Original subtitles

♪[flamenco music playing]

[feet tapping]

HELLO. YES.

(hotel manager) BUONASERA. BUONASERA.

I HAVE A RESERVATION FOR OMAR JONNSON.

OMAR JONNSON? SI.

IF I COULD GET YOUR SIGNATURE, PLEASE, SIR?

YEAH.

DO--DO YOU HAVE A PEN BY ANY CHANCE?

YES.

[in Italian] HERE.

GRAZIE.

PREGO.

[people chattering]

CAN YOU TELL ME, IS THERE A PHARMACY NEAR HERE

THAT WOULD BE OPEN NOW?

(hotel manager) FOR, UH, UH, DRUGS?

♪[flamenco music playing]

[people chattering]

THEY DO. THEY SHOULDN'T.

NO, BUT THEY DO. THEY'RE NOT ALLOWED TO BUY

MORE THAN A CERTAIN AMOUNT OF ITEMS PER PERSON.

(maid) REALLY?

WOW!

IT'S TRUE.

(maid) AND WHY IS THAT?

I HAVE NO IDEA.

HMM. IS THAT REALLY TRUE?

YES, YES, IT'S TRUE.

BUT...

(nurse) I THINK BECAUSE THEY ARE AFRAID

MAYBE OF BLACK MARKET OR SOMETHING.

(tour guide) OR IS IT BECAUSE IT WOULD COMPROMISE

THE PRADA FRANCHISE IN TOKYO?

(nurse) MAYBE.

WELL, ANYWAY...

BUT YOU MEAN IF THEY GO INTO PRADA OR LOUIS VUITTON, UH...

(nurse) THEY CAN'T BUY 10 WALLETS OF THE SAME KIND.

RIGHT. AND IS THERE A LIMIT

ON THE NUMBER OF JAPANESE WHO CAN GO IN?

(nurse) OH, NO.

OH, NO?

(tour guide) THEY'D BE AFRAID THAT IF THEY HAVE TOO MANY JAPANESE

IN THE SHOP, THE SHOP MIGHT SINK INTO THE SUPERSTRUCTURE

AND DRIVE THE PILES FURTHER INTO THE MUD.

(Omar) COULD BE.

LET ME TELL YOU ABOUT THAT FILM. IT'LL BE--

WHAT DOES IT MEAN, I MEAN, WHAT--WHAT DO YOU MEAN, "DOGMA"?

"DOGMA" MENS, IN THIS CASE, UNWATCHABLE.

COME FROM THE DARK.

[hotel manager laughing]

UNWATCHABLE, UNWATCHABLE GARBAGE.

(hotel manager) ABSOLUTELY.

AND WHY UNWATCHABLE?

BECAUSE IT'S A COMPLETELY SENSELESS

INTERPRETATION OF THE DUCHESS OF MALFI

WHICH I'VE TALKED TO THEM ABOUT, BUT THEY WON'T LISTEN. HMM.

(tour guide) THEY HAVE, UH...

(Omar) ALL THIS SMOKE. I HATE-- I HATE CIGARETTES.

[hotel manager in Italian] AN OLIVE?

[Omar in Italian] OH, THANKS.

YOU'RE WELCOME.

[maid in English] THEY ALL SMELLED NICE, YOU KNOW?

(hotel manager) IT MUST BE TIME FOR THE MEAT.

THEY SMELL NICE, I MEAN, BETTER THAN FRENCH PEOPLE.

MEAT? (Omar) YEAH?

THE MEAT? YES.

JOSIE? YES, WHT?

THE MEAT? YEAH.

(Omar) THE FRENCH, I THINK, TAKE 2 OR 3 BATHS PER WEEK,

AND THEY CHANGE THEIR UNDERWEAR, LIKE, 50 TIMES A WEEK.

[all chattering]

WHO WANTS TO START?

FOR OUR GUEST.

YEAH. WE SHOULDN'T LEAVE OUR GUEST...

AND THIS DOESN'T HAVE A LOT OF CHOLESTEROL?

NOT AT ALL.

YOU SURE?

(maid) NO, IT'S OUR SPECIAL--SPECIAL MEAT.

IT'S FANTASTIC.

IS IT SPANISH OR ITALIAN?

(hotel manager) A NAME!

[maid laughing]

(tour guide) WE HAVE A GLOBAL AGRICULTURAL HARVEST, SO TO SPEAK.

(hotel manager) OH, PLEASE, DON'T BORE PEOPLE.

MMM-HMM.

[hotel manager in Italian] IS IT OK?

[in English] VERY GOOD.

(Omar) WHAT WAS YOUR HOUSEMASTER CALLED?

(tour guide) MR. MARUM. GOD BLESS HIM. I MISS HIM.

HE'S DEAD?

NOT BEFORE HE TAUGHT ME EVERYTHING I KNOW ABOUT THE WORLD.

HE LEFT ME MOST OF HIS CLOTHES.

OH, YES? DO YOU STILL HAVE THEM?

TO THIS DAY I WEAR ONE OF HIS COATS.

(hotel manager) BUONISSIMO!

AND HATS, ALL AND ALL.

[crockery clanking]

BEFORE HE DIED, HE ASKED ME A QUESTION

WHICH, SADLY, HE NEVER GOT TO ANSWER.

THE QUESTION WAS THIS:

WHAT'S THE DIFFERENCE BETWEEN A DUCK?

WHAT'S THE DIFFERENCE BETWEEN A DUCK?

WHAT IS THE DIFFERENCE BETWEEN A DUCK?

HE SAID, "BEFORE I GO, I WANT TO LEAVE YOU GENTLEMAN WITH A RIDDLE."

WHAT IS THE DIFFERENCE BETWEEN A DUCK?

ANY THOUGHTS, MR. JONNSON?

(Omar) WHAT'S THE DIFFERENCE BETWEEN A DUCK?

[hotel manager in Italian] THE BREAD?

[Omar in English] ACTUALLY, I'M ON, UH, A VERY LOW-CHOLESTEROL...

IS THERE A LOT OF CHOLESTEROL IN CHEESE?

[kitchen manager laughing]

(nurse) WELL...

(tour guide) TAKING YOUR HEALTH VERY SERIOUSLY? IS THIS A...

VERY RECENTLY I HAD A BLOOD TEST.

AND, UM, EVERYTHING WAS FINE EXCEPT FOR THIS VERY,

VERY CONCERNING HIGH CHOLESTEROL LEVEL.

I MEAN, ACTUALLY VERY ALARMING, I THINK.

UH-OH.

(Omar) AND, UH...

(nurse) HMM.

(Omar) OH, IT'S VERY NICE.

[hotel manager in Italian] IS IT GOOD? YES.

DO YOU LIKE IT? YES.

(nurse in English) YEAH, AND?

(tour guide) ATTITUDE.

I DON'T KNOW ABOUT THAT.

[hotel manager in Italian] OH, YEA AND A BEAUTIFUL VOICE AS WELL.

[in English] YEAH, YOU--YOU REALLY HAVE A VERY NICE SMELL.

THANK YOU.

HAS ANYONE EVER TOLD YOU THAT BEFORE?

NO, I DON'T THINK SO.

(maid) YOU SMELL LIKE, UM, THE WEST OR SOMETHING.

(maid) YOU KNOW?

(tour guide) WE'RE SO LUCKY TO HAVE YOU.

(hotel manager) I FEEL A--A WARM FEELING.

MAYBE--MAYBE TO MR. JONNSON FIRST.

(all) TO MR. JONNSON.

THANK YOU FOR HAVING ME.

(hotel manager) I'M SO HAPPY TO SEE YOU DRINKING.

(maid) YES.

(Boris) I WANT TO KNOW WHY I LOST WEIGHT.

THIS SUIT USED TO FIT ME BEAUTIFULLY,

NOW IT'S LIKE, UH, OMAR, THE TENT MAKER, HERE.

[sighing]

[tapping]

YOU COULD LAUGH AT THAT, YOU KNOW?

[Ferdinand reading]

[Boris clearing throat]

(Boris) SNAP OUT OF IT, WILL YOU, GRETA, FOR CHRIST'S SAKE?

(Ferdinand) "I WOULD HAVE THEIR BODIES BURNT

"IN A COAL PIT WITH THE VENTILATION STOPPED

"SO THAT THEIR CURSED SMOKE MIGHT NOT ASCEND TO HEAVEN,

"OR BOIL THESE ILL-BORN BASTARDS INTO A BROTH,

"AND GIVE IT TO THEIR LECHEROUS FATHER

"AND HAVE HIM RETCH UP HIS UNGODLY LIFE

WITH HIS OWN LIQUID OFFAL."

[phone ringing]

♪[man singing]

SAY IT AGAIN. SAY IT.

[phone ringing]

HELLO, ROOM SERVICE.

(Boris) HI, ROOM 104.

YES.

COULD YOU, UH, BRING UP A SANDWICH,

SOME KIND OF A MEAT SANDWICH...

MEAT SANDWICH?

...UH, WITH MUSTARD ON A HARD ROLL? YES.

AND A BIG BOTTLE OF WATER WITHOUT, UH, SELTZER. OK?

STILL WATER? YEAH.

ROOM 104. THANK YOU.

OK, YOU'RE WELCOME. BYE-BYE.

♪[man whistling]

[razor buzzing]

YOU KNOW, GRETA, YOU'RE, UH, BEGINNING TO DEPRESS ME.

WHY DON'T YOU GO OUTSIDE AND GET UH, A MINK COAT?

YOU SHOULD GO OUTSIDE AND BUY YOURSELF SOME DRESSES OR...

TOMORROW MORNING I'M GETTING ON A PLANE

AND I'M GOING BACK TO LONDON.

NO, YOU'RE NOT. AHEM.

THIS IS SO FUCKED. ALL RIGHT.

HE'LL BE HERE. HE'LL BE HERE.

THIS IS FUCKED.

YEAH, IT'S TOTALLY FUCKED. WHAT ARE WE GONNA DO?

I HAVEN'T SEEN HIM SINCE 9:00 LAST NIGHT.

SNAP OUT OF IT, GRETA.

YOU'RE PISSING ME OFF.

AND YOU'RE GETTING FAT.

OK, GREAT.

LOOK AT YOURSELF IN THE MIRROR?

OLD BORIS SHOULD BE HERE IN ABOUT 15 MINUTES,

YOU GOT A STOMACH ON YOU.

...AND HE WILL THEN AND YOUR ASS IS SPREADING.

PULL THE PLUG ON THE MOVIE.

YOU GOTTA SEE THAT DOCTOR WHEN WE GET BACK,

HAVE YOUR EYES REDONE.

Y-YOU HAVE TO CONTROL HIM. SERIOUSLY.

YOU CAN'T JUST LET HIM NOT SHOW UP AT NIGHT.

I SURRENDER.

(Boris) YOU FUCKING MOPE.

EVA. YEAH.

HELLO, DARLING. I HAD TO CUT YOU OFF. SI?

ANOTHER PHONE CALL?

SI. SI. OK.

SO, NOW YOU COME TO VENICE

IN 2 WEEKS.

2 WEEKS, UH... DOS?

IS IT DOS? D WEEKS.

DO WEEKS, SI. OK.

OK, CIAO, GRACIAS.

♪[flamenco music playing]

HEY, CAN I TALK TO YOU FOR A SECOND?

YES.

EXCUSE ME ONE SECOND. BREATHE ON ME.

[exhales]

BREATHE ON ME.

WHAT'S WRONG WITH YOU?

WANNA SMELL MY COCK AS WELL?

ONE MORE TIME.

WANT A KISS?

YOU KNEW, FUCK YOU, YOU MOTHERFUCKER.

DON'T PULL THIS ON ME.

IF YOU DO THIS TO ME AGAIN,

I SWEAR TO GOD, I-I-I'M OUT OF HERE. I'M GONE.

DON'T FUCKING SPEAK TO ME LIKE THAT IN FRONT OF MY ACTORS.

WE GOT A MEETING. I KNOW I'M LATE.

THE REASON I'M LATE--

YOU'RE 45 MINUTES LATE! BUT FUCK, JOHN...

THE REASON I'M LATE IS BECAUSE

I'VE BEEN OUT LOOKING AT FUCKING LOCATIONS.

YOU SHOULD HAVE FUCKING BEEN WITH ME. ALL NIGHT?

YOU'VE BEEN OUT ALL NIGHT LOOKING--

YES. YOU'RE THE PRODUCER. I'M THE DIRECTOR.

YOU CARRY ME, ALL RIGHT?

FUCK!

(female P.A.) YOUR LETTUCE.

THANK YOU.

I KNOW.

BABE, I'VE BEEN TALKING TO FUCKING SPAIN ALL FUCKING NIGHT.

FUCK OFF. SHUT UP.

FUCK OFF.

WE'LL TALK ABOUT THIS LATER.

AND I CAN'T AFFORD TO DIVORCE YOU.

NOW LET ME TELL YOU SOMETHING.

IF YOU EVER THINK OF DIVORCING ME,

I'LL HAVE YOU PUT AWAY IN A FUCKING MENTAL HOSPITAL, I SWEAR TO GOD.

OH, PLEASE,

CAN YOU PLEASE TAKE THIS? JESUS CHRIST!

BUONASERA. BUONASERA.

WELCOME TO THE HOTEL HUNGARIA.

I AM ON A PROTEIN DIET, SO I CAN ONLY EAT PROTEIN.

SO PLEASE TELL YOUR KITCHEN

IF I ASK FOR ANYTHING THAT IS NOT PROTEIN, DON'T BRING IT.

DON'T PUT BREAD ON MY TRAY, NOTHING.

OF COURSE, SIGNORINA BOUX. THANK YOU.

AND WE HAVE DELICIOUS MEAT HERE.

OH, GOOD.

♪[music playing]

COULD I INTRODUCE MYSELF?

I-I'M THE TOUR GUIDE FOR THE HOTEL,

AND I WILL BE DOING AN ART AND CULTURE TOUR,

AND A FLORA AND FAUNA TOUR.

THE FLORA AND FAUNA IS MUCH SHORTER.

WE WON'T BE GOING.

[burps] AHEM. SORRY, EXCUSE ME. I'M VERY SORRY I'M LATE.

WON'T HAPPEN AGAIN, IT'S JUST A QUESTION OF, UH,

IT'S A QUESTION OF JONATHAN

TELLING ME EXACTLY WHEN THE MEETING IS.

(Jonathan) RIGHT. SO IF YOU COULD DO THAT NEXT TIME--

YEAH, RIGHT, I'M ON TOP OF IT. YEAH, I'M ON TOP OF IT.

YOU CAN LIVE WITH THAT? MMM-HMM.

OK, ON YOUR FEET, THANKS.

RIGHT, I GUESS YOU'VE ALL GOT THE NEW DRAFTS,

OR HOPEFULLY READ THEM.

I THINK IT'S A CRACKER.

WE'VE GOT A REAL TIGHT DUCHESS OF MALFI ON OUR HANDS HERE.

BUT I'M SURE YOU'VE ALL GOT QUESTIONS,

UM, SO I AM--I AM YOUR SLAVE.

YOU'RE PROBABLY WONDERING WHY I DON'T HAVE A SCRIPT?

I DON'T HAVE A SCRIPT BECAUSE I DON'T NEED A SCRIPT.

BECAUSE I HAVE NOTHING TO SAY ANYMORE.

I HAVE NO LINES LEFT IN THE SCRIPT.

NINA HAS NO LINES LEFT IN THE SCRIPT.

SO I WAS WONDERING

THE FACT THAT WE ARE BOTH FOREIGNERS AND THAT WE HAVE ACCENTS,

IS THAT AFFECTING YOUR DECISION?

THE REASON YOU'VE LOST LINES

IS BECAUSE IN ITS ORIGINAL FORM,

THE SCRIPT WAS A BLASTED 4-AND-A-HALF FUCKING HOURS LONG.

RIGHT? IT WOULD HAVE COST MILLIONS TO MAKE,

AND IT WOULD HAVE BEEN VERY, VERY, VERY... PLEASE!

IN MY ONLY 2 SCENES, PLEASE, IT WOULD HAVE BEEN VERY BORING. OK?

I'M--I'M NAKED BOTH OF THE TIMES,

SO YOU KNOW VERY WELL NOBODY'S GOING TO LISTEN TO WHAT I'M SAYING.

WELL, LISTEN-- I DON'T WANT TO BE UPSTAGED BY MY OWN TITS!

I'VE NOT SEEN YOU IN A FILM WITH YOUR KIT ON YET.

THAT'S WHY YOU'RE HERE.

YOU'VE GOT BEAUTIFUL ACCENTS AND BEAUTIFUL TITS,

AND YOU'RE A LOVELY LITTLE ACTRESS.

AND IF YOU WANT TO LEAVE THE ROOM, LEAVE THE FUCKING ROOM!

"FOOLISH MEN WILL ERR, TRUST THEIR HONOR

"IN A BOAT THAT'S MADE OF SO SLIGHT AND WEAK A SUBSTANCE

"THAT IS WOMAN

APT EVERY MINUTE TO SINK IT."

[speaking in French] DO YOU SPEAK FRENCH?

[speaking in French] FRENCH? YES.

YOU ARE VERY PRETTY.

THANKS.

[moans]

[chuckles]

MY NAME IS CLAUDE.

ISABELLA.

[in English] I KNOW.

UH, MY NAME IS BORIS. I'M, UH...

I GUESS I'M THE GUY THAT'S FUNDING THIS THING.

GAVIN, HOW ARE YOU? GOOD TO SEE YOU, MAN. HOW ARE YOU, MAN?

HOW ARE YOU DOING? NICE TO HAVE YOU HERE.

CONGRATULATIONS, ALL OF YOU BEING CAST THIS WAY. GREAT WRITER.

THE MAN'S A GREAT WRITER. TRENT. GOOD TO SEE YOU.

RIGHT. OK.

SO, UM, WE'VE OBVIOUSLY, FROM THE ITALIAN CONTINGENT

GOT SOME SERIOUS GRIEVANCES ABOUT THE SCRIPT,

ABOUT THE LACK OF LINES THEY'VE GOT.

MAYBE IF YOU DID READ IT, YOU WOULD FIND

SOME LINES TO USE THAT PEN WITH.

WHERE'S SHE? SHE'S GONE.

I SAY WE KISS GOODBYE TO HER.

RIGHT. ANY MORE COMPLAINTS?

I JUST LIKE TO SAY I'M REALLY EXCITED ABOUT THIS THING.

I THINK IT'S REALLY FUCKIN' CRACKING.

CAN'T WAIT TO GET MY TEETH INTO IT.

BUT AT THE RISK OF BEING A LITTLE BIT, UH, CRITICAL,

I DON'T KNOW, JON, IF WE MIGHT HAVE LOST SOME OF THE POETRY.

UH, THANKS, GAVIN.

WHILE YOU WERE ON THE TELEPHONE TO LOS ANGELES FOR 5-AND-A-HALF HOURS,

WE CAME TO A GROUP DECISION

TO CUT THE IAMBIC PENTAMETERS, HEPTAMETERS, ARCHAISMS,

IN ORDER TO TRY AND CREATE A FAST-FOOD McMALFI, AS IT WERE

THAT WOULD BE VERY EASILY DIGESTIBLE

AND ACCESSIBLE EVEN TO ASPIRING HOLLYWOOD STARS.

RIGHT. IF ANY OF YOU UNDERSTAND A WORD OF THAT,

I'M THE FUCKING POPE HERE.

HOWEVER, THANK YOU.

IF UH...

ONE THING THAT'S VERY IMPORTANT TOMORROW

IS THE REASON I WAS SLIGHTLY LATE TODAY, AS WELL AS JONATHAN'S FUCK-UP,

IS I'VE BEEN UP ALL NIGHT TALKING TO THE LAW DEPARTMENT HERE--

HELLO! HELLO!

ONE MINUTE, BABY, WHOEVER YOU ARE,

JUST ONE FUCKING MINUTE, PLEASE!

MY NAME IS CHARLEE BOUX AND THIS IS A.J.,

MY PARTNER AND PRODUCER,

AND WE ARE DOING A DOCUMENTARY ABOUT THIS DOGMA MOVIE.

I BELIEVE YOU ARE ALL ACTORS OF THIS DOGMA MOVIE.

AND WE ARE VERY EXCITED, SO WE ARE GONNA

FOLLOW SOME OF YOUR DOGMA RULES.

FOR EXAMPLE, NO GOOD LIGHTING ON YOUR ACTORS.

I-I'LL HAVE THE GOOD LIGHTING ON ME,

BUT I WILL FOLLOW ALL THE RULES.

THERE WILL BE NO MURDERS.

HELLO, I'M THE DIRECTOR.

CAN I GET A FUCKING WORD IN?

(Charlee) EXCUSE ME. WHAT DID YOU SAY? IS HE...

(A.J.) CHARLEE, MAYBE WE COULD LEAVE THEM

TO DISCUSS THEIR PROJECT.

LET'S TAKE THE MALFI TO THE SQUARE,

AND LET'S FUCKING ROCK AND FUCKING ROLL!

[man chattering]

...LIKED IT SO MUCH HE TOOK A LOT OF IT AWAY.

DICKENS CALLED IT THE STUFF OF OPIUM DREAMS.

BYRON WROTE TREMENDOUS ELEGIES TO THE BEAUTY AND STATURE,

THE AESTHETIC GRANDEUR OF THIS PLACE.

♪[music playing]

THERE ARE NO WELL-KNOWN NAMES

AND I CAN'T EVEN REMEMBER THE NAMES OF THE FAMOUS ONES

SO I'M GOING TO BE REALLY LOST.

WHAT'S THE NAME OF THE DIRECTOR?

TRENT STOKER.

WHICH ONE IS THE NAME AND WHICH IS THE LAST NAME?

TRENT. FIRST NAME.

IMAGINE, TOO, AS A VENETIAN CITIZEN,

FINDING THE DISMEMBERED ENTRAILS OF YOUR FRIENDS

AND NEIGHBORS HANGING FROM GIBBETS.

KEEP AWAY FROM TRENT AT ALL TIMES.

SURE. YEAH.

VENICE, THE FIRST SECRET POLICE STATE, BUT IT WORKED

BECAUSE THE QUALITY OF LIFE HERE WAS AS MAGNIFICENT

AS THE PATRIARCHY THAT RULED IT.

♪[music playing]

REMEMBER WHAT I TOLD YOU YESTERDAY?

I WANT TO HEAR THAT FLAMENCO RIGHT THE WAY THROUGH THIS TEXT.

I WANT TO HEAR IT BUZZING, I WANT TO HEAR IT FLOATING,

I WANT TO HEAR IT MOVING THROUGH YOU LIKE FUCKING LAVA.

THERE ARE A LOT OF PEOPLE OUT HERE.

WORK WITH THEM. WORK THROUGH THEM.

USE THESE FUCKING PIGEONS. USE THE FUCKING...

HE'S COMPLETELY OUT OF HIS MIND.

CORONESI, TINTORETTO, TITIAN, TIEPOLO,

CANALETTO, GUARDI, SICKERT, MONET, TURNER.

THE TENTATIVE TITLE IS MALFI.

UH, UH, FROM THE DUCHESS OF MALFI, WHICH IS A PLAY,

UH, WRITTEN BY ONE, DO YOU HAVE ANY...

IT'S WRITTEN BY ONE OF SHAKESPEARE'S CONTEMPORARIES.

OH, REALLY, WHAT'S-- JOHN WEBSTER.

JOHN WEBSTER?

DO WE HAVE A CHANCE TO INTERVIEW HIM A LITTLE LATER ON?

IS HE AROUND?

HE'S NOT AROUND, UNFORTUNATELY.

UH, YOU KNOW WHAT? I'M SORRY.

BUT ARE YOU HAPPY WITH THE SCRIPT?

I'M SORRY, WE'RE STARTING THE SHOOTING.

DEATH IN VENICE.

YEAH, I SAW THAT.

STARRING MY LATE FRIEND, DIRK BOGARDE.

HE WAS A REAL ACTOR, NOT LIKE THESE RIFFRAFF WE HAVE TODAY.

MOST OF THEM LOOK AS IF THEY COULD DO WITH A GOOD WASH.

(Jonathan) CHECK YOUR MARKS. CHECK YOUR MARKS.

(Jonathan) HERE WE GO, EVERYONE! HERE WE GO.

WE MUST START. WE MUST GO, EVERYONE!

♪[actors vocalizing]

[exhaling]

(Trent) GOOD. RIGHT.

LET'S HAVE IT.

NOW, TRENT, I'VE GOT TO TALK TO YOU BEFORE WE...

IN A MINUTE! WE'RE SHOOTING A MOVIE.

GOOD LUCK.

[bell tolling]

[people chattering]

GET ON YOUR MARKS.

[pigeons flapping]

(Boris) WE'LL KNOW THE BOX OFFICE IN THE MORNING.

SEE THE RECORDS.

UH-UH.

OH, SMALL, SMALL, BUT IT'S GOOD.

FLAMENCO! FLAMENCO! FLAMENCO!

RIGHT? WE ARE GOING. SORRY, NO TIME.

WE'RE GOING.

IT'S A REHEARSAL, RIGHT?

BECAUSE I'VE GOT TO TALK TO YOU.

♪[music playing]

REMEMBER. YOU ARE ALONE HERE, ANTONIO.

AND THE CARDINAL,

HE'S GIVEN CAUSE TO BE JEALOUS OF ANY MAN.

HE ENGENDERS WORSE LIBELS AND PLOTS FOR THEM

THAN EVER WERE IMPOSED ON HERCULES.

AND AS FOR FERDINAND, HIS BROTHER,

HE LIVES TO ENTRAP MEN WITH THEIR ANSWERS.

I KNOW.

2 BROTHERS WITH DEVILS HANGING ON THEIR LIPS.

BUT WITH SUCH A SWEET SISTER.

[pigeons flapping]

HI, JON. HOW ARE YOU?

[bell tolling]

OH, LISTEN, LISTEN.

ISN'T THAT--ISN'T THAT BEAUTIFUL?

THAT'S BEAUTIFUL.

SEE, THAT'S WHAT... THAT'S WHAT WE CAPTURE. THAT'S ONE OF THE THINGS

WE GET HERE BY SHOOTING IN VENICE.

OF COURSE, BENITO WAS VERY PARTICULAR ABOUT PEOPLE'S APPEARANCE

WHEN HE FOUNDED THE FILM FESTIVAL.

IT WAS OPENED BY LENI RIEFENSTAHL, AT THAT TIME

A POPULAR FILMMAKER.

TO WATCH--

THE NAZI FILMMAKER.

[people chattering]

LET'S SEE WHAT'S GOING ON.

SISTER, WELL MET.

BROTHERS.

WE MUST TALK.

YOU ARE A WIDOW

AND THEREFORE HAVE ALREADY KNOWN WHAT A MAN IS.

LET NOT YOUTH OR ELOQUENCE EVER SWAY YOUR HIGH BLOOD.

YOU KNOW THEY ARE MOST DISSOLUTE THAT WED TWICE,

IF TWICE, THEN THRICE,

IF THRICE, WHY NOT INFINITY?

BUT, DIAMONDS ARE OF MOST VALUE, THEY SAY,

THAT PASS THROUGH THE MOST JEELERS' HANDS.

THEN WHORES, BY SUCH A RULE, WERE JEALOUS.

WILL YOU HEAR ME, BROTHERS?

I HAVE SAID I WILL NEVER MARRY.

(Ferdinand) WE WISH YOU TO BEWARE.

YOU LIVE IN A RANK PASTURE HERE IN YOUR COURT.

THERE ARE THOSE WHOSE FACES DO BELIE THEIR HEARTS

AND FROM THEM COMES AKIND OF HONEY DEW THAT'S DEADLY.

IT WILL POISON YOUR REPUTATION.

THAT IS TERRIBLE GOOD COUNSEL.

OF COURSE, YOU ARE MY SISTER.

THE MARRIAGE NIGHT IS THE ENTRANCE TO A PRISON.

THINK ON THE END BEFORE YOU BEGIN.

I HAVE MY FATHER'S DAGGER. AND I WILL BE LOATH TO SEE IT GO RUSTY

FOR HE WOULD WISH IT ALWAYS TO SHINE IN A PROPER CAUSE.

SO REMEMBER, BEFORE YOU PLAY THE LUSTY WIDOW,

CAVORTING YOURSELF AND STEPPING FORTH TO MAKE A SHOW

AT COSTLY REVELS IN THE TOWN,

REMEMBER TO HOLD YOURSELF IN CHECK.

FOR AT THE ROOT, WOMEN DO SO LOVE THAT PART OF A MAN

WHICH, LIKE THE EEL, HATH NO BONE.

(cardinal) AYE, INDEED.

THEY LOVE IT TO EXCESS.

FIE, SIRS, FIE!

NAY, I MEANT THE TONGUE.

LET'S CUT HERE. LET'S RUN IT BACK. LET'S RUN IT BACK. LET'S RUN IT BACK.

SORRY, MAN. HE HAD A PIGEON ON HIS HEAD.

USE THE FUCKING PIGEON. IF A PIGEON LANDS

ON YOUR HEAD, FUCKING USE IT!

YEAH, I WAS USING IT!

(Trent) OK, LET'S GO. 3, 2, 1, ACT.

[people chattering]

FOR AT THE ROOT,

WOMEN DO SO LOVE THAT PART OF A MAN... I'M SORRY, MAN.

STOP THAT FUCKING LAUGHING.

IF A PIGEON SHITS IN YOUR MOUTH,

YOU CARRY ON. ALL RIGHT?

I WAS THERE, I WAS THERE.

(Trent) I HAVEN'T GOT TIME, GAVIN.

(Trent) 3, 2, 1, GO.

FOR AT THE ROOT, WOMEN DO SO LOVE THAT PART OF A MAN

WHICH, LIKE THE EEL, HATH NO BONE.

(Trent) ALL RIGHT. GET DOWN, SUCK HIS COCK.

AYE. THEY LOVE IT TO EXCESS.

(duchess) FIE, SIRS, FIE!

NAY, NAY, NAY, I MEANT THE TONGUE.

AYE, INDEED, THE TONGUE.

VERY SUBTLE VARIETIES OF COURTSHIP

WHAT... WHY CAN'T A KNAVE...

LET'S GO AND TAKE OUR PICNIC,

AND BYPASS THIS PARTICULAR DISPLAY

OF NOT VERY INTERESTING STREET THEATER.

THE DUCHESS OF MALFI WAS A SLUT!

[cell phone ringing]

HELLO?

IS THIS SOPHIE?

MY NAME IS MAGIC. I WOULD LIKE TO SEE YOU

AT THE HOTEL HUNGARIA AT 7:00.

YEAH? WHAT ARE YOU LOOKING FOR?

♪[music playing]

OK.

AND WEAR A RED DRESS. YES, THAT'S RIGHT.

[people chattering]

BYE.

[bell tolling]

WISH ME GODSPEED, FOR I SHALL ENTER

INTO A WILDERNESS WHERE NO PATH

NOR FRIENDLY CLUE SHALL BE MY GUIDE.

(Trent in Italian) NINA, BREAK.

[in English] NO, I CAN'T--I CAN'T REMEMBER MY LINES.

(Trent) LINES. FUCK IT.

(Trent) WE'RE LOSING OUR SCENE. SORRY.

YOU CAN'T WORK BECAUSE YOU DON'T KNOW YOUR LINES?

N-NO, BECAUSE OF THE PEOPLE,

THE PIGEONS, EVERYTHING. IT'S IMPOSSIBLE.

LISTEN, WE'RE IN THE MIDDLE OF FUCKING VENICE, RIGHT?

I-IT'S FAMOUS FOR PEOPLE, AND IT'S FAMOUS FOR FUCKING PIGEONS.

RIGHT? WHERE DO YOU WANT TO DO THIS, IN THE FUCKING SAHARA DESERT?

I THOUGHT YOU WERE TERRIFIC.

NO, I WAS NOT. NO, I WAS NOT.

(Jonathan) NINA, I THOUGHT YOU WERE TERRIFIC. ALL RIGHT.

(Trent) CAN WE DO THAT ONE AGAIN?

[cell phone ringing]

YEAH?

WHAT?

WELL, I DON'T GIVE A SHIT ABOUT THAT.

WISH ME GODSPEED

FOR I AM GOING INTO A WILDERNESS

WHERE I SHALL FIND NO PATH

NOR FRIENDLY CLUE TO BE MY GUIDE.

I WILL CONCEAL THE SECRET TO THE WORLD,

AS WARILY AS THOSE WHO TRADE IN POISON.

YOU'RE A FOOL, JONATHAN.

THERE WAS HAMMERING ALL OVER THE FUCKING PLACE.

IT'S A DOGMA FILM. I DON'T CARE.

THEY CAN DIG A HOLE IN THE MIDDLE OF THE SQUARE--

IN THE 1490s, THERE WAS HAMMERING.

GREAT, LET'S DO IT.

WHY DON'T WE GET A SHOT OF THE CRANE TOO?

RIGHT.

OK, WHAT HAPPENED IN SAN BERNARDINO?

THEY'RE SCUMBAGS, THAT'S WHY.

JUST CALL THEM AND JUST TELL THEM I HAVE TO KNOW NOW.

YEAH, YOU TELL ME IF SOMEONE ELSE WOULD PUT UP $1.1 MILLION

TO DO THE FUCKING DUCHESS OF FUCKING MALFI.

I WANT TO HEAR THAT FLAMENCO.

OK, SO, WHAT?

I GOT A LITTLE KIND OF QUESTION, MAYBE AN ANNOUNCEMENT.

IS THERE ANY WAY, YOU THINK,

JONATHAN, LISTEN UP, PLEASE,

THAT WE COULD DO ALL OF MY SCENES TODAY?

DO YOU THINK THERE'S ANY CHANCE OF SCHEDULING THAT?

(Jonathan) THERE'S ABSOLUTELY NO WAY.

I'M TRYING TO SHOOT THIS FUCKING FILM IN SEQUENCE.

SO, IT'S FUCKING RIDICULOUS.

YOU REMEMBER IN SAN MARTIN YOU SAID IF I EVER GOT,

IF I EVER GOT A PAYING GIG, ALL RIGHT, THAT YOU WOULD,

THAT IT WOULD BE ALL RIGHT, YOU'D UNDERSTAND?

[people chattering]

WELL, I GOT THE RIDLEY SCOTT GIG. I GOT IT.

[chuckling]

(Australian actor) JOHNNY'S GOT SOME KIND OF URINARY INFECTION,

AND THEY JUST CALLED ME THIS MORNING.

AND, UH, WHAT I'M SAYING IS I CAN DO IT FULL DAY TODAY OR I CAN...

[whispering] WE'RE TRYING TO GET CLOSER

I'LL PUT THE MIKE ON TO SEE IF WE CAN LISTEN IN.

WELL DONE. WE'RE MOVING ON.

SORRY, GAVIN, NO FUCKING TIME FOR THAT.

COME ON, OVER HERE. YOU'RE BUSTING A SCENE.

(Jonathan) GAVIN...

WHAT HAPPENED, GAVIN?

AH. IT'S THE SCHEDULING. I LOVE THESE GUYS.

WE'RE ACTUALLY VERY, VERY CLOSE FRIENDS,

NOW THERE'S A SCHEDULING CONFLICT WITH ANOTHER JOB

THAT THEY ALWAYS KNEW MIGHT COME UP.

FOR THE RECORD, GAVIN McKAY

IS A FUCKING USELESS LET-ME-DOWN CUNT.

BOSOLA, MY BROTHER, THE CARDINAL IT SEEMS CAN'T BEAR YOU.

EVER SINCE HE WAS IN MY DEBT.

MAYBE SOME OBLIQUE CHARACTERISTIC

OF YOUR FACE MAKES HIM SUSPECT YOU.

OH, SO NOW HE STUDIES PHYSIOGNOMY AS WELL AS URDER?

THERE'S NO MORE TO BE READ IN A FACE

THAN IN A SICK MAN'S URINE.

THOUGH MANY DOCTORS EARN A FORTUNE BY IT.

THERE'S GOLD.

SO, WHAT FOLLOWS?

THERE'S NEVER SUCH A HEAVENLY SHOWER AS THIS

WITHOUT A THUNDERBOLT OR 2 IN THE TAIL.

WHOSE THROAT SHALL I CUT, AND WHY?

DO NOT ASK THE REASON FOR OUR REQUEST.

NO?

THEN I SHALL STILL BE YOUR FAMILIAR.

A FAMILIAR? WHAT'S THAT?

WHY,

IT'S AN INVISIBLE CUNNING DEVIL. INTELLIGENCER.

JUST SUCH A STRIVING ALL-SEEING FELLOW,

I WOULD WISH THEE TO BECOME.

VERY WELL.

I SHALL BE YOUR CREATURE.

[sighs]

OH, WHAT THE HELL IS THIS?

[both chattering]

I DON'T WANT YOU TO LET HIM KNOW. THEY'LL GET PLENTY.

YOU GIVE THEM A REST... LISTEN, PLEASE.

YOU GIVE THEM A REST. I'M TIRED.

YOU GIVE THEM A REST, THEY'RE GONNA GET TIRED.

I WANNA GO STRAIGHT INTO THE SCENE.

(Charlee) Mr. Trent!

PLEASE, MA'AM, DON'T DO THAT TO ME AGAIN! JESUS CHRIST!

ARE YOU DOING THIS MOVIE OUT OF NECESSITY OR OUT OF A CHOICE?

ARE YOU DOING IT WALK FREE!

BECAUSE... MR. TRENT!

(Charlee) MR. TRENT!

AHHH! WHO'S THAT?

HEY! HEY! THAT'S MY... THAT'S MY FACE, NOT YOURS.

(Charlee) MR. TRENT, ARE YOU ALSO...

RIGHT!

I WANT ALL THE ACTORS,

EVERY SINGLE LAST TOM JACK OF YOU!

I WANT YOU IN THAT REHEARSAL NOW,

REHEARSING THE SHAGGING SCENE FOR TOMORROW! MR. TRENT! HOW...

[assassin whistles]

IS IT SOMETHING YOU ENJOY?

HOW DO YOU FEEL ABOUT DIRECTING HER

IN A SHAGGING FILM, UH, SCENE

WITH A BETTER-LOOKING ACTOR THAN YOU?

[screaming]

LEAVE ME ALONE!

LEAVE ME ALONE!

AND YOU, LEAVE ME ALONE! RIGHT.

I WANNA REHEARSE THIS FUCKING SCENE ON MY OWN WITH MY ACTORS!

GET OUT OF MY FUCKING FACE, BOTH OF YOU!

OK, ALL RIGHT. COME HERE. CALM DOWN.

[barking]

[snarling]

[growling]

PLEASE, JUST...

JUST LISTEN TO ME.

THE THINGS I SAID TO YOU ARE SOME OF THE WORST THINGS

ANY MAN COULD EVER SAY TO A WOMAN.

DID YOU HEAR WHAT I'M SAYING?

BORIS?

LEAVE ME ALONE. PLEASE?

[sobbing]

BABY, DON'T DO THAT TO ME.

PLEASE, DON'T DO THAT TO ME.

I'M TELLING YOU, WHEN I YELL AT YOU...

[phone ringing]

[Boris gasping]

SHIT!

[sniffling]

I LOVE YOU.

HELLO?

YES.

[sighing]

WHAT THE FUCK ARE YOU TALKING ABOUT?

I WANT TO SPEAK WITH YOU--

FIONA, GO SHAVE YOUR LEGS. GIVE IT UP.

...TO GET MORALE UP. IT WOULD BE GREAT...

[sighs]

[people chattering]

(duchess) I VOWED NEVER TO PART WITH IT, BUT TO MY 2ND HUSBAND.

(Antonio) YOU'VE PARTED WITH IT NOW.

(duchess) YES, TO HELP YOUR EYESIGHT.

(Antonio) YOU'VE MADE ME STARK BLIND.

(duchess) DOES IT FIT?

AMBITION, MADAM, I-IS A GREAT MAN'S MADNESS.

I WOULD NOT BE SO STUPID AS NOT TO AIM

WHERE YOUR FAVORS TEND, BUT...

HI, I'M JUST...

I'M GONNA POP IT IN DIFFERENT WAYS.

BUT, OF COURSE, YOU MUST TRY ALL DIFFERENT WAYS

AND I LOVE THE--THE MERCHANT-IVORY VERSION YOU'RE DOING AT THE MOMENT.

SWEET PUNGENT SMELL OF ROSE MEADOWS,

EARL GREY,

AND A WET SADDLE ON THE BACK OF A HORSE.

THAT SORT OF THING.

WE THOUGHT YOU'D BE... IT'S FUCKING SHIT.

[footsteps approaching]

[people chattering]

NOW LISTEN, YOU'RE IN A FUCKING BUS STOP IN MARSEILLES.

IT'S PISSING DOWN THE RAIN, YOU'RE FREEZING COLD.

YOU'RE SKINT, YOUR COCK'S FUCKING SORE.

I WANNA SMELL IT. I WANNA SMELL PUSSY.

I WANT YOU SHAGGING UP AGAINST THE WALL

WITH BITS OF BROKEN GLASS IN YOUR ASS.

I WANT YOU WINKING AT WHORES AS THEY PASS YOU BY.

I WANT SIRENS IN THE BACKGROUND.

I WANT YOU TO FUCK HER LIKE A CRIMINAL.

[panting]

DO IT. JUST FUCKIN'

DO IT. PLEASE.

(duchess) WHAT DO YOU THINK OF MARRIAGE?

(Antonio) ME? I HEAR IT CONTAINS HEAVEN OR HELL.

THERE'S NO 3RD PLACE IN IT.

(duchess) FIE, FIE, WHAT'S ALL THIS?

(duchess) ONE OF YOUR EYES IS BLOODSHOT.

(duchess) HERE, USE MY RING TO IT.

(duchess) THEY SAY IT IS A SOVEREIGN REMEDY.

(duchess) IT WAS MY WEDDING RING,

AND I DID VOW NEVER TO PART WITH IT,

BUT TO MY 2ND HUSBAND.

(Antonio) YOU'VE PARTED WITH IT NOW.

(duchess) YES, TO HELP YOUR EYESIGHT.

(Antonio) YOU HAVE MADE ME STARK BLIND.

(duchess) DOES IT FIT?

[groaning]

[sighing]

[duchess rehearsing]

♪[humming]

OH, I LOVE TO HEAR YOU SING.

YOU GOTTA DO ME THE BIGGEST FAVOR OF YOUR LIFE.

AND I KNOW YOU DON'T WANT TO BECAUSE OF WHAT I DID BEFORE.

[sobbing]

BUT I GOTTA GO TO A MEETING,

AND I'M NOT GONNA BE ABLE TO MEET THIS GUY

WHO'S PUTTING $2-FUCKING-MILLION IN MY NEXT PICTURE.

WOULD YOU DO ME A FAVOR, HONEY?

WOULD YOU PLEASE GO AND MEET HIM

AND JUST SIT WITH HIM FOR A WHILE

UNTIL I GET THERE? I'LL--I'LL BE THERE.

LOOK, SWEETIE.

YOU KNOW SOMETHING? THAT DRESS YOU BOUGHT?

YOU LOOK SO FUCKING GOOD IN THAT.

THIS ONE, BABY.

THIS ONE, BABY. YOU LOOK FUCKING SEXY IN THIS DRESS.

(Antonio) BROTHER, WHAT DO YOU THINK?

[coughs]

I THINK TRENT NEEDS SOME TIME TO THINK.

WE'LL JUST GIVE HIM 5 MINUTES,

SNEAK OFF AND GET A COFFEE OR SOMETHING?

TAKE A BREAK.

WHAT THE FUCK'S HE DOING?

(cardinal) CHEERS.

HE'S JUST RESTING A FEW MINUTES.

(Steve) THANKS.

(hotel manager) MR. HAWK?

YEAH. STEVE HAWK.

SIGNOR BORIS IS DELAYED.

[phone ringing] YEAH, SAY, 20 MINUTES.

HE SAY IF YOU PLEASE MEET HIS WIFE IN THE BAR.

SHE'S WEARING A RED DRESS, A BEAUTIFUL RED DRESS.

[chuckling]

(Steve) HI. HI.

STEVE.

SOPHIE.

[laughing]

WHAT DO YOU THINK?

I THINK IT WOULD BE NICE.

ANYWAY, HAVE A THINK ABOUT IT.

JUST WONDERING WHETHER TO DO THE FISHNETS TOMORROW

OR THE RED TIGHTS

SO WHEN HE PULLS HER SKIRT UP, THERE'S A NICE REVEAL.

I GOT A WINDOW SEAT.

BORIS SAID GET A WINDOW SEAT.

I SEE WHY HE SAID THAT. I COULDN'T BELIEVE IT.

WHEN YOU FLY, YOU CAN'T SEE WHERE YOU'RE LANDING.

YOU HAVE A ROOM?

YES.

[inaudible]

[elevator bell dings]

WAIT.

WAIT. DON'T-- DON'T DO THAT.

COME IN.

(Cariola) I JUST WANTED TO THANK YOU. YOU KNOW?

I'M HAVING SUCH A GREAT TIME.

IT IS SO DIFFICULT FOR ME TO MAKE FRIENDS.

I'M SORRY.

WHAT ARE YOU...

I'M VERY HAPPY TO BE HERE

AND I WANT TO THANK YOU FOR THIS OPPORTUNITY.

EVEN THOUGH MY PART IS NOT VERY BIG,

I FEEL THAT I HAVE A LOT TO GIVE

AND YOU HAVE GIVEN ME AN OPPORTUNITY...

SO, THAT'S IT.

I'LL LET YOU REST, YOU MUST BE EXHAUSTED.

TODAY IT WAS A GREAT DAY.

I THOUGHT THE SHOOTING WENT GREAT BY THE WAY TODAY. THAT'S ALL.

[sniffing]

(Boris) HELLO, FUCKHEAD.

YOU CAN'T LIE TO ME.

I KNOW YOU DON'T KNOW WHAT THE FUCK YOU'RE DOING.

I KNOW.

YOU KNOW, YOU HAVE A PRETENTIOUS ATTITUDE.

[chattering]

DEUS BELLI.

HOW'S THAT SOUND?

(duchess) I THINK TONIGHT WE SHOULD MAKE LOVE.

CLIFF! CLIFF!

(Ferdinand) WHAT THE FUCK IS THAT?

(Ferdinand) WHERE DID THIS COME FROM?

HE'S BLEEDING.

(Ferdinand) OH, JESUS CHRIST!

JESUS CHRIST!

WHAT?

[whispering] GET JONATHAN. GET JONATHAN.

(Ferdinand) JONATHAN, YES. WHERE'S JONATHAN?

JONATHAN!

(Ferdinand) JONATHAN!

(Ferdinand) JONATHAN!

(Cariola) WHAT HAPPENED?

♪ I KNOW

♪ YOU'D LIKE ME

♪ YOU'D LIKE ME

♪ TO BE YOUR LITTLE FIX

♪ TO BE THE REASON YOU LICK

♪ YOUR LIPS

♪ YOU KNOW YOU AND ME

♪ YOU KNOW YOU AND ME OUGHT TO KNOW BETTER ♪

♪ FATALLY GORGEOUS

♪ FEELINGS I CARE

♪ I SEE ME

♪ YOUR GLITTERING JESUS FACE ♪

♪[castanets clicking]

[tapping rhythmically]

[tapping continues]

[people clapping]

WHO'S IN CHARGE HERE?

I AM.

WHERE'S TRENT?

[indistinct chattering]

[monitor beeping]

[sighing]

[speaking Italian] CAN YOU HELP ME UNCOVER HIM?

[monitor beeping]

[sighs]

[in English] THE CASE WITH YOUR FRIEND

IS ALMOST UNIQUE, I MUST SAY.

[speaking Italian] MISS, CAN YOU HELP ME WITH THIS SMALL DEMONSTRATION?

THANKS.

[in English] LET'S BEGIN WITH THE FACT

THAT WE HAVE AN ENTRANCE WOUND

FOR THE BULLET

EXACTLY HERE.

BUT WE DON'T HAVE ANY EXIT WOUND ANYWHERE.

(doctor) NO EXIT WOUND, NO BULLET INSIDE.

NO. WE CAN ONLY SUPPOSE

THAT THE BULLET ENTERS HERE

AND THEN RICOCHETING UP AND DOWN THE SPINE,

EXITS FROM THE SAME SPOT.

GRAZIE.

AS A RESULT OF THIS TRAUMA,

HE IS NOW IN A STATE THAT WE CALL

COMA VIGILE.

ATTENTIVE COMA.

UH, WHAT IS-- WHAT IS THAT? WHAT DOES THAT MEAN, DOCTOR?

AS YOU WOULD SAY IN AMERICA:

"THE LIGHTS ARE ON

BUT NOBODY'S HOME."

UH, WELL, HIS EYES-- HIS EYES ARE MOVING.

THE EYES ARE THE MIRROR OF THE SOUL.

[door closing]

THIS YOUNG ARTIST

WHO HAS BEEN TAKEN AWAY FROM US

AT SUCH A YOUNG AGE

HAD A CONTRACT WITH MY LITTLE GROUP,

MY TALENTED, WONDERFUL LITTLE GROUP.

AND YOU MIGHT SAY, "HOW DOES THAT FIT

IN THE GREAT SCHEME OF THINGS?"

AND I'M GOING TO TELL YOU.

MY DEAR FRIEND, ORSON WELLES,

HAD HE DIED RIGHT AFTER CITIZEN KANE,

WOULD HAVE BEEN THOUGHT OF AS

EVEN A BIGGER GIANT THAN HE IS TODAY.

BECAUSE DEATH MAKES US MARTYRS,

MAKES US ICONS.

YOU LOVED HIM VERY MUCH, DIDN'T YOU?

[sobs]

YES, WELL...

(flamenco manager) WHAT OBLIGATIONS,

SACRED OBLIGATIONS THAT HE PASSED ON TO YOU,

MUST BE HONORED?

HIS CONTRACT, BY THE WAY, TO MY LITTLE GROUP HERE,

MUST BE HONORED.

NOW THE QUESTION IS, WHO HERE AMONG YOU

IS GOING TO DIRECT THIS FILM?

WHAT DO YOU THINK OF MARRIAGE?

ME? I HEAR IT CONTAINS HEAVEN OR HELL.

THERE'S NO THIRD PLACE IN IT.

FIE, FIE, WHAT'S ALL THIS?

A WHIPPING MARK.

USE MY RING TO IT.

THEY SAY IT IS A SOVEREIGN REMEDY.

IT WAS MY WEDDING RING

AND I DID VOW NEVER TO PART WITH IT

BUT TO MY SECOND HUSBAND.

YOU'VE PARTED WITH IT NOW.

YES. TO HEAL YOUR WOUND.

[panting]

[grunts]

DOES IT FIT?

AMBITION, MADAM, IS A GREAT MAN'S MADNESS.

I'M NOT SO STUPID AS NOT TO AIM

WHERE YOUR FAVORS TEND.

HOW OFTEN HAVE I SEEN CHILDREN

EAT SWEETMEATS THUS

AS IF FEARFUL TO DEVOUR IT ALL TOO SOON?

BUT HE'S A FOOL, THAT BEING COLD, WOULD

THRUST HIS HANDS IN THE FIRE TO WARM THEM.

THERE. THE GROUND IS BROKEN.

NOW YOU MAY DISCOVER

WHAT A WEALTHY MINE,

SOMETHING FAR MORE PRECIOUS THAN GOLD

I MAKE YOU LORD OF.

I MAY ALSO DISCOVER MY UNWORTHINESS.

YOU DO TREMBLE.

MAKE NOT YOUR HEART A DEAD PIECE OF FLESH

THAT FEARS ME MORE THAN LOVES ME.

[pants]

THIS IS FLESH AND BLOOD

NOT THE ALABASTER FIGURE

THAT KNEELS AT MY HUSBAND'S TOMB.

WHAT OF YOUR BROTHERS?

[panting]

DON'T THINK OF THEM.

ALL DISCORD...

[moans]

[pants]

[moaning]

PUSH.

PUSH.

[Duchess screams]

(maid) PUSH.

PUSH.

[screams]

(Antonio) OH, MY GOD!

[Duchess screaming]

PUSH.

[baby crying]

CUT.

[Antonio coughs]

THAT WAS FUCKING GOOD.

A LITTLE CREEPY.

HELLO. THIS IS CHARLEE BOUX, BOUX,

CHARLEE BOUX,

AND YOU'RE WATCHING...

HELLO. HELLO.

HELLO. HELLO.

LISTEN, JONATHAN,

I'M DOING THIS AS A FAVOR TO YOU, OK?

NOT TO ME, TO BORIS.

NOT TO BORIS, TO YOU. NOT TO ME, TO BORIS.

TO YOU. THIS FUCKING MOVIE SUCKS.

YOU HAVE NO STARS.

YOU KNOW, EVERYBODY TREATS ME LIKE SHIT.

I HAVE TO STAY IN A SHITTY HOTEL 'CAUSE THERE IS NO MONEY.

YOU OWE ME BIG-TIME.

HELLO.

UH, JONATHAN DANDERFINE.

YEAH, JONATHAN DANDERFINE.

WE'VE HAD A TERRIBLE TRAGEDY HERE. UM....

UH-HUH.

UH, YOU KNOW, AS YOU KNOW,

HE'S MY BEST FRIEND OF 14 YEARS

AND, UH, UH, WE'VE HAD

A LONG AND WONDERFUL HISTORY TOGETHER...

DO YOU THINK THAT NOW THAT THE DIRECTOR

AND THE ONLY STAR YOU HAD IN THIS MOVIE ARE GONE,

DO YOU THINK THAT THIS MOVIE WILL NEVER COME OUT?

YOU KNOW WHAT?

SERIOUSLY, A.J., YOU'VE GOTTA CONTROL HER.

I'M NOT GONNA-- I'M NOT GONNA DEAL WITH THIS.

HELLO.

I DON'T WANT TO TALK ABOUT TRENT.

I AM DIRECTING THE FILM.

THE POINT IS, HE'S IN A COMA IN THE HOSPITAL.

[machine beeping]

I WAS 7 WHEN MY FATHER DIED.

I MEAN, WHEN MY FATHER LEFT US.

ALL PHOTOGRAPHS OF HIM VANISHED FROM THE HOUSE

BUT I CLEARLY REMEMBER HIM.

THERE WERE 3 CHILDREN

AND MY MOTHER

HAD TO WORK HARD TO BRING US UP.

I AM THE ELDEST.

AND I WAS MY FATHER'S FAVORITE.

HE LOVED ME MORE THAN THE OTHERS.

CLEARLY HE DID NOT LOVE MY MOTHER.

IT WAS ME THAT FOUND HER WHEN SHE HAD HER STROKE.

I WAS 18, AND SHE WAS LYING ON THE KITCHEN FLOOR.

IT WAS MIDNIGHT.

I WAS SUPPOSED TO BE IN BY 11:00

BUT I HAD BEEN OUT WITH FRIENDS

CELEBRATING THE END OF OUR EXAMS.

I HAD COME TOP IN MY YEAR,

ASSURED OF A PLACE AT THE UNIVERSITY.

THE MANAGER OF THE HOTEL WHERE MY MOTHER WORKED

AGREED TO MY TAKING HER PLACE AS A CHAMBERMAID.

BUT AT A REDUCED WAGE

BECAUSE OF MY YOUTH AND INEXPERIENCE.

I LIKE THE HOTEL.

IT SUITS ME FINE.

THE WORK IS NOT HARD,

AND I HAVE ALL THE TIME IN THE WORLD TO THINK.

THERE'S ONE MAID,

LET'S CALL HER MARIE.

SHE'S FAT AND UGLY, BUT HER BREASTS ARE LARGE.

AND SHE'S WILLING TO PLAY A ROLE,

AND THIS EXCITES SOME MEN.

SHE BLUSHES,

AND I THINK THIS ALSO EXCITES MEN.

SHE'S NO THREAT TO THE MEN THAT TAKE HER

AND THEY WATCH HER LEAVE

WITH A SENSE OF PHILANTHROPY,

OF HAVING DONE HER A FAVOR.

I HAVE PERFECTED THE ART

OF BEING INVISIBLE AS A WOMAN.

I CAN WALK INTO A ROOM FULL OF MEN

WITHOUT EXCITING THE SLIGHTEST INTEREST.

NO MOLECULE IS MOVED BY ME.

[whispering] I LEAVE NO TRACE BEHIND.

[both panting]

[both moaning]

SORRY, MAN. SORRY, MAN.

IS EVERYTHING ALL RIGHT?

(man) WHAT?

IS EVERYTHING ALL RIGHT?

(hotel guest) WHERE ARE YOU TAKING HER?

WHAT ARE YOU DOING?

LEAVE ME!

[screams]

[grunts]

IS EVERYTHING ALL RIGHT? I--I--I CAN HEAR SCREAMING.

YES, EVERYTHING'S ALL RIGHT.

IT'S ALL RIGHT.

BUT I JUST SAW A WOMAN DRAGGED DOWN THE CORRIDOR THERE,

AND I THOUGHT--

NO, NO. EVERYTHING'S FINE, MR. HAWK.

HERE.

BYE.

DIE THUS, VIRTUE. WHERE ART THOU HID, VIRTUE?

WHAT HIDEOUS THING DOTH ECLIPSE THEE, VIRTUE?

PRAY, SIR, HEAR ME. HEAR ME.

SPEAK.

[panting]

THROUGHOUT MY LIFETIME

I HAVE PLANTED MY SOUL IN MINE EARS TO HEAR YOU.

DO YOU LIKEWISE HEAR ME.

I AM MARRIED,

HAPPILY, NOT TO YOUR LIKING.

ALAS, YOUR SHEARS HAVE NOW UNTIMELY COME TO CLIP MY BIRD'S WINGS.

WHAT SHOULD I SAY TO THY LECHER?

THOU HAST ENJOYED MY SISTER?

LET NOT THE SUN SHINE ON HIM TILL HE BE DEAD.

WHY SHOULD NOT I BE ENCASED LIKE A HOLY RELIC?

I--I HAVE YOUTH.

THOU ART UNDONE.

AND A LITTLE BEAUTY.

THOU HAST TAKEN THE MASSY SHEET OF LEAD

THAT HID THY FORMER HUSBAND'S BONES

AND FOLDED IT AROUND MY HEART.

MY HEART BLEEDS FOR THIS.

THY HEART?

THY HEART?

DOST THOU KNOW WHAT REPUTATION IS?

YOU SHOOK REPUTATION BY THE HAND

AND MADE HIM DISAPPEAR.

FARE THEE WELL.

I WILL NEVER SEE THEE MORE.

WHAT IS THIS?

[sobs]

ANTONIO?

MY HEART IS TURNED TO HEAVY LEAD

ON HEARING THE SOUNDING OF OUR DANGER.

MY LORD, MY LOVE, I DO TOUCH THEE.

TAKE THE CHILDREN. I WILL JOIN YOU SOON.

LET ME LOOK UPON YOU MORE.

GO! GO!

NOW HIS KISS IS COLDER THAN A DEAD MAN'S SKULL.

CUT. CUT.

CUT. THAT WAS IT. THAT WAS THE ONE.

THAT WAS THE ONE.

DID YOU FEEL IT? THAT WAS... THAT WAS...

OH, I HAD CHILLS, NAOMI.

YES, LET IT OUT. LET IT OUT.

YOU'RE THE DUCHESS, LET IT OUT.

SHE WAS IN PAIN.

WHAT THE FUCK. WHAT ARE YOU DOING HERE?

WELL, NAOMI DIDN'T GIVE MY CUE AGAIN, SO--

(Jonathan) YOU DIDN'T CUE HER? WHAT WAS YOUR CUE?

"GET THE CHILDREN."

I SAID "TAKE THE CHILDREN." I'M SORRY.

I'M SORRY.

I'M SORRY. I--I JUST--

I'LL GET IT RIGHT NEXT TIME.

(Jonathan) SO, LEAVE THEN.

IF SHE DOESN'T CUE YOU, YOU LEAVE.

I MEAN, YOU--YOU IMPROVISE. OK?

I MEAN, SHE'S SO IN THE MOMENT, NINA.

IT'S MY FAULT.

DON'T--DON'T START CRYING EITHER. OK?

YOU LEAVE! OK? JUST BE IN THE MOMENT.

THINK. USE YOUR HEAD.

OK?

GO. PRACTICE. PRACTICE RUNNING. PRACTICE.

DON'T WORRY ABOUT HER. DON'T WORRY. IT WASN'T YOU.

SHE'S GOTTA...

OK. AGAIN. YOU WANT, AGAIN?

YEAH, LET'S GO AGAIN.

OK. WE'RE GOING TO GO AGAIN, EVERYONE! UH...

WE'RE GOING TO GO AGAIN, EVERYONE.

FROM THE-- FROM THE TOP.

[machine beeping]

[Trent mumbling]

(Trent) I KNOW WHAT YOU DID, JOHNNY.

WHO'S THIS MAN?

I'M GONNA HAVE A DRINK.

IS THIS MY ASSASSIN, JONATHAN? IS THIS MY ASSASSIN, JONATHAN?

IS THIS MY ASSASSIN?

IS THIS MY ASSASSIN?

JONATHAN, LOOK AT ME.

I KNOW. I SEE.

ENEMY.

I HEAR FUCKING EVERYTHING.

FUCK YOU.

YOU DON'T HAVE THE GUTS TO FIGHT ME.

I KNOW. I KNOW. I KNOW. I KNOW.

I KNOW WHAT YOU DID.

(Duchess) IT WAS LOVELY.

I GOTTA KISS YOU, JOHNNY. I GOTTA KISS YOU.

COME HERE. COME HERE.

COME HERE.

[snarling]

[growling]

I GOTTA GO.

I'LL BE BACK.

(man) GET UP. GET UP GET UP FROM HERE.

SOMETIMES I HAD TO GET UP, BUT ONCE I-- BUT ONCE I WENT IN THE BED.

AND ME MOM WAS CROSS,

AND SHE SAID, "WELL, THAT'S IT."

(Antonio) ♪ BA BI PA PA DO DO DO DO NO

♪ BABE

♪ CHARLEE

♪[piano playing]

♪ WHAT AM I GONNA DO?

♪ I THINK DEEP INSIDE

♪ I'M FALLING IN LOVE WITH YOU ♪

CHARLEE BOUX.

♪ BOO, BOO, BA, BAA

♪ OH, CHARLEE

BOUX.

♪ LOOK AT ME LOOKING AT YOU

♪ MAYBE TONIGHT WE CAN DO THE DO ♪

I DON'T THINK SO.

♪ YOU'VE GOT A FUCKING JUICY ASS ♪

♪ AND A LOVELY PAIR OF COCONUTS ♪

♪ I'D LIKE YOU TO SUCK MY BIG ♪

BUONASERA.

(man) BUONASERA.

WHERE'S YOUR BAR?

[speaking Italian] THE BAR IS OVER THERE, MISS.

GRAZIE. PREGO.

WHY DON'T YOU TAKE IT AWAY, CHARLEE?

GIVE ME SOME OF THAT SCAT.

♪[humming]

♪[piano playing continues]

LOVELY.

NOT JUST A PRETTY FACE, BABY.

YEAH.

♪[continues singing]

♪[singing off-key]

UH, HIT THOSE HIGH NOTES, DARLING.

[screeching]

♪ CHARLEE BOUX

YEAH, GO, BABY.

[laughs]

♪ BOUX, BOUX, BOUX, BOUX ♪

(Boris) ...DO ANYTHING.

ARE YOU KIDDING? NO, BORIS, EXCUSE ME. ONE SEC.

(Charlee) SAY IT AGAIN. COME ON!

KAWIKA? KAWIKA?

OH, MY GOD!

[laughs]

WHAT ARE YOU DOING IN ITALY?

UNBELIEVABLE!

♪ HEY, HEY

KAWIKA IN THE HOUSE.

OH, MY GOD!

UNBELIEVABLE, YOU LOOK FUCKING GREAT.

HOLY SHIT. THE LAST TIME I SAW YOU WAS LIKE A YEAR AGO.

SARATOGA. SARATOGA SPRINGS!

THIS IS THE CAST RIGHT HERE.

EVERYONE, THIS IS KAWIKA.

WHAT'S YOUR NAME?

KAWIKA. KAWIKA.

HI. I--I THINK I INTERVIEWED YOU LAST YEAR.

THAT'S RIGHT. HOW ARE YOU?

JOHN. THIS IS JOHN SHIRLEY, THIS IS KAWIKA.

HI, JOHN, HOW ARE YOU? GOOD TO SEE YOU.

HELLO, I'M COLIN NUTTER. I'M THE ADMINISTRATOR OF MR. WALKER'S REMAINING--

CHARLEE?

HELLO!

HELLO!

IT'S GOOD TO SEE YOU.

YOU LOOK BEAUTIFUL.

THANK YOU.

CAN I GET YOU A BEVERAGE?

YEAH. I'LL HAVE...

ABSOLUT TONIC?

(both) 2 LIMES.

EXCUSE ME, KAWIKA.

AREN'T THESE, LIKE, 3 YEARS AGO?

THE COLLECTION FROM 3 YEARS AGO

FROM VERSACE. I KNOW MY DESIGNERS!

NO.

DID YOU GET, UH, BREAST IMPLANTS?

NO, THEY ARE NATURAL. YOU WANNA TOUCH?

MY GOD!

THEY'RE REAL.

SHE'S FANTASTIC. ARE YOU STILL A LESBIAN?

NO.

AND SHE CRIES. AND YOU KNOW WHAT?

AM I A LESBIAN?

OH, MY GOD, SHE'S TOTALLY DRUNK.

HI, A.J., GOOD TO SEE YOU!

BORIS, MY GOD!

NICE TO SEE YOU AGAIN, DOLL. HOW ARE YOU?

KISS HER ASS, BORIS. KISS HER ASS.

(Boris) RIGHT. IT IS NICE.

(Charlee) YEAH. SO ARE YOU.

(Jonathan) OK. HELLO, GOODBYE.

HELLO, GOODBYE, MOTHERFUCKER!

SO NOT AT THE SAME LEVEL! I KNOW NOW.

IT'S OK, YOU'LL GET THERE, HONEY.

I ALREADY SAID IT FIRST.

YOU GOTTA COME UP WITH SOME NEW LINES.

NICE--NICE TO MEET YOU.

WHAT ARE YOU DOING HERE?

(Kawika) YOUR SHOW IS NOT ON CABLE.

(Jonathan) GOODBYE.

[all chattering]

SHE IS SUCH A BITCH!

SEE YOU NEXT TIME, CUNT.

SEE YOU NEXT TIME.

DON'T TOUCH ME, BORIS. YOU ARE CREEPY.

TAKE IT THE FUCK EASY, OK?

TAKE THE FUCK YOUR HANDS OFF OF ME.

YOU KNOW, IT'S REALLY UNFORTUNATE

THAT YOU HAVE TO BE SO AGGRESSIVE

BECAUSE YOU COME OFF SO ABRASIVE

AND YOU JUST DON'T NEED TO. YOU KNOW?

(Charlee) GO GET A DRINK WITH JONATHAN.

I'M SURE HE WILL SHOW YOU A GOOD TIME.

DON'T PUSH ME, I WILL SMACK YOUR HEAD.

I WILL SMACK YOUR FUCKING ASS!

(Jonathan) KNOCK IT OFF! DON'T FUCKING FIGHT!

I WILL GET YOUR FOREIGN EYES, LIKE THIS,

COMPLETELY BLUE!

OK, BITCH?

WHAT THE HELL ARE YOU ALL LOOKING AT?

YOU, RACIST SHIT! YOU HAVE NO RIGHT...

[screaming]

WILL YOU HELP ME HERE, FOR CHRIST'S SAKE?

YOU BITCH!

JESUS CHRIST!

EASY. WHAT THE FUCK'S THE MATTER WITH YOU?

SHE WAS MEAN TO ME.

HOLY CHRIST!

(Antonio) LET'S GO PLAY PIANO.

(Charlee) LET'S PLAY MY SONG.

I DON'T KNOW, BUT I KNOW SHE'S OUT TO GET ME.

MYSTERIOUSLY, SHE'S JUST AROUND.

I JUST DON'T EVEN KNOW WHAT TO THINK,

OR HOW TO HANDLE IT.

THE BITCH CAN DO SOMETHING HORRIBLE TO ME

LIKE TAKE MY JOB, OR MY MAN, OR SOMETHING.

THE FOOD IS HORRIBLE, AND I'M DEPRESSED,

AND THE ROOMS ARE HORRIBLE,

AND I HATE IT HERE, AND IT'S WET AND IT'S COLD.

[woman screaming]

HELLO?

IS ANYBODY THERE?

ARE YOU OK?

HELLO?

[glass clinking]

HELLO.

THIS IS CHARLEE BOUX AND YOU'RE WATCHING...

HELLO? HELLO?

I MEAN, LISTEN, I'M GONNA-- I'M GONNA TELL YOU STRAIGHT

FROM WHAT I'VE SEEN OF THIS SO-CALLED DOCUMENTARY.

IT'S A PIECE OF SHIT.

[machine beeping]

I THINK I'M GOING TO FUCK HIM.

I THINK HE WANTS TO SLEEP WITH ME.

HE SUGGESTED SOMETHING

QUITE GRAPHIC

THAT WE SHOULD DO TOGETHER ON CAMERA,

JERRY AND I. AND

THERE WAS, UM,

SOMETHING IN ME THINKING YOU WOULD

HAVE BEEN QUITE TURNED ON BY IT.

(Duchess) GO. GO GET SOMEON .

[pants]

[sobbing]

SISTER,

COME.

COME WITH ME.

THERE'S SOMETHING I WANT TO SHOW YOU. COME.

WAIT THERE. WAIT THERE.

[panting]

[laughing]

I CURSE YOU!

I CURSE THE VERY STARS IN HEAVEN!

YOU CURSE THE STARS?

THEY SHINE STILL IN THEIR FIRMAMENT.

♪[music playing]

[knocking on door]

MY REVENGE STILL BURNS

AND BURNS AND WILL NOT SLACK UNTIL IT HAS SPENT ITS FUEL.

MY WORK IS ALMOST DONE.

HARK

HOW EVERYTHING IS STILL.

THE SCREECH OWL AND THE WHISTLER SHRILL,

DO CALL MY DAME ALOUD

TO QUICKLY DON HER FUNERAL SHROUD.

ALAS!

WHAT ARE YOU GOING TO DO WITH MY SWEET LADY?

I'VE COME TO MAKE HER TOMB.

I'LL CALL FOR HELP.

PEACE. IT AFFECTS ME NOT.

(Cariola) NO! LEAVE ME, PLEASE.

LEAVE ME.

[panting]

MY SWEET LADY.

NO. NO. I WILL NOT DIE.

I MUST NOT.

I'M QUICK WITH CHILD.

SHE'S QUICK WITH CHILD.

I'M PREGNANT.

WHY THEN, YOUR REPUTATION IS SAVED.

I'M PREGNANT.

[choking]

I AM DUCHESS OF MALFI STILL.

[laughs]

"I AM DUCHESS OF MALFI STILL."

IT IS THAT WHICH SO BREAKS THY SLEEP AT NIGHT, DUCHESS?

THOU ART VERY PLAIN.

AYE, MY TRADE IS TO FLATTER THE DEAD,

NOT THE LIVING.

I'M A TOMB MAKER.

AND THOU COM'ST TO MAKE MY TOMB?

YES.

AND THIS PRINCELY GIFT I BRING FROM YOUR BROTHERS

SHOULD BE MOST WELCOMELY RECEIVED

FOR IT BRINGS THY LAST BENEFIT,

THY LAST SORROW.

I STILL HAVE OBEDIENCE IN MY BLOOD

SO THAT IF THIS BE THE ONLY MEANS TO MAKE THEM GOOD,

LET THIS BE MY LAST PRESENCE-CHAMBER.

ART THOU NOT AFRAID OF DEATH?

ART THOU NOT FRIGHTENED BY THE CORD?

HERE IS THY EXECUTIONER!

I FORGIVE HIM.

THE APOPLEXY, OR CATARRH,

OR A COUGH OF THE LUNGS WILL DO AS MUCH AS HE.

WELL, IT'S GOOD TO SEE THOU ART SO WELL-PREPARED.

[sobbing]

NOT A WHIT.

STRANGLE HER.

WHAT WOULD IT PLEASURE ME

TO HAVE MY THROAT CUT WITH DIAMONDS

OR TO BE SMOTHERED WITH THE FINEST PERFUME

OR TO BE SHOT TO DEATH WITH PEARLS.

I KNOW DEATH HATH 10,000 SEVERAL EXITS

STRANGLE HER. STRANGLE HER.

AND YOU CAN OPEN THEM MANY WAYS.

STRANGLE HER!

TELL MY BROTHERS I PERCEIVE DEATH FULLY

AND I'M FULL AWAKE.

THEY MAY SAY IN JEST

THE LAST THING TO DIE IS A WOMAN'S TONGUE

THEREFORE I SHALL SHORTLY BE SILENT.

COME SWEET NARCOTIC OFDEATH...

FINISH IT!

...HELP ME SLEEP.

STRANGLE HER!

FROM NOW ON,

ONLY DEEDS OF DARKNESS.

♪[music playing]

[maid whispering] AS HE WALKED OUT, THE ELDER MAN,

I KNEW THAT ANY DANGER TO ME HAD PASSED.

IN LEAVING,

HE CLEARLY HAD WANTED SOMETHING TO HAPPEN

BETWEEN THE YOUNGER MAN AND MYSELF.

HE LOOKED AT ME STRANGELY, HAD BEEN CONCERNED FOR ME.

WHY SHOULD THIS BE SO INTERESTING?

WHY SHOULD MY BODY BE INTERESTING TO HIM?

WHY SHOULD ANY HUMAN BODY

BE INTERESTING TO ANYONE ELSE?

I HEARD MY VOICE.

IT WAS SEVERE.

BY NOW I HAD TAKEN OFF MY BLOUSE AND MY SKIRT.

I CUPPED ONE BREAST WITH MY HAND

AND USED THE OTHER FINGERS

TO SQUEEZE AND STRETCH THE NIPPLE

AND SUDDENLY BEGAN TO FEEL SLIGHTLY DISTURBED ABOUT WHAT YOU DID.

BECUSE NOW I DIDN'T KNOW HOW TO PREPARE

FOR WHERE I WANTED IT TO GO,

TO WHICHEVER PART OF... I WANTED TO SEE HIM NAKED NOW

BEFORE I WAS NAKED.

I KNEW HE WANTED TO EMBRACE ME,

TO MAKE LOVE TO ME IN A CONVENTIONAL WAY.

AND HE WANTED LOVE AND TENDERNESS

AND ME TO BE THE WHORE ALSO.

I DIDN'T WANT THAT

SO I PUT MY HAND TO HIS FACE AND CLOSED HIS EYES

AS IF HE HAD JUST DIED.

♪[music playing]

[whispering]

THE COLOR, THE TEXTURE,

THE HEAT COMING OFF IT SO CLOSE TO MY FACE.

I TOOK IT IN MY HAND AND WAS AMAZED

AT THE FEELING OF POWER THAT IT GAVE ME.

I WAS CURIOUS

AS TO HOW IT WOULD TASTE, SUDDENLY,

AND I BROUGHT MY FACE CLOSER AND THEN CLOSER,

AND WITH MY TONGUE

I TOUCHED THE HEAD OF HIS SEX.

IT WAS SOFT, THE SKIN THERE,

AND I TOOK IT IN MY MOUTH.

I STAYED STILL,

FEELING HIM ENLARGING EVEN MORE.

THE SCENT OF THE HOTEL SOAP THAT I KNEW SO WELL

HAVING STOLEN SO MANY FOR MY MOTHER AND MYSELF...

THE SMELL WAS NOT SO PURE FROM HIS SEX.

IT WAS A DARK, SOMEWHAT DISGUSTING SMELL,

ALTHOUGH NOT REPULSIVE.

THE AIR IN THE ROOM WAS COLD AND I KNEW

THAT MY NIPPLES WERE HARD AND POINTED.

I CRAWLED AWAY FROM HIM UNTIL I COULD FEEL

THE COOL LEATHER OF AN ARMCHAIR

ON THE TOP OF MY THIGH

AND IT WENT WHEREVER I WANTED IT TO GO,

TO WHICHEVER PART OF MY BODY.

I PUT MY RIGHT LEG

ON THE SIDE OF THE ARM OF THE CHAIR

AND THEN DID THE SAME WITH THE OTHER LEG

SO NOW I WAS OPEN TO HIM.

HE RAISED HIS HEAD AND LOOKED AT ME,

LOOKED AT MY FACE,

AND THEN HIS EYES LOWERED

TO WHERE I WAS TOUCHING MYSELF.

I OPENED MYSELF AND STOOD STILL,

MOVING MY FINGERS TO PROBE AND VIOLATE MYSELF,

THE WAY HE WOULD HAVE VIOLATED ME.

THEN I ROLLED AWAY FROM HIM

UNTIL I COULD FEEL THE COOL LEATHER

OF AN ARMCHAIR ON THE BACK OF MY THIGH.

I WATCHED HIM ALL THE TIME HE WATCHED ME.

(Jonathan) HEY, BARRY.

I'M SUPPOSED TO BE MARRYING YOU.

[all chattering]

I DON'T THINK THAT'S APPROPRIATE.

DO YOU?

WHOA--WHOA.

(Jonathan) WHAT HO, GOOD SIRRAH?

[woman giggling]

[snarling]

THE CONTEST IS OVER THERE.

[all laughing]

[bells jingling]

(Jonathan) OH, VERY DRAMATIC, EVERYONE, VERY DRAMATIC.

(Boris) MAYBE WE OUGHT TO PUT HIM IN THE SHOT.

[Jonathan yelping]

PUT HIM IN A SHOT.

THERE'S SOME JERK-OFF. I'LL CALL YOU BACK.

[bells jingle]

[laughs]

[growls]

[growling]

[both growling]

[howls]

[howling]

[all howling]

TRENT, YOU HAD MENTIONED EARLIER

THAT YOU COULD FLOAT FROM ROOM TO ROOM,

THAT YOU COULD SEE

AND YOU WERE AWARE OF ALL THE THINGS THAT WAS...

SORT OF THE GOINGS-ON IN THE HOTEL,

INCLUDING YOUR OWN ROOM.

IS THAT-- IS THAT CORRECT?

LAST NIGHT, AT 7:30,

YOU WENT TO YOUR ROOM

AND YOU READ

THE SECOND ACT

OF THE DUCHESS OF MALFI.

THEN YOU HAD A PHONE CALL

FROM A FRIEND CALLED SUE

WHO LIVES IN TORONTO.

SHE TOLD YOU

THAT SHE WAS THINKING OF LEAVING HER BOYFRIEND.

YOU TOLD HER

TO DUMP JOHN.

YOU FINISHED YOUR CONVERSATION WITH HER,

THEN YOU STARTED CRYIN'.

YOU HAVE A

DONALD DUCK TATTOO

ON YOUR ASS.

IS THIS UM, SOMETHING THAT...

[Trent laughs]

IS IT SORT OF AN OLD...

IT'S A TRICK.

A TRICK. YEAH, THAT'S WHAT I THOUGHT.

♪ YOU'D LIKE ME

♪ TO BE YOUR LITTLE FIX

♪ TO BE THE REASON YOU LICK

♪ YOUR LIPS

♪ YOU KNOW YOU AND ME

♪ YOU KNOW YOU AND ME OUGHT TO KNOW BETTER ♪

♪ FATALLY GORGEOUS

♪ FEELINGS I CARE

♪ I SEE ME

♪ YOUR GLITTERING

♪ JESUS FACE

♪ FLAWLESS EYES

♪ BLINDING THE LEFT SIDE BY THE RIGHT SIDE ♪

♪ TRAILS OF SMOKE

♪ FLOWIN' OVER ME

♪ A BEAUTIFUL ANGEL

♪ GREEDILY GORGING THE FREE

♪ WILLS

♪ WHERE CAN WE GO?

♪ WHAT CAN WE DO?

♪ I FEEL

♪ MY WINGS ARE CUT