389 01:31:52,106 --> 01:32:00,480 ¶ LET'S GET OUT OF TOWN, GO SAILING, SAILING ¶ ¶ THROW THE ANCHOR DOWN, 1390 01:32:00,482 --> 01:32:06,319 GO SAILING, SAILING ¶ ¶ THROW THE ANCHOR DOWN, HEAD TO HEAVEN WITH ME NOW ¶ 1391 01:32:06,321 --> 01:32:09,623 ¶ THROW THE ANCHOR DOWN, HEAD TO HEAVEN WITH ME NOW ¶ ¶ ANGEL ON THE BOW 1392 01:32:09,625 --> 01:32:12,692 HEAD TO HEAVEN WITH ME NOW ¶ ¶ ANGEL ON THE BOW ¶ MMM, MMM... 1393 01:32:12,694 --> 01:32:19,633 ¶ IT BARELY MADE A SOUND [¶...] 1394 01:32:27,808 --> 01:32:46,259 ¶ AHH... ¶ AHH, AHH, AHH... ¶ AHH... 1395 01:32:46,261 --> 01:32:52,699 ¶ AHH, AHH, AHH... ¶ AHH... ¶ AHH, AHH, AHH... 1396 01:32:52,701 --> 01:32:59,472 ¶ AHH... ¶ AHH, AHH, AHH... ¶ AHH, AHH, AHH... 1397 01:32:59,474 --> 01:33:04,177 ¶ AHH, AHH, AHH... ¶ AHH, AHH, AHH... ¶ AHH, AHH, AHH... 1398 01:33:10,084 --> 01:33:13,253 [MUSIC CHANGES] 1399 01:33:43,217 --> 01:33:46,286 [¶...] 1400 01:34:16,250 --> 01:34:19,285 [¶...] 1401 01:34:46,280 --> 01:34:49,315 [¶...] 1402 01:35:16,310 --> 01:35:19,345 [¶...] 1403 01:35:46,340 --> 01:35:49,375 [¶...] 1404 01:36:16,370 --> 01:36:19,405 [¶...] 1405 01:36:46,400 --> 01:36:49,435 [¶...] 1406 01:37:07,988 --> 01:37:10,089 [MUSIC ENDS] 134025