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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:01,000 --> 00:00:04,074 Subtitles downloaded from www.OpenSubtitles.org 2 00:01:24,132 --> 00:01:27,135 KISSING IT ALL GOOD-BYE. THESE FOUR STINKIN' WALLS, 3 00:01:27,636 --> 00:01:28,653 SIX FLIGHTS UP, 4 00:01:28,653 --> 00:01:31,156 THE EL THAT ROARS BY AT 3 A.M. 5 00:01:31,156 --> 00:01:32,657 LIKE A CAST-IRON WIND. 6 00:01:33,158 --> 00:01:34,659 KISS 'EM GOODBYE FOR ME, MAURY. 7 00:01:34,659 --> 00:01:37,162 I'LL MISS 'EM-- LIKE HELL I WILL. 8 00:01:37,162 --> 00:01:38,163 DREAMIN' AGAIN. 9 00:01:38,663 --> 00:01:40,665 NOT ANYMORE, LIL. I'M AWAKE NOW, 10 00:01:40,665 --> 00:01:43,668 AWAKE FOR THE FIRST TIME IN YEARS. 11 00:01:43,668 --> 00:01:45,670 UNCLE DAVE SAID IT-- 12 00:01:45,670 --> 00:01:47,172 "DAYLIGHT IS A DREAM 13 00:01:47,172 --> 00:01:49,174 IF YOU LIVE WITH YOUR EYES CLOSED." 14 00:01:49,674 --> 00:01:53,178 WELL, MY EYES ARE OPEN NOW. I SEE THE CHOIR. 15 00:01:53,178 --> 00:01:55,180 I KNOW THEY'RE DRESSED IN RAGS, 16 00:01:55,180 --> 00:01:56,681 BUT WE'RE PART OF THAT CHOIR. 17 00:01:56,681 --> 00:01:58,183 YEAH, BOTH OF US, 18 00:01:58,183 --> 00:01:59,684 AND YOU, MAURY, AND UNCLE DAVE. 19 00:01:59,684 --> 00:02:01,686 SUN'S COMIN' UP, KID. 20 00:02:01,686 --> 00:02:02,687 THEY'LL BE HAWKIN' THE FISH 21 00:02:02,687 --> 00:02:04,189 DOWN ON FULTON STREET. 22 00:02:04,689 --> 00:02:06,191 LET 'EM HAWK. 23 00:02:06,691 --> 00:02:08,693 LET 'EM SING THEIR HEARTS OUT. 24 00:02:08,693 --> 00:02:09,694 THAT'S IT, KID. 25 00:02:09,694 --> 00:02:12,697 TAKE THAT RUINED CHOIR. MAKE IT SING. 26 00:02:12,697 --> 00:02:14,199 SO LONG, MAURY. 27 00:02:14,699 --> 00:02:15,700 SO LONG. 28 00:02:18,703 --> 00:02:20,205 WE'LL HEAR FROM THAT KID, 29 00:02:20,705 --> 00:02:23,208 AND I DON'T MEAN A POSTCARD. 30 00:02:24,209 --> 00:02:25,210 FISH! 31 00:02:25,210 --> 00:02:26,711 FRESH FISH! 32 00:02:30,548 --> 00:02:32,550 LET'S SPIT ON OUR HANDS AND GET TO WORK. 33 00:02:32,550 --> 00:02:33,551 IT'S LATE, MAURY. 34 00:02:33,551 --> 00:02:35,553 NOT ANYMORE, LIL. 35 00:02:35,553 --> 00:02:37,055 IT'S EARLY. 36 00:02:38,056 --> 00:02:40,058 [APPLAUSE] 37 00:02:47,565 --> 00:02:50,068 BRAVO! BRAVO! 38 00:02:51,569 --> 00:02:53,071 BRAVO! 39 00:02:53,071 --> 00:02:55,073 BRAVO! 40 00:02:55,073 --> 00:02:56,574 BRAVO! 41 00:02:57,575 --> 00:03:01,396 BRAVO! BRAVO! BRAVO! 42 00:03:04,399 --> 00:03:08,403 AUTHOR! AUTHOR! AUTHOR! 43 00:03:09,237 --> 00:03:11,689 AUTHOR! AUTHOR! AUTHOR! 44 00:03:11,689 --> 00:03:13,191 AUTHOR! AUTHOR! 45 00:03:13,658 --> 00:03:15,994 AUTHOR! AUTHOR! AUTHOR! 46 00:03:16,327 --> 00:03:18,830 BRAVO! BRAVO! BRAVO! 47 00:03:28,339 --> 00:03:30,341 [DOG YAPS] 48 00:03:30,341 --> 00:03:32,844 YOUR TABLE IS READY, MONSIEUR FINK. 49 00:03:32,844 --> 00:03:36,347 IN FACT, SEVERAL MEMBERS OF YOUR PARTY HAVE ALREADY ARRIVED. 50 00:03:36,347 --> 00:03:37,849 IS GARLAND STANFORD HERE? 51 00:03:37,849 --> 00:03:40,852 HE CALLED TO SAY HE'D BE A FEW MINUTES LATE. 52 00:03:40,852 --> 00:03:42,854 AH, HERE WE ARE. 53 00:03:42,854 --> 00:03:45,857 BARTON! BARTON, SO GLAD YOU COULD MAKE IT. 54 00:03:45,857 --> 00:03:47,859 YOU KNOW RICHARD ST. CLAIRE 55 00:03:47,859 --> 00:03:49,227 AND POPPY CARNAHAN. 56 00:03:49,694 --> 00:03:51,529 CHARMED, CHARMED, CHARMED. 57 00:03:51,980 --> 00:03:54,232 WE'RE DRINKING CHAMPAGNE IN HONOR OF THE OCCASION. 58 00:03:54,232 --> 00:03:56,401 HAVE YOU SEEN THEHERALD? 59 00:03:56,818 --> 00:03:57,618 NOT YET. 60 00:03:57,986 --> 00:03:58,987 I WON'T EMBARRASS YOU, 61 00:03:59,487 --> 00:04:01,489 BUT CAVEN COULD HARDLY CONTAIN HIMSELF. 62 00:04:01,489 --> 00:04:02,490 MORE IMPORTANT, 63 00:04:02,490 --> 00:04:04,742 RICHARD AND POPPY HERE LOVED THE PLAY. 64 00:04:04,742 --> 00:04:06,077 WEEPING. 65 00:04:06,077 --> 00:04:07,078 COPIOUS TEARS. 66 00:04:07,078 --> 00:04:08,913 WHAT DID THEHERALDSAY? 67 00:04:09,380 --> 00:04:10,381 I HAPPEN TO HAVE IT. 68 00:04:10,381 --> 00:04:11,299 PLEASE, DEREK... 69 00:04:11,799 --> 00:04:13,301 "BARE RUINED CHOIRS: 70 00:04:13,301 --> 00:04:15,553 "TRIUMPH OF THE COMMON MAN. 71 00:04:15,553 --> 00:04:17,889 "THE STAR OFBARE RUINED CHOIRS 72 00:04:17,889 --> 00:04:20,391 "WAS NOWHERE SEEN ON THE STAGE LAST NIGHT, 73 00:04:20,391 --> 00:04:22,393 "THOUGH THE THESPIANS ACQUITTED THEMSELVES ADMIRABLY. 74 00:04:22,844 --> 00:04:24,345 "THE FIND OF THE EVENING 75 00:04:24,345 --> 00:04:27,348 "WAS THE AUTHOR OF THIS DRAMA ABOUT SIMPLE FOLK, 76 00:04:27,348 --> 00:04:28,733 "FISHMONGERS, IN FACT, 77 00:04:28,733 --> 00:04:30,735 "WHOSE BRUTE STRUGGLE FOR EXISTENCE 78 00:04:30,735 --> 00:04:33,237 "CANNOT QUITE QUELL THEIR LONGING FOR SOMETHING HIGHER. 79 00:04:33,738 --> 00:04:34,739 "THE PLAYWRIGHT FINDS NOBILITY 80 00:04:35,239 --> 00:04:36,741 "IN THE MOST SQUALID CORNERS 81 00:04:36,741 --> 00:04:39,494 "AND POETRY IN THE MOST CALLOUS SPEECH. 82 00:04:39,777 --> 00:04:42,780 "A TOUGH NEW VOICE IN THE AMERICAN THEATER HAS ARRIVED, 83 00:04:42,780 --> 00:04:45,283 "AND THE OWNER OF THAT VOICE IS NAMED... 84 00:04:45,283 --> 00:04:47,085 BARTON FINK." 85 00:04:47,085 --> 00:04:50,671 THEY'LL BE WRAPPING FISH IN IT IN THE MORNING. 86 00:04:51,172 --> 00:04:52,673 CYNIC. 87 00:04:52,673 --> 00:04:55,593 I CAN'T START LISTENING TO THE CRITICS, 88 00:04:55,593 --> 00:04:58,596 AND I CAN'T KID MYSELF ABOUT MY OWN WORK. 89 00:04:58,596 --> 00:05:00,431 A WRITER WRITES FROM HIS GUT. 90 00:05:00,431 --> 00:05:03,518 HIS GUT TELLS HIM WHAT'S GOOD AND WHAT'S... 91 00:05:03,518 --> 00:05:05,303 MERELY ADEQUATE. 92 00:05:06,771 --> 00:05:09,774 I DON'T PRETEND TO BE A CRITIC, 93 00:05:09,774 --> 00:05:12,276 BUT LORD KNOWS I HAVE A GUT, 94 00:05:12,276 --> 00:05:15,780 AND MY GUT TELLS ME IT'S SIMPLY... 95 00:05:15,780 --> 00:05:17,782 MARVELOUS. 96 00:05:18,282 --> 00:05:20,284 AND A CHARMING GUT IT IS. 97 00:05:20,284 --> 00:05:22,286 OH, YOU DOG. 98 00:05:22,286 --> 00:05:24,288 AROO! 99 00:05:24,288 --> 00:05:25,790 OH, STOP. 100 00:05:25,790 --> 00:05:27,792 [BELL JINGLES] 101 00:05:31,462 --> 00:05:33,965 I THOUGHT YOU WERE GOING TO JOIN US. 102 00:05:34,465 --> 00:05:37,468 JESUS, GARLAND, YOU LEFT ME ALONE WITH THOSE PEOPLE? 103 00:05:37,468 --> 00:05:38,469 DON'T PANIC. 104 00:05:38,469 --> 00:05:40,471 I'LL JOIN YOU IN A MINUTE. 105 00:05:40,471 --> 00:05:43,424 WE HAVE TO TALK A LITTLE BUSINESS. 106 00:05:43,424 --> 00:05:46,427 I'VE JUST BEEN ON THE PHONE TO LOS ANGELES. 107 00:05:46,427 --> 00:05:49,430 BARTON, CAPITOL PICTURES WANTS TO PUT YOU UNDER CONTRACT. 108 00:05:49,430 --> 00:05:51,933 THEY'VE OFFERED YOU $1,000 A WEEK. 109 00:05:51,933 --> 00:05:54,685 I THINK I CAN GET THEM TO GO AS HIGH AS 2. 110 00:05:54,685 --> 00:05:55,937 TO DO WHAT? 111 00:05:55,937 --> 00:05:58,239 WHAT DO YOU DO FOR A LIVING? 112 00:05:58,689 --> 00:06:00,191 I'M NOT SURE ANYMORE. 113 00:06:00,191 --> 00:06:03,528 I GUESS I TRY TO MAKE A DIFFERENCE. 114 00:06:03,995 --> 00:06:06,831 THERE'S NO PRESSURE HERE BECAUSE I RESPECT YOU, 115 00:06:06,831 --> 00:06:09,200 BUT A BRIEF TENURE IN HOLLYWOOD 116 00:06:09,200 --> 00:06:11,202 COULD SUPPORT YOU THROUGH THE WRITING 117 00:06:11,702 --> 00:06:13,204 OF ANY NUMBER OF PLAYS. 118 00:06:13,204 --> 00:06:14,705 I DON'T KNOW, GARLAND. 119 00:06:14,705 --> 00:06:17,208 MY PLACE IS HERE RIGHT NOW. 120 00:06:17,208 --> 00:06:19,710 I FEEL I'M ON THE BRINK OF SUCCESS. 121 00:06:20,178 --> 00:06:22,180 I'D SAY YOU'RE ALREADY ENJOYING SOME. 122 00:06:22,180 --> 00:06:23,931 NO. DON'T YOU SEE? 123 00:06:24,215 --> 00:06:26,717 NOT THE KIND OF SUCCESS WHERE CRITICS FAWN OVER YOU 124 00:06:27,218 --> 00:06:29,720 OR PRODUCERS LIKE DEREK MAKE A LOT OF MONEY. 125 00:06:29,720 --> 00:06:31,722 NO. A REAL SUCCESS. 126 00:06:31,722 --> 00:06:33,724 THE SUCCESS WE'VE BEEN DREAMING ABOUT-- 127 00:06:33,724 --> 00:06:36,727 THE CREATION OF A NEW LIVING THEATER 128 00:06:36,727 --> 00:06:39,614 OF AND ABOUT AND FOR THE COMMON MAN. 129 00:06:39,614 --> 00:06:42,617 IF I RAN OFF TO HOLLYWOOD NOW, 130 00:06:42,617 --> 00:06:43,618 I'D BE MAKING MONEY, 131 00:06:43,618 --> 00:06:45,620 GOING TO PARTIES, MEETING THE BIG SHOTS, 132 00:06:46,120 --> 00:06:47,622 BUT I'D BE CUTTING MYSELF OFF 133 00:06:47,622 --> 00:06:50,124 FROM THE WELLSPRING OF THAT SUCCESS, 134 00:06:50,124 --> 00:06:51,409 FROM THE COMMON MAN. 135 00:06:53,628 --> 00:06:57,381 OH, I GUESS I'M SPOUTING OFF AGAIN. 136 00:06:57,381 --> 00:06:59,167 YOU SEE CAVEN'S REVIEW? 137 00:06:59,584 --> 00:07:01,085 NO. WHAT DID IT SAY? 138 00:07:01,085 --> 00:07:02,420 HERE, TAKE MY COPY. 139 00:07:02,887 --> 00:07:04,388 YOU'RE THE TOAST OF BROADWAY, 140 00:07:04,889 --> 00:07:06,390 AND YOU HAVE AN OPPORTUNITY 141 00:07:06,390 --> 00:07:09,727 TO REDEEM THAT FOR A LITTLE CASH-- 142 00:07:10,094 --> 00:07:11,979 STRIKE THAT. A LOT OF CASH. 143 00:07:12,430 --> 00:07:17,435 THE COMMON MAN WILL STILL BE HERE WHEN YOU GET BACK. 144 00:07:17,435 --> 00:07:18,936 WHO KNOWS? 145 00:07:18,936 --> 00:07:22,190 THEY MAY EVEN HAVE ONE OR TWO OF THEM OUT IN HOLLYWOOD. 146 00:07:22,490 --> 00:07:24,775 THAT'S A RATIONALIZATION, GARLAND. 147 00:07:25,193 --> 00:07:29,080 BARTON, IT WAS A JOKE. 148 00:07:32,450 --> 00:07:34,752 [WAVES WASH ASHORE] 149 00:08:17,712 --> 00:08:18,796 [RING] 150 00:08:21,382 --> 00:08:23,884 [BELL RESONATES] 151 00:08:30,141 --> 00:08:32,143 [BELL RESONATES] 152 00:08:37,481 --> 00:08:40,268 [MUFFLED FOOTSTEPS] 153 00:08:48,993 --> 00:08:50,995 [BELL RESONATES] 154 00:08:52,997 --> 00:08:54,415 [BELL SILENCES] 155 00:08:54,865 --> 00:08:57,168 WELCOME TO HOTEL EARLE. MAY I HELP YOU? 156 00:08:57,585 --> 00:08:59,086 I'M CHECKING IN. 157 00:08:59,086 --> 00:08:59,954 BARTON FINK. 158 00:08:59,954 --> 00:09:02,957 ALL RIGHTY. 159 00:09:04,458 --> 00:09:06,460 OKAY... 160 00:09:06,460 --> 00:09:08,963 F-I-N-K? 161 00:09:11,465 --> 00:09:12,967 "FINK, BARTON." 162 00:09:12,967 --> 00:09:14,468 THAT MUST BE YOU, HUH? 163 00:09:14,468 --> 00:09:15,469 MUST BE. 164 00:09:15,469 --> 00:09:20,308 OKAY, THEN EVERYTHING SEEMS TO BE IN ORDER. 165 00:09:20,308 --> 00:09:23,311 EVERYTHING SEEMS TO BE IN ORDER. 166 00:09:23,311 --> 00:09:24,812 JUST... 167 00:09:25,813 --> 00:09:28,316 ARE YOU A TRANS OR A RES? 168 00:09:28,816 --> 00:09:29,817 EXCUSE ME? 169 00:09:29,817 --> 00:09:31,319 TRANSIENT OR RESIDENT? 170 00:09:31,319 --> 00:09:32,820 I... 171 00:09:32,820 --> 00:09:34,822 I--I--I DON'T KNOW. 172 00:09:34,822 --> 00:09:36,657 I MEAN, I'LL BE HERE INDEFINITELY. 173 00:09:36,657 --> 00:09:39,627 RES. THAT'S 25.50 A WEEK PAYABLE IN ADVANCE. 174 00:09:40,127 --> 00:09:41,629 CHECK-OUT TIME'S 12:00 SHARP, 175 00:09:41,629 --> 00:09:43,631 ONLY FORGET THAT. YOU'RE A RES. 176 00:09:43,631 --> 00:09:46,548 IF YOU NEED ANYTHING, PICK UP YOUR PERSONAL IN-ROOM TELEPHONE. 177 00:09:47,049 --> 00:09:47,916 MY NAME IS CHET. 178 00:09:48,383 --> 00:09:49,384 ALTHOUGH WE PROVIDE PRIVACY 179 00:09:49,885 --> 00:09:50,886 FOR THE RESIDENTIAL GUESTS, 180 00:09:51,386 --> 00:09:52,888 WE'RE A FULL-SERVICE HOTEL, 181 00:09:52,888 --> 00:09:54,389 INCLUDING COMPLIMENTARY SHOE SHINE. 182 00:09:54,389 --> 00:09:55,724 MY NAME IS CHET. 183 00:09:57,726 --> 00:09:58,727 OKAY. 184 00:10:03,732 --> 00:10:05,650 THOSE YOUR ONLY BAGS? 185 00:10:06,101 --> 00:10:08,904 THE OTHERS ARE BEING SENT. 186 00:10:09,237 --> 00:10:12,023 WELCOME TO LOS ANGELES, MR. FINK. 187 00:10:24,336 --> 00:10:25,837 SIX, PLEASE. 188 00:10:29,341 --> 00:10:32,344 NEXT STOP...SIX. 189 00:10:40,018 --> 00:10:42,521 THIS STOP...SIX. 190 00:11:38,360 --> 00:11:39,861 [BEDSPRINGS SQUEAK] 191 00:12:44,926 --> 00:12:47,429 [WAVES WASH ASHORE] 192 00:12:55,654 --> 00:12:58,657 [WAVES WASH ASHORE] 193 00:13:05,163 --> 00:13:07,916 [SEAGULLS CRY] 194 00:13:07,916 --> 00:13:09,251 [SIGHS] 195 00:13:12,254 --> 00:13:14,256 [MOSQUITO BUZZES] 196 00:13:18,760 --> 00:13:21,763 [MOSQUITO BUZZES] 197 00:13:28,303 --> 00:13:30,722 [MOSQUITO BUZZES] 198 00:13:44,619 --> 00:13:46,121 IS THAT HIM? 199 00:13:46,121 --> 00:13:49,574 IS THAT BARTON FINK? 200 00:13:49,574 --> 00:13:50,909 LET ME AT HIM. 201 00:13:50,909 --> 00:13:53,878 LET ME PUT MY ARMS AROUND THIS GUY. 202 00:13:53,878 --> 00:13:55,714 LET ME HUG THIS GUY. 203 00:13:55,714 --> 00:13:57,716 HOW THE HELL ARE YA? 204 00:13:57,716 --> 00:13:59,134 GOOD TRIP? 205 00:13:59,134 --> 00:14:00,635 MY NAME'S JACK LIPNICK. 206 00:14:00,635 --> 00:14:02,637 YOU KNOW THAT. YOU READ THE PAPERS. 207 00:14:02,637 --> 00:14:04,139 LOU TREATING YOU ALL RIGHT? 208 00:14:04,139 --> 00:14:06,474 WHAT'S THE MATTER WITH YOUR FACE? 209 00:14:06,474 --> 00:14:08,810 WHAT'S THE MATTER WITH HIS FACE, LOU? 210 00:14:08,810 --> 00:14:10,312 IT'S NOT SO BAD. 211 00:14:10,312 --> 00:14:12,314 A MOSQUITO IN MY ROOM. 212 00:14:12,314 --> 00:14:13,732 WHERE'D WE PUT HIM? 213 00:14:13,732 --> 00:14:15,150 I'M AT THE EARLE. 214 00:14:15,150 --> 00:14:17,519 NEVER HEARD OF IT. LET'S MOVE HIM. 215 00:14:18,019 --> 00:14:19,020 STAY AT MY PLACE. 216 00:14:19,020 --> 00:14:20,522 I WANTED A PLACE A LITTLE LESS-- 217 00:14:21,022 --> 00:14:23,274 LESS HOLLYWOOD.SAY IT. IT'S NOT A DIRTY WORD. 218 00:14:23,274 --> 00:14:25,327 SAY WHATEVER YOU WANT. 219 00:14:25,694 --> 00:14:28,196 THE WRITER IS KING AT CAPITOL PICTURES. 220 00:14:28,196 --> 00:14:29,197 LOOK AT YOUR PAYCHECK. 221 00:14:29,698 --> 00:14:31,700 THAT'S WHAT WE THINK OF WRITERS. 222 00:14:31,700 --> 00:14:34,786 SO, WHAT KIND OF PICTURES DOES HE LIKE? 223 00:14:34,786 --> 00:14:37,122 MR. FINK HASN'T GIVEN A PREFERENCE, MR. LIPNICK. 224 00:14:37,122 --> 00:14:39,374 SO, HOW ABOUT IT, BART? 225 00:14:39,374 --> 00:14:41,259 WELL, UH, TO BE HONEST, 226 00:14:41,760 --> 00:14:44,262 I DON'T GO TO THE PICTURES MUCH. 227 00:14:44,262 --> 00:14:45,130 THAT'S OKAY. 228 00:14:45,130 --> 00:14:47,132 YOU PROBABLY WALKED IN HERE 229 00:14:47,132 --> 00:14:49,634 THINKING THAT WAS GOING TO BE A HANDICAP, 230 00:14:49,634 --> 00:14:52,637 THINKING WE WANTED PEOPLE WHO KNEW SOMETHING ABOUT THE MEDIUM, 231 00:14:52,637 --> 00:14:55,140 THINKING THERE'S TECHNICAL MUMBO JUMBO TO LEARN. 232 00:14:55,640 --> 00:14:56,891 YOU WERE DEAD WRONG. 233 00:14:56,891 --> 00:15:00,061 THERE'S ONLY ONE THING-- CAN YOU TELL A STORY? 234 00:15:00,061 --> 00:15:02,480 CAN YOU MAKE US LAUGH, MAKE US CRY, 235 00:15:02,480 --> 00:15:04,983 MAKE US WANT TO BREAK OUT IN SONG? 236 00:15:05,483 --> 00:15:06,368 THAT MORE THAN ONE THING? 237 00:15:06,868 --> 00:15:09,371 I RUN THIS DUMP, AND I DON'T KNOW TECHNICAL MUMBO JUMBO. 238 00:15:09,871 --> 00:15:11,403 WHY DO I RUN IT? 239 00:15:11,403 --> 00:15:13,906 'CAUSE I GOT HORSE SENSE, SHOWMANSHIP! 240 00:15:13,906 --> 00:15:16,909 AND ALSO I'M BIGGER AND MEANER AND LOUDER 241 00:15:16,909 --> 00:15:18,911 THAN ANY OTHER KIKE IN THIS TOWN. 242 00:15:19,411 --> 00:15:21,830 I DON'T MEAN MY DICK'S BIGGER THAN YOURS. 243 00:15:21,830 --> 00:15:24,082 IT'S NOT A SEXUAL THING. COFFEE? 244 00:15:26,969 --> 00:15:28,220 YES, THANK YOU. 245 00:15:28,503 --> 00:15:29,004 LOU! 246 00:15:36,645 --> 00:15:39,514 USED TO HAVE SHARES IN THE COMPANY, 247 00:15:39,514 --> 00:15:41,016 OWNERSHIP INTEREST, 248 00:15:41,016 --> 00:15:43,352 GOT BOUGHT OUT-- MUSCLED OUT. 249 00:15:43,352 --> 00:15:46,571 WE KEEP HIM AROUND. HE'S GOT A FAMILY. 250 00:15:46,571 --> 00:15:48,073 POOR SCHMUCK. HE'S SENSITIVE. 251 00:15:48,073 --> 00:15:50,075 DON'T MENTION THE OLD DAYS. HELL, SAY WHATEVER YOU WANT. 252 00:15:50,575 --> 00:15:51,576 LOOK, BARRING A PREFERENCE, 253 00:15:52,077 --> 00:15:54,579 YOU'LL BE WORKING ON A WRESTLING PICTURE-- WALLACE BEERY. 254 00:15:55,080 --> 00:15:57,582 THEY SAY YOU KNOW THE POETRY OF THE STREET. 255 00:15:58,083 --> 00:15:59,584 THAT RULES OUT WESTERNS, PIRATES, 256 00:15:59,952 --> 00:16:01,453 SCREWBALL, BIBLE, ROMAN... 257 00:16:01,870 --> 00:16:04,373 I'M NOT SOME GUY THAT THINKS POETIC IS FRUITY. 258 00:16:04,373 --> 00:16:05,874 WE'RE TOGETHER ON THAT. 259 00:16:05,874 --> 00:16:07,626 I'M FROM NEW YORK MYSELF. 260 00:16:07,626 --> 00:16:10,629 MINSK--IF YOU WANT TO GO ALL THE WAY BACK, 261 00:16:10,629 --> 00:16:13,632 WHICH WE WON'T IF YOU DON'T MIND. 262 00:16:13,632 --> 00:16:15,133 PEOPLE WILL SAY TO YOU-- 263 00:16:15,133 --> 00:16:18,136 WALLACE BEERY, WRESTLING-- IT'S A "B" PICTURE. 264 00:16:18,136 --> 00:16:19,137 YOU TELL THEM--BULLSHIT! 265 00:16:19,638 --> 00:16:22,474 WE DON'T MAKE "B" PICTURES HERE AT CAPITOL. 266 00:16:22,474 --> 00:16:25,777 LET'S PUT A STOP TO THAT RUMOR RIGHT NOW. 267 00:16:26,278 --> 00:16:28,113 [RATTLING] 268 00:16:28,480 --> 00:16:29,982 [SHOES SQUEAK] 269 00:16:29,982 --> 00:16:30,983 THANKS, LOU. 270 00:16:30,983 --> 00:16:32,317 JOIN US. JOIN US. 271 00:16:32,317 --> 00:16:35,237 WE'RE TALKING ABOUT THE WALLY BEERY PICTURE. 272 00:16:35,237 --> 00:16:36,955 EXCELLENT PICTURE. 273 00:16:36,955 --> 00:16:39,124 GOT A TREATMENT ON IT YET? 274 00:16:39,574 --> 00:16:41,076 WE JUST BOUGHT THE STORY. 275 00:16:41,076 --> 00:16:42,577 SATURDAY EVENING POST. 276 00:16:42,577 --> 00:16:43,912 THE HELL WITH THE STORY. 277 00:16:43,912 --> 00:16:45,380 WALLY BEERY'S A WRESTLER. 278 00:16:45,380 --> 00:16:47,883 GIVE ME HIS HOPES, HIS DREAMS. 279 00:16:47,883 --> 00:16:50,886 NATURALLY HE GETS MIXED UP WITH A BAD ELEMENT 280 00:16:50,886 --> 00:16:53,638 AND A ROMANTIC INTEREST OR ELSE AN ORPHAN. 281 00:16:53,638 --> 00:16:57,309 LOU, THINK WALLY'S TOO OLD FOR A ROMANTIC INTEREST? 282 00:17:00,679 --> 00:17:01,680 LOOK AT ME. 283 00:17:01,680 --> 00:17:03,648 A WRITER IN THE ROOM, 284 00:17:03,648 --> 00:17:06,651 AND I'M ASKING LOU ABOUT THE GODDAMN STORY. 285 00:17:06,651 --> 00:17:07,986 WHICH IS IT, BART? 286 00:17:07,986 --> 00:17:10,605 ORPHAN? DAME? 287 00:17:13,909 --> 00:17:15,160 BOTH MAYBE? 288 00:17:19,114 --> 00:17:21,833 MAYBE WE SHOULD DO A TREATMENT. 289 00:17:21,833 --> 00:17:24,669 HELL! LET BART TAKE A CRACK AT IT. 290 00:17:24,669 --> 00:17:27,172 HE'LL GET INTO THE SWING OF THINGS 291 00:17:27,172 --> 00:17:29,174 OR I DON'T KNOW WRITERS. 292 00:17:29,174 --> 00:17:31,676 LET'S MAKE IT A DAME. KEEP IT SIMPLE. 293 00:17:31,676 --> 00:17:33,178 THE IMPORTANT THING 294 00:17:33,178 --> 00:17:36,131 IS WE ALL WANT IT TO HAVE THAT BARTON FINK FEELING. 295 00:17:36,131 --> 00:17:37,966 WE ALL HAVE THAT FEELING, 296 00:17:37,966 --> 00:17:39,885 BUT SINCE YOU'RE BARTON FINK, 297 00:17:39,885 --> 00:17:42,387 I'M ASSUMING YOU HAVE IT IN SPADES. 298 00:17:42,387 --> 00:17:43,388 I LIKE YOU. 299 00:17:43,388 --> 00:17:45,807 IF ALL MY WRITERS WERE LIKE YOU, 300 00:17:45,807 --> 00:17:47,609 I WOULDN'T HAVE TO GET INVOLVED. 301 00:17:47,609 --> 00:17:50,529 HAVE SOMETHING BY THE END OF THE WEEK. 302 00:17:53,315 --> 00:17:55,984 I HEARD ABOUT YOUR SHOW, BY THE WAY. 303 00:17:55,984 --> 00:17:58,954 MY MAN IN NEW YORK SAW IT. 304 00:17:58,954 --> 00:18:01,456 SAYS IT'S DAMN MOVING, A LITTLE FRUITY, 305 00:18:01,957 --> 00:18:03,909 BUT I GUESS YOU KNOW WHAT YOU'RE DOING. 306 00:18:04,409 --> 00:18:05,410 THANKS FOR YOUR HEART. 307 00:18:05,410 --> 00:18:07,796 WE NEED MORE HEART IN MOTION PICTURES. 308 00:18:07,796 --> 00:18:10,048 WE'RE ALL EXPECTING GREAT THINGS. 309 00:18:14,719 --> 00:18:17,222 [TYPEWRITER CLACKING] 310 00:19:13,228 --> 00:19:16,731 [FAINT LAUGHING] 311 00:19:53,235 --> 00:19:55,737 [MAN LAUGHING] 312 00:20:30,855 --> 00:20:32,357 FRONT DESK. 313 00:20:32,357 --> 00:20:34,359 HELLO? UH, CHET? 314 00:20:34,359 --> 00:20:35,360 SPEAKING. 315 00:20:35,360 --> 00:20:38,363 THIS IS BARTON FINK IN ROOM 621. 316 00:20:38,363 --> 00:20:42,867 YES. THERE'S, UH, SOMEONE IN THE ROOM NEXT DOOR TO MINE-- 317 00:20:42,867 --> 00:20:43,868 623-- 318 00:20:43,868 --> 00:20:46,871 AND HE'S, UH... 319 00:20:46,871 --> 00:20:47,872 HE'S, UH... 320 00:20:49,874 --> 00:20:53,878 MAKING A LOT OF... NOISE. 321 00:20:53,878 --> 00:20:56,881 I'LL TAKE CARE OF IT RIGHT AWAY, SIR. 322 00:20:56,881 --> 00:20:57,882 THANK YOU. 323 00:21:00,885 --> 00:21:03,388 [TELEPHONE RINGS] 324 00:21:06,424 --> 00:21:08,426 [RING] 325 00:21:08,426 --> 00:21:10,929 HELLO. 326 00:21:10,929 --> 00:21:12,931 WHAT? 327 00:21:12,931 --> 00:21:14,733 HUH? 328 00:21:15,150 --> 00:21:17,152 WHO? 329 00:21:17,152 --> 00:21:19,154 [RECEIVER SLAMS DOWN] 330 00:21:19,154 --> 00:21:22,107 [FOOTSTEPS] 331 00:21:24,609 --> 00:21:26,611 [DOOR OPENS] 332 00:21:31,116 --> 00:21:33,501 [LOUD KNOCKING] 333 00:21:50,635 --> 00:21:51,970 DID YOU... 334 00:21:54,773 --> 00:21:56,941 SOMEBODY JUST COMPLAINED. 335 00:21:56,941 --> 00:21:58,310 NO. I DIDN'T. 336 00:21:58,310 --> 00:22:00,812 I MEAN, I DID CALL DOWN, 337 00:22:00,812 --> 00:22:02,314 NOT TO COMPLAIN EXACTLY. 338 00:22:02,314 --> 00:22:04,149 I WAS CONCERNED THAT YOU MIGHT-- 339 00:22:04,616 --> 00:22:06,117 NOT THAT IT'S MY BUSINESS-- 340 00:22:06,117 --> 00:22:08,620 MIGHT BE IN SOME KIND OF...DISTRESS. 341 00:22:08,620 --> 00:22:11,956 SEE, I WAS TRYING TO WORK, AND IT'S... 342 00:22:11,956 --> 00:22:14,326 WELL, IT WAS...DIFFICULT. 343 00:22:19,214 --> 00:22:20,215 YEAH. 344 00:22:20,215 --> 00:22:22,717 I'M DAMNED SORRY IF I BOTHERED YOU. 345 00:22:22,717 --> 00:22:24,219 THE DAMN WALLS HERE... 346 00:22:24,219 --> 00:22:26,221 I JUST APOLOGIZE LIKE HELL. 347 00:22:26,221 --> 00:22:27,722 MY NAME'S CHARLIE MEADOWS. 348 00:22:27,722 --> 00:22:29,507 I GUESS WE'RE NEIGHBORS. 349 00:22:29,507 --> 00:22:30,675 BARTON FINK. 350 00:22:30,675 --> 00:22:32,060 NEIGHBOR, I'D FEEL BETTER 351 00:22:32,560 --> 00:22:33,561 ABOUT THE DAMNED INCONVENIENCE 352 00:22:34,062 --> 00:22:36,314 IF YOU LET ME BUY YOU A DRINK. 353 00:22:38,099 --> 00:22:39,818 THAT'S ALL RIGHT. REALLY. 354 00:22:40,151 --> 00:22:41,152 THANK YOU. 355 00:22:41,653 --> 00:22:42,654 ALL RIGHT, HELL. 356 00:22:43,154 --> 00:22:44,155 YOU TRYING TO WORK, 357 00:22:44,656 --> 00:22:46,157 ME CARRYING ON IN THERE. 358 00:22:46,157 --> 00:22:47,992 THE LIQUOR'S GOOD. WHAT DO YOU SAY? 359 00:22:48,360 --> 00:22:49,361 YOU GOT A GLASS? 360 00:22:49,861 --> 00:22:52,364 IT'S THE LEAST I CAN DO. 361 00:22:52,364 --> 00:22:54,866 OKAY, A QUICK ONE. 362 00:22:54,866 --> 00:22:56,701 SURE. 363 00:22:56,701 --> 00:22:58,536 YEAH, JUST A NIP. 364 00:23:00,038 --> 00:23:02,540 I SURE DO FORGET MYSELF SOMETIMES. 365 00:23:02,540 --> 00:23:05,343 I FEEL LIKE A HEEL-- 366 00:23:05,343 --> 00:23:07,379 ALL THE CARRYINGS-ON NEXT DOOR. 367 00:23:07,379 --> 00:23:09,045 THAT'S OKAY, I ASSURE YOU. 368 00:23:09,045 --> 00:23:11,931 IT'S JUST I WAS TRYING TO WORK. 369 00:23:11,931 --> 00:23:15,885 WHAT KIND OF WORK DO YOU DO, BARTON, IF YOU DON'T MIND MY ASKING? 370 00:23:15,885 --> 00:23:17,854 WELL, I'M A WRITER, ACTUALLY. 371 00:23:17,854 --> 00:23:20,356 YOU DON'T SAY? THAT'S A TOUGH RACKET. 372 00:23:20,773 --> 00:23:22,275 MY HAT'S OFF TO YOU. 373 00:23:22,775 --> 00:23:24,527 DAMNED INTERESTING WORK, I'D IMAGINE. 374 00:23:24,894 --> 00:23:26,229 IT'S NOT EASY, BUT-- 375 00:23:26,229 --> 00:23:28,147 DAMN DIFFICULT, I'D IMAGINE. 376 00:23:28,615 --> 00:23:31,117 AND WHAT'S YOUR LINE, MR. MEADOWS? 377 00:23:31,117 --> 00:23:32,402 HELL, NO, CALL ME CHARLIE. 378 00:23:32,785 --> 00:23:33,786 WELL, BARTON... 379 00:23:33,786 --> 00:23:36,789 YOU MIGHT SAY I SELL PEACE OF MIND. 380 00:23:36,789 --> 00:23:38,541 INSURANCE IS MY GAME. DOOR-TO-DOOR. 381 00:23:38,875 --> 00:23:41,878 HUMAN CONTACT'S THE ONLY WAY TO MOVE MERCHANDISE. 382 00:23:42,295 --> 00:23:44,797 IN SPITE OF WHAT YOU MIGHT THINK, I'M PRETTY GOOD AT IT. 383 00:23:44,797 --> 00:23:46,716 IT DOESN'T SURPRISE ME. 384 00:23:46,716 --> 00:23:47,717 I BELIEVE IN IT. 385 00:23:48,134 --> 00:23:50,136 FIRE, THEFT, AND CASUALTY AREN'T THINGS 386 00:23:50,136 --> 00:23:52,639 THAT ONLY HAPPEN TO OTHER PEOPLE. 387 00:23:52,639 --> 00:23:54,140 WRITING DOESN'T WORK OUT, 388 00:23:54,140 --> 00:23:56,643 YOU MAY WANT TO LOOK INTO IT. 389 00:23:56,643 --> 00:23:58,895 PROVIDING BASIC NEEDS-- YOU COULD DO WORSE. 390 00:23:58,895 --> 00:24:01,180 I'LL KEEP THAT IN MIND. 391 00:24:01,180 --> 00:24:03,182 WHAT KIND OF SCRIBBLER ARE YOU? 392 00:24:03,182 --> 00:24:05,184 NEWSPAPERMAN DID YOU SAY? 393 00:24:05,184 --> 00:24:07,987 NO. ACTUALLY, I'M WRITING FOR THE PICTURES NOW. 394 00:24:07,987 --> 00:24:09,405 PICTURES? 395 00:24:09,405 --> 00:24:10,907 JESUS! 396 00:24:13,576 --> 00:24:14,861 AW, I'M SORRY, BROTHER. 397 00:24:15,361 --> 00:24:17,363 I WAS JUST SITTING HERE THINKING 398 00:24:17,363 --> 00:24:20,867 I WAS TALKING TO SOME AMBITIOUS YOUNGSTER EAGER TO MAKE GOOD. 399 00:24:20,867 --> 00:24:22,669 HELL, YOU'VE GOT IT MADE. 400 00:24:23,086 --> 00:24:24,921 BEATING OUT THAT COMPETITION? 401 00:24:25,254 --> 00:24:27,757 AND ME BEING PATRONIZING? 402 00:24:29,759 --> 00:24:31,761 IS THE EGG SHOWING OR WHAT? 403 00:24:31,761 --> 00:24:34,681 ACTUALLY, I'M JUST STARTING OUT IN THE MOVIES, 404 00:24:34,681 --> 00:24:37,684 THOUGH I WAS WELL ESTABLISHED IN NEW YORK, 405 00:24:37,684 --> 00:24:39,185 SOME RENOWN THERE. 406 00:24:39,636 --> 00:24:41,638 OH, IT'S AN EXCITING TIME, THEN. 407 00:24:42,105 --> 00:24:44,440 I'M NOT THE BEST-READ MUG ON THE PLANET, 408 00:24:44,774 --> 00:24:47,777 SO IT'S NOT SURPRISING I DIDN'T RECOGNIZE YOUR NAME. 409 00:24:47,777 --> 00:24:50,279 JESUS, I FEEL LIKE A HEEL. 410 00:24:50,279 --> 00:24:53,116 THAT'S OKAY, CHARLIE. I'M A PLAYWRIGHT. 411 00:24:53,116 --> 00:24:55,568 MY SHOWS HAVE ONLY PLAYED NEW YORK. 412 00:24:56,069 --> 00:24:58,071 THE LAST ONE GOT A HELL OF A WRITE-UP. 413 00:24:58,571 --> 00:25:00,073 MUST BE WHY THEY WANTED ME. 414 00:25:00,073 --> 00:25:02,075 WHY NOT? EVERYONE WANTS QUALITY. 415 00:25:02,075 --> 00:25:06,579 WHAT KIND OF VENUE... THAT IS TO SAY, 416 00:25:06,579 --> 00:25:08,047 THEMATICALLY, 417 00:25:08,047 --> 00:25:09,882 UM... 418 00:25:10,299 --> 00:25:11,801 WHAT DO I WRITE ABOUT? 419 00:25:13,302 --> 00:25:15,805 CAUGHT ME TRYING TO BE FANCY. 420 00:25:15,805 --> 00:25:17,173 YEAH, THAT'S IT, BART. 421 00:25:17,674 --> 00:25:19,175 WELL, THAT'S A GOOD QUESTION. 422 00:25:19,676 --> 00:25:21,678 STRANGE AS IT MAY SEEM, CHARLIE, 423 00:25:22,178 --> 00:25:24,430 I WRITE ABOUT PEOPLE LIKE YOU-- 424 00:25:24,430 --> 00:25:26,733 THE WORKING STIFF, THE COMMON MAN. 425 00:25:26,733 --> 00:25:28,985 WELL, AIN'T THAT A KICK IN THE HEAD. 426 00:25:28,985 --> 00:25:31,854 I GUESS IT IS, BUT IN A WAY, 427 00:25:31,854 --> 00:25:33,356 THAT'S EXACTLY THE POINT. 428 00:25:33,356 --> 00:25:35,858 THERE'S A FEW PEOPLE IN NEW YORK-- 429 00:25:36,359 --> 00:25:37,660 HOPEFULLY OUR NUMBERS ARE GROWING-- 430 00:25:37,660 --> 00:25:40,079 WHO FEEL WE HAVE AN OPPORTUNITY 431 00:25:40,079 --> 00:25:43,416 TO FORGE SOMETHING REAL OUT OF EVERYDAY EXPERIENCE, 432 00:25:43,833 --> 00:25:45,835 CREATE A THEATER FOR THE MASSES 433 00:25:46,335 --> 00:25:48,337 BASED ON A FEW SIMPLE TRUTHS, 434 00:25:48,337 --> 00:25:50,840 NOT ON SOME SHOPWORN ABSTRACTIONS ABOUT DRAMA 435 00:25:51,340 --> 00:25:53,342 THAT DON'T HOLD TRUE TODAY. 436 00:25:53,342 --> 00:25:56,179 I DON'T GUESS THIS MEANS MUCH TO YOU. 437 00:25:56,179 --> 00:25:58,464 HELL, I COULD TELL YOU STORIES. 438 00:25:58,464 --> 00:26:01,601 AND THAT'S THE POINT-- WE ALL HAVE STORIES. 439 00:26:01,601 --> 00:26:04,887 THE HOPES AND DREAMS OF THE COMMON MAN 440 00:26:04,887 --> 00:26:07,890 ARE AS NOBLE AS THOSE OF ANY KING. 441 00:26:07,890 --> 00:26:09,392 THE STUFF OF LIFE-- 442 00:26:09,392 --> 00:26:11,894 WHY SHOULDN'T IT BE THE STUFF OF THEATER? 443 00:26:11,894 --> 00:26:14,897 WHY SHOULD THAT BE SUCH A HARD PILL TO SWALLOW? 444 00:26:14,897 --> 00:26:17,400 DON'T CALL IT NEW THEATER, CHARLIE. 445 00:26:17,400 --> 00:26:18,901 CALL IT REAL THEATER. 446 00:26:18,901 --> 00:26:20,703 CALL ITOURTHEATER! 447 00:26:20,703 --> 00:26:24,073 I CAN SEE YOU FEEL PRETTY STRONGLY ABOUT IT. 448 00:26:24,073 --> 00:26:27,043 I DON'T MEAN TO GET UP ON MY HIGH HORSE, 449 00:26:27,543 --> 00:26:30,046 BUT WHY SHOULDN'T WE LOOK AT OURSELVES UP THERE? 450 00:26:30,546 --> 00:26:33,049 WHO CARES ABOUT THE FIFTH EARL OF BASTROP 451 00:26:33,049 --> 00:26:34,550 AND LADY HIGGINBOTTOM 452 00:26:34,550 --> 00:26:36,052 AND... 453 00:26:36,052 --> 00:26:38,387 AND WHO KILLED NIGEL GRINCH-GIBBONS? 454 00:26:38,387 --> 00:26:40,256 MY BUTT'S GETTING SORE ALREADY. 455 00:26:40,256 --> 00:26:42,759 EXACTLY. YOU UNDERSTAND WHAT I'M SAYING 456 00:26:42,759 --> 00:26:45,762 A LOT MORE THAN SOME OF THESE LITERARY TYPES 457 00:26:45,762 --> 00:26:47,063 BECAUSE YOU'RE A REAL MAN. 458 00:26:47,063 --> 00:26:49,849 I COULD TELL YOU SOME STORIES-- 459 00:26:49,849 --> 00:26:51,317 SURE, YOU COULD, 460 00:26:51,818 --> 00:26:54,520 YET MANY WRITERS INSULATE THEMSELVES FROM THE COMMON MAN, 461 00:26:54,520 --> 00:26:56,355 FROM WHERE THEY LIVE, 462 00:26:56,355 --> 00:26:58,825 FROM WHERE THEY TRADE AND FIGHT AND LOVE 463 00:26:58,825 --> 00:27:00,326 AND CONVERSE AND-- 464 00:27:00,326 --> 00:27:01,694 AND... 465 00:27:03,079 --> 00:27:05,081 SO, NATURALLY, THEIR WORK SUFFERS 466 00:27:05,581 --> 00:27:07,583 AND REGRESSES INTO EMPTY FORMALISM AND... 467 00:27:07,583 --> 00:27:09,585 WELL, I'M SPOUTING OFF AGAIN, 468 00:27:09,585 --> 00:27:12,088 BUT TO PUT IT IN YOUR LANGUAGE-- 469 00:27:12,588 --> 00:27:14,457 THE THEATER BECOMES AS PHONY AS A $3 BILL. 470 00:27:14,957 --> 00:27:16,759 THAT'S A TRAGEDY RIGHT THERE. 471 00:27:16,759 --> 00:27:20,463 YOU'RE ALL RIGHT, CHARLIE. 472 00:27:20,463 --> 00:27:23,182 I'M GLAD YOU STOPPED BY. 473 00:27:23,182 --> 00:27:25,101 I KNOW SOMETIMES I RUN ON. 474 00:27:25,101 --> 00:27:28,354 WELL, CHRIST, IF THERE'S ANY WAY I CAN CONTRIBUTE 475 00:27:28,805 --> 00:27:29,806 OR HELP OR WHATEVER... 476 00:27:29,806 --> 00:27:32,108 YOU CAN HELP BY JUST BEING YOURSELF. 477 00:27:32,108 --> 00:27:35,027 WELL, I CAN TELL YOU SOME STORIES. 478 00:27:35,528 --> 00:27:36,529 NOW, LOOK... 479 00:27:36,529 --> 00:27:38,531 I'M SORRY ABOUT THE INTERRUPTION. 480 00:27:38,531 --> 00:27:41,033 TOO MUCH REVELRY LATE AT NIGHT, 481 00:27:41,033 --> 00:27:44,036 YOU FORGET THERE'S OTHER PEOPLE IN THE WORLD. 482 00:28:00,253 --> 00:28:02,588 [WAVES WASH ASHORE] 483 00:28:07,560 --> 00:28:09,395 [WALLPAPER PEELING] 484 00:28:51,220 --> 00:28:52,555 [MOSQUITO BUZZING] 485 00:28:55,024 --> 00:28:59,028 [BUZZ] 486 00:29:25,254 --> 00:29:27,256 I'LL BE EATING ON THE LOT TODAY. 487 00:29:27,256 --> 00:29:28,257 WHO'S THIS? 488 00:29:28,257 --> 00:29:29,592 BARTON FINK, MR. GEEZLER. 489 00:29:30,059 --> 00:29:30,559 GEISLER. 490 00:29:31,060 --> 00:29:32,561 I'M A WRITER, MR. GEISLER. 491 00:29:32,561 --> 00:29:34,146 TED OKUM SAID TO DROP BY. 492 00:29:34,146 --> 00:29:34,931 EVER ACT? 493 00:29:34,931 --> 00:29:36,349 HUH? NO. I'M A-- 494 00:29:36,349 --> 00:29:38,851 WE NEED INDIANS FOR A NORMAN STEELE WESTERN. 495 00:29:38,851 --> 00:29:39,852 I'M A WRITER. 496 00:29:39,852 --> 00:29:42,655 WRITERS COME AND GO. WE ALWAYS NEED INDIANS. 497 00:29:42,655 --> 00:29:44,073 I'M A WRITER. 498 00:29:44,073 --> 00:29:46,909 TED OKUM SAID YOU'RE PRODUCING THIS WALLACE BEERY PICTURE. 499 00:29:46,909 --> 00:29:48,361 TED OKUM DOESN'T KNOW SHIT. 500 00:29:48,861 --> 00:29:50,863 THEY'VE ASSIGNED ME ENOUGH PICTURES FOR A YEAR. 501 00:29:51,364 --> 00:29:52,365 WHAT TED OKUM DOESN'T KNOW 502 00:29:52,865 --> 00:29:54,867 YOU COULD ALMOST SQUEEZE INTO THE HOLLYWOOD BOWL. 503 00:29:54,867 --> 00:29:56,869 WHO SHOULD I TALK TO? 504 00:29:59,372 --> 00:30:01,374 GET ME LOU BREEZE. 505 00:30:02,875 --> 00:30:03,876 MR. BREEZE'S OFFICE. 506 00:30:04,377 --> 00:30:05,878 IS HE IN FOR MR. GEEZLER? 507 00:30:05,878 --> 00:30:06,879 GEISLER. 508 00:30:07,380 --> 00:30:09,882 LOU! HOW'S LIPNICK'S ASS SMELL THIS MORNING? 509 00:30:09,882 --> 00:30:12,351 YEAH? YEAH? 510 00:30:12,351 --> 00:30:13,352 YEAH. ALL RIGHT. LISTEN. 511 00:30:13,853 --> 00:30:15,855 I GOT A WRITER HERE-- FINK--ALL SCREWY. 512 00:30:16,355 --> 00:30:18,357 SAYS I'M PRODUCING THAT WALLACE BEERY WRESTLING PICTURE. 513 00:30:18,858 --> 00:30:20,142 WHAT AM I, THE GODDAMN JANITOR? 514 00:30:20,142 --> 00:30:22,561 YEAH? WHO'D YOU GET THAT FROM? 515 00:30:23,062 --> 00:30:25,564 WELL, TELL LIPNICK HE CAN KISS MY DIMPLED ASS. 516 00:30:25,564 --> 00:30:27,066 NO, NO. ALL RIGHT. SHIT. 517 00:30:27,066 --> 00:30:29,068 ALL RIGHT. NO. ALL RIGHT. 518 00:30:30,987 --> 00:30:32,371 OKAY, FINK. 519 00:30:32,371 --> 00:30:33,739 LET'S CHOW. 520 00:30:40,212 --> 00:30:41,213 DON'T WORRY ABOUT IT. 521 00:30:41,213 --> 00:30:42,715 IT'S JUST A "B" PICTURE. 522 00:30:43,215 --> 00:30:44,717 I BRING IT IN ON BUDGET, 523 00:30:45,217 --> 00:30:46,719 THEY BOOK IT WITHOUT SCREENING IT. 524 00:30:46,719 --> 00:30:49,472 LIPNICK SAID HE WANTED TO LOOK AT THE SCRIPT 525 00:30:49,472 --> 00:30:51,340 BY THE END OF THE WEEK. 526 00:30:51,340 --> 00:30:52,842 SURE, HE DID. 527 00:30:52,842 --> 00:30:56,344 HE FORGOT ABOUT IT BEFORE YOUR ASS LEFT HIS SOFA. 528 00:30:56,344 --> 00:30:57,345 OKAY. 529 00:31:00,348 --> 00:31:02,350 I'M JUST HAVING TROUBLE GETTING STARTED. 530 00:31:02,350 --> 00:31:04,352 IT'S FUNNY. I'M BLOCKED UP. 531 00:31:04,352 --> 00:31:05,353 I JUST FEEL 532 00:31:05,853 --> 00:31:07,855 LIKE I NEED SOME KIND OF INDICATION 533 00:31:07,855 --> 00:31:09,156 OF WHAT'S EXPECTED. 534 00:31:11,075 --> 00:31:12,076 WALLACE BEERY. WRESTLING PICTURE. 535 00:31:12,076 --> 00:31:14,078 WHAT DO YOU NEED, A ROAD MAP? 536 00:31:14,078 --> 00:31:15,529 LOOK, 537 00:31:16,030 --> 00:31:17,031 YOU'RE CONFUSED. 538 00:31:17,031 --> 00:31:18,532 YOU NEED GUIDANCE? 539 00:31:20,534 --> 00:31:21,836 TALK TO ANOTHER WRITER. 540 00:31:21,836 --> 00:31:23,254 WHO? 541 00:31:23,704 --> 00:31:24,705 OH, JESUS. 542 00:31:24,705 --> 00:31:28,008 YOU THROW A ROCK IN HERE, YOU'LL HIT ONE. 543 00:31:28,008 --> 00:31:30,211 DO ME A FAVOR, FINK-- 544 00:31:30,711 --> 00:31:32,012 THROW IT HARD. 545 00:31:44,692 --> 00:31:46,193 [VOMITING] 546 00:31:54,702 --> 00:31:56,704 [RETCHING] 547 00:32:02,209 --> 00:32:04,545 [BELCHES] 548 00:32:06,380 --> 00:32:08,916 [COUGH] 549 00:32:08,916 --> 00:32:10,301 [HUMMING] 550 00:32:11,252 --> 00:32:13,754 [TOILET FLUSHES] 551 00:32:30,321 --> 00:32:32,823 [GARGLING] 552 00:32:34,825 --> 00:32:36,827 [HUMMINGOLD BLACK JOE] 553 00:32:49,340 --> 00:32:52,843 BILL MAYHEW. SORRY ABOUT THE ODOR. 554 00:32:52,843 --> 00:32:54,345 BARTON FINK. 555 00:32:59,850 --> 00:33:01,635 JESUS. W.P.? 556 00:33:03,020 --> 00:33:03,804 I BEG YOUR PARDON? 557 00:33:04,221 --> 00:33:06,023 W.P. MAYHEW? THE WRITER? 558 00:33:06,390 --> 00:33:08,893 JUST BILL, PLEASE. 559 00:33:08,893 --> 00:33:10,694 BILL! 560 00:33:11,111 --> 00:33:12,947 YOU'RE THE FINEST NOVELIST OF OUR TIME. 561 00:33:12,947 --> 00:33:14,899 WHY, THANK YOU, SON. HOW KIND. 562 00:33:14,899 --> 00:33:16,150 MY GOD. 563 00:33:16,150 --> 00:33:19,787 I HAD NO IDEA YOU WERE IN HOLLYWOOD. 564 00:33:19,787 --> 00:33:21,705 ALL OF US UNDOMESTICATED WRITERS 565 00:33:22,206 --> 00:33:23,707 EVENTUALLY MAKE OUR WAY OUT HERE 566 00:33:24,208 --> 00:33:25,709 TO THE GREAT SALT LICK. 567 00:33:26,210 --> 00:33:27,211 THAT'S PROBABLY WHY 568 00:33:27,711 --> 00:33:30,214 I ALWAYS HAVE SUCH A POWERFUL THIRST. 569 00:33:30,714 --> 00:33:32,716 A LITTLE SOCIAL LUBRICANT, MR. FINK? 570 00:33:32,716 --> 00:33:34,718 NO. IT'S A LITTLE EARLY FOR ME. 571 00:33:40,474 --> 00:33:41,759 BILL... 572 00:33:42,259 --> 00:33:45,262 IF I'M IMPOSING, YOU SHOULD SAY SO. 573 00:33:45,262 --> 00:33:46,981 I KNOW YOU'RE VERY BUSY. 574 00:33:46,981 --> 00:33:50,818 I JUST WANTED TO ASK... YOU A FAVOR. 575 00:33:50,818 --> 00:33:54,772 HAVE YOU EVER WRITTEN A WRESTLING PICTURE? 576 00:33:58,192 --> 00:34:00,528 YOU ARE DRIPPIN', SIR. 577 00:34:01,529 --> 00:34:03,864 THEY HAVE NOT INVENTED A GENRE OF PICTURE 578 00:34:04,331 --> 00:34:07,334 THAT BILL MAYHEW HAS NOT AT ONE TIME OR OTHER 579 00:34:07,835 --> 00:34:08,836 BEEN INVITED TO ASSAY. 580 00:34:08,836 --> 00:34:11,338 YES, I'VE TAKEN MY STAB AT THE WRESTLING FORM, 581 00:34:11,338 --> 00:34:13,841 AS I HAVE STABBED AT SO MANY OTHERS. 582 00:34:14,341 --> 00:34:15,209 WELL, HOW DO YOU-- 583 00:34:15,209 --> 00:34:17,177 I GATHER YOU'RE A FRESHMAN HERE, 584 00:34:17,177 --> 00:34:19,179 EAGER FOR AN UPPERCLASSMAN'S COUNSEL. 585 00:34:19,179 --> 00:34:20,681 HOWEVER, JUST AT THE MOMENT 586 00:34:20,681 --> 00:34:22,182 I HAVE DRINKING TO DO. 587 00:34:22,182 --> 00:34:25,135 WHY DON'T YOU STOP BY MY BUNGALOW, NUMBER 15, 588 00:34:25,135 --> 00:34:26,387 LATER ON THIS AFTERNOON? 589 00:34:26,387 --> 00:34:28,222 WE WILL DISCUSS WRESTLING SCENARIOS 590 00:34:28,222 --> 00:34:30,224 AND OTHER THINGS LITERARY. 591 00:34:32,726 --> 00:34:35,195 [MAYHEW] SONS OF BITCHES! 592 00:34:36,196 --> 00:34:38,198 WHERE'S HONEY? 593 00:34:38,198 --> 00:34:39,199 HUH? 594 00:34:42,703 --> 00:34:44,538 HONEY! 595 00:34:44,538 --> 00:34:46,457 WHERE'S MY HONEY? 596 00:34:46,457 --> 00:34:49,460 THE WATER'S LAPPING UP ON ME, HONEY! 597 00:34:49,960 --> 00:34:50,961 HONEY, JUST STOP IT. 598 00:34:51,462 --> 00:34:54,965 [WAILING] 599 00:34:54,965 --> 00:34:57,468 I CAN'T. I'M TRYING TO HELP YOU. 600 00:34:57,468 --> 00:34:59,470 OHH! 601 00:34:59,470 --> 00:35:00,971 CAN I HELP YOU? 602 00:35:00,971 --> 00:35:02,473 I'M SORRY. I-- 603 00:35:02,473 --> 00:35:03,674 WHERE ARE YOU, DAMN IT? 604 00:35:03,674 --> 00:35:05,175 MY NAME IS FINK. 605 00:35:05,175 --> 00:35:07,678 BILL ASKED ME TO DROP BY THIS AFTERNOON. 606 00:35:07,678 --> 00:35:09,179 IS HE, UH... 607 00:35:09,179 --> 00:35:10,180 HONEY! 608 00:35:10,180 --> 00:35:11,065 IN? 609 00:35:11,065 --> 00:35:13,017 OOOH! 610 00:35:13,017 --> 00:35:15,019 MR. MAYHEW IS INDISPOSED AT THE MOMENT. 611 00:35:15,019 --> 00:35:17,021 WHERE'S MY HONEY? 612 00:35:17,021 --> 00:35:17,905 IS HE, UH... 613 00:35:17,905 --> 00:35:18,856 HONEY! 614 00:35:19,356 --> 00:35:20,357 IS HE OKAY? 615 00:35:20,357 --> 00:35:22,326 HE'LL BE FINE. 616 00:35:24,828 --> 00:35:26,330 MR. FINK, I'M AUDREY TAYLOR, 617 00:35:26,830 --> 00:35:28,332 MR. MAYHEW'S PERSONAL SECRETARY. 618 00:35:28,332 --> 00:35:29,833 WHERE'S MY HONEY? 619 00:35:29,833 --> 00:35:33,337 I KNOW THIS ALL MUST SOUND HORRID. 620 00:35:33,337 --> 00:35:34,838 I REALLY DO APOLOGIZE. 621 00:35:34,838 --> 00:35:36,957 WHERE ARE YOU, DAMN IT? 622 00:35:38,342 --> 00:35:40,344 WHEN HE CAN'T WRITE, HE DRINKS. 623 00:35:40,844 --> 00:35:42,630 IT'S SO EMBARRASSING. 624 00:35:42,630 --> 00:35:46,300 HOW ABOUT YOU? WILL YOU BE ALL RIGHT? 625 00:35:47,301 --> 00:35:48,802 I'LL BE FINE. 626 00:35:50,304 --> 00:35:51,805 ARE YOU A WRITER, MR. FINK? 627 00:35:52,306 --> 00:35:53,807 YES. I'M WORKING ON A WRESTLING-- 628 00:35:54,308 --> 00:35:55,609 PLEASE CALL ME BARTON. 629 00:35:56,894 --> 00:35:58,395 I'LL TELL BILL YOU DROPPED BY. 630 00:35:58,896 --> 00:36:00,898 I'M SURE HE'LL WANT TO RESCHEDULE YOUR APPOINTMENT. 631 00:36:01,398 --> 00:36:04,818 PERHAPS YOU AND I CAN GET TOGETHER AT SOME POINT ALSO. 632 00:36:05,319 --> 00:36:06,870 SORRY IF THAT SOUNDS ABRUPT. 633 00:36:06,870 --> 00:36:08,372 I JUST... 634 00:36:08,372 --> 00:36:11,375 I--I DON'T KNOW ANYONE HERE IN TOWN. 635 00:36:13,877 --> 00:36:16,246 PERHAPS THE THREE OF US, MR. FINK. 636 00:36:16,246 --> 00:36:18,499 PLEASE. BARTON. 637 00:36:18,499 --> 00:36:20,384 BARTON. 638 00:36:20,884 --> 00:36:23,387 YOU SEE, BARTON, 639 00:36:23,887 --> 00:36:25,889 I'M NOT JUST BILL'S SECRETARY. 640 00:36:25,889 --> 00:36:27,891 BILL AND I ARE... 641 00:36:29,893 --> 00:36:31,395 IN LOVE. 642 00:36:31,395 --> 00:36:33,147 [CLANK] 643 00:36:33,147 --> 00:36:35,065 WHERE'S MY HONEY? 644 00:36:35,566 --> 00:36:37,568 LOOK, I KNOW THIS MUST LOOK-- 645 00:36:38,068 --> 00:36:39,069 [SOBBING] 646 00:36:39,570 --> 00:36:40,904 FUNNY. 647 00:36:40,904 --> 00:36:42,356 BASTARD-ASS SONS OF BITCHES! 648 00:36:42,856 --> 00:36:44,358 I'M SORRY. 649 00:36:44,358 --> 00:36:46,860 PLEASE DON'T JUDGE US, MR. FINK. 650 00:36:46,860 --> 00:36:48,162 WHERE'S THAT WOMAN? 651 00:36:48,162 --> 00:36:50,030 BASTARD-ASS SONS OF BITCHES! 652 00:36:50,531 --> 00:36:52,916 THE WATER'S LAPPING UP! 653 00:36:52,916 --> 00:36:55,035 OH, HONEY! 654 00:37:20,027 --> 00:37:21,862 [SEXUAL MOANING] 655 00:37:24,782 --> 00:37:26,784 OH... 656 00:37:27,284 --> 00:37:28,285 OH... 657 00:37:30,788 --> 00:37:32,790 OH... 658 00:37:32,790 --> 00:37:34,291 OH... 659 00:37:37,294 --> 00:37:39,663 AH... 660 00:37:39,663 --> 00:37:42,166 OH... 661 00:37:46,670 --> 00:37:47,504 OH... 662 00:37:48,972 --> 00:37:50,974 OH... 663 00:38:06,190 --> 00:38:07,691 AH... 664 00:38:24,258 --> 00:38:25,542 HOWDY, NEIGHBOR. 665 00:38:25,542 --> 00:38:27,961 CHARLIE. HOW ARE YOU? 666 00:38:27,961 --> 00:38:31,715 OH, JESUS, I HOPE I'M NOT INTERRUPTING YOU AGAIN. 667 00:38:31,715 --> 00:38:34,218 HEARD YOU WALKING AROUND IN HERE. 668 00:38:34,218 --> 00:38:35,719 FIGURED I'D DROP BY. 669 00:38:35,719 --> 00:38:38,222 YEAH. COME ON IN. HAVE A SEAT. 670 00:38:38,222 --> 00:38:40,557 I HAVEN'T REALLY GOTTEN STARTED YET. 671 00:38:40,557 --> 00:38:42,776 WHAT HAPPENED TO YOUR EAR? 672 00:38:42,776 --> 00:38:44,611 OH, YEAH. AN EAR INFECTION. 673 00:38:44,611 --> 00:38:45,612 CHRONIC THING. 674 00:38:46,113 --> 00:38:48,615 GOES AWAY FOR A WHILE, THEN IT COMES BACK. 675 00:38:48,615 --> 00:38:51,869 I GOT COTTON IN IT TO STAUNCH THE PUS. 676 00:38:51,983 --> 00:38:52,984 DON'T WORRY. IT'S NOT CONTAGIOUS. 677 00:38:52,984 --> 00:38:54,485 YOU SEEN A DOCTOR? 678 00:38:54,485 --> 00:38:56,404 WHAT'S HE GOING TO TELL ME? 679 00:38:56,404 --> 00:38:58,789 CAN'T TRADE MY HEAD FOR A NEW ONE. 680 00:38:58,789 --> 00:39:01,742 I GUESS YOU'RE STUCK WITH THE ONE YOU GOT. 681 00:39:01,742 --> 00:39:03,744 I'D INVITE YOU TO MY PLACE, 682 00:39:03,744 --> 00:39:05,246 BUT IT'S A GODDAMN MESS. 683 00:39:05,746 --> 00:39:07,048 YOU MARRIED, BART? 684 00:39:07,965 --> 00:39:08,966 NO. 685 00:39:08,966 --> 00:39:11,969 I MYSELF HAVE YET TO BE LASSOED. 686 00:39:11,969 --> 00:39:13,804 HEY, BART. 687 00:39:13,804 --> 00:39:17,641 OUCH. 688 00:39:21,896 --> 00:39:23,147 GOT A SWEETHEART? 689 00:39:24,015 --> 00:39:25,516 NO. 690 00:39:26,517 --> 00:39:28,519 I GUESS IT'S SOMETHING ABOUT MY WORK. 691 00:39:29,020 --> 00:39:31,022 I GET SO WORKED UP OVER IT. 692 00:39:31,022 --> 00:39:33,524 I DON'T HAVE MUCH ATTENTION LEFT OVER, 693 00:39:33,524 --> 00:39:36,527 SO IT WOULD BE A LITTLE...UNFAIR. 694 00:39:36,527 --> 00:39:38,746 YEAH. LADIES DO ASK FOR ATTENTION. 695 00:39:39,246 --> 00:39:41,248 IN MY EXPERIENCE, THEY PRETEND TO GIVE IT, 696 00:39:41,749 --> 00:39:42,750 BUT IT'S GENERALLY A SMOKE SCREEN 697 00:39:43,250 --> 00:39:44,752 FOR DEMANDING IT BACK WITH INTEREST. 698 00:39:45,252 --> 00:39:46,253 HOW ABOUT FAMILY, BART? 699 00:39:46,253 --> 00:39:48,706 HOW YOU FIXED IN THAT DEPARTMENT? 700 00:39:48,706 --> 00:39:50,591 MY FOLKS LIVE IN BROOKLYN WITH MY UNCLE. 701 00:39:51,092 --> 00:39:53,094 MINE HAVE PASSED ON. 702 00:39:53,094 --> 00:39:54,595 IT'S JUST US THREE NOW. 703 00:39:54,595 --> 00:39:56,097 WHAT'S THAT EXPRESSION? 704 00:39:57,098 --> 00:39:58,599 ME, MYSELF, AND I. 705 00:39:58,599 --> 00:39:59,850 SURE. 706 00:39:59,850 --> 00:40:01,635 THAT'S TOUGH. 707 00:40:02,136 --> 00:40:03,637 BUT IN A SENSE, 708 00:40:03,637 --> 00:40:07,141 WE'RE ALL ALONE IN THE WORLD, AREN'T WE, CHARLIE? 709 00:40:07,141 --> 00:40:10,144 I'M OFTEN SURROUNDED BY FAMILY AND FRIENDS, 710 00:40:10,144 --> 00:40:11,645 BUT... 711 00:40:11,645 --> 00:40:12,980 [DEEP SIGH] 712 00:40:14,398 --> 00:40:17,401 YOU'RE NO STRANGER TO LONELINESS, THEN. 713 00:40:17,401 --> 00:40:19,403 I GUESS I GOT NO BEEF, 714 00:40:19,403 --> 00:40:21,405 ESPECIALLY WHERE THE DAMES ARE CONCERNED. 715 00:40:21,405 --> 00:40:24,408 IN MY LINE OF WORK, I GOT OPPORTUNITIES GALORE. 716 00:40:24,408 --> 00:40:27,411 I COULD TELL YOU STORIES TO CURL YOUR HAIR, 717 00:40:27,411 --> 00:40:29,914 BUT IT LOOKS LIKE YOU'VE ALREADY HEARD THEM. 718 00:40:29,914 --> 00:40:32,416 THAT'S ME IN KANSAS CITY PLYING MY TRADE. 719 00:40:32,416 --> 00:40:35,719 THAT WAS TAKEN BY ONE OF MY POLICYHOLDERS. 720 00:40:35,719 --> 00:40:38,222 THEY'RE MORE THAN JUST CUSTOMERS TO ME, BARTON. 721 00:40:38,222 --> 00:40:40,224 THEY APPRECIATE WHAT I HAVE TO OFFER. 722 00:40:40,224 --> 00:40:42,226 HER HUBBY WAS OUT OF TOWN, 723 00:40:42,226 --> 00:40:44,228 AND THEY WERE CARRYING FIRE AND LIFE. 724 00:40:44,228 --> 00:40:46,730 THE THIRD QUARTER PAYMENT WAS WAY PAST DUE. 725 00:40:46,730 --> 00:40:48,732 IN A WAY, I ENVY YOU-- 726 00:40:48,732 --> 00:40:51,235 YOUR DAILY ROUTINE, YOU KNOW WHAT'S EXPECTED. 727 00:40:51,235 --> 00:40:52,736 YOU KNOW THE DRILL. 728 00:40:54,738 --> 00:40:57,241 MY JOB IS TO PLUMB THE DEPTHS, 729 00:40:57,241 --> 00:40:58,742 SO TO SPEAK. 730 00:40:58,742 --> 00:41:01,245 DREDGE UP SOMETHING FROM INSIDE, 731 00:41:01,245 --> 00:41:02,746 SOMETHING HONEST. 732 00:41:03,247 --> 00:41:04,248 I GOT TO TELL YOU, 733 00:41:04,748 --> 00:41:06,250 THE LIFE OF THE MIND... 734 00:41:06,250 --> 00:41:09,253 THERE'S NO ROAD MAP FOR THAT TERRITORY. 735 00:41:09,753 --> 00:41:12,256 AND EXPLORING IT CAN BE PAINFUL. 736 00:41:13,757 --> 00:41:17,545 I HAVE PAIN MOST PEOPLE DON'T KNOW ANYTHING ABOUT. 737 00:41:19,346 --> 00:41:21,098 THIS MUST BE BORING YOU. 738 00:41:21,098 --> 00:41:23,267 NOT AT ALL. IT'S DAMNED INTERESTING. 739 00:41:23,767 --> 00:41:24,768 YEAH. 740 00:41:25,269 --> 00:41:26,270 PROBABLY SOUNDS A LITTLE GRAND 741 00:41:26,770 --> 00:41:28,772 FOR SOMEONE WHO'S WRITING A WRESTLING PICTURE 742 00:41:28,772 --> 00:41:30,024 FOR WALLACE BEERY. 743 00:41:30,307 --> 00:41:32,309 BEERY? YOU GOT NO BEEF THERE. 744 00:41:32,309 --> 00:41:33,811 HE'S A HELL OF AN ACTOR, 745 00:41:34,311 --> 00:41:35,813 THOUGH YOU CAN'T BEAT JACK OAKIE. 746 00:41:36,313 --> 00:41:37,565 A STITCH, OAKIE. 747 00:41:37,565 --> 00:41:38,866 FUNNY STUFF, FUNNY STUFF. 748 00:41:39,366 --> 00:41:40,868 BUT DON'T GET ME WRONG. 749 00:41:40,868 --> 00:41:42,870 BEERY? WRESTLING PICTURE? COULD BE A PIP. 750 00:41:43,370 --> 00:41:44,872 COULD BE A PIP. 751 00:41:44,872 --> 00:41:46,874 WRESTLED MYSELF SOME BACK IN SCHOOL. 752 00:41:46,874 --> 00:41:49,326 I GUESS YOU KNOW THE BASIC MOVES. 753 00:41:49,326 --> 00:41:50,828 NO. I NEVER WATCHED ANY. 754 00:41:50,828 --> 00:41:52,630 I'M NOT INTERESTED IN THE ACT. 755 00:41:52,963 --> 00:41:54,965 HELL, YOU SHOULD KNOW WHAT IT'S ABOUT. 756 00:41:54,965 --> 00:41:58,502 I CAN SHOW YOU THE WRESTLING BASICS IN 30 SECONDS. 757 00:41:58,502 --> 00:42:00,921 YOU'RE A LITTLE OUT OF YOUR WEIGHT CLASS, 758 00:42:00,921 --> 00:42:02,423 BUT JUST FOR DEMONSTRATION PURPOSES... 759 00:42:02,423 --> 00:42:03,424 THAT'S ALL RIGHT. 760 00:42:03,424 --> 00:42:05,426 NOT A BIT OF IT, COMPADRE. 761 00:42:05,426 --> 00:42:06,927 EASIEST THING IN THE WORLD. 762 00:42:06,927 --> 00:42:09,930 JUST GET ON YOUR KNEES TO MY LEFT HERE. 763 00:42:09,930 --> 00:42:12,933 SLAP YOUR RIGHT HAND HERE, YOUR LEFT HAND HERE. 764 00:42:12,933 --> 00:42:16,103 COME ON, CHAMP. YOU CAN DO IT. COME ON. 765 00:42:16,103 --> 00:42:18,105 COME ON. 766 00:42:18,606 --> 00:42:19,857 COME ON. 767 00:42:20,241 --> 00:42:21,742 COME ON. 768 00:42:23,160 --> 00:42:24,495 YEAH. THERE YOU GO. 769 00:42:24,828 --> 00:42:25,996 RIGHT THERE. 770 00:42:27,998 --> 00:42:28,999 ALL RIGHT. 771 00:42:29,500 --> 00:42:31,502 NOW, WHEN I SAY, "READY, WRESTLE," 772 00:42:31,502 --> 00:42:33,003 WE TRY TO PIN EACH OTHER. 773 00:42:33,504 --> 00:42:35,506 THAT'S THE WHOLE GAME. GOT IT? 774 00:42:35,506 --> 00:42:36,006 YEAH. OKAY. 775 00:42:36,507 --> 00:42:37,341 READY? WRESTLE. 776 00:42:37,708 --> 00:42:38,175 OH! 777 00:42:38,676 --> 00:42:39,543 1, 2, 3. 778 00:42:40,044 --> 00:42:41,762 DAMN. THERE I GO AGAIN. 779 00:42:41,762 --> 00:42:43,764 GOING TO WAKE UP THE DOWNSTAIRS NEIGHBORS. 780 00:42:44,265 --> 00:42:45,766 I DIDN'T HURT YOU, DID I? 781 00:42:45,766 --> 00:42:46,767 IT'S OKAY. 782 00:42:47,268 --> 00:42:48,636 WELL, THAT'S ALL WRESTLING IS. 783 00:42:48,636 --> 00:42:50,137 USUALLY THERE'S MORE GRUNTING AND SQUIRMING 784 00:42:50,638 --> 00:42:51,438 BEFORE THE PIN. 785 00:42:51,855 --> 00:42:54,141 WELL, YOU'RE OUT OF YOUR WEIGHT CLASS. 786 00:42:54,441 --> 00:42:56,944 JESUS, I DID HURT YOU. 787 00:42:56,944 --> 00:42:57,945 I SURE DO APOLOGIZE. 788 00:42:57,945 --> 00:42:59,947 I'M JUST A BIG, CLUMSY LUG. 789 00:43:00,447 --> 00:43:01,949 I SURE DO APOLOGIZE. 790 00:43:02,449 --> 00:43:03,951 YOU SURE YOU'RE OKAY? 791 00:43:03,951 --> 00:43:05,903 I'M FINE, REALLY. 792 00:43:06,904 --> 00:43:08,239 ACTUALLY, IT'S BEEN HELPFUL. 793 00:43:11,659 --> 00:43:15,045 BUT I GUESS I SHOULD GET TO WORK. 794 00:43:15,045 --> 00:43:17,498 IT WASN'T FAIR OF ME TO DO THAT. 795 00:43:17,998 --> 00:43:19,500 I'M PRETTY WELL-ENDOWED PHYSICALLY. 796 00:43:20,551 --> 00:43:21,885 DON'T FEEL BAD, THOUGH. 797 00:43:21,885 --> 00:43:24,838 I WOULDN'T BE MUCH OF A MATCH FOR YOU 798 00:43:25,339 --> 00:43:26,340 AT MENTAL GYMNASTICS. 799 00:43:26,340 --> 00:43:28,592 GIVE ME A HOLLER YOU NEED ANYTHING. 800 00:43:40,938 --> 00:43:42,940 [WAVES WASH ASHORE] 801 00:43:46,577 --> 00:43:49,079 [HUMMINGOLD BLACK JOE] 802 00:44:02,926 --> 00:44:04,428 IF I CLOSE MY EYES, 803 00:44:04,928 --> 00:44:07,765 I CAN ALMOST SMELL THE LIVE OAK. 804 00:44:07,765 --> 00:44:11,135 THAT'S CHICKEN FAT, BILL. 805 00:44:11,635 --> 00:44:14,638 WELL, MY OLFACTORY'S TURNING WOMANISH ON ME-- 806 00:44:14,638 --> 00:44:15,973 LYING AND DECEITFUL. 807 00:44:15,973 --> 00:44:19,560 STILL, I MUST SAY I HAVEN'T FELT PEACE LIKE THIS 808 00:44:20,060 --> 00:44:22,313 SINCE THE GRAND PRODUCTIVE DAYS. 809 00:44:22,646 --> 00:44:26,150 DON'T YOU FIND IT SO, BARTON? 810 00:44:26,150 --> 00:44:27,985 AIN'T WRITING PEACE? 811 00:44:29,903 --> 00:44:30,904 WELL... 812 00:44:33,407 --> 00:44:34,908 ACTUALLY... 813 00:44:34,908 --> 00:44:36,160 NO, BILL. 814 00:44:39,413 --> 00:44:41,415 NO. I'VE ALWAYS FOUND 815 00:44:41,915 --> 00:44:44,918 THAT WRITING COMES FROM A GREAT INNER PAIN. 816 00:44:44,918 --> 00:44:47,721 MAYBE IT'S A PAIN THAT COMES FROM A REALIZATION 817 00:44:48,138 --> 00:44:51,141 THAT ONE MUST DO SOMETHING FOR ONE'S FELLOW MAN 818 00:44:51,642 --> 00:44:54,645 TO HELP SOMEHOW EASE THE SUFFERING. 819 00:44:54,645 --> 00:44:57,648 MAYBE IT'S PERSONAL PAIN. 820 00:44:57,648 --> 00:45:00,150 AT ANY RATE, I DON'T BELIEVE 821 00:45:00,150 --> 00:45:02,519 GOOD WORK IS POSSIBLE WITHOUT IT. 822 00:45:02,519 --> 00:45:04,021 HMM. 823 00:45:04,021 --> 00:45:08,525 WELL, ME, I JUST ENJOY MAKING THINGS UP. 824 00:45:08,525 --> 00:45:11,028 YES, SIR. ESCAPE. 825 00:45:12,029 --> 00:45:14,531 IT'S WHEN I CAN'T WRITE AND ESCAPE MYSELF, 826 00:45:15,032 --> 00:45:17,034 THAT I WANT TO RIP MY HEAD OFF 827 00:45:17,534 --> 00:45:19,036 AND RUN SCREAMING THROUGH THE STREET 828 00:45:19,536 --> 00:45:22,039 WITH MY BALLS IN A FRUIT PICKER'S PAIL. 829 00:45:22,539 --> 00:45:23,040 HMM. 830 00:45:23,540 --> 00:45:25,042 THIS WILL SOMETIMES HELP. 831 00:45:25,042 --> 00:45:26,927 THAT DOESN'T HELP ANYTHING, BILL. 832 00:45:26,927 --> 00:45:29,430 I'VE NEVER FOUND THAT TO HELP MY WRITING. 833 00:45:29,847 --> 00:45:31,215 YOUR WRITING? 834 00:45:31,682 --> 00:45:35,269 SON, HAVE YOU EVER HEARD THE STORY OF SOLOMON'S MAMMY? 835 00:45:35,269 --> 00:45:37,271 BARTON, YOU SHOULD READ THIS. 836 00:45:37,271 --> 00:45:38,772 I THINK IT'S BILL'S FINEST, 837 00:45:38,772 --> 00:45:40,274 OR AMONG HIS FINEST, ANYWAY. 838 00:45:40,274 --> 00:45:42,276 SO NOW I'M SUPPOSED TO ROLL OVER 839 00:45:42,276 --> 00:45:43,777 AND GET MY BELLY SCRATCHED? 840 00:45:43,777 --> 00:45:44,528 BILL. 841 00:45:44,528 --> 00:45:45,813 LOOK, UH... 842 00:45:45,813 --> 00:45:47,815 MAYBE IT'S NONE OF MY BUSINESS, 843 00:45:47,815 --> 00:45:50,818 BUT DON'T YOU THINK A MAN WITH YOUR TALENT... 844 00:45:50,818 --> 00:45:52,569 YOUR FIRST OBLIGATION IS TO YOUR GIFT? 845 00:45:52,953 --> 00:45:54,955 SHOULDN'T YOU BE DOING WHATEVER YOU HAVE TO 846 00:45:54,955 --> 00:45:56,457 TO WORK AGAIN? 847 00:45:56,457 --> 00:45:57,958 WHAT WOULD THAT BE? 848 00:45:57,958 --> 00:45:59,209 I DON'T KNOW. 849 00:45:59,576 --> 00:46:00,577 BUT WITH THAT DRINK, 850 00:46:00,577 --> 00:46:03,080 YOU'RE CUTTING YOURSELF OFF FROM YOUR GIFT 851 00:46:03,080 --> 00:46:04,081 AND YOUR FELLOW MAN 852 00:46:04,581 --> 00:46:06,083 AND EVERYTHING YOUR ART IS ABOUT. 853 00:46:06,583 --> 00:46:07,584 OH, NO, SON. 854 00:46:07,584 --> 00:46:09,503 I'M BUILDING A LEVEE-- 855 00:46:09,503 --> 00:46:12,005 GULP BY GULP, BRICK BY BRICK-- 856 00:46:12,506 --> 00:46:13,507 PUTTING UP A LEVEE 857 00:46:13,507 --> 00:46:16,009 TO KEEP THAT RAGING RIVER OF MANURE 858 00:46:16,009 --> 00:46:17,311 FROM LAPPING AT MY DOOR. 859 00:46:17,311 --> 00:46:18,679 MAYBE YOU BETTER, TOO, BARTON, 860 00:46:19,179 --> 00:46:21,181 BEFORE YOU GET BURIED UNDER HIS MANURE. 861 00:46:21,181 --> 00:46:23,484 MY HONEY PRETENDS TO BE IMPATIENT WITH ME, 862 00:46:23,767 --> 00:46:25,269 BUT SHE'LL PUT UP WITH ANYTHING. 863 00:46:25,769 --> 00:46:26,770 NOT ANYTHING, BILL. 864 00:46:26,770 --> 00:46:28,105 DON'T TEST ME. 865 00:46:28,522 --> 00:46:32,025 YOU'RE LUCKY SHE PUTS UP WITH YOU AS MUCH AS SHE DOES. 866 00:46:32,025 --> 00:46:33,527 MAYBE TO A SCHOOLBOY'S EYES. 867 00:46:34,027 --> 00:46:36,029 PEOPLE WHO KNOW ABOUT THE HUMAN HEART, THOUGH, 868 00:46:36,530 --> 00:46:38,031 MAYBE THEY'D SAY, "BILL OVER HERE, 869 00:46:38,532 --> 00:46:40,033 "HE GIVES HIS HONEY LOVE, 870 00:46:40,033 --> 00:46:42,035 "AND SHE PAYS HIM BACK WITH PITY, 871 00:46:42,035 --> 00:46:43,537 THE BASEST COIN THERE IS." 872 00:46:43,537 --> 00:46:45,038 STOP IT, BILL. 873 00:46:45,038 --> 00:46:47,423 ## GONE ARE THE DAYS ## 874 00:46:47,924 --> 00:46:51,427 ## WHEN MY HEART WAS YOUNG AND GAY ## 875 00:46:51,427 --> 00:46:54,430 ## GONE ARE MY FRIENDS ## 876 00:46:54,931 --> 00:46:59,135 ## FROM THE COTTON FIELDS AWAY ## 877 00:46:59,135 --> 00:47:02,021 ## GONE FROM THE EARTH ## 878 00:47:02,021 --> 00:47:05,024 ## TO A BETTER LAND I KNOW ## 879 00:47:05,524 --> 00:47:07,810 ## I HEAR THEIR GENTLE VOICES ## 880 00:47:07,810 --> 00:47:08,811 [URINATING] 881 00:47:08,811 --> 00:47:13,449 ## CALLIN' OLD BLACK JOE ## 882 00:47:13,449 --> 00:47:15,284 ## I'M COMIN' ## 883 00:47:15,284 --> 00:47:17,787 ## I'M COMIN' ## 884 00:47:17,787 --> 00:47:22,291 ## OH, MY HEAD IS BENDING LOW ## 885 00:47:22,291 --> 00:47:25,628 ## I HEAR THEIR GENTLE-- ## 886 00:47:25,628 --> 00:47:28,581 THE TRUTH, MY HONEY, IS A TART 887 00:47:29,081 --> 00:47:31,584 THAT DOES NOT BEAR SCRUTINY. 888 00:47:32,084 --> 00:47:34,971 BREACH MY LEVEE AT YOUR PERIL! 889 00:47:34,971 --> 00:47:38,674 ## GONE ARE MY FRIENDS ## 890 00:47:38,674 --> 00:47:40,176 ## FROM THE COTTON FIELDS... ## 891 00:47:40,593 --> 00:47:42,178 THAT SON OF A BITCH! 892 00:47:42,178 --> 00:47:44,680 DON'T GET ME WRONG. HE'S A FINE WRITER. 893 00:47:44,680 --> 00:47:47,683 ## GONE FROM THE EARTH ## 894 00:47:48,184 --> 00:47:49,185 ARE YOU ALL RIGHT? 895 00:47:49,185 --> 00:47:51,187 ## TO A BETTER LIFE I KNOW ## 896 00:47:51,187 --> 00:47:53,189 AUDREY, Y-YOU CAN'T-- 897 00:47:53,189 --> 00:47:54,690 OH, BARTON. 898 00:47:54,690 --> 00:47:57,193 YOU CAN'T PUT UP WITH THAT. 899 00:47:57,193 --> 00:47:59,695 ## OLD BLACK JOE ## 900 00:47:59,695 --> 00:48:01,697 I FEEL SO SORRY FOR HIM. 901 00:48:02,198 --> 00:48:04,700 WHAT? HE'S--HE'S A SON OF A BITCH. 902 00:48:05,201 --> 00:48:06,702 NO. 903 00:48:06,702 --> 00:48:08,204 NO. 904 00:48:09,705 --> 00:48:11,207 HE... 905 00:48:11,207 --> 00:48:13,209 HE SOMETIMES JUST... 906 00:48:13,209 --> 00:48:15,711 ## I HEAR THEIR ANGEL VOICES... ## 907 00:48:15,711 --> 00:48:18,214 WELL, HE THINKS ABOUT ESTELLE. 908 00:48:18,714 --> 00:48:21,217 HIS WIFE STILL LIVES IN FAYETTESVILLE. 909 00:48:22,218 --> 00:48:23,719 SHE'S... 910 00:48:26,639 --> 00:48:28,140 DISTURBED. 911 00:48:28,140 --> 00:48:29,892 REALLY? 912 00:48:31,727 --> 00:48:34,730 I'LL JUST WALK ON DOWN TO THE PACIFIC, 913 00:48:35,231 --> 00:48:37,233 AND FROM THERE I'LL IMPROVISE. 914 00:48:37,233 --> 00:48:39,735 HE'LL WANDER BACK WHEN HE'S SOBER 915 00:48:39,735 --> 00:48:40,736 AND APOLOGIZE. 916 00:48:40,736 --> 00:48:42,238 HE ALWAYS DOES. 917 00:48:42,238 --> 00:48:43,956 OKAY, BUT THAT DOESN'T EXCUSE HIS-- 918 00:48:43,956 --> 00:48:45,458 SILENCE UPON THE HILL-- 919 00:48:45,458 --> 00:48:46,459 BEHAVIOR. 920 00:48:46,459 --> 00:48:47,460 IN DARIEN! 921 00:48:47,460 --> 00:48:49,962 EMPATHY REQUIRES UNDERSTANDING. 922 00:48:49,962 --> 00:48:50,963 ## I'M COMIN' ## 923 00:48:51,464 --> 00:48:52,465 WHAT? 924 00:48:52,465 --> 00:48:53,966 WHAT DON'T I UNDERSTAND? 925 00:48:53,966 --> 00:48:54,967 ## I'M COMIN' ## 926 00:48:54,967 --> 00:48:59,555 ## OH, MY HEAD IS HANGIN' LOW ## 927 00:48:59,555 --> 00:49:03,059 ## I HEAR THEIR GENTLE VOICES ## 928 00:49:03,059 --> 00:49:07,897 ## CALLIN' OLD BLACK JOE #### 929 00:49:08,264 --> 00:49:09,231 [GLASS BREAKS] 930 00:49:09,231 --> 00:49:11,233 [CLOCK CHIMES] 931 00:49:18,741 --> 00:49:20,743 [MOSQUITO BUZZES] 932 00:49:27,199 --> 00:49:29,418 [BUZZ] 933 00:50:33,149 --> 00:50:36,068 I HOPE THESE ARE YOUR SHOES. 934 00:50:36,068 --> 00:50:37,069 CHARLIE. 935 00:50:37,570 --> 00:50:39,071 BECAUSE THAT WOULD MEAN... 936 00:50:39,572 --> 00:50:40,573 THEY GAVE YOU MINE. 937 00:50:40,573 --> 00:50:41,574 YEAH. 938 00:50:42,074 --> 00:50:44,577 AS A MATTER OF FACT, THEY DID. 939 00:50:45,077 --> 00:50:46,579 COME ON IN. 940 00:50:46,579 --> 00:50:48,447 JESUS, WHAT A DAY I HAD. 941 00:50:50,416 --> 00:50:52,918 EVER HAVE ONE OF THOSE DAYS? 942 00:50:52,918 --> 00:50:54,420 SEEMS LIKE NOTHING BUT LATELY. 943 00:50:54,420 --> 00:50:55,921 JESUS, WHAT A DAY. 944 00:50:55,921 --> 00:50:59,925 FELT LIKE I COULDN'T HAVE SOLD ICE WATER IN THE SAHARA. 945 00:50:59,925 --> 00:51:01,927 OKAY. SO YOU DON'T WANT INSURANCE. 946 00:51:01,927 --> 00:51:03,429 OKAY. SO THAT'S YOUR LOSS. 947 00:51:03,429 --> 00:51:05,431 BUT, GOD, PEOPLE CAN BE RUDE. 948 00:51:05,931 --> 00:51:07,933 I FEEL LIKE I HAVE TO TALK 949 00:51:07,933 --> 00:51:09,935 TO A NORMAL PERSON LIKE YOU 950 00:51:09,935 --> 00:51:11,937 JUST TO RESTORE A LITTLE OF MY... 951 00:51:12,438 --> 00:51:13,439 IT'S MY PLEASURE. 952 00:51:13,939 --> 00:51:15,941 I COULD USE A LITTLE LIFT MYSELF. 953 00:51:16,442 --> 00:51:17,943 A LITTLE LIFT? YEAH. 954 00:51:17,943 --> 00:51:20,946 GOOD THING THEY BOTTLE IT, HUH, PAL? 955 00:51:21,864 --> 00:51:22,865 DID I SAY RUDE? 956 00:51:23,365 --> 00:51:25,868 PEOPLE CAN BE GODDAMN CRUEL, 957 00:51:25,868 --> 00:51:28,370 ESPECIALLY SOME OF THESE HOUSEWIVES. 958 00:51:28,370 --> 00:51:28,871 OKAY. 959 00:51:29,371 --> 00:51:31,373 SO I HAVE A WEIGHT PROBLEM. 960 00:51:31,373 --> 00:51:32,875 THAT'S MY CROSS TO BEAR. 961 00:51:32,875 --> 00:51:34,877 I DON'T KNOW. 962 00:51:34,877 --> 00:51:35,878 IT'S A DEFENSE MECHANISM. 963 00:51:36,378 --> 00:51:37,379 DEFENSE AGAINST WHAT, INSURANCE? 964 00:51:37,880 --> 00:51:38,881 SOMETHING THEY NEED? 965 00:51:38,881 --> 00:51:41,884 SOMETHING THEY SHOULD BE GRATEFUL TO ME FOR OFFERING? 966 00:51:41,884 --> 00:51:43,886 A LITTLE PEACE OF MIND. 967 00:51:46,889 --> 00:51:48,891 FINALLY DECIDED TO KNOCK OFF EARLY. 968 00:51:49,391 --> 00:51:51,393 WENT TO SEE A DOCTOR ABOUT THIS. 969 00:51:51,393 --> 00:51:53,896 HE TOLD ME I HAD AN EAR INFECTION. 970 00:51:53,896 --> 00:51:55,397 $10, PLEASE. 971 00:51:55,397 --> 00:51:58,901 I SAYS, "HELL, I TOLD YOU MY EAR WAS INFECTED. 972 00:51:58,901 --> 00:52:00,903 WHY DON'T YOU GIVE ME $10?" 973 00:52:00,903 --> 00:52:03,405 WELL, THAT LED TO AN ARGUMENT. 974 00:52:07,409 --> 00:52:09,411 LISTEN TO ME BELLYACHING, 975 00:52:09,411 --> 00:52:12,915 AS IF MY PROBLEMS AMOUNTED TO A HILL OF BEANS. 976 00:52:12,915 --> 00:52:15,918 HOW GOES THE LIFE OF THE MIND? 977 00:52:15,918 --> 00:52:17,920 WELL, IT'S BEEN BETTER. 978 00:52:17,920 --> 00:52:20,923 I CAN'T SEEM TO GET GOING ON THIS THING. 979 00:52:20,923 --> 00:52:22,341 THAT ONE IDEA, 980 00:52:22,341 --> 00:52:24,760 THE ONE THAT LETS YOU GET STARTED, 981 00:52:24,760 --> 00:52:26,262 I STILL HAVEN'T GOTTEN IT. 982 00:52:26,262 --> 00:52:28,764 MAYBE I ONLY HAD ONE IDEA IN ME-- 983 00:52:28,764 --> 00:52:29,765 MY PLAY. 984 00:52:29,765 --> 00:52:31,267 MAYBE ONCE THAT WAS DONE, 985 00:52:31,267 --> 00:52:33,269 I WAS DONE BEING A WRITER. 986 00:52:33,269 --> 00:52:35,271 CHRIST, I FEEL LIKE A FRAUD, 987 00:52:35,271 --> 00:52:37,773 SITTING HERE STARING AT THIS PAPER. 988 00:52:37,773 --> 00:52:42,227 THOSE TWO LOVEBIRDS NEXT DOOR DRIVING YOU NUTS? 989 00:52:44,196 --> 00:52:46,065 HOW DO YOU KNOW ABOUT THAT? 990 00:52:46,532 --> 00:52:47,533 KNOW ABOUT IT? 991 00:52:47,533 --> 00:52:50,035 I CAN PRACTICALLY SEE HOW THEY'RE DOING IT. 992 00:52:50,035 --> 00:52:53,038 BROTHER, I WISH I HAD A PIECE OF THAT. 993 00:52:53,038 --> 00:52:54,540 SEEMS LIKE I HEAR EVERYTHING 994 00:52:54,540 --> 00:52:56,542 THAT GOES ON IN THIS DUMP-- 995 00:52:56,542 --> 00:52:57,876 THE PIPES OR SOMETHING. 996 00:52:58,294 --> 00:52:59,295 YEAH, BUT-- 997 00:52:59,295 --> 00:53:00,496 YOU'LL LICK THIS PICTURE BUSINESS. 998 00:53:00,996 --> 00:53:02,998 YOU GOT A HEAD ON YOUR SHOULDERS. 999 00:53:02,998 --> 00:53:04,500 WHAT DO THEY SAY? 1000 00:53:04,500 --> 00:53:05,834 WHERE THERE'S A HEAD, THERE'S HOPE. 1001 00:53:05,834 --> 00:53:07,303 WHERE THERE'S LIFE, THERE'S HOPE. 1002 00:53:07,803 --> 00:53:10,306 SEE, THAT PROVES YOU REALLY ARE A WRITER. 1003 00:53:10,306 --> 00:53:12,308 THERE'S HOPE FOR YOU, TOO, CHARLIE. 1004 00:53:12,308 --> 00:53:15,311 TOMORROW I BET YOU SELL A HALF-DOZEN POLICIES. 1005 00:53:15,311 --> 00:53:17,096 THANKS, BROTHER, BUT THE FACT IS 1006 00:53:17,096 --> 00:53:19,982 I GOT TO PULL UP STAKES FOR A WHILE. 1007 00:53:23,986 --> 00:53:25,487 YOU'RE LEAVING? 1008 00:53:25,487 --> 00:53:26,488 IN A FEW DAYS. 1009 00:53:26,989 --> 00:53:28,991 OUT TO YOUR STOMPING GROUNDS-- NEW YORK CITY. 1010 00:53:29,491 --> 00:53:31,994 THINGS GOT ALL BALLED UP AT THE HEAD OFFICE. 1011 00:53:33,946 --> 00:53:36,949 I'M TRULY SORRY TO HEAR THAT. I'LL MISS YOU. 1012 00:53:36,949 --> 00:53:39,201 WELL, HELL, BUDDY. DON'T PULL A LONG FACE. 1013 00:53:39,201 --> 00:53:40,919 I KEEP A ROOM HERE, 1014 00:53:41,370 --> 00:53:43,872 AND I'LL BE BACK SOONER OR LATER. 1015 00:53:43,872 --> 00:53:44,873 AND MARK MY WORDS, 1016 00:53:44,873 --> 00:53:46,875 BY THE TIME I GET BACK, 1017 00:53:46,875 --> 00:53:48,377 YOUR PICTURE WILL BE FINISHED. 1018 00:53:48,377 --> 00:53:50,879 NEW YORK CAN BE PRETTY CRUEL TO STRANGERS. 1019 00:53:50,879 --> 00:53:52,881 IF YOU NEED A HOME-COOKED MEAL, 1020 00:53:53,382 --> 00:53:55,884 YOU JUST LOOK UP SAM AND LILLIAN FINK. 1021 00:53:56,385 --> 00:53:58,387 THEY LIVE ON FULTON STREET... 1022 00:53:59,388 --> 00:54:00,889 WITH MY UNCLE MAURY. 1023 00:54:01,890 --> 00:54:03,142 [RIP] 1024 00:54:11,400 --> 00:54:13,902 CHRIST. 1025 00:54:13,902 --> 00:54:16,905 YOUR ROOM DOES THAT, TOO. 1026 00:54:17,406 --> 00:54:20,409 I GUESS THE HEAT'S SWEATING OFF THE WALLPAPER. 1027 00:54:21,910 --> 00:54:22,911 WHAT A DUMP. 1028 00:54:22,911 --> 00:54:25,914 I GUESS THIS MUST SEEM PRETTY PATHETIC 1029 00:54:26,415 --> 00:54:27,916 TO A GUY LIKE YOU. 1030 00:54:27,916 --> 00:54:29,418 WELL... 1031 00:54:29,418 --> 00:54:32,421 BUT IT'S PATHETIC, ISN'T IT? 1032 00:54:32,921 --> 00:54:35,424 I MEAN, TO A GUY FROM NEW YORK? 1033 00:54:35,424 --> 00:54:37,926 WHAT DO YOU MEAN? 1034 00:54:37,926 --> 00:54:39,428 THIS KIND OF HEAT. 1035 00:54:39,428 --> 00:54:40,763 IT'S PATHETIC. 1036 00:54:40,763 --> 00:54:43,682 WELL, I GUESS YOU PICK YOUR POISON. 1037 00:54:43,682 --> 00:54:45,684 SO THEY SAY. 1038 00:54:45,684 --> 00:54:48,687 DON'T PICK UP AND LEAVE WITHOUT SAYING GOOD-BYE. 1039 00:54:48,687 --> 00:54:50,689 'COURSE NOT, COMPADRE. 1040 00:54:50,689 --> 00:54:52,691 YOU'LL SEE ME AGAIN. 1041 00:55:13,260 --> 00:55:15,128 [THUMPING] 1042 00:55:22,135 --> 00:55:25,138 [THUMPING] 1043 00:55:30,143 --> 00:55:31,645 [THUMP] 1044 00:55:47,577 --> 00:55:50,580 [BANGING] 1045 00:56:09,566 --> 00:56:11,568 [LAUGHING] 1046 00:56:11,568 --> 00:56:12,569 ZING! BANGO! 1047 00:56:12,569 --> 00:56:14,071 YOU'RE DEAD. YOU'RE A CORPSE. 1048 00:56:14,071 --> 00:56:15,572 YOU GOT ME. 1049 00:56:15,572 --> 00:56:18,191 OKAY, GO, GO, YOU SON OF A GUN. 1050 00:56:18,191 --> 00:56:19,693 YEAH, FINK. 1051 00:56:19,693 --> 00:56:22,696 [HUMMINGYES, WE HAVE NO BANANAS] 1052 00:56:22,696 --> 00:56:23,947 COME ON, COME ON. 1053 00:56:25,749 --> 00:56:28,035 WHAT DO YOU GOT FOR ME? 1054 00:56:28,418 --> 00:56:29,753 WHAT THE HELL HAPPENED TO YOUR FACE? 1055 00:56:30,203 --> 00:56:32,039 NOTHING. IT'S JUST A MOSQUITO BITE. 1056 00:56:32,456 --> 00:56:34,458 THERE ARE NO MOSQUITOES IN LOS ANGELES. 1057 00:56:34,458 --> 00:56:36,460 MOSQUITOES BREED IN SWAMPS. THIS IS A DESERT. 1058 00:56:36,460 --> 00:56:37,844 WHAT DO YOU GOT FOR ME? 1059 00:56:38,345 --> 00:56:39,346 WELL, I-- 1060 00:56:39,346 --> 00:56:41,348 ON THE BEERY PICTURE, WHERE ARE WE? 1061 00:56:41,848 --> 00:56:43,717 WELL, I'M HAVING A LITTLE TROUBLE GETTING STARTED. 1062 00:56:44,184 --> 00:56:45,685 GETTING START-- CHRIST JESUS, STARTED? 1063 00:56:45,685 --> 00:56:47,187 YOU DON'T HAVE ANYTHING YET? 1064 00:56:47,521 --> 00:56:48,438 WELL, NOT MUCH. 1065 00:56:48,438 --> 00:56:50,857 WHAT THE HELL DO YOU THINK THIS IS,HAMLET, 1066 00:56:51,358 --> 00:56:52,859 GONE WITH THE WIND, RUGGLES OF RED GAP? 1067 00:56:53,360 --> 00:56:54,861 IT'S A GODDAMN "B" PICTURE-- 1068 00:56:54,861 --> 00:56:56,646 BIG MEN IN TIGHTS-- YOU KNOW THE DRILL. 1069 00:56:56,947 --> 00:56:58,448 I DON'T REALLY UNDERSTAND THAT GENRE. 1070 00:56:58,949 --> 00:57:00,283 MAYBE THAT'S THE PROBLEM. 1071 00:57:00,734 --> 00:57:01,735 UNDERSTAND? SHIT! 1072 00:57:01,735 --> 00:57:03,570 YOU WERE GOING TO CONSULT ANOTHER WRITER ON THIS. 1073 00:57:03,570 --> 00:57:05,372 WELL, I'VE TALKED TO BILL MAYHEW. 1074 00:57:05,372 --> 00:57:07,958 MAYHEW? SOME HELP. THE GUY'S A SOUSE. 1075 00:57:08,241 --> 00:57:09,242 HE'S A GREAT WRITER. 1076 00:57:09,242 --> 00:57:10,160 A GREAT SOUSE! 1077 00:57:10,160 --> 00:57:12,963 HE'S IN PAIN BECAUSE HE CAN'T WRITE. 1078 00:57:12,963 --> 00:57:14,381 SOUSE! SOUSE! 1079 00:57:14,381 --> 00:57:15,882 HE MANAGES TO WRITE HIS NAME 1080 00:57:15,882 --> 00:57:17,884 ON THE BACK OF HIS PAYCHECK EVERY WEEK. 1081 00:57:17,884 --> 00:57:20,637 I THOUGHT NO ONE CARED ABOUT THIS PICTURE. 1082 00:57:20,637 --> 00:57:21,638 YOU THOUGHT? 1083 00:57:21,638 --> 00:57:24,641 I DON'T KNOW WHAT THE HELL YOU SAID TO LIPNICK, 1084 00:57:24,641 --> 00:57:27,144 BUT THE SON OF A BITCH LIKES YOU. 1085 00:57:27,144 --> 00:57:30,147 HE'S TAKEN A INTEREST. 1086 00:57:30,147 --> 00:57:32,649 NEVER MAKE LIPNICK LIKE YOU. 1087 00:57:32,649 --> 00:57:33,650 NEVER! 1088 00:57:33,650 --> 00:57:34,651 I--I DON'T UNDERSTAND. 1089 00:57:35,152 --> 00:57:37,104 ARE YOU DEAF? HE LIKES YOU. 1090 00:57:37,104 --> 00:57:39,856 WHAT THE HELL DID YOU SAY TO HIM? 1091 00:57:39,856 --> 00:57:40,657 NOTHING. 1092 00:57:40,991 --> 00:57:42,492 WELL, HE'S TAKEN A INTEREST. 1093 00:57:42,492 --> 00:57:44,861 HE'LL MAKE YOUR LIFE HELL. 1094 00:57:44,861 --> 00:57:46,830 SINCE I DREW THE SHORT STRAW 1095 00:57:46,830 --> 00:57:47,831 TO SUPERVISE THIS TURKEY, 1096 00:57:48,331 --> 00:57:50,333 HE'LL BE ALL OVER ME, TOO. 1097 00:57:50,333 --> 00:57:52,085 FAT-ASS SON OF A BITCH CALLED YESTERDAY 1098 00:57:52,419 --> 00:57:53,920 TO ASK HOW IT'S GOING. 1099 00:57:53,920 --> 00:57:56,423 I SAID YOU WERE MAKING PROGRESS. 1100 00:57:56,423 --> 00:57:57,924 WE WERE ALL VERY EXCITED. 1101 00:57:57,924 --> 00:58:00,710 I TOLD HIM IT WAS GREAT. 1102 00:58:01,011 --> 00:58:02,012 UNDERSTAND THAT? 1103 00:58:02,012 --> 00:58:04,014 NOW MY ASS IS ON THE LINE. 1104 00:58:04,014 --> 00:58:07,017 HE WANTS YOU TO TELL HIM ALL ABOUT IT TOMORROW. 1105 00:58:07,017 --> 00:58:08,852 I CAN'T WRITE ANYTHING BY TOMORROW. 1106 00:58:08,852 --> 00:58:11,304 WHO SAID WRITE? JESUS, JACK CAN'T READ. 1107 00:58:11,805 --> 00:58:13,306 YOU GOT TO TELL IT TO HIM. 1108 00:58:13,807 --> 00:58:16,309 TELL HIM SOMETHING, FOR CHRIST'S SAKE. 1109 00:58:16,776 --> 00:58:19,062 WELL, WHAT DO I T-TELL HIM? 1110 00:58:20,864 --> 00:58:22,866 [STOMACH GURGLES] 1111 00:58:25,368 --> 00:58:26,369 YES, MR. GEEZLER. 1112 00:58:26,870 --> 00:58:27,871 PROJECTION! 1113 00:58:28,371 --> 00:58:28,872 JERRY. 1114 00:58:29,372 --> 00:58:30,373 JERRY, BEN GEISLER HERE. 1115 00:58:30,874 --> 00:58:31,875 ANY SCREENING ROOMS FREE? 1116 00:58:32,375 --> 00:58:33,877 GOOD! BOOK IT FOR ME. 1117 00:58:34,327 --> 00:58:35,829 I GOT A WRITER HERE. HE'S COMING IN. 1118 00:58:36,329 --> 00:58:38,381 YOU'RE GOING TO SHOW HIM WRESTLING PICTURES. 1119 00:58:38,381 --> 00:58:39,749 I DON'T GIVE A SHIT WHICH ONES! 1120 00:58:40,250 --> 00:58:43,003 ISN'T VICTOR SJODERBERG SHOOTING ONE NOW? 1121 00:58:43,336 --> 00:58:44,337 SHOW HIM SOME DAILIES ON THAT. 1122 00:58:44,838 --> 00:58:45,839 OKAY, BEN. 1123 00:58:45,839 --> 00:58:46,840 ALL RIGHT. 1124 00:58:47,340 --> 00:58:48,842 THIS WILL GIVE YOU SOME IDEAS. 1125 00:58:49,309 --> 00:58:52,679 8:15 TOMORROW MORNING AT LIPNICK'S HOUSE. 1126 00:58:55,682 --> 00:58:57,984 IDEAS. 1127 00:58:58,268 --> 00:58:59,269 BROAD STROKES. 1128 00:59:01,521 --> 00:59:04,407 DON'T CROSS ME, FINK. 1129 00:59:05,859 --> 00:59:07,861 DEVIL ON THE CAN-- 1130 00:59:07,861 --> 00:59:10,363 DEVIL ON THE CANVAS, 12 APPLE, TAKE 1. 1131 00:59:10,864 --> 00:59:11,364 ACTION! 1132 00:59:11,865 --> 00:59:13,366 I WILL DESTROY HIM! 1133 00:59:13,366 --> 00:59:15,151 CUT! CUT! CUT! CUT! 1134 00:59:16,000 --> 00:59:19,108 Download Movie Subtitles Searcher from www.OpenSubtitles.org 75928

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