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1
00:00:02,236 --> 00:00:06,006
[ "MISSION: IMPOSSIBLE" THEME
PLAYS ]
2
00:01:03,197 --> 00:01:04,698
GOOD MORNING.
3
00:01:04,732 --> 00:01:07,201
IS IT POSSIBLE TO MAKE
AN APPOINTMENT WITH RITA?
4
00:01:07,235 --> 00:01:09,437
I'M SORRY,
WE DON'T HAVE ANYONE HERE
5
00:01:09,470 --> 00:01:10,671
BY THE NAME OF RITA.
6
00:01:10,704 --> 00:01:14,742
OH. IN THAT CASE,
IS OLGA FREE?
7
00:01:17,178 --> 00:01:19,447
THIS WAY, PLEASE.
8
00:01:29,657 --> 00:01:32,626
THANK YOU.
9
00:01:32,660 --> 00:01:34,662
[ DOOR CLOSES ]
10
00:01:59,687 --> 00:02:01,522
Man: GOOD MORNING, MISS CARTER.
11
00:02:01,555 --> 00:02:04,925
THIS IS MIKLOS KLAAR,
THE HEAD OF CINEFOT STUDIOS,
12
00:02:04,958 --> 00:02:07,928
ONE OF THE LARGEST
BEHIND THE IRON CURTAIN.
13
00:02:07,961 --> 00:02:10,464
KLAAR HAS POLITICAL AMBITIONS,
14
00:02:10,498 --> 00:02:12,266
AND TO FURTHER THEM,
15
00:02:12,300 --> 00:02:14,535
HAS TURNED CAPTURED
AMERICAN NEWSREEL FOOTAGE
16
00:02:14,568 --> 00:02:16,204
INTO AN ATROCITY FILM,
17
00:02:16,237 --> 00:02:18,572
PORTRAYING OUR SOLDIERS
AS WANTON MURDERERS.
18
00:02:18,606 --> 00:02:20,274
HE'S PLANNING TO SHOW THIS
19
00:02:20,308 --> 00:02:22,710
TO REPRESENTATIVES
OF THE WORLD PRESS.
20
00:02:22,743 --> 00:02:25,846
IF THIS FILM IS SHOWN,
IT WILL SERIOUSLY DAMAGE
21
00:02:25,879 --> 00:02:28,682
THE UNITED STATES
AND OUR FUTURE PEACE TALKS.
22
00:02:28,716 --> 00:02:30,551
THE MISSION,
SHOULD IT BE ACCEPTED,
23
00:02:30,584 --> 00:02:32,720
WOULD BE TO STOP KLAAR,
AND IN SUCH A WAY
24
00:02:32,753 --> 00:02:34,755
THAT HE CAN NEVER REPEAT
THIS TECHNIQUE.
25
00:02:34,788 --> 00:02:36,657
AS ALWAYS, SHOULD ANY
OF THE I.M. FORCE
26
00:02:36,690 --> 00:02:38,592
BE CAUGHT OR KILLED,
27
00:02:38,626 --> 00:02:41,962
THE SECRETARY WILL DISAVOW
ANY KNOWLEDGE OF YOUR ACTIONS.
28
00:02:41,995 --> 00:02:45,266
THIS TAPE RECORDING
WILL DECOMPOSE IMMEDIATELY.
29
00:02:45,299 --> 00:02:46,367
GOOD LUCK.
30
00:03:35,849 --> 00:03:38,586
[ PROJECTOR ROLLING ]
31
00:03:42,690 --> 00:03:49,497
TORVALD, YOU ARE NOT THE MAN
THAT I MARRIED.
32
00:03:49,530 --> 00:03:52,500
WHEN YOUR FEAR LEFT YOU,
33
00:03:52,533 --> 00:03:57,004
YOU WERE NOT AFRAID FOR ME,
BUT FOR YOURSELF.
34
00:03:57,037 --> 00:03:59,006
AFTER IT WAS OVER,
35
00:03:59,039 --> 00:04:02,443
AS FAR AS YOU
WERE CONCERNED, IT WAS --
36
00:04:02,476 --> 00:04:03,811
Cinnamon: OH.
37
00:04:03,844 --> 00:04:05,813
YOU WERE FINE.
38
00:04:05,846 --> 00:04:10,017
FINE? YOU WOULDN'T HAVE
CUT OFF SARAH BERNHARDT.
39
00:04:10,050 --> 00:04:11,585
Rollin: MOST OF THE LOT
40
00:04:11,619 --> 00:04:14,455
IS JUST LIKE ANY OTHER
MOTION PICTURE STUDIO --
41
00:04:14,488 --> 00:04:17,791
SECURITY JUST GOOD ENOUGH
TO KEEP OUT UNINVITED TOURISTS.
42
00:04:17,825 --> 00:04:20,528
BUT HERE,
WHERE KLAAR'S OFFICE,
43
00:04:20,561 --> 00:04:23,397
SOUNDSTAGE,
AND FILM VAULT ARE,
44
00:04:23,431 --> 00:04:26,567
IS STRICTLY OFF-LIMITS
AND VERY, VERY WELL-GUARDED.
45
00:04:26,600 --> 00:04:29,036
HOW DOES BARNEY GET
INTO KLAAR'S FILM VAULT
46
00:04:29,069 --> 00:04:30,338
ON THE THIRD FLOOR?
47
00:04:30,371 --> 00:04:32,940
I CAN'T,
BUT I WON'T HAVE TO.
48
00:04:32,973 --> 00:04:34,375
IT'LL BE EASY
FOR ME TO LEARN
49
00:04:34,408 --> 00:04:35,676
HOW FAR UP THE WATER
PIPES RUN VERTICALLY
50
00:04:35,709 --> 00:04:38,446
BECAUSE THE PLUMBER'S SNAKE
HITS THE TOP.
51
00:04:38,479 --> 00:04:41,081
HOW DO YOU MEASURE
THE HORIZONTAL DISTANCE
52
00:04:41,114 --> 00:04:42,450
TO THE SPRINKLERS?
53
00:04:42,483 --> 00:04:44,952
CINNAMON WILL GET THAT
FOR ME.
54
00:04:44,985 --> 00:04:47,355
SHE HAS
A SPECIALLY TAILORED SKIRT
55
00:04:47,388 --> 00:04:49,357
THAT PERMITS HER
TO TAKE A STRIDE
56
00:04:49,390 --> 00:04:51,024
EXACTLY 30 INCHES LONG.
57
00:04:51,058 --> 00:04:54,528
CINNAMON, YOU SEE
HOW THIS GOES ON?
58
00:04:57,130 --> 00:04:58,966
DOES IT COME OFF
AS EASILY?
59
00:04:58,999 --> 00:05:01,602
DON'T PAD YOUR PART.
GETTING IT OFF IS MY JOB.
60
00:05:01,635 --> 00:05:04,438
IF WE DESTROY KLAAR'S FILM,
WON'T HE JUST MAKE IT AGAIN?
61
00:05:04,472 --> 00:05:07,608
THAT'S JUST WHAT
WE WANT HIM TO DO.
62
00:05:07,641 --> 00:05:09,477
DAVID, ARE YOU READY?
63
00:05:09,510 --> 00:05:12,746
SURE.
SOMEBODY SAY "ACTION."
64
00:05:12,780 --> 00:05:15,048
Rollin: ACTION.
65
00:05:35,168 --> 00:05:36,870
TARGET SIX.
66
00:06:27,187 --> 00:06:28,722
WHAT IS IT, CORPORAL?
67
00:06:28,756 --> 00:06:30,724
THIS MAN HAS A FILE CABINET
FOR THE BUILDING,
68
00:06:30,758 --> 00:06:32,125
BUT HE DOES NOT HAVE
A PASS.
69
00:06:32,159 --> 00:06:34,795
EVERYONE WHO WORKS
ON A MOTION-PICTURE LOT
70
00:06:34,828 --> 00:06:36,997
MAKES A PRODUCTION
ABOUT EVERYTHING.
71
00:06:37,030 --> 00:06:38,065
THIS IS NOT
AN ATOMIC PLANT, CORPORAL.
72
00:06:38,098 --> 00:06:39,132
WAIT.
73
00:06:39,166 --> 00:06:40,968
LET THE MAN IN!
74
00:06:41,001 --> 00:06:44,972
CLEAR UP YOUR PAPERWORK
LATER IN THE DAY.
75
00:06:56,950 --> 00:06:59,920
CAPTAIN PETYOV
OF THE MINISTRY OF PROPAGANDA
76
00:06:59,953 --> 00:07:02,422
TO SEE MIKLOS KLAAR.
77
00:08:42,923 --> 00:08:47,327
A CAPTAIN PETYOV
TO SEE MR. KLAAR.
78
00:08:47,360 --> 00:08:49,262
ALL RIGHT.
79
00:08:49,296 --> 00:08:50,864
GO AHEAD, SIR.
80
00:08:50,898 --> 00:08:52,566
THANK YOU.
81
00:09:03,276 --> 00:09:05,012
WHERE ARE YOU GOING?
82
00:09:05,045 --> 00:09:06,747
SECOND FLOOR.
83
00:09:06,780 --> 00:09:10,050
ALL RIGHT, BUT NO FURTHER.
IT'S OFF-LIMITS.
84
00:09:18,058 --> 00:09:19,660
YES, SIR?
85
00:09:59,833 --> 00:10:01,301
CAPTAIN PETYOV?
86
00:10:01,334 --> 00:10:02,936
YES.
87
00:10:12,680 --> 00:10:14,782
WRONG SIZE.
88
00:10:14,815 --> 00:10:16,817
[ ELEVATOR BELL DINGS ]
89
00:10:20,821 --> 00:10:22,022
AH.
90
00:10:22,055 --> 00:10:27,194
CAPTAIN PETYOV,
I AM MIKLOS KLAAR.
91
00:10:27,227 --> 00:10:30,197
WELCOME TO CINEFOT STUDIOS.
COME IN, COME IN.
92
00:10:30,230 --> 00:10:31,331
THANK YOU.
93
00:10:31,364 --> 00:10:32,933
HOW WAS YOUR TRIP?
94
00:10:32,966 --> 00:10:35,936
WELL [LAUGHS]
IT'S AN OLD STORY.
95
00:10:35,969 --> 00:10:39,272
OUR PLANES ARE SLOW,
BUT ALSO UNCOMFORTABLE.
96
00:10:39,306 --> 00:10:41,208
[ CHUCKLES ]
97
00:10:41,241 --> 00:10:44,211
I'VE HEARD A GREAT DEAL
ABOUT YOU.
98
00:10:44,244 --> 00:10:47,214
YOU ARE VERY KIND.
99
00:10:47,247 --> 00:10:50,450
OUR MINISTRY HAS ARRANGED
FOR A SCREENING
100
00:10:50,483 --> 00:10:53,353
FOR THE REPRESENTATIVES
OF THE WORLD PRESS
101
00:10:53,386 --> 00:10:55,923
OF YOUR FILM
AT THE SWISS LEGATION
102
00:10:55,956 --> 00:10:57,390
THE DAY AFTER TOMORROW.
103
00:10:57,424 --> 00:10:58,859
GOOD. EXCELLENT.
104
00:10:58,892 --> 00:11:02,162
I UNDERSTAND
THIS BRILLIANT PROJECT
105
00:11:02,195 --> 00:11:04,064
IS ENTIRELY YOUR CREATION.
106
00:11:04,097 --> 00:11:06,734
YOU ARE VERY KIND.
PLEASE, SIT, SIT.
107
00:11:06,767 --> 00:11:08,468
THANK YOU.
108
00:11:08,501 --> 00:11:11,772
I UNDERSTAND
THE BASIC ELEMENTS
109
00:11:11,805 --> 00:11:14,141
AND IDEAS OF THIS PROJECT.
110
00:11:14,174 --> 00:11:17,144
HOWEVER, I WOULD BE
VERY APPRECIATIVE
111
00:11:17,177 --> 00:11:20,881
IF YOU WOULD FILL ME IN
ON SOME OF THE DETAILS.
112
00:11:20,914 --> 00:11:22,415
AH, DETAILS.
113
00:11:22,449 --> 00:11:25,753
IT'S WHAT MAKES
AN IDEA WORK.
114
00:11:25,786 --> 00:11:29,823
REALIZE, I MUST HAVE
LOOKED AT 100,000 FEET
115
00:11:29,857 --> 00:11:31,992
OF CAPTURED AMERICAN
NEWSREEL FOOTAGE
116
00:11:32,025 --> 00:11:34,194
JUST TO SELECT
THIS ONE SMALL PIECE.
117
00:11:34,227 --> 00:11:37,464
AMERICAN FILM STOCK,
IDENTIFIABLE AS SUCH,
118
00:11:37,497 --> 00:11:39,800
SHOT WITH AN AMERICAN CAMERA
119
00:11:39,833 --> 00:11:42,502
BY A PHOTOGRAPHER
WITH THE AMERICAN ARMY.
120
00:11:42,535 --> 00:11:44,972
THE PHOTOGRAPHER
IS NOW DEAD.
121
00:11:45,005 --> 00:11:46,840
KILLED IN ACTION?
122
00:11:48,842 --> 00:11:52,345
MY PIECE OF FILM WAS ALSO SHOT
ON AMERICAN STOCK
123
00:11:52,379 --> 00:11:54,314
WITH AN AMERICAN CAMERA,
124
00:11:54,347 --> 00:11:58,451
BUT IT WAS SHOT HERE
ON A JUNGLE SET.
125
00:11:58,485 --> 00:12:00,854
SPLICE THE TWO TOGETHER,
126
00:12:00,888 --> 00:12:03,256
AND THE ONE-MINUTE FILM
WILL SHOW THE WORLD
127
00:12:03,290 --> 00:12:06,259
WHAT GANGSTERS
THE AMERICANS REALLY ARE.
128
00:12:06,293 --> 00:12:09,997
SHOT ON A SET?
SPLICED TOGETHER?
129
00:12:10,030 --> 00:12:13,801
HOW CAN THIS POSSIBLY LOOK LIKE
THE SAME PIECE OF FILM?
130
00:12:13,834 --> 00:12:19,840
THAT IS WHAT MAKES DETAIL...
SO IMPORTANT.
131
00:12:37,124 --> 00:12:38,491
[ LATCHES CLICKING ]
132
00:13:03,851 --> 00:13:07,888
THIS IS THE CAPTURED
NEWSREEL FOOTAGE.
133
00:13:10,924 --> 00:13:15,128
ALL DOCUMENTARY
FILM FOOTAGE, RIGHT?
134
00:13:15,162 --> 00:13:16,563
YES.
135
00:13:22,302 --> 00:13:23,971
WRONG.
136
00:13:24,004 --> 00:13:26,006
YOU NOTICED THE BLACK FRAME
137
00:13:26,039 --> 00:13:28,475
WHERE THE FIFTH SOLDIER
PASSED VERY CLOSE
138
00:13:28,508 --> 00:13:29,943
TO THE CAMERA?
139
00:13:29,977 --> 00:13:31,078
YES.
140
00:13:31,111 --> 00:13:33,180
THAT IS WHERE
I MADE THE SPLICE.
141
00:13:33,213 --> 00:13:35,548
FROM THERE ON IS MY FILM.
142
00:13:35,582 --> 00:13:37,084
THAT'S HARD TO BELIEVE.
143
00:13:37,117 --> 00:13:38,451
WATCH.
144
00:13:38,485 --> 00:13:41,989
I WILL BACK UP
AND SHOW IT TO YOU AGAIN.
145
00:13:42,022 --> 00:13:45,625
THIS IS THE SPOT
WHERE HE BLOCKS OUT THE CAMERA.
146
00:13:45,658 --> 00:13:48,395
WATCH THE TERRAIN,
THE FOLIAGE,
147
00:13:48,428 --> 00:13:52,499
THE SMALLEST EFFECTS,
THE GRAININESS OF THE FILM --
148
00:13:52,532 --> 00:13:54,534
DETAIL, DETAIL.
149
00:13:54,567 --> 00:13:56,503
WATCH, WATCH.
150
00:13:56,536 --> 00:13:58,405
YOU SEE?
151
00:13:58,438 --> 00:13:59,572
YOU SEE?
152
00:14:18,491 --> 00:14:21,962
WELL, MY FRIEND,
WHAT DO YOU THINK?
153
00:14:23,630 --> 00:14:25,132
IT IS BRILLIANT.
154
00:14:25,165 --> 00:14:26,199
THANK YOU.
155
00:14:26,233 --> 00:14:28,068
TOTALLY INCRIMINATING.
156
00:14:28,101 --> 00:14:30,303
THEN I HAVE YOUR APPROVAL?
157
00:14:30,337 --> 00:14:33,406
HMM.
158
00:14:33,440 --> 00:14:36,376
I SHOULD LIKE TO SEE IT AGAIN
BEFORE I GIVE MY APPROVAL.
159
00:14:36,409 --> 00:14:38,345
CERTAINLY.
160
00:14:51,724 --> 00:14:54,161
OH!
161
00:14:54,194 --> 00:14:55,562
OH, MY GLASSES!
162
00:14:55,595 --> 00:14:57,164
OH.
163
00:14:57,197 --> 00:15:00,400
WHAT ROTTEN LUCK.
BUT YOU HAVE ANOTHER PAIR?
164
00:15:00,433 --> 00:15:02,402
NO, I HAVE A PRESCRIPTION.
165
00:15:02,435 --> 00:15:05,405
BUT IT WOULD TAKE A FULL DAY
TO HAVE IT FILLED.
166
00:15:05,438 --> 00:15:08,976
OH, I WILL SEE THAT FILM
AGAIN TOMORROW MORNING.
167
00:15:09,009 --> 00:15:12,245
TOMORROW? WELL, UH, PERHAPS
IF YOU STOOD EXTRA CLOSE...
168
00:15:12,279 --> 00:15:15,348
NO, I CANNOT GIVE
MY APPROVAL TO A FILM
169
00:15:15,382 --> 00:15:17,684
I HAVE ONLY SEEN
ONCE CLEARLY.
170
00:15:17,717 --> 00:15:19,152
TERRIBLE, TERRIBLE.
171
00:15:19,186 --> 00:15:20,687
OF COURSE. I UNDERSTAND.
172
00:15:50,217 --> 00:15:53,987
[ INTERCOM BUZZES ]
173
00:15:54,021 --> 00:15:54,988
YES?
174
00:15:55,022 --> 00:15:56,556
Man: Sir, the gate called.
175
00:15:56,589 --> 00:15:59,326
An extra named Mikeli
hasn't checked off the lot yet.
176
00:15:59,359 --> 00:16:01,028
YOU'RE SURE IT IS NOT
AN INTERVIEW
177
00:16:01,061 --> 00:16:02,362
WITH A PRODUCER
OR A DIRECTOR?
178
00:16:02,395 --> 00:16:04,597
ALL THE PRODUCERS
AND DIRECTORS
179
00:16:04,631 --> 00:16:07,734
have left, sir.
180
00:17:26,779 --> 00:17:28,648
[ DOOR CLOSES ]
181
00:18:30,543 --> 00:18:32,212
[ TAPPING ]
182
00:18:35,482 --> 00:18:37,550
[ RHYTHMIC TAPPING ]
183
00:18:48,228 --> 00:18:51,698
[ RHYTHMIC TAPPING ]
184
00:19:35,975 --> 00:19:37,677
NO, NO.
185
00:19:37,710 --> 00:19:40,380
DON'T.
186
00:19:40,413 --> 00:19:44,251
WHO ARE YOU?
WHAT ARE YOU DOING HERE?
187
00:19:44,284 --> 00:19:45,918
WHAT'S THIS?
188
00:19:45,952 --> 00:19:47,787
WHAT ARE YOU DOING HERE?
189
00:19:47,820 --> 00:19:50,290
ARE YOU MR. KLAAR?
190
00:19:50,323 --> 00:19:53,593
YOU ARE THE EXTRA WHO DID NOT
CHECK OFF THE LOT.
191
00:19:53,626 --> 00:19:56,263
TINA MIKELI.
192
00:19:56,296 --> 00:19:57,930
HOW DID YOU
GET PAST THE GUARD?
193
00:19:57,964 --> 00:20:00,567
WHAT IS THIS FILM
YOU ARE STEALING?
194
00:20:00,600 --> 00:20:03,236
I AM NOT A THIEF,
MR. KLAAR. THIS IS --
195
00:20:03,270 --> 00:20:04,404
DON'T MOVE!
196
00:20:04,437 --> 00:20:07,540
THAT IS MY FILM,
NOT YOUR FILM.
197
00:20:10,310 --> 00:20:11,978
IT'S FILM OF YOU.
198
00:20:12,011 --> 00:20:15,548
I WAS TRYING
TO PUT IT ON YOUR DESK.
199
00:20:15,582 --> 00:20:18,318
YOU COULD NOT HAVE
PUT IT IN THE MAIL?
200
00:20:18,351 --> 00:20:20,487
OF COURSE I COULD HAVE,
AND YOUR SECRETARY
201
00:20:20,520 --> 00:20:22,522
WOULD HAVE RETURNED IT
TO ME UNOPENED.
202
00:20:22,555 --> 00:20:24,524
OR WORSE, SHE WOULD HAVE
LOOKED AT IT
203
00:20:24,557 --> 00:20:26,359
AND TOLD YOU
IT WAS TERRIBLE.
204
00:20:26,393 --> 00:20:27,627
BUT IT IS NOT.
205
00:20:27,660 --> 00:20:29,829
IT IS A GOOD FILM, MR. KLAAR.
I AM GOOD.
206
00:20:29,862 --> 00:20:33,566
A FINE PRODUCER
SHOULD KNOW ABOUT ME.
207
00:20:35,435 --> 00:20:38,938
YOU, UH, HAVE NO LACK
OF EGO, MISS MIKELI.
208
00:20:38,971 --> 00:20:40,707
PLEASE, MR. KLAAR,
209
00:20:40,740 --> 00:20:43,643
IF THIS FILM IS NOT
AS GOOD AS I SAY IT IS,
210
00:20:43,676 --> 00:20:47,480
I SWEAR, I WILL NEVER
TROUBLE YOU AGAIN.
211
00:20:50,850 --> 00:20:52,051
ALL RIGHT.
212
00:20:52,084 --> 00:20:54,521
COME.
213
00:21:09,536 --> 00:21:10,737
OFF-LIMITS GATE.
214
00:21:10,770 --> 00:21:12,772
THE MISSING EXTRA,
MISS MIKELI --
215
00:21:12,805 --> 00:21:14,507
SHE IS WITH ME.
IT'S ALL RIGHT.
216
00:21:14,541 --> 00:21:16,609
Man: Yes, sir, Mr. Klaar.
Thank you.
217
00:21:20,580 --> 00:21:22,048
IT IS NORA'S SPEECH
218
00:21:22,081 --> 00:21:24,817
FROM THE THIRD ACT
OF "A DOLL'S HOUSE."
219
00:21:24,851 --> 00:21:26,453
IT IS THE PART
WHERE SHE --
220
00:21:26,486 --> 00:21:28,455
I, UH, KNOW THE SPEECH.
221
00:21:28,488 --> 00:21:30,390
YES, YES, OF COURSE.
222
00:21:45,438 --> 00:21:47,574
COME.
223
00:21:58,418 --> 00:22:04,991
TORVALD, YOU ARE NOT THE MAN
THAT I MARRIED.
224
00:22:05,024 --> 00:22:07,594
WHEN YOUR FEAR LEFT YOU,
225
00:22:07,627 --> 00:22:11,964
YOU WERE NOT AFRAID FOR ME,
BUT FOR YOURSELF.
226
00:22:11,998 --> 00:22:17,036
AFTER IT WAS OVER,
AS FAR AS YOU WERE CONCERNED,
227
00:22:17,069 --> 00:22:21,140
IT WAS EXACTLY AS IF
NOTHING AT ALL HAD HAPPENED.
228
00:22:21,173 --> 00:22:24,076
[ RHYTHMIC TAPPING ]
229
00:22:26,112 --> 00:22:30,683
EXACTLY AS BEFORE,
I WAS AGAIN YOUR LITTLE DOLL.
230
00:22:34,721 --> 00:22:38,425
AND NOW YOU TREAT ME
WITH DOUBLY GENTLE CARE
231
00:22:38,458 --> 00:22:41,360
BECAUSE I WAS SO DELICATE
AND FRAGILE.
232
00:22:43,062 --> 00:22:45,732
[ METAL SQUEALS ]
233
00:22:52,472 --> 00:22:55,875
TORVALD...
234
00:22:55,908 --> 00:22:59,479
IT WAS THEN
THAT IT DAWNED UPON ME
235
00:22:59,512 --> 00:23:02,749
THAT I HAVE BEEN LIVING
HERE IN THIS HOUSE
236
00:23:02,782 --> 00:23:05,452
WITH A STRANGER
FOR EIGHT YEARS.
237
00:23:32,612 --> 00:23:35,948
YOU ARE QUITE, UH,
QUITE GOOD.
238
00:23:35,982 --> 00:23:38,951
WELL, THANK YOU
SO VERY MUCH, MR. KLAAR.
239
00:23:38,985 --> 00:23:41,521
I WILL LOOK AT IT AGAIN
IN A DAY OR TWO
240
00:23:41,554 --> 00:23:42,889
IN THE PROJECTION ROOM.
241
00:23:42,922 --> 00:23:44,824
THEN PERHAPS I CAN, UH,
242
00:23:44,857 --> 00:23:47,794
PERHAPS I CAN FIND
SOMETHING FOR YOU.
243
00:23:47,827 --> 00:23:49,195
THANK YOU SO MUCH, MR. KLAAR.
244
00:23:49,228 --> 00:23:51,163
AND I DO SO MUCH
WANT TO APOLOGIZE
245
00:23:51,197 --> 00:23:52,699
FOR THE WAY I CAME IN HERE.
246
00:23:52,732 --> 00:23:56,969
IT WAS RUDE, IT WAS WRONG,
BUT I -- I'M SORRY.
247
00:23:57,003 --> 00:23:59,138
FORGET IT.
248
00:23:59,171 --> 00:24:02,141
COME, NOW.
249
00:24:02,174 --> 00:24:04,611
I WILL SHOW YOU
OUT THE GATES,
250
00:24:04,644 --> 00:24:06,145
AND PERHAPS I CAN, UH,
251
00:24:06,178 --> 00:24:09,015
CALL YOU IN A FEW DAYS,
MISS MIKELI --
252
00:24:09,048 --> 00:24:11,150
SOCIALLY.
253
00:24:11,183 --> 00:24:13,720
YES, OF COURSE, MR. KLAAR.
254
00:24:23,730 --> 00:24:26,098
[ METAL SCRAPING ]
255
00:25:06,673 --> 00:25:08,575
[ SCRAPING CONTINUES ]
256
00:25:57,724 --> 00:25:59,091
[ HISSING ]
257
00:26:37,063 --> 00:26:41,100
[ WATER RUSHES ]
258
00:26:54,814 --> 00:26:55,948
Klaar: YOU WILL REMEMBER
259
00:26:55,982 --> 00:26:57,316
AT THE BEGINNING
OF THE FILM --
260
00:26:57,349 --> 00:27:00,653
PLEASE, COULD YOU SHOW IT
TO ME FROM THE SPLICE --
261
00:27:00,687 --> 00:27:02,922
THE BLACK FRAME
YOU TOLD ME ABOUT?
262
00:27:02,955 --> 00:27:04,824
CERTAINLY.
263
00:27:15,702 --> 00:27:21,407
UNDERSTAND, TO THE EYE,
BLACK IS BLACK.
264
00:27:47,366 --> 00:27:49,802
MARVELOUS.
265
00:27:49,836 --> 00:27:51,470
TRULY MARVELOUS.
266
00:27:51,503 --> 00:27:54,707
I WANT YOU TO KNOW THOSE ARE
THE EXACT WORDS I WILL USE
267
00:27:54,741 --> 00:27:56,876
WHEN I GIVE MY REPORT
TO THE MINISTRY.
268
00:27:56,909 --> 00:27:59,445
YOU ARE VERY KIND.
THANK YOU.
269
00:28:07,119 --> 00:28:09,021
WHAT IS THAT?
270
00:28:09,055 --> 00:28:10,689
WHAT?
271
00:28:14,326 --> 00:28:17,063
COULD THIS BE HAPPENING?
272
00:28:17,096 --> 00:28:20,299
NO, NO.
273
00:28:20,332 --> 00:28:21,868
DID YOU DO SOMETHING?
274
00:28:21,901 --> 00:28:24,837
I DIDN'T TOUCH YOUR MACHINE
UNTIL JUST NOW.
275
00:28:24,871 --> 00:28:25,838
I NOTICED IT.
276
00:28:25,872 --> 00:28:27,306
I'M SORRY, BUT THE FILM
277
00:28:27,339 --> 00:28:29,909
HAS BEEN SPLITTING
AS IT COMES OUT.
278
00:28:29,942 --> 00:28:31,377
PERHAPS THERE IS A BUG.
279
00:28:31,410 --> 00:28:33,746
PERHAPS.
280
00:28:36,548 --> 00:28:38,417
YOU HAVE ANOTHER PRINT, YES?
281
00:28:38,450 --> 00:28:42,121
NO, ONLY ONE WAS MADE
FOR SECURITY REASONS,
282
00:28:42,154 --> 00:28:45,391
BUT IT'S EASY TO MAKE
ANOTHER PRINT.
283
00:28:45,424 --> 00:28:48,227
THE NEGATIVE IS NEXT DOOR
IN THE VAULT.
284
00:28:48,260 --> 00:28:49,762
GOOD. GOOD.
285
00:28:52,064 --> 00:28:55,267
LOOK AT IT!
LOOK AT IT!
286
00:28:55,301 --> 00:28:57,136
RUINED!
287
00:28:57,169 --> 00:28:59,271
EVERYTHING RUINED!
288
00:28:59,305 --> 00:29:01,507
PRECIOUS FILM!
289
00:29:01,540 --> 00:29:03,542
FIND OUT WHAT HAPPENED!
290
00:29:03,575 --> 00:29:06,112
FIND OUT AND LET ME KNOW
IMMEDIATELY!
291
00:29:06,145 --> 00:29:07,780
YES, SIR.
292
00:29:30,136 --> 00:29:33,205
DON'T APOLOGIZE TO ME.
DO SOMETHING.
293
00:29:33,239 --> 00:29:35,474
I WILL. OF COURSE.
294
00:29:35,507 --> 00:29:38,210
WHAT'S THE MATTER WITH ME?
295
00:29:38,244 --> 00:29:40,579
I STILL HAVE
THE NEWSREEL FOOTAGE.
296
00:29:40,612 --> 00:29:43,582
I STILL HAVE THE SET.
I STILL HAVE A DAY.
297
00:29:43,615 --> 00:29:47,153
THE ATROCITY PART --
I WILL SHOOT IT AGAIN.
298
00:29:59,498 --> 00:30:02,501
[ HAMMER POUNDING ]
299
00:30:09,976 --> 00:30:11,277
GOOD MORNING, ERIC.
300
00:30:11,310 --> 00:30:12,311
GOOD MORNING, SIR.
301
00:30:12,344 --> 00:30:13,345
THIS IS CAPTAIN PETYOV.
302
00:30:13,379 --> 00:30:14,613
HOW DO YOU DO, CAPTAIN?
303
00:30:14,646 --> 00:30:16,482
ERIC IS MY ASSISTANT.
EVERYTHING READY?
304
00:30:16,515 --> 00:30:18,484
YES, MR. KLAAR.
WE'RE ALMOST READY.
305
00:30:18,517 --> 00:30:20,352
GOOD. I WANT TO CHECK
THE FOLIAGE.
306
00:30:20,386 --> 00:30:21,387
RIGHT, SIR.
307
00:30:28,527 --> 00:30:30,062
[ ENGINE SHUTS OFF ]
308
00:30:50,983 --> 00:30:53,953
HIT THE BACKING.
309
00:30:53,986 --> 00:30:56,989
[ BUZZER SOUNDS ]
310
00:30:57,023 --> 00:30:59,225
OKAY, LET'S TEST IT.
311
00:30:59,258 --> 00:31:01,961
[ GUNSHOTS ]
312
00:31:01,994 --> 00:31:05,464
WELL, WHAT DO YOU THINK,
CAPTAIN?
313
00:31:05,497 --> 00:31:08,901
YOU MEAN, THIS WILL LOOK LIKE
WHAT I SAW IN THE FILM, HMM?
314
00:31:08,935 --> 00:31:11,170
Klaar: IT IS WHAT YOU SAW.
315
00:31:14,340 --> 00:31:15,674
STANDING HERE,
316
00:31:15,707 --> 00:31:18,310
YOU CAN SEE THE EQUIPMENT,
THE STAGE WALLS.
317
00:31:18,344 --> 00:31:19,946
THE VIEWER WILL NOT.
318
00:31:19,979 --> 00:31:22,048
IT JUST NEEDS TO BE DRESSED.
319
00:31:22,081 --> 00:31:24,250
I UNDERSTAND.
320
00:31:30,522 --> 00:31:32,124
YOU.
321
00:31:35,194 --> 00:31:36,996
YOU, THERE, WITH THE CART.
322
00:31:47,406 --> 00:31:50,442
WHAT IN THE NAME
OF HEAVEN IS THIS?
323
00:32:05,324 --> 00:32:09,561
THESE ARE THE DEAD BODIES
YOU ASKED FOR, SIR.
324
00:32:09,595 --> 00:32:11,697
I ASK FOR DEAD BODIES.
325
00:32:11,730 --> 00:32:15,034
SOMEONE DECIDES
TO SAVE ME MONEY.
326
00:32:15,067 --> 00:32:17,336
DUMMIES COST NOTHING.
327
00:32:19,505 --> 00:32:22,608
EXTRAS COST ONLY
PRACTICALLY NOTHING.
328
00:32:22,641 --> 00:32:26,245
OF COURSE, THE PICTURE
IS RUINED, BUT WHAT OF THAT?
329
00:32:26,278 --> 00:32:28,947
GET THESE THINGS
OUT OF HERE.
330
00:32:31,183 --> 00:32:33,619
ALL RIGHT.
331
00:32:33,652 --> 00:32:36,188
AS SOON AS EVERYONE IS READY,
I WANT A FULL REHEARSAL.
332
00:32:36,222 --> 00:32:37,289
Man: YES, SIR.
333
00:32:37,323 --> 00:32:40,026
Eric: ALL RIGHT, MEN,
INTO PLACES.
334
00:32:40,059 --> 00:32:41,693
YOU EXPLAIN TO THEM TO DO
EXACTLY THE SAME THING
335
00:32:41,727 --> 00:32:42,728
AS THEY DID THE LAST TIME.
336
00:32:42,761 --> 00:32:43,562
YES, SIR.
337
00:32:46,165 --> 00:32:50,036
ALL RIGHT, MEN,
AS YOU WERE BEFORE.
338
00:32:56,608 --> 00:32:58,610
PUT A DOUBLE ON THAT!
339
00:32:58,644 --> 00:33:00,012
[ INDISTINCT CONVERSATIONS ]
340
00:33:15,694 --> 00:33:18,697
AND GIVE ME
A SINGLE UP HERE.
341
00:33:26,605 --> 00:33:29,275
YOU, FRESHEN UP
THIS FOLIAGE.
342
00:33:30,709 --> 00:33:32,744
HUGO, THIS WILL BE
343
00:33:32,778 --> 00:33:36,048
EXACTLY THE SAME THING
AS WE SHOT THE LAST TIME.
344
00:33:48,094 --> 00:33:49,428
CAPTAIN.
345
00:33:49,461 --> 00:33:52,131
Man: FIRE ON THE SET!
346
00:33:53,665 --> 00:33:56,535
Man: THE BUCKET.
347
00:33:56,568 --> 00:33:57,803
I'M TERRIBLY SORRY.
348
00:33:57,836 --> 00:33:59,838
THAT WAS EXTREMELY
CARELESS, CAPTAIN.
349
00:33:59,871 --> 00:34:01,473
PLEASE FORGIVE ME --
I WAS SO FASCINATED,
350
00:34:01,507 --> 00:34:03,442
I MUST HAVE DROPPED
A MATCH WITHOUT LOOKING.
351
00:34:03,475 --> 00:34:05,477
FORGIVE ME.
352
00:34:11,683 --> 00:34:14,153
Klaar:
MY AMERICANS, PLEASE.
353
00:34:14,186 --> 00:34:15,187
ALL RIGHT, MEN.
354
00:34:15,221 --> 00:34:17,756
OVER HERE.
355
00:34:29,335 --> 00:34:31,470
NOW, EVERYONE WATCH THIS
VERY CLOSELY.
356
00:34:31,503 --> 00:34:33,639
THIS IS TO REFRESH
YOUR MEMORIES
357
00:34:33,672 --> 00:34:35,607
OF WHAT WE DID LAST TIME.
358
00:35:21,720 --> 00:35:25,691
NOW, THIS IS THE POINT
WHERE YOU BLOCK OUT THE LENS
359
00:35:25,724 --> 00:35:27,859
AND OUR FILM BEGINS,
REMEMBER?
360
00:35:27,893 --> 00:35:29,595
VERY WELL, ONE REHEARSAL,
361
00:35:29,628 --> 00:35:30,929
THEN I WOULD LIKE
TO TRY A TAKE.
362
00:35:30,962 --> 00:35:32,598
Man: YES, SIR.
363
00:35:32,631 --> 00:35:35,167
NOW, REMEMBER, YOU MUST
HIT YOUR MARKS EXACTLY.
364
00:35:35,201 --> 00:35:36,668
YOU BLOCK OUT THE LENS,
365
00:35:36,702 --> 00:35:39,438
THEN CONTINUE ON
WITHOUT TURNING YOUR BACK.
366
00:35:39,471 --> 00:35:42,408
I DO NOT WANT TO SEE
YOUR FACE IN CLOSE-UP YET.
367
00:35:42,441 --> 00:35:45,911
Eric: ALL RIGHT, MEN,
INTO PLACES.
368
00:35:55,587 --> 00:35:57,456
BRING IN THE WOUNDED.
369
00:36:11,870 --> 00:36:16,275
Man: SPECIAL EFFECTS GUN,
PLEASE.
370
00:36:17,876 --> 00:36:19,511
READY, HUGO?
371
00:36:19,545 --> 00:36:21,780
QUIET.
372
00:36:21,813 --> 00:36:23,682
ACTION!
373
00:36:31,323 --> 00:36:35,627
[ IMITATING MACHINE GUNFIRE ]
374
00:36:37,296 --> 00:36:38,930
CUT, CUT, CUT!
375
00:36:38,964 --> 00:36:41,800
WHEN YOU COME IN, YOU MUST
HAVE YOUR HEADS LOWER --
376
00:36:41,833 --> 00:36:43,902
MORE OF A CROUCH.
377
00:36:45,937 --> 00:36:49,641
MORE, MORE, MORE PLEADING.
MORE FEAR. THANK YOU.
378
00:36:49,675 --> 00:36:51,477
SPECIAL EFFECTS READY?
379
00:36:51,510 --> 00:36:52,511
Man: YES, SIR.
380
00:36:52,544 --> 00:36:55,547
THEN THIS WILL BE PICTURE.
381
00:36:55,581 --> 00:36:58,216
PLACES, EVERYONE.
382
00:37:00,819 --> 00:37:02,488
QUIET.
[ BELL RINGS ]
383
00:37:02,521 --> 00:37:03,522
ROLL IT.
384
00:37:06,692 --> 00:37:08,260
Klaar:
YOU HAVE SPEED, HUGO?
385
00:37:08,294 --> 00:37:09,361
SPEED.
386
00:37:09,395 --> 00:37:11,930
THEN ACTION!
387
00:37:11,963 --> 00:37:13,732
Man: NO, NO, NO, NO.
388
00:37:13,765 --> 00:37:15,534
Man #2: NO, NO, NO, NO.
389
00:37:15,567 --> 00:37:18,537
NO, NO, NO, NO.
NO, NO, NO.
390
00:37:18,570 --> 00:37:20,706
AAH!
391
00:37:40,091 --> 00:37:41,360
CUT.
392
00:37:41,393 --> 00:37:43,529
[ BELL RINGS ]
393
00:37:43,562 --> 00:37:45,297
PRINT IT
AND GET ME A MESSENGER.
394
00:37:45,331 --> 00:37:46,365
YES, SIR.
395
00:37:48,400 --> 00:37:50,436
EXCELLENT.
396
00:37:50,469 --> 00:37:51,970
EXCELLENT.
397
00:37:52,003 --> 00:37:54,940
THANK YOU, DOCTOR.
398
00:37:54,973 --> 00:37:57,576
THANK YOU. YOU DIED BEAUTIFUL.
THANK YOU.
399
00:37:57,609 --> 00:38:00,045
THANK YOU.
IT WAS EXCELLENT. EXCELLENT.
400
00:38:00,078 --> 00:38:01,713
THE BEST ONE YET.
401
00:38:08,720 --> 00:38:10,689
BEAUTIFUL, NO?
402
00:38:10,722 --> 00:38:12,724
[ CHUCKLES ]
403
00:38:40,085 --> 00:38:41,987
NOW, LISTEN CAREFULLY.
404
00:38:42,020 --> 00:38:44,823
TAKE THIS FILM
AND RUSH -- I REPEAT --
405
00:38:44,856 --> 00:38:47,959
RUSH IT TO THE LAB
AND WAIT THERE.
406
00:38:47,993 --> 00:38:49,828
WAIT UNTIL IT IS DEVELOPED,
407
00:38:49,861 --> 00:38:52,564
THEN BRING IT TO ME
IN MY OFFICE --
408
00:38:52,598 --> 00:38:54,700
TO ME AND NO ONE ELSE.
409
00:38:59,605 --> 00:39:02,608
[ HAMMER POUNDING ]
410
00:39:33,138 --> 00:39:36,141
YES, WE CAN CONGRATULATE
OURSELVES, PETYOV.
411
00:39:36,174 --> 00:39:40,446
HAVING TO RESHOOT THE FILM
WAS A STROKE OF LUCK.
412
00:39:40,479 --> 00:39:44,049
IT WILL BE EVEN BETTER
THAN THE FIRST TIME.
413
00:39:44,082 --> 00:39:47,953
THIS EVENING,
IF I MAY SAY SO,
414
00:39:47,986 --> 00:39:51,690
WILL BE A RICHLY DESERVED
TRIUMPH.
415
00:39:51,723 --> 00:39:53,825
YES, EVEN MORE THAN THAT.
416
00:39:53,859 --> 00:39:55,561
TO THIS EVENING.
417
00:39:55,594 --> 00:39:58,664
THIS EVENING, MY FRIEND.
418
00:40:11,009 --> 00:40:13,712
[ MUFFLED THUMP ]
419
00:40:24,155 --> 00:40:26,124
I KNOW.
420
00:40:26,157 --> 00:40:30,128
I KNOW JUST AS SURE
AS I AM SITTING HERE,
421
00:40:30,161 --> 00:40:32,931
SOMEONE IS OUT TO GET ME.
422
00:40:34,600 --> 00:40:36,835
THERE IS A PLOT.
423
00:40:39,037 --> 00:40:41,172
WHAT ARE YOU
TALKING ABOUT?
424
00:40:41,206 --> 00:40:45,677
YOU DO NOT UNDERSTAND
THE MOTION-PICTURE BUSINESS.
425
00:40:45,711 --> 00:40:47,646
SUCH JEALOUSY.
426
00:40:47,679 --> 00:40:50,716
YOU REALLY THINK SO, HMM?
427
00:40:52,150 --> 00:40:53,952
[ KNOCK ON DOOR ]
428
00:40:55,987 --> 00:40:59,658
THAT WILL BE THE MESSENGER
WITH THE FILM.
429
00:40:59,691 --> 00:41:02,227
[ KNOCKING CONTINUES ]
430
00:41:22,047 --> 00:41:24,683
SIR, THIS MAN WAS FOUND
IN THE BASEMENT.
431
00:41:24,716 --> 00:41:26,151
HE HAS NO PASS.
432
00:41:26,184 --> 00:41:29,120
WELL, NOW.
433
00:41:29,154 --> 00:41:32,558
Klaar: NOW YOU SEE, PETYOV?
YOU SEE?
434
00:41:32,591 --> 00:41:33,959
WHO ARE YOU?
435
00:41:33,992 --> 00:41:36,094
MORE IMPORTANT, WHAT STUDIO
ARE YOU WORKING FOR?
436
00:41:36,127 --> 00:41:40,732
WHO SENT YOU?
BERNARDIAN AT MAGDA?
437
00:41:42,033 --> 00:41:44,670
CHAPNISS? VACHECK?
438
00:41:46,204 --> 00:41:48,273
WHAT WERE YOU DOING
DOWN THERE?
439
00:41:48,306 --> 00:41:49,274
WELL, SPEAK.
440
00:41:49,307 --> 00:41:51,276
MIKLOS,
441
00:41:51,309 --> 00:41:53,612
YOU'RE BEING FOOLISH.
442
00:41:53,645 --> 00:41:56,314
THERE MAY BE MORE TO THIS
THAN YOU THINK,
443
00:41:56,347 --> 00:41:58,550
PERHAPS EVEN ESPIONAGE.
444
00:42:04,022 --> 00:42:06,992
YES, LET ME TAKE
THIS FELLOW DOWN
445
00:42:07,025 --> 00:42:10,095
TO N.V.D. HEADQUARTERS
AND SWEAT HIM A BIT.
446
00:42:10,128 --> 00:42:12,063
WE'LL GET
TO THE TRUTH. COME.
447
00:42:12,097 --> 00:42:14,199
SIR. I HAVE THE FILM, SIR.
448
00:42:14,232 --> 00:42:15,667
GOOD, THANK YOU.
449
00:42:15,701 --> 00:42:17,669
SOLDIER,
TAKE THIS MAN ALONG --
450
00:42:17,703 --> 00:42:19,671
NO, NO, NO, PETYOV.
451
00:42:19,705 --> 00:42:22,574
THEY CAN TAKE HIM
TO N.V.D. THEMSELVES.
452
00:42:22,608 --> 00:42:24,776
I AM TAKING NO CHANCES.
453
00:42:24,810 --> 00:42:27,112
I AM PUTTING THIS FILM
IN MY POCKET,
454
00:42:27,145 --> 00:42:29,214
AND YOU AND I
ARE PERSONALLY
455
00:42:29,247 --> 00:42:31,683
GOING TO ESCORT IT
TO THE SWISS LEGATION.
456
00:42:31,717 --> 00:42:32,984
BUT I THINK I SHOULD --
457
00:42:33,018 --> 00:42:34,920
NO, CAPTAIN, I MUST
ABSOLUTELY INSIST.
458
00:42:34,953 --> 00:42:37,355
YOU TWO, TAKE HIM OUT.
459
00:42:37,388 --> 00:42:39,825
YOU OTHER TWO,
COME WITH US.
460
00:42:39,858 --> 00:42:42,828
BECAUSE NOT ONLY DO I WANT
TO SEE THESE FILMS
461
00:42:42,861 --> 00:42:44,663
SAFELY IN THE LEGATION,
462
00:42:44,696 --> 00:42:47,833
I AM PERSONALLY GOING TO
HAND IT TO THE PROJECTIONIST,
463
00:42:47,866 --> 00:42:50,001
AND YOU AND I
ARE GOING TO WATCH IT
464
00:42:50,035 --> 00:42:52,003
BEING THREADED
INTO THE MACHINE.
465
00:42:52,037 --> 00:42:55,173
I SWEAR, NOTHING IS GOING
TO HAPPEN TO THIS FILM.
466
00:42:55,206 --> 00:42:56,675
NOTHING.
467
00:43:39,685 --> 00:43:42,788
FINE.
468
00:43:42,821 --> 00:43:45,023
NOW DO NOT TOUCH ANYTHING.
469
00:43:45,056 --> 00:43:49,294
DO NOT DO ANYTHING EXCEPT
HIT THE SWITCH WHEN I TELL YOU.
470
00:43:49,327 --> 00:43:52,030
NO ONE COMES IN. NO ONE.
471
00:43:52,063 --> 00:43:53,899
YOU, OUTSIDE THE DOOR.
472
00:43:53,932 --> 00:43:55,901
YOU, INSIDE.
473
00:43:55,934 --> 00:43:57,903
COME, CAPTAIN,
474
00:43:57,936 --> 00:44:01,707
OUR CURTAIN IS GOING UP.
475
00:44:26,832 --> 00:44:29,801
WELCOME, GENTLEMEN.
WELCOME. WELCOME.
476
00:44:29,835 --> 00:44:31,336
GOOD TO SEE YOU.
477
00:44:31,369 --> 00:44:35,073
ALLOW ME TO INTRODUCE MYSELF.
I AM MIKLOS KLAAR.
478
00:44:35,106 --> 00:44:37,342
THIS IS MY FRIEND
CAPTAIN PETYOV.
479
00:44:37,375 --> 00:44:38,810
HOW DO YOU DO?
480
00:44:38,844 --> 00:44:40,078
NICE TO SEE YOU.
481
00:44:40,111 --> 00:44:41,146
SOKOLOFF,
COORDINATED NEWS.
482
00:44:41,179 --> 00:44:42,781
OH, YES,
HOW GOOD TO SEE YOU.
483
00:44:42,814 --> 00:44:44,816
GEORGE BENGST,
INTERNATIONAL WIRE SERVICE.
484
00:44:44,850 --> 00:44:46,251
A PLEASURE, MR. BENGST.
485
00:44:46,284 --> 00:44:48,219
MAY I INTRODUCE
KLAUS HANSEN, WORLD PRESS?
486
00:44:48,253 --> 00:44:50,822
MR. HANSEN,
I AM GLAD TO SEE YOU.
487
00:44:50,856 --> 00:44:53,091
I AM DELIGHTED
TO SEE YOU ALL
488
00:44:53,124 --> 00:44:56,094
FOR YOU ARE GOING TO SEE
FOR YOURSELVES, GENTLEMEN,
489
00:44:56,127 --> 00:44:57,495
HOW THE AMERICANS,
490
00:44:57,528 --> 00:45:00,365
WHO PROFESS TO ADHERE
TO THE GENEVA CONVENTION,
491
00:45:00,398 --> 00:45:03,268
HAVE BEEN VIOLATING IT,
AS WE, WHO KNOW BETTER,
492
00:45:03,301 --> 00:45:05,470
HAVE CLAIMED ALL ALONG.
493
00:45:05,503 --> 00:45:07,873
THE FILM YOU ARE ABOUT TO SEE
494
00:45:07,906 --> 00:45:10,375
WAS SHOT
BY AN AMERICAN CAMERAMAN,
495
00:45:10,408 --> 00:45:12,477
EXACTLY AS YOU WILL SEE IT,
496
00:45:12,510 --> 00:45:15,814
WHILE HE WAS
ON A NEWS-GATHERING ASSIGNMENT
497
00:45:15,847 --> 00:45:19,217
WITH AN AMERICAN COMBAT PATROL
IN THE WAR ZONE
498
00:45:19,250 --> 00:45:21,887
NEAR THE VILLAGE OF QUON DOC.
499
00:45:21,920 --> 00:45:25,123
ONCE YOU HAVE SEEN THE FILM,
I WILL BE VERY HAPPY TO ANSWER
500
00:45:25,156 --> 00:45:27,358
ANY AND ALL QUESTIONS.
SHALL WE?
501
00:45:37,568 --> 00:45:40,005
WHENEVER YOU ARE READY.
502
00:45:44,075 --> 00:45:47,045
[ FAINT ARTILLERY FIRE ]
503
00:45:58,957 --> 00:46:02,027
[ ARTILLERY FIRE CONTINUES ]
504
00:46:23,248 --> 00:46:25,183
Man: NO, NO, NO, NO.
505
00:46:25,216 --> 00:46:27,252
Man #2: NO, NO, NO, NO.
506
00:46:27,285 --> 00:46:31,289
NO, NO, NO, NO.
NO, NO, NO.
507
00:46:31,322 --> 00:46:34,492
AAH!
508
00:46:34,525 --> 00:46:37,195
[ GUNFIRE ]
509
00:46:37,228 --> 00:46:39,230
[ AUDIENCE MURMURING ]
510
00:46:45,470 --> 00:46:48,239
I DON'T UNDERSTAND IT.
511
00:46:54,946 --> 00:46:57,949
[ FAINT THUMPING ]
512
00:47:20,405 --> 00:47:22,007
THAT IS THE MOST CALLOUS
513
00:47:22,040 --> 00:47:23,641
AND BRUTAL THING
I'VE EVER SEEN.
514
00:47:23,674 --> 00:47:25,376
Man: IT'S HORRIBLE.
515
00:47:25,410 --> 00:47:28,179
Man #2: I CAN'T BELIEVE IT,
516
00:47:28,213 --> 00:47:30,348
BUT IT'S THERE.
517
00:47:37,022 --> 00:47:39,257
[ ARTILLERY EXPLODES ]
518
00:47:39,290 --> 00:47:42,093
Man: THAT'S --
THAT'S TERRIBLE.
519
00:47:44,095 --> 00:47:46,965
THERE IS ONE THING
I WANT TO ASK,
520
00:47:46,998 --> 00:47:48,499
AND THAT IS
WHY THE AMERICANS...
521
00:47:48,533 --> 00:47:51,903
[ INDISTINCT CONVERSATIONS ]
522
00:47:58,143 --> 00:47:59,277
Man: WHAT'S THAT?
523
00:47:59,310 --> 00:48:01,112
WHAT? OH.
524
00:48:01,146 --> 00:48:03,248
Klaar: CUE MY AMERICANS.
525
00:48:03,281 --> 00:48:06,084
[ IMITATING MACHINE GUNFIRE ]
526
00:48:06,117 --> 00:48:08,519
PROJECTIONIST.
PROJECTIONIST.
527
00:48:08,553 --> 00:48:11,089
CUT, CUT, CUT!
528
00:48:11,122 --> 00:48:13,624
WHEN YOU COME IN, YOU MUST
HAVE YOUR HEADS LOWER --
529
00:48:13,658 --> 00:48:15,326
MORE OF A CROUCH,
530
00:48:15,360 --> 00:48:17,528
AND MORE, MORE, MORE PLEADING.
531
00:48:17,562 --> 00:48:20,131
Man: WELL,
THIS WAS JUST A HOAX.
532
00:48:20,165 --> 00:48:22,633
AND THIS WILL BE PICTURE.
PLACES, EVERYONE.
533
00:48:22,667 --> 00:48:26,938
Man: GENTLEMEN, YOU ARE
SEEING A HOMEMADE MOVIE.
534
00:48:26,972 --> 00:48:29,040
[ AUDIENCE MURMURING ]
535
00:48:29,074 --> 00:48:31,176
Man: MR. KLAAR!
536
00:48:34,612 --> 00:48:37,148
Man: YOU MUST THINK
WE'RE FOOLS.
537
00:48:37,182 --> 00:48:41,152
Man #2: MR. KLAAR, I THOUGHT
WE COULD ASK QUESTIONS.
538
00:48:41,186 --> 00:48:43,154
WHERE AND WHEN
WAS THIS SHOT?
539
00:48:43,188 --> 00:48:46,591
[ LAUGHTER ]
540
00:49:09,714 --> 00:49:13,251
[ LAUGHTER CONTINUES ]
541
00:49:26,031 --> 00:49:31,969
[ "MISSION: IMPOSSIBLE" THEME
PLAYS ]
36746
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