|
Kate Leopold
|
| 00:00:58 |
Time. |
| 00:01:00 |
Time, it has been proposed |
| 00:01:03 |
is the fourth dimension. |
| 00:01:06 |
And yet, for mortal man, |
| 00:01:10 |
We are like horses |
| 00:01:13 |
seeing only |
| 00:01:16 |
Hear, hear. |
| 00:01:17 |
Forever guessing the future |
| 00:01:20 |
and fabricating the past. |
| 00:01:23 |
-It's him. |
| 00:01:24 |
Brilliant. |
| 00:01:25 |
Quite right, Your Grace. |
| 00:01:27 |
How, you ask, can we lift |
| 00:01:29 |
these shackles and live-- |
| 00:01:32 |
but in the glorious expanse |
| 00:01:39 |
Listen, and I shall tell you. |
| 00:01:43 |
The secret lies in the enduring |
| 00:01:48 |
our creations! |
| 00:01:53 |
As the pyramids testify |
| 00:01:56 |
so my glorious erection |
| 00:02:00 |
our culture in perpetuity. |
| 00:02:03 |
Behold, rising before you |
| 00:02:05 |
the greatest erection |
| 00:02:10 |
The greatest erection |
| 00:02:14 |
The greatest erection |
| 00:02:23 |
Hold this. |
| 00:02:24 |
Of course. |
| 00:02:31 |
For the Herald, |
| 00:02:33 |
I understand |
| 00:02:34 |
an important announcement |
| 00:02:42 |
Good afternoon, ladies. |
| 00:02:46 |
Good afternoon. |
| 00:03:05 |
And the Perrier-Jouet |
| 00:03:07 |
-You understand? Chilled. |
| 00:03:08 |
Leopold! |
| 00:03:09 |
Leopold, where have you been? |
| 00:03:12 |
Leopold! |
| 00:03:13 |
Otis, I demand |
| 00:03:15 |
It's half past 5:00! |
| 00:03:18 |
He'll be ready, my lord. |
| 00:03:19 |
I don't want him ready. |
| 00:03:22 |
Ah, Miss Blaine. |
| 00:03:25 |
You dance like a... |
| 00:03:26 |
like a herd of cattle. |
| 00:03:29 |
You are a rare woman |
| 00:03:31 |
who lights up a room |
| 00:03:34 |
Might you be rich, |
| 00:03:36 |
You see, whilst I |
| 00:03:38 |
the little secret of those |
| 00:03:41 |
apart from our |
| 00:03:44 |
is our massive |
| 00:03:45 |
It's always been |
| 00:03:48 |
that you so thoroughly |
| 00:03:50 |
with the sound |
| 00:03:52 |
In a life as |
| 00:03:54 |
that I can amuse |
| 00:03:56 |
is an evolutionary |
| 00:04:01 |
Hmm. |
| 00:04:03 |
Please don't touch that. |
| 00:04:04 |
The device you were |
| 00:04:07 |
To take priests |
| 00:04:09 |
To take anyone, Uncle, to |
| 00:04:12 |
Buildings continue to climb. |
| 00:04:13 |
Soon they will outstrip |
| 00:04:16 |
You speak of progress |
| 00:04:19 |
Yet what I offer you |
| 00:04:21 |
Take a wife. Marry. |
| 00:04:24 |
Marriage... |
| 00:04:26 |
marriage is the promise |
| 00:04:28 |
As a man of honour, I can |
| 00:04:30 |
what I have never |
| 00:04:32 |
Born into privilege, |
| 00:04:36 |
That is your tragedy. |
| 00:04:37 |
My God! If my brother |
| 00:04:38 |
could only see you, |
| 00:04:40 |
You are no duke! |
| 00:04:41 |
Of course I'm not. |
| 00:04:42 |
The monarchy is dead, Uncle. |
| 00:04:44 |
We are relics. |
| 00:04:46 |
The new Royals are men |
| 00:04:48 |
Men like Roebling, |
| 00:04:49 |
Edison, with his lamp |
| 00:04:51 |
Diesel, Bell, Westinghouse... |
| 00:04:53 |
Those men made themselves |
| 00:04:55 |
You, on the other hand, |
| 00:04:59 |
and from it, |
| 00:05:02 |
As of tonight, |
| 00:05:08 |
Take a good look |
| 00:05:11 |
A wealthy bride |
| 00:05:32 |
Your Grace, |
| 00:05:36 |
of the Trees |
| 00:05:37 |
of the Trees |
| 00:05:39 |
Miss Tree? |
| 00:05:46 |
It's an honour to be making |
| 00:05:48 |
your royal acquaintance, |
| 00:05:56 |
Shall we? |
| 00:06:18 |
I've never been to England |
| 00:06:20 |
but father's teeth |
| 00:06:22 |
He's quite rich, your father. |
| 00:06:24 |
Oh, yes. |
| 00:07:14 |
Many dreams, all useless. |
| 00:07:28 |
Who are you? |
| 00:07:32 |
Uh... |
| 00:07:37 |
No, no, no. |
| 00:07:38 |
Okay, rela... |
| 00:07:39 |
Please, wait, no. |
| 00:07:41 |
I don't want to harm you. |
| 00:07:42 |
Stop! Please! |
| 00:07:43 |
Sir, wait! |
| 00:07:45 |
Please stop! |
| 00:07:50 |
Stop, Leopold! |
| 00:07:54 |
Pardon me. |
| 00:07:59 |
Go! Go! |
| 00:08:00 |
Ya! |
| 00:08:00 |
Ya! |
| 00:08:17 |
Ya! |
| 00:09:11 |
Stop, sir! Please! |
| 00:09:28 |
Oh, my God. |
| 00:09:43 |
No! |
| 00:09:45 |
Oh! |
| 00:09:46 |
Let go! |
| 00:09:47 |
Just let go. It's okay! |
| 00:09:52 |
You don't understand! |
| 00:09:57 |
Oh! |
| 00:10:00 |
I don't want to hurt you! |
| 00:10:02 |
Goddamn it! |
| 00:10:06 |
Whoa, whoa... |
| 00:10:14 |
Beth... |
| 00:10:17 |
What? |
| 00:10:19 |
I'm sorry. |
| 00:10:20 |
Yeah, well, you should be. |
| 00:10:23 |
It's just... |
| 00:10:26 |
If a guy like that |
| 00:10:29 |
what's left for a guy like me? |
| 00:10:30 |
Well, a guy like that |
| 00:10:33 |
but a girl like me |
| 00:10:36 |
Are you saying you love me? |
| 00:10:38 |
It's possible. |
| 00:10:39 |
Sometimes the snow |
| 00:10:44 |
Sometimes the sun |
| 00:10:49 |
I see the passion |
| 00:10:54 |
Turn it up higher. |
| 00:10:56 |
Just more. |
| 00:10:58 |
'Cause there was a time |
| 00:11:02 |
I've never felt so happy. |
| 00:11:04 |
You'd tell me this was love |
| 00:11:08 |
It's not the way I hoped |
| 00:11:10 |
Or how I planned |
| 00:11:13 |
But somehow, it's enough... |
| 00:11:17 |
If you don't know |
| 00:11:18 |
you can just leave |
| 00:11:20 |
It's really just about what |
| 00:11:23 |
Okay. Great. |
| 00:11:24 |
Okay, guy in the |
| 00:11:26 |
Two ladies |
| 00:11:27 |
I don't know, we're |
| 00:11:29 |
We'll have the numbers |
| 00:11:30 |
-Hey. |
| 00:11:31 |
So, how do you think it went? |
| 00:11:33 |
Well, if I had to guess: |
| 00:11:36 |
Why don't they love it? |
| 00:11:37 |
She's not likable. |
| 00:11:38 |
-She's right. |
| 00:11:39 |
Should do some trims where |
| 00:11:40 |
she sleeps with her boss. |
| 00:11:41 |
Cut that whole section. |
| 00:11:42 |
Excuse me... |
| 00:11:44 |
What-what are you |
| 00:11:46 |
The movie, Richard. |
| 00:11:47 |
Your movie. |
| 00:11:48 |
Oh, I'm aware of that. |
| 00:11:50 |
I think Julie is likable-- |
| 00:11:52 |
and real. |
| 00:11:53 |
What, excuse me, |
| 00:11:55 |
a mistake in your life? |
| 00:11:57 |
You've never slept |
| 00:11:58 |
I'm not the protagonist |
| 00:12:01 |
Let me tell you something. |
| 00:12:02 |
You people, with your tests |
| 00:12:03 |
you are sucking the life |
| 00:12:05 |
Shh. Richard. |
| 00:12:07 |
It's a comedy, |
| 00:12:09 |
It can be about something! |
| 00:12:13 |
"You people are sucking the life |
| 00:12:16 |
"You people are sucking the life |
| 00:12:19 |
Don't you think |
| 00:12:21 |
What? |
| 00:12:23 |
Well... don't you ever think |
| 00:12:26 |
crass, cold? |
| 00:12:27 |
Darci, we find out |
| 00:12:30 |
and we pass on their wisdom. |
| 00:12:31 |
That's what we do. |
| 00:12:32 |
Is that crass? Is that cold? |
| 00:12:35 |
We make peanut butter creamier. |
| 00:12:37 |
We make cereal crunchier, |
| 00:12:39 |
boring movies shorter. |
| 00:12:41 |
We made Smucker's get the seeds |
| 00:12:43 |
We did that. |
| 00:12:46 |
Guess it just goes |
| 00:12:47 |
that every once in a while |
| 00:12:49 |
some pompous jerk |
| 00:12:51 |
and says, |
| 00:12:52 |
"Without seeds, it's just jelly. |
| 00:12:54 |
You people are sucking the life |
| 00:12:56 |
You know what I say to him? |
| 00:12:57 |
This is what I say |
| 00:12:59 |
baby, you are one percent |
| 00:13:02 |
Your opinion is irrelevant. |
| 00:13:04 |
I went out with a visionary |
| 00:13:07 |
and I had to pay his rent |
| 00:13:10 |
and get a job |
| 00:13:11 |
Kate, Kate, come on, |
| 00:13:13 |
Yes, it is! |
| 00:13:14 |
It is about Stuart. |
| 00:13:15 |
It's about anybody |
| 00:13:17 |
I don't care if it's crass |
| 00:13:19 |
just give me the numbers, |
| 00:13:21 |
give me the truth straight up, |
| 00:14:17 |
Bart! |
| 00:14:25 |
Wait! |
| 00:14:37 |
Shit! Ow! |
| 00:14:47 |
Oh, my God. |
| 00:15:00 |
We must remember, Bart |
| 00:15:02 |
that sometimes it is okay |
| 00:15:14 |
Hello? |
| 00:15:16 |
My Palm Pilot. |
| 00:15:17 |
Kate, it's 1:00 in the morning. |
| 00:15:19 |
And clearly you're awake, |
| 00:15:21 |
Look, Kate, I don't know |
| 00:15:23 |
And I can't do this right now. |
| 00:15:45 |
Oh, Bart. |
| 00:15:46 |
Oh, I'm sorry, baby. |
| 00:15:49 |
She is not a happy person. |
| 00:15:56 |
Goddamn it! |
| 00:16:02 |
You know what, Stuart? |
| 00:16:04 |
Kate... |
| 00:16:05 |
Stuart...? |
| 00:16:06 |
Please. I've got |
| 00:16:08 |
I know. I saw her. |
| 00:16:09 |
No, you didn't. |
| 00:16:10 |
Yes, I did! |
| 00:16:12 |
It's a him, if that's |
| 00:16:14 |
So, look, now that you know |
| 00:16:16 |
I'm not getting laid, |
| 00:16:18 |
Nuh-uh, don't. Do not |
| 00:16:20 |
Don't do that. |
| 00:16:21 |
Kate, please. |
| 00:16:23 |
I beg of you. |
| 00:16:27 |
Something that validates |
| 00:16:31 |
Something that validates |
| 00:16:32 |
What could that possibly be? |
| 00:16:34 |
Are you sitting down? |
| 00:16:35 |
Yes. |
| 00:16:36 |
-No, you're not. |
| 00:16:38 |
No, you're not. |
| 00:16:39 |
Ye... |
| 00:16:42 |
Okay. |
| 00:16:46 |
I found it. |
| 00:16:48 |
What did you find? |
| 00:16:49 |
The portal. |
| 00:16:52 |
A crack in the fabric of time. |
| 00:16:54 |
It was over |
| 00:16:56 |
just where I said it would be. |
| 00:16:57 |
You found the portal? |
| 00:16:59 |
A portal into April 28th, 1876. |
| 00:17:02 |
I jumped off the Brooklyn Bridge |
| 00:17:08 |
I followed my great great |
| 00:17:12 |
Are you listening? |
| 00:17:14 |
Avidly. |
| 00:17:15 |
This here's the twist, Kate. |
| 00:17:18 |
What's the kicker? |
| 00:17:19 |
He followed me home. |
| 00:17:22 |
Your great great grandfather? |
| 00:17:24 |
Yes. |
| 00:17:24 |
The Viscount of Buffalo. |
| 00:17:25 |
No, he's not a viscount. |
| 00:17:26 |
Viscou... Duke of Buffalo. |
| 00:17:27 |
No, no, the Duke of Albany. |
| 00:17:29 |
...Albany followed you home |
| 00:17:31 |
He's a brilliant engineer. |
| 00:17:32 |
He patented |
| 00:17:33 |
He invented the elevator, |
| 00:17:35 |
You know what, Stuart? |
| 00:17:37 |
I'm not your girlfriend anymore. |
| 00:17:38 |
I haven't been |
| 00:17:39 |
You can tell me the truth. |
| 00:17:42 |
I am telling you |
| 00:17:43 |
You can tell me you went |
| 00:17:45 |
and picked up a transvestite |
| 00:17:47 |
I don't care. |
| 00:17:48 |
You know what, Kate? |
| 00:17:50 |
This is it, in a nutshell. |
| 00:17:53 |
You never-- not once-- |
| 00:17:55 |
Oh, I did, Stuart. |
| 00:17:56 |
I did, for four years. |
| 00:17:58 |
And I got burnt. |
| 00:17:59 |
Okay, you want to know |
| 00:18:02 |
I'll tell you who he is. |
| 00:18:03 |
He is a hacker. |
| 00:18:05 |
High end. English. |
| 00:18:06 |
I know him from Columbia. |
| 00:18:08 |
He's in town for the Mac Expo |
| 00:18:10 |
We went out, got a little sloppy |
| 00:18:13 |
and he passed out on my couch. |
| 00:18:15 |
And that's the truth? |
| 00:18:16 |
Mm-hmm. That's the truth. |
| 00:18:18 |
Okay? Are you happy now? |
| 00:18:19 |
Is that plausible enough |
| 00:18:20 |
for you and your little |
| 00:18:23 |
You know what, Stuart? |
| 00:18:26 |
I blew my best years on you. |
| 00:18:29 |
Those were your best? |
| 00:18:37 |
Look... |
| 00:18:39 |
I'm sorry. |
| 00:18:41 |
I have to go. |
| 00:18:42 |
You'll get your Pilot |
| 00:19:54 |
Orange alert. |
| 00:20:04 |
Oh! |
| 00:20:05 |
Otis! |
| 00:20:06 |
Otis! |
| 00:20:18 |
Bart, stop! |
| 00:20:22 |
It's okay. |
| 00:20:27 |
-It's okay. |
| 00:20:29 |
Well, um, there's not |
| 00:20:32 |
If it's a ransom you seek, |
| 00:20:34 |
Except, perhaps, for my demise. |
| 00:20:35 |
No. no. You're not |
| 00:20:38 |
Bart, quiet! |
| 00:20:39 |
I can scarcely see, |
| 00:20:40 |
My eyes feel like |
| 00:20:41 |
Steak au Poivre. |
| 00:20:42 |
So I ask you again, |
| 00:20:55 |
As far as I'm concerned, |
| 00:20:58 |
And you would have me believe |
| 00:21:00 |
that I'm being detained |
| 00:21:02 |
The time to come? |
| 00:21:03 |
Yes. |
| 00:21:04 |
Bart, quiet! |
| 00:21:05 |
And you would |
| 00:21:06 |
have me believe |
| 00:21:08 |
product of a marriage unmade. |
| 00:21:10 |
Yes. |
| 00:21:11 |
Oh, and you |
| 00:21:12 |
that you have found |
| 00:21:14 |
You, of all people, |
| 00:21:16 |
I mean, you're a scientist. |
| 00:21:17 |
You invented the elevator. |
| 00:21:18 |
What is an elevator? |
| 00:21:19 |
What the hell |
| 00:21:21 |
Where the hell am I?! |
| 00:21:22 |
I told you-- |
| 00:21:23 |
actually gone anywhere. |
| 00:21:24 |
You're still in New York. |
| 00:21:25 |
That, sir, |
| 00:21:27 |
I'm afraid it is. |
| 00:21:29 |
No, Kate. |
| 00:21:31 |
Hello. Hello there. |
| 00:21:33 |
What's your name? |
| 00:21:33 |
-Leopold. |
| 00:21:35 |
I'm having trouble |
| 00:21:37 |
How much RAM do I need |
| 00:21:41 |
Clearly, the Mac Expo is out. |
| 00:21:44 |
So you must be... |
| 00:21:46 |
a man out of time? |
| 00:21:47 |
Or Sergeant Pepper? |
| 00:21:49 |
You know what? |
| 00:21:50 |
Actually, we could use |
| 00:21:52 |
Stuart, I want |
| 00:21:53 |
I'm not... |
| 00:21:54 |
Maybe later on, Kate. |
| 00:21:55 |
I just want my Palm |
| 00:21:56 |
No. No. |
| 00:21:57 |
Hey, give me my |
| 00:21:59 |
Give it to me. |
| 00:22:00 |
This is madness. |
| 00:22:02 |
Who was that? |
| 00:22:03 |
I-I feel as if I've seen her... |
| 00:22:04 |
Women have changed |
| 00:22:06 |
They've become dangerous. |
| 00:22:09 |
It's on the landing! |
| 00:22:13 |
You say this is no kidnapping. |
| 00:22:15 |
You say you mean no harm. |
| 00:22:16 |
Then why is it, sir, |
| 00:22:21 |
I'm sorry, okay? |
| 00:22:22 |
I'm sorry about her. I'm... |
| 00:22:25 |
Look, with all due respect |
| 00:22:27 |
I can't let you just go |
| 00:22:28 |
running around free |
| 00:22:29 |
This is New York City. |
| 00:22:30 |
It's not such a safe |
| 00:22:31 |
Look at you. |
| 00:22:33 |
You look like some sort |
| 00:22:35 |
from a Renaissance |
| 00:22:36 |
I understand you |
| 00:22:38 |
but you have |
| 00:22:40 |
I'm going to get |
| 00:22:44 |
I promise. |
| 00:22:45 |
Bart! |
| 00:22:50 |
The portal opens up again |
| 00:22:52 |
I know that, because it was |
| 00:22:54 |
I didn't make it |
| 00:22:55 |
It's on a cycle, |
| 00:22:56 |
Kind of like, uh... |
| 00:22:57 |
total eclipse. |
| 00:22:59 |
Once every 20 years. |
| 00:23:01 |
Generally, |
| 00:23:03 |
Since I've met you, nothing. |
| 00:23:04 |
I can only assume |
| 00:23:07 |
brought on by agita, |
| 00:23:09 |
You're not dead. |
| 00:23:11 |
Come here. Sit down. |
| 00:23:13 |
Here. |
| 00:23:16 |
Want some milk in yours? |
| 00:23:19 |
Bart, can I just have... |
| 00:23:22 |
Sorry. He's-he's really |
| 00:23:30 |
Look here. |
| 00:23:31 |
Uh... |
| 00:23:32 |
I'd be honoured |
| 00:23:35 |
Um, I'll explain everything |
| 00:23:37 |
He's got to go out |
| 00:23:38 |
or he's going to drop |
| 00:23:40 |
Come on. Let's go. |
| 00:23:45 |
Back in five. |
| 00:23:54 |
One quick trip to Spectra, Bart |
| 00:23:56 |
and you and I will be Nobel... |
| 00:23:59 |
Laureates. |
| 00:24:07 |
Come on, Bart. |
| 00:24:10 |
Hey, let's go. |
| 00:24:11 |
-Come on. |
| 00:24:12 |
Let's go! |
| 00:24:18 |
Oh! |
| 00:24:19 |
Oh. |
| 00:24:20 |
Oh, Jesus! |
| 00:24:25 |
Good boy, Bart! |
| 00:24:27 |
Stay! |
| 00:24:29 |
Stay, Bart! |
| 00:24:31 |
Stay! |
| 00:24:33 |
Oh, Bart, please stay! |
| 00:25:12 |
Stuart |
| 00:25:13 |
you forgot |
| 00:25:17 |
Stuart... |
| 00:25:30 |
Look, this is |
| 00:25:31 |
He gave me the Palm Pilot |
| 00:25:32 |
but he forgot |
| 00:25:34 |
I've been warned about you. |
| 00:25:36 |
Oh. Really? |
| 00:25:37 |
did the great |
| 00:25:39 |
That you were dangerous, |
| 00:25:41 |
-Oh, really? |
| 00:25:44 |
I take it you're |
| 00:25:45 |
Yeah, market research. |
| 00:25:46 |
Mm. Fine avocation |
| 00:25:48 |
Perfect for the feminine mind. |
| 00:25:51 |
Huh. |
| 00:25:52 |
You're a trip, Lionel. |
| 00:25:59 |
I myself once courted |
| 00:26:03 |
Oh. |
| 00:26:05 |
Good for you. |
| 00:26:08 |
Aha! |
| 00:26:10 |
I must confess |
| 00:26:11 |
I feel as though we've met |
| 00:26:13 |
Well, Lionel, seeing as |
| 00:26:15 |
I've never met a single |
| 00:26:17 |
I'm not even sure |
| 00:26:19 |
I really don't see |
| 00:26:22 |
Oh, man! Bart! |
| 00:26:26 |
He just made Lake Erie |
| 00:26:28 |
You just can't toss a dog |
| 00:26:31 |
You can't do that. |
| 00:26:32 |
I assure you, I did not. |
| 00:26:35 |
Let's go. |
| 00:26:36 |
I beg your pardon? |
| 00:26:37 |
Come on. |
| 00:26:38 |
Let's go! |
| 00:26:40 |
Bart... |
| 00:26:43 |
Look, pal, I don't care |
| 00:26:46 |
This one's in my building. |
| 00:26:47 |
Hang-hang on a second. |
| 00:26:49 |
Sorry about the elevator, |
| 00:26:50 |
I've got them |
| 00:26:52 |
Hey, Gracy. |
| 00:26:53 |
This is Lionel, |
| 00:26:55 |
How do you do? |
| 00:26:56 |
Ten minutes? |
| 00:27:27 |
-Watch it, man. |
| 00:27:29 |
Hey, what are |
| 00:27:31 |
You need to be going |
| 00:27:32 |
There's an electron... |
| 00:27:33 |
Hello? There's |
| 00:27:35 |
I'm sorry, miss. |
| 00:27:36 |
There's a patch of grass |
| 00:27:38 |
Take him there. |
| 00:27:40 |
Can you give this |
| 00:27:42 |
It's his cable bill. |
| 00:27:55 |
They haul our furniture |
| 00:27:58 |
but this morning, from |
| 00:28:00 |
elevators have mysteriously... |
| 00:28:15 |
So sorry. |
| 00:28:16 |
Stupid! |
| 00:28:17 |
I do beg your pardon. |
| 00:28:24 |
I beg your pardon. |
| 00:28:35 |
Are you going |
| 00:28:38 |
I beg your pardon? |
| 00:28:39 |
Pick it up and put it |
| 00:28:44 |
Absolutely not. |
| 00:28:47 |
Maybe you don't understand. |
| 00:28:49 |
It's against the law |
| 00:28:52 |
Are you suggesting, madam, |
| 00:28:54 |
compelling gentlemen to lay hold |
| 00:28:57 |
I'm suggesting you |
| 00:28:59 |
and throw it away now. |
| 00:29:02 |
I refuse. Respectfully. |
| 00:29:06 |
All right. |
| 00:29:07 |
What's your name, |
| 00:29:10 |
Leopold... |
| 00:29:11 |
Alexis Elija... |
| 00:29:14 |
Walker Thomas Garrett |
| 00:29:15 |
Mountbatten. |
| 00:29:22 |
All right, Stuart. |
| 00:29:24 |
Have a nice day. |
| 00:29:30 |
I appreciate you putting in |
| 00:29:30 |
I appreciate you putting in |
| 00:29:33 |
but J.J.'s not back from London. |
| 00:29:35 |
Right. Bye. |
| 00:29:36 |
What's with the elevators? |
| 00:29:38 |
It's happening |
| 00:29:39 |
Darci. |
| 00:29:41 |
Last page. |
| 00:29:53 |
I'm sorry. |
| 00:29:54 |
Did everyone live |
| 00:29:56 |
He lost his leg to gangrene |
| 00:29:59 |
But they're together now. |
| 00:30:01 |
Wonderful. |
| 00:30:02 |
Oh, look, you got |
| 00:30:04 |
A nightmare. |
| 00:30:05 |
Okay, so who do I owe? |
| 00:30:08 |
Okay, Bobby at Hasbro. |
| 00:30:09 |
Reeves at Crunch. |
| 00:30:11 |
And the finals came in |
| 00:30:13 |
The call with |
| 00:30:14 |
The margarine thing's in 15 |
| 00:30:15 |
in the conference room |
| 00:30:16 |
and J.J. wants to talk |
| 00:30:17 |
Oh, and one more thing. |
| 00:30:19 |
I remember that you told me |
| 00:30:21 |
so I know your brother's |
| 00:30:22 |
from his retreat tomorrow |
| 00:30:24 |
and if you want something |
| 00:30:26 |
-Darci... |
| 00:30:27 |
Can you tell me |
| 00:30:29 |
Because, uh... |
| 00:30:31 |
J.J. called |
| 00:30:33 |
That is why I have a cell phone. |
| 00:30:35 |
-So you can call me... |
| 00:30:37 |
He just popped his head in here |
| 00:30:39 |
So he's back? |
| 00:30:40 |
Margo says he's going to |
| 00:30:42 |
about the merger |
| 00:30:43 |
Margo? What does she know? |
| 00:30:44 |
How does she know |
| 00:30:45 |
anything about anything? |
| 00:30:47 |
Oh. All right. So he |
| 00:30:51 |
All right, so you have to tell |
| 00:30:53 |
You have to start |
| 00:30:56 |
He said, "Tell Kate I'm going |
| 00:30:59 |
J.J. |
| 00:31:02 |
Good morning, Kate. |
| 00:31:03 |
Good morning. |
| 00:31:05 |
I'll see you in there. |
| 00:31:05 |
I'll see you in there. |
| 00:31:25 |
Good Lord, it still stands. |
| 00:31:27 |
The world has changed |
| 00:31:30 |
but Roebling's erection |
| 00:31:34 |
That, my friend, |
| 00:31:37 |
What? |
| 00:31:38 |
It's a miracle, man! |
| 00:31:40 |
It's a bridge. |
| 00:31:41 |
Tell me... |
| 00:31:42 |
when did they adapt it |
| 00:31:46 |
The fire brigade. |
| 00:32:02 |
I don't know |
| 00:32:04 |
I found him in a shaft. |
| 00:32:05 |
Stuart! |
| 00:32:07 |
Leopold, what are you doing |
| 00:32:10 |
Get back inside! |
| 00:32:13 |
One, two, three. |
| 00:32:17 |
They're taking him |
| 00:32:22 |
Fresh creamery butter. |
| 00:32:26 |
Is there anything |
| 00:32:28 |
There is |
| 00:32:29 |
and I know you will agree |
| 00:32:31 |
when you try Farmer's Bounty |
| 00:32:33 |
with the essence of real butter |
| 00:32:35 |
with the essence of real butter |
| 00:32:37 |
Your first choice. |
| 00:32:38 |
However, 45% of our demo |
| 00:32:41 |
as his key descriptor. |
| 00:32:43 |
This is what I say. |
| 00:32:44 |
Everybody should be trying |
| 00:32:46 |
Farmer's Bounty |
| 00:32:47 |
with the real, rich, creamy |
| 00:32:50 |
Try it, and you will be losing |
| 00:32:52 |
Your second choice. |
| 00:32:54 |
Unfortunately, the group found |
| 00:32:58 |
and a whopping 72% |
| 00:33:01 |
The spot rolls out in four days. |
| 00:33:05 |
What the hell |
| 00:33:06 |
We have to do |
| 00:33:07 |
Tomorrow. |
| 00:33:09 |
the response room at National |
| 00:33:11 |
then and there. |
| 00:33:16 |
Kate, are you all right? |
| 00:33:17 |
You okay? |
| 00:33:18 |
I'm fine. |
| 00:33:19 |
Geez, Kate, I'd ask |
| 00:33:22 |
Monica, I need you |
| 00:33:23 |
I need a white blouse, |
| 00:33:25 |
in Kate's office by lunch. |
| 00:33:37 |
-Oh, dear. |
| 00:33:40 |
Hi, you've reached Stuart. |
| 00:33:44 |
Please leave a message. |
| 00:33:46 |
STUART: |
| 00:33:49 |
This is Stuart, okay? |
| 00:33:50 |
Is it Bell's talking telegraph? |
| 00:33:52 |
I saw a prototype |
| 00:33:55 |
I need you to pick up |
| 00:33:57 |
You pick up the green handset, |
| 00:34:00 |
Are-are you there? |
| 00:34:02 |
-Hello? |
| 00:34:03 |
Listen, they're taking me |
| 00:34:05 |
Everything's going to be fine |
| 00:34:07 |
in the apartment, |
| 00:34:08 |
Oh, Stuart, |
| 00:34:11 |
I saw it... complete. |
| 00:34:13 |
Yes, yes, but listen to me. |
| 00:34:15 |
You can't go out again. |
| 00:34:16 |
You have to stay |
| 00:34:18 |
Stay in the apartment? |
| 00:34:20 |
Leo, I'll be back tonight. |
| 00:34:21 |
I promise-- |
| 00:34:22 |
Would you... |
| 00:34:24 |
Hel... hello? |
| 00:34:26 |
Stuart? Hello? |
| 00:34:29 |
Blast! |
| 00:34:34 |
Hello. |
| 00:34:35 |
Hello. |
| 00:34:37 |
Who are you? |
| 00:34:39 |
Hector. My mom works late |
| 00:34:41 |
so I watch TV with Stuart. |
| 00:34:45 |
Want some Pirate's Booty? |
| 00:34:49 |
J.J.: |
| 00:34:50 |
Excuse me, J.J., I wanted |
| 00:34:53 |
That was very nice. |
| 00:34:54 |
Come in, come in. |
| 00:34:56 |
Yeah. Uh-huh. |
| 00:34:58 |
Absolutely. |
| 00:34:59 |
Oh, good, good. |
| 00:35:00 |
Yeah, she's here right now. |
| 00:35:02 |
I'll tell her. |
| 00:35:03 |
Okay... okay. |
| 00:35:04 |
Bye. |
| 00:35:06 |
Sit down. |
| 00:35:08 |
That was Barry. |
| 00:35:09 |
He was thrilled |
| 00:35:10 |
at the screening |
| 00:35:11 |
Oh, good. Good. |
| 00:35:19 |
You're a rarity |
| 00:35:23 |
I'm sorry? |
| 00:35:24 |
You don't cling |
| 00:35:26 |
You don't get caught up |
| 00:35:30 |
You don't do pretty. |
| 00:35:33 |
I don't? |
| 00:35:35 |
You skew male. |
| 00:35:36 |
You're like a man. |
| 00:35:37 |
A man who understands women-- |
| 00:35:44 |
You understand them |
| 00:35:45 |
but you're not really |
| 00:35:49 |
You don't mind my |
| 00:35:52 |
No. I don't. No. |
| 00:35:55 |
Edamame? |
| 00:36:07 |
Kate? |
| 00:36:22 |
But one day, he lowered |
| 00:36:25 |
-Stu? |
| 00:36:26 |
of another kind |
| 00:36:29 |
Not money, not |
| 00:36:31 |
but a bride. |
| 00:36:32 |
Despite his being a ruffian |
| 00:36:35 |
fearless in his plunder |
| 00:36:37 |
and merciless |
| 00:36:38 |
the Pirate King |
| 00:36:42 |
You see, |
| 00:36:44 |
He never met a girl? |
| 00:36:46 |
No. Not a girl, not a lady, |
| 00:36:51 |
-So what happened? |
| 00:36:53 |
the most ridiculous thing |
| 00:36:55 |
fell in love with |
| 00:36:58 |
I had the good fortune to see |
| 00:37:00 |
at the Fifth |
| 00:37:02 |
Since when is Penzance |
| 00:37:07 |
Is it your habit, sir |
| 00:37:09 |
to simply enter a conversation |
| 00:37:10 |
to simply enter a conversation |
| 00:37:12 |
Whoa, you are deep in it. |
| 00:37:14 |
It's cool. I'm an actor, too. |
| 00:37:15 |
I'm Charlie. I live downstairs. |
| 00:37:17 |
Kate McKay, |
| 00:37:20 |
Darci, it hasn't happened. |
| 00:37:22 |
All he did |
| 00:37:24 |
was dangle a carrot. |
| 00:37:25 |
Until he makes a decision |
| 00:37:26 |
the pressure's doubled. |
| 00:37:27 |
When's he going |
| 00:37:29 |
We're having dinner tomorrow |
| 00:37:31 |
at Commune. |
| 00:37:33 |
-Kate? |
| 00:37:34 |
-I have Stuart on the line. |
| 00:37:35 |
-He says he's in the hospital. |
| 00:37:38 |
I got the number |
| 00:37:39 |
A bone guy-- |
| 00:37:41 |
so he'll check on you tomorrow. |
| 00:37:42 |
You're not listening to me, |
| 00:37:44 |
I can't be here tomorrow. |
| 00:37:45 |
I can't be here today. |
| 00:37:46 |
I have to go home now. |
| 00:37:47 |
Leopold is just sitting alone |
| 00:37:49 |
in my apartment-- God knows |
| 00:37:51 |
Do you realize |
| 00:37:53 |
Of course he did. |
| 00:37:54 |
What? No, Kate, |
| 00:37:56 |
He can't go outside! |
| 00:37:58 |
Jesus Christ, Kate. |
| 00:38:00 |
He's from 1876, Kate. |
| 00:38:02 |
He doesn't know our customs. |
| 00:38:03 |
If something were |
| 00:38:05 |
-it could be catastrophic. |
| 00:38:06 |
His mere presence has already |
| 00:38:07 |
caused an occlusion. |
| 00:38:08 |
An occlusion! |
| 00:38:10 |
If he doesn't go back on Monday |
| 00:38:12 |
I may cease to exist! |
| 00:38:15 |
I'm his descendant, Kate |
| 00:38:16 |
along with God knows |
| 00:38:17 |
If he doesn't go back |
| 00:38:19 |
he doesn't get married, |
| 00:38:20 |
and you want to know what? |
| 00:38:22 |
What happened |
| 00:38:24 |
that's going to seem |
| 00:38:26 |
Stuart! This is embarrassing. |
| 00:38:27 |
It's embarrassing now, |
| 00:38:29 |
I'm sorry that you got hurt |
| 00:38:31 |
but there happens to be a lot |
| 00:38:33 |
Someone has to keep |
| 00:38:35 |
Stuart, he's a grown man. |
| 00:38:37 |
He's a grown man. |
| 00:38:39 |
He can take care of himself. |
| 00:38:40 |
-No. Wait. Aah! |
| 00:38:42 |
Kate, please. |
| 00:38:44 |
Just take this to Spectra, okay? |
| 00:38:46 |
Get it developed. |
| 00:38:47 |
You'll see I'm telling |
| 00:38:49 |
Tell Manny it's important. |
| 00:38:50 |
You want double prints? |
| 00:38:53 |
That's not funny, Kate. |
| 00:38:54 |
That's not funny, Kate. |
| 00:38:54 |
This is not a joke. |
| 00:38:56 |
You need help, Stuart. |
| 00:38:58 |
You need help. |
| 00:39:16 |
...square of the hypotenuse |
| 00:39:19 |
I'm very good at integral |
| 00:39:21 |
I know the scientific names |
| 00:39:23 |
In short, in matters |
| 00:39:24 |
I am the very model |
| 00:39:26 |
Charlie? |
| 00:39:28 |
Hey, Kate! |
| 00:39:31 |
Can I see you downstairs |
| 00:39:34 |
I invited someone |
| 00:39:35 |
He's up there all alone. |
| 00:39:36 |
Stuart's in the hospital. |
| 00:39:37 |
I didn't think you'd |
| 00:39:39 |
No, you didn't |
| 00:39:41 |
You didn't think. |
| 00:39:42 |
You came home early, |
| 00:39:44 |
Okay, it's not actor camp |
| 00:39:45 |
and yeah, I came home |
| 00:39:47 |
There was this tai chi |
| 00:39:48 |
-stick her fingers... |
| 00:39:50 |
You immediately |
| 00:39:51 |
to my ex-boyfriend's |
| 00:39:53 |
and you invite |
| 00:39:54 |
See, that's |
| 00:39:55 |
It's not that |
| 00:39:56 |
It's that it was |
| 00:39:57 |
No, it's not about Stuart. |
| 00:39:58 |
Greetings, Kate. |
| 00:40:01 |
Charles. |
| 00:40:02 |
Hey, Leo. |
| 00:40:03 |
Be nice. |
| 00:40:26 |
So, when's Stuart |
| 00:40:28 |
Couple days, maybe a week. |
| 00:40:30 |
He promised me that he would |
| 00:40:32 |
Well, maybe he will, Leopold. |
| 00:40:34 |
He's so big on keeping |
| 00:40:45 |
May I have the next course? |
| 00:40:48 |
There is no next course. |
| 00:40:50 |
Ha. |
| 00:40:52 |
Where I come from |
| 00:40:54 |
the meal is the result |
| 00:40:57 |
Menus are prepared in advance |
| 00:40:59 |
timed to perfection. |
| 00:41:02 |
It is said, |
| 00:41:04 |
the crudeness of reality |
| 00:41:07 |
We had a saying |
| 00:41:09 |
"You shake and shake |
| 00:41:10 |
None will come, |
| 00:41:16 |
What is that? |
| 00:41:17 |
I beg your pardon? |
| 00:41:18 |
Why are you standing? |
| 00:41:19 |
I'm accustomed to stand |
| 00:41:20 |
when a lady leaves the table. |
| 00:41:31 |
Tell me, Charles |
| 00:41:32 |
when Stuart and your |
| 00:41:34 |
did you happen to read |
| 00:41:35 |
his papers on |
| 00:41:37 |
I spent the morning perusing |
| 00:41:39 |
Stuart and I were never engaged. |
| 00:41:41 |
Not even close. |
| 00:41:42 |
But I did read... |
| 00:41:44 |
Thank you. |
| 00:41:45 |
But I did read his papers |
| 00:41:46 |
however, to show support. |
| 00:41:47 |
Is Stuart still trying |
| 00:41:49 |
to make a time machine? |
| 00:41:50 |
That's the beauty of it-- |
| 00:41:52 |
no machine was necessary. |
| 00:41:53 |
All one had to do was |
| 00:41:54 |
formulae to forecast portals-- |
| 00:41:55 |
natural windows |
| 00:41:58 |
Apparently, |
| 00:42:01 |
utilizing modern... |
| 00:42:02 |
Ah! |
| 00:42:05 |
Utilizing modern theories |
| 00:42:08 |
What's a portal? |
| 00:42:10 |
An opening which exists |
| 00:42:12 |
This explains why |
| 00:42:13 |
one must jump through it |
| 00:42:14 |
in order to achieve |
| 00:42:16 |
The speed of gravity, |
| 00:42:17 |
It's quite brilliant. |
| 00:42:19 |
You are so method. |
| 00:42:20 |
You don't even break |
| 00:42:22 |
It's unbelievable! |
| 00:42:23 |
Oh, stop it, please! |
| 00:42:24 |
No more! Stop, please? |
| 00:42:25 |
I beg you. I'm tired. |
| 00:42:26 |
Can you go away? |
| 00:42:28 |
Can you go away? |
| 00:42:30 |
She's drunk, Leo. |
| 00:42:32 |
Oh, shut up, Charlie! |
| 00:42:33 |
And you, can you go upstairs? |
| 00:42:34 |
Can you go away? |
| 00:42:35 |
I am truly sorry if I have |
| 00:42:38 |
Good night, Charles. |
| 00:42:39 |
Good night, Charles. |
| 00:42:42 |
Good night, Leo. |
| 00:42:48 |
What the hell was that? |
| 00:42:50 |
He thinks he's from |
| 00:42:52 |
He thinks he's a duke. |
| 00:42:54 |
I know. |
| 00:42:55 |
No. |
| 00:42:56 |
Kate, he's in character. |
| 00:42:57 |
He is an actor. |
| 00:42:58 |
Oh, really? |
| 00:43:00 |
You know that just because |
| 00:43:02 |
someone doesn't have |
| 00:43:04 |
it doesn't mean they're not |
| 00:43:49 |
What's going on here? |
| 00:43:51 |
I think there's something wrong |
| 00:43:54 |
-thing. |
| 00:43:59 |
Give me that telephone. |
| 00:44:01 |
No. |
| 00:44:02 |
Give it to me. |
| 00:44:03 |
No, I need to... |
| 00:44:05 |
What do you expect me to do? |
| 00:44:07 |
You took away my cell phone. |
| 00:44:08 |
They're not allowed |
| 00:44:10 |
I have to make |
| 00:44:11 |
You're not going |
| 00:44:14 |
No, no, you don't understand. |
| 00:44:15 |
This is a very important |
| 00:44:16 |
I have to leave |
| 00:44:18 |
I can't be here anymore. |
| 00:44:19 |
Mr. Besser |
| 00:44:20 |
I am tired |
| 00:44:22 |
You are not going nowhere |
| 00:44:23 |
until Dr. Feinstein signs |
| 00:44:25 |
Did you ever take any |
| 00:44:28 |
You look like |
| 00:44:30 |
Ever hear of the |
| 00:44:32 |
Sounds important, doesn't it? |
| 00:44:34 |
And you want to know |
| 00:44:36 |
It's broken! Okay? |
| 00:44:38 |
And I'm the only guy |
| 00:44:40 |
So why don't you |
| 00:44:41 |
and get on your |
| 00:44:42 |
and call Dr. Feinstein... |
| 00:44:43 |
Good night, Mr. Besser. |
| 00:44:45 |
You tell him that... |
| 00:44:48 |
You tell him that I... |
| 00:44:55 |
Point the toes, |
| 00:44:57 |
Take a deep breath in |
| 00:44:59 |
and then exhale |
| 00:45:07 |
Oh, be quiet! |
| 00:45:09 |
Be quiet... oh! |
| 00:45:25 |
Bart, shut up! |
| 00:45:27 |
That thing is |
| 00:45:30 |
It's just a toaster! |
| 00:45:32 |
Well, insertion of bread |
| 00:45:35 |
produces no toast at all-- |
| 00:45:36 |
merely warm bread! |
| 00:45:37 |
Inserting the bread twice |
| 00:45:39 |
So, clearly, to |
| 00:45:40 |
it requires |
| 00:45:42 |
which is something |
| 00:45:44 |
doesn't begin to allow! |
| 00:45:45 |
One assumes |
| 00:45:47 |
that when the General |
| 00:45:49 |
he might have tried using it. |
| 00:45:50 |
One assumes the General might |
| 00:45:53 |
instead of just |
| 00:45:55 |
on an unsuspecting |
| 00:45:56 |
You know something? |
| 00:45:58 |
Nobody gives a rat's ass |
| 00:46:00 |
that you have to push |
| 00:46:03 |
You know why? |
| 00:46:04 |
Because everybody |
| 00:46:07 |
Not where I come from. |
| 00:46:09 |
Oh, because where you come from |
| 00:46:11 |
toast is the result |
| 00:46:14 |
Yes, you mock me. |
| 00:46:16 |
But perhaps one day, when you've |
| 00:46:17 |
awoken from |
| 00:46:19 |
to the scent of |
| 00:46:21 |
smothered in marmalade |
| 00:46:22 |
you'll understand that life |
| 00:46:24 |
is not solely comprised |
| 00:46:27 |
Say that again. |
| 00:46:32 |
Pardon me? |
| 00:46:35 |
-Did they start yet? |
| 00:46:37 |
Session list. |
| 00:46:38 |
Leopold, Darci. |
| 00:46:41 |
I'd like him to read. |
| 00:46:42 |
Can you tack him on |
| 00:46:44 |
And, Leopold, go with Darci. |
| 00:46:46 |
She'll take you to the greenroom |
| 00:46:47 |
I need to work out. |
| 00:46:48 |
I need a place |
| 00:46:50 |
If I could get |
| 00:46:51 |
Is he ready? |
| 00:46:53 |
Oh, my God, |
| 00:46:55 |
Let's skip this one. |
| 00:46:56 |
Mr. Duke, right here |
| 00:46:57 |
Excuse me, |
| 00:46:59 |
Just stand on |
| 00:47:00 |
Look, forget this guy. |
| 00:47:01 |
I can't waste |
| 00:47:03 |
We need to make |
| 00:47:05 |
All right, we've got |
| 00:47:06 |
Let's cut it off, Kate. |
| 00:47:08 |
That would be a mistake, J.J. |
| 00:47:10 |
Kate, the client wants |
| 00:47:13 |
We should see this last guy. |
| 00:47:14 |
It'll... Two minutes! |
| 00:47:16 |
I think he looks like |
| 00:47:19 |
Well, Phil, it's really not |
| 00:47:21 |
It's about what |
| 00:47:22 |
They've been in |
| 00:47:23 |
and now look at them. |
| 00:47:25 |
To them, this guy is a dream. |
| 00:47:29 |
He's handsome, |
| 00:47:31 |
Stands when you |
| 00:47:34 |
Brings you brioche in bed. |
| 00:47:37 |
If you eat his margarine |
| 00:47:39 |
maybe your hips |
| 00:47:41 |
and he'll come |
| 00:47:42 |
I take it this is to be |
| 00:47:45 |
as on Geronimo. |
| 00:47:46 |
Geronimo? |
| 00:47:47 |
He means Geraldo. |
| 00:47:49 |
Exactly. |
| 00:47:51 |
Okay, everyone-- |
| 00:47:53 |
And action. |
| 00:48:00 |
Start talking, bud. |
| 00:48:02 |
Fresh creamery butter. |
| 00:48:07 |
Is there anything |
| 00:48:10 |
I say there is. |
| 00:48:11 |
And perhaps you'll agree |
| 00:48:14 |
fat-free Farmer's Bounty |
| 00:48:15 |
with the genuine essence |
| 00:48:18 |
in every bite. |
| 00:48:20 |
With every mouthful |
| 00:48:22 |
you shall receive butter's |
| 00:48:26 |
without adding to the luxury |
| 00:48:28 |
Not bad, Kate. |
| 00:48:30 |
Where'd you find him? |
| 00:48:33 |
He lives in my building. |
| 00:48:35 |
Where do I sign? |
| 00:48:37 |
Right here, and here. |
| 00:48:39 |
Oh! Hi. |
| 00:48:41 |
That was |
| 00:48:42 |
Thanks, J.J. |
| 00:48:43 |
A lot to talk about |
| 00:48:46 |
Nice work, Mr. Margarine. |
| 00:48:49 |
Thank you. |
| 00:48:52 |
Outfit was |
| 00:48:58 |
Yes! Yes! Yes! Yes! |
| 00:49:03 |
Whoo! |
| 00:49:07 |
You seem pleased. |
| 00:49:09 |
Oh, you did |
| 00:49:11 |
Man! |
| 00:49:13 |
You are going to be on |
| 00:49:21 |
I take it you're dining |
| 00:49:23 |
Huh? Oh, yeah, J.J. |
| 00:49:24 |
He's my boss. |
| 00:49:25 |
You require a chaperone. |
| 00:49:28 |
His intentions are obvious. |
| 00:49:29 |
I'm alone with you. |
| 00:49:31 |
Do I need a chaperone? |
| 00:49:32 |
We're not courting, Kate. |
| 00:49:33 |
If we were, |
| 00:49:35 |
I would have informed you |
| 00:49:37 |
Oh... |
| 00:49:55 |
Good day. |
| 00:49:59 |
Hey! |
| 00:50:00 |
Kate, why don't we |
| 00:50:02 |
They're for tourists. |
| 00:50:04 |
Sorry, she doesn't |
| 00:50:06 |
Oh, hey, hello. Hello. |
| 00:50:10 |
Hey! Hey! |
| 00:50:13 |
Hey! Hey, you... |
| 00:50:16 |
Kate! |
| 00:50:17 |
Hey, you asshole! |
| 00:50:23 |
Hey! |
| 00:50:24 |
I'm going to get you! |
| 00:50:37 |
Hey! |
| 00:50:39 |
Asshole! |
| 00:50:41 |
Goddamn it. |
| 00:50:56 |
Give me your hand. |
| 00:50:58 |
What? |
| 00:50:59 |
Your hand, woman! |
| 00:51:06 |
Yah! Yah! |
| 00:51:17 |
What do you think |
| 00:51:22 |
Whoa, hey! |
| 00:51:27 |
Yah! |
| 00:51:49 |
I warn you, scoundrel |
| 00:51:51 |
I was trained to ride |
| 00:51:53 |
and schooled in weaponry |
| 00:51:54 |
You stand no chance. |
| 00:51:56 |
Where you run, I shall ride |
| 00:51:57 |
and when you stop, |
| 00:51:59 |
will be lodged in your brain. |
| 00:52:23 |
Your boyfriend's |
| 00:52:26 |
Yeah. |
| 00:52:46 |
Are you for real? |
| 00:52:48 |
Pardon me? |
| 00:52:50 |
Are you for real? |
| 00:52:53 |
I believe so. |
| 00:52:56 |
You're a duke. |
| 00:52:59 |
I was born a duke. |
| 00:53:02 |
I've never felt like one. |
| 00:53:09 |
Stay. Sit. |
| 00:53:12 |
On your feet. Stay. |
| 00:53:21 |
Stay. Good boy. |
| 00:53:30 |
I'm off to dinner. |
| 00:53:32 |
What are you two doing? |
| 00:53:33 |
I don't know. |
| 00:53:34 |
Maybe we'll watch |
| 00:53:37 |
or go out or something. |
| 00:53:38 |
Oh, thank you. |
| 00:53:40 |
Kate, may I repeat my offer |
| 00:53:43 |
No, thank you, Leopold. |
| 00:53:45 |
Charles, don't you |
| 00:53:47 |
As her brother, |
| 00:53:48 |
As her brother, I would think |
| 00:53:50 |
that my sister would invite me |
| 00:53:51 |
Could be just me, though. |
| 00:53:54 |
Seems kind, but... |
| 00:53:55 |
-Charlie. |
| 00:53:56 |
You're not exactly |
| 00:53:59 |
I can't sell butter, Kate? |
| 00:54:00 |
I don't mean to be insulting... |
| 00:54:01 |
It's insulting. I'm an actor. |
| 00:54:02 |
You don't have faith in me |
| 00:54:04 |
No. No. I'm sorry. |
| 00:54:05 |
I can do British, Kate. |
| 00:54:06 |
I'm an actor. |
| 00:54:08 |
You're a very, very good actor. |
| 00:54:09 |
-I am a good actor. |
| 00:54:10 |
Okay, fine, all right. |
| 00:54:12 |
A Victorian dude who's never |
| 00:54:15 |
Okay. |
| 00:54:17 |
Scene-- I say, |
| 00:54:19 |
in that box of phosphorous? |
| 00:54:20 |
Crikey, I believe it is! |
| 00:54:21 |
This game's more |
| 00:54:24 |
Indian: Good golly, oh, Jesus! |
| 00:54:25 |
It looks like Mike Piazza |
| 00:54:28 |
How about Canadian? |
| 00:54:29 |
Oh, right on. |
| 00:54:30 |
Right on, you like butter, huh? |
| 00:54:32 |
Yeah, what's that about? |
| 00:54:34 |
Good night. |
| 00:54:36 |
Good night. |
| 00:54:38 |
...all those people |
| 00:54:40 |
Know what they probably |
| 00:54:42 |
Some margarine! |
| 00:54:43 |
When your friend walked in |
| 00:54:45 |
I was getting a little |
| 00:54:48 |
"lf you eat his margarine, |
| 00:54:51 |
It's brilliant. |
| 00:54:53 |
You saved Phil from |
| 00:54:56 |
I knew it was the way |
| 00:54:58 |
I'm counting on that gut. |
| 00:55:00 |
Can I get a bottle |
| 00:55:02 |
and a bottle of Evian? |
| 00:55:04 |
I'll tell you one thing |
| 00:55:05 |
your friend is going to be |
| 00:55:07 |
Thanks. |
| 00:55:10 |
You're not sleeping with him, |
| 00:55:11 |
No. |
| 00:55:15 |
No. |
| 00:55:20 |
Leo. Leo, come on. Come here. |
| 00:55:22 |
How's it going, man? |
| 00:55:29 |
See the girl with |
| 00:55:32 |
That's Patrice. |
| 00:55:33 |
She's lovely. |
| 00:55:35 |
She's mine. |
| 00:55:36 |
Congratulations. |
| 00:55:47 |
Hey, everybody, |
| 00:55:49 |
Leo, this is everybody. |
| 00:55:51 |
What's up? Dennis. |
| 00:55:53 |
Shelby, Allison, Monica. |
| 00:55:55 |
And this, this is |
| 00:55:57 |
the insatiable Patrice. |
| 00:55:59 |
Hey, Charlie. |
| 00:56:00 |
Hey. |
| 00:56:01 |
How do you do? |
| 00:56:02 |
Patrice, let me |
| 00:56:04 |
Thanks. |
| 00:56:05 |
You got it? |
| 00:56:07 |
I was going to get it. |
| 00:56:13 |
Let me get that for you. |
| 00:56:17 |
There you go. |
| 00:56:20 |
You look nice tonight. |
| 00:56:22 |
Very... |
| 00:56:23 |
Like a Judy Blume book. |
| 00:56:27 |
That's good, because |
| 00:56:30 |
that body of water here |
| 00:56:32 |
No, that's a pond. |
| 00:56:33 |
The gardens |
| 00:56:35 |
They are. |
| 00:56:36 |
They're very, |
| 00:56:38 |
You'll have to come |
| 00:56:40 |
Right, right. |
| 00:56:41 |
After the merger |
| 00:56:43 |
I'm going to be stuck |
| 00:56:45 |
I'll be craving |
| 00:56:47 |
from my new top |
| 00:56:49 |
What are you saying? |
| 00:56:52 |
I'm saying you should |
| 00:56:54 |
I'll fly you over |
| 00:56:55 |
Oh, yeah, I heard that. |
| 00:56:57 |
The other part-- |
| 00:57:00 |
The part about |
| 00:57:01 |
I didn't understand that, |
| 00:57:03 |
How about catching an opera |
| 00:57:05 |
La Boheme's at the Met. |
| 00:57:08 |
Okay, so she comes back-- |
| 00:57:11 |
she comes back on stage |
| 00:57:12 |
and she starts |
| 00:57:14 |
with this turkey baster |
| 00:57:16 |
And she's screaming |
| 00:57:20 |
But no tears. |
| 00:57:22 |
Just raw human passion. |
| 00:57:24 |
Isn't Willem Dafoe |
| 00:57:26 |
Yeah, and he did this monologue |
| 00:57:28 |
all the best things in life are |
| 00:57:30 |
Like the Louvre. |
| 00:57:36 |
I'm sorry. |
| 00:57:37 |
You were saying, Charles? |
| 00:57:38 |
Just... |
| 00:57:39 |
No, what about the Louvre? |
| 00:57:41 |
Tell us what you |
| 00:57:43 |
Well, only a fraction of |
| 00:57:45 |
The rest is in |
| 00:57:47 |
You've been in the basement |
| 00:57:49 |
Oh, yes. |
| 00:57:50 |
I was an art history major |
| 00:57:52 |
Ah. |
| 00:57:53 |
And so, |
| 00:57:55 |
Well, that's where |
| 00:57:58 |
Unspoiled by dilettante. |
| 00:58:00 |
da Vinci, Michelangelo, |
| 00:58:06 |
"Allow me to assist you, |
| 00:58:08 |
"Oh, let me light that |
| 00:58:10 |
"What, this? |
| 00:58:11 |
"This is my family crest. |
| 00:58:13 |
"Been in the family for... |
| 00:58:15 |
"What do they have |
| 00:58:17 |
"Why, the works of da Vinci |
| 00:58:18 |
"Michelangelo, |
| 00:58:21 |
all surrounded by great coral |
| 00:58:26 |
Just for the record, |
| 00:58:28 |
I was in the zone |
| 00:58:30 |
and I would have |
| 00:58:32 |
if you hadn't turned |
| 00:58:34 |
into a guided tour |
| 00:58:36 |
My apologies. |
| 00:58:38 |
Let's get |
| 00:58:40 |
Patrice, she thought |
| 00:58:42 |
probably gay and cute. |
| 00:58:43 |
And cute, Leo, |
| 00:58:45 |
-Perhaps. |
| 00:58:47 |
I believe this |
| 00:58:49 |
As I see it, Patrice has not |
| 00:58:52 |
And it's no wonder. |
| 00:58:53 |
You, Charles, |
| 00:58:55 |
A what? |
| 00:58:57 |
Everything plays |
| 00:58:58 |
Women respond |
| 00:59:00 |
This requires pulling one's |
| 00:59:03 |
No one wants to be |
| 00:59:06 |
Now, that number rings her. |
| 00:59:08 |
-Yes. |
| 00:59:11 |
I can't. She gave |
| 00:59:13 |
Only because I told her |
| 00:59:17 |
Wha-What did you say? |
| 00:59:18 |
Merely that |
| 00:59:20 |
but you were hesitant |
| 00:59:22 |
since you'd been told |
| 00:59:25 |
Shit. That's good! |
| 00:59:27 |
Wha-What did she say? |
| 00:59:29 |
She handed me the napkin. |
| 00:59:33 |
Charles, it's quite late. |
| 00:59:36 |
No, no, no, |
| 00:59:38 |
I get her machine, |
| 00:59:40 |
ball's in her court. |
| 00:59:42 |
You're ladling calculation |
| 00:59:44 |
The point is, |
| 00:59:47 |
You're right. You're right. |
| 00:59:50 |
Okay. |
| 00:59:51 |
Nothing need be done |
| 00:59:53 |
Tomorrow. |
| 00:59:56 |
An overture, Charles. |
| 00:59:57 |
Make your intentions known. |
| 00:59:59 |
Think of pleasing her, |
| 01:00:02 |
No vexing. |
| 01:00:03 |
You're intoxicated. |
| 01:00:05 |
I'm sure Kate |
| 01:00:07 |
I doubt it. |
| 01:00:08 |
But it's nearly midnight. |
| 01:00:12 |
You like her, don't you? |
| 01:00:14 |
-Who? |
| 01:00:16 |
-You do! |
| 01:00:19 |
You like my sister! |
| 01:00:21 |
Well, you made your |
| 01:00:23 |
-Right? |
| 01:00:24 |
Leo, Commune... |
| 01:00:25 |
right around the corner. |
| 01:00:26 |
We could stop in, you could |
| 01:00:29 |
pull out a chair or two-- |
| 01:00:30 |
you could throw out a |
| 01:00:32 |
Yeah, see, it's one |
| 01:00:34 |
You don't give a shit. |
| 01:00:35 |
It's a whole other |
| 01:00:37 |
when it's a girl |
| 01:00:39 |
Yeah, who's the |
| 01:00:43 |
You want to vex |
| 01:00:45 |
my sister! |
| 01:00:48 |
I have to confess |
| 01:00:50 |
Um... |
| 01:00:52 |
No. Thank you. |
| 01:00:53 |
When you asked me |
| 01:00:55 |
I was under |
| 01:00:56 |
that we were here |
| 01:00:58 |
The merger. |
| 01:00:59 |
Yes. Right. Yes. |
| 01:01:01 |
And a possible promotion. |
| 01:01:03 |
Yes. |
| 01:01:04 |
Yes, that, too. |
| 01:01:06 |
And, well, dinner |
| 01:01:09 |
and we haven't |
| 01:01:11 |
anything even |
| 01:01:13 |
to what I thought |
| 01:01:15 |
I don't believe I've ever |
| 01:01:17 |
You haven't even kissed me yet. |
| 01:01:21 |
Yeah. |
| 01:01:22 |
Right. Well... |
| 01:01:24 |
I like you, J.J., I do. |
| 01:01:26 |
I like you quite a bit. |
| 01:01:27 |
Um, as a matter of fact |
| 01:01:29 |
I think you would agree |
| 01:01:31 |
a successful |
| 01:01:33 |
requires a great deal of... |
| 01:01:35 |
What exactly is our |
| 01:01:37 |
Kate... |
| 01:01:38 |
Hi, Kate! |
| 01:01:40 |
Hi, Charlie. |
| 01:01:42 |
Well... |
| 01:01:44 |
We just thought |
| 01:01:45 |
-to say hi. |
| 01:01:46 |
-J.J., right? |
| 01:01:47 |
Might I have a word with you? |
| 01:01:49 |
-Now? |
| 01:01:51 |
No! No. |
| 01:01:52 |
J.J.: |
| 01:01:56 |
Please... please join us. |
| 01:01:58 |
And where did you say it is? |
| 01:02:00 |
-In Sussex. |
| 01:02:01 |
-Yes. |
| 01:02:04 |
Early 18th century. |
| 01:02:05 |
Really? Are you quite sure? |
| 01:02:08 |
Yes. |
| 01:02:10 |
He's got pictures, Leopold. |
| 01:02:11 |
Perhaps you were swindled, |
| 01:02:13 |
as of the late |
| 01:02:15 |
there's nothing |
| 01:02:17 |
-You're mistaken. |
| 01:02:19 |
Well, it's quite possible, |
| 01:02:21 |
No, it is not. |
| 01:02:25 |
...the only manor house |
| 01:02:27 |
I know because |
| 01:02:28 |
Leopold, it wasn't... |
| 01:02:30 |
Leo, do you enjoy opera? |
| 01:02:31 |
-I do. And do you? |
| 01:02:33 |
It keeps... keeps me alive. |
| 01:02:35 |
Do you have a favourite? |
| 01:02:37 |
Boheme. La Boheme. |
| 01:02:39 |
- La Boheme. |
| 01:02:40 |
That's... that's how |
| 01:02:43 |
You speak French? |
| 01:02:44 |
Fluently. |
| 01:02:46 |
Oh. |
| 01:02:47 |
Ah. Que ton visage |
| 01:02:50 |
entoure par la lumiere |
| 01:02:54 |
What did he say? |
| 01:03:01 |
"How sweet your face looks |
| 01:03:02 |
gently encircled |
| 01:03:06 |
Oh, I like that. |
| 01:03:08 |
From the opening scene |
| 01:03:09 |
A stunning duet. |
| 01:03:11 |
Andre sings it to Mimi. |
| 01:03:13 |
Andre... |
| 01:03:14 |
I invited Kate |
| 01:03:16 |
She's never been. |
| 01:03:17 |
Patrone is singing Andre, |
| 01:03:20 |
Can you explain that, Leopold? |
| 01:03:23 |
Well... La Boheme is one |
| 01:03:27 |
and should not be missed. |
| 01:03:29 |
But perhaps Kate resists |
| 01:03:32 |
How so? |
| 01:03:34 |
Should we get the check? |
| 01:03:35 |
Well, some feel that |
| 01:03:38 |
is nothing more than |
| 01:03:40 |
to transform a lady to a whore. |
| 01:03:45 |
Oh. |
| 01:03:47 |
J.J. |
| 01:03:52 |
This guy's charming, Kate. |
| 01:03:55 |
The Duke of Margarine |
| 01:03:57 |
No, he doesn't. |
| 01:03:59 |
No, not a serpent. |
| 01:04:00 |
That's too grand a word. |
| 01:04:02 |
Simply a braggart and a cad |
| 01:04:03 |
who knows less French than l, |
| 01:04:07 |
And by the way |
| 01:04:10 |
there's no Andre in |
| 01:04:13 |
And though it takes place |
| 01:04:14 |
it's rarely played in French, |
| 01:04:17 |
Good night. |
| 01:04:27 |
Sorry. |
| 01:04:38 |
Kate, might I have |
| 01:05:35 |
-Morning. |
| 01:05:38 |
-You want some coffee? |
| 01:05:41 |
You want to read... |
| 01:05:43 |
No, thank you, Charlie. |
| 01:05:44 |
I want to go to work |
| 01:05:45 |
and try and clean up |
| 01:05:48 |
You sure you don't... |
| 01:05:50 |
Uh... |
| 01:05:57 |
Kate... |
| 01:05:59 |
Uh, Kate! |
| 01:06:00 |
-What? |
| 01:06:02 |
maybe you'd want a-a kiwi |
| 01:06:05 |
That's a papaya, Charlie. |
| 01:06:06 |
Oh. |
| 01:06:08 |
You're right. Okay. |
| 01:06:12 |
BOB: |
| 01:06:14 |
80% found the product |
| 01:06:18 |
effective. |
| 01:06:20 |
This, of course, presents |
| 01:06:21 |
a conundrum for us marketeers. |
| 01:06:23 |
How do we maintain a soft feel |
| 01:06:28 |
of a plastic wrap or pack |
| 01:06:32 |
the useful tensile strength |
| 01:06:34 |
Now, I'm going to suggest |
| 01:06:37 |
to scale back to a limited |
| 01:06:40 |
in the mid-Atlantic states, |
| 01:06:43 |
on the basis of extensive... |
| 01:06:49 |
Dearest Katherine... |
| 01:06:51 |
I behaved as an imbecile |
| 01:06:53 |
animated in part by drink, |
| 01:06:58 |
and in part |
| 01:07:01 |
And for that |
| 01:07:03 |
Please accept |
| 01:07:05 |
a private dinner on the rooftop |
| 01:07:11 |
Okay, where are we |
| 01:07:14 |
Kate? |
| 01:07:16 |
Care to share with us? |
| 01:07:19 |
Farmer's Bounty? |
| 01:07:21 |
Where we are. |
| 01:07:23 |
Where we are is good. |
| 01:07:25 |
Um, as you know, we |
| 01:07:28 |
The response room final showed |
| 01:07:32 |
His key female descriptors... |
| 01:07:35 |
were "handsome," "romantic" |
| 01:07:37 |
with several write-ins |
| 01:07:39 |
with several write-ins |
| 01:07:43 |
Great. |
| 01:07:49 |
Would you hold this? |
| 01:07:50 |
J.J.? |
| 01:07:51 |
J.J., hi. |
| 01:07:52 |
Um, listen, I just want |
| 01:07:55 |
for what happened |
| 01:07:56 |
There was no need |
| 01:08:00 |
I appreciate that. |
| 01:08:01 |
So... everything's okay? |
| 01:08:04 |
Yes, Kate. |
| 01:08:08 |
STUART: |
| 01:08:10 |
There's a difference-- |
| 01:08:12 |
a subtle difference, |
| 01:08:14 |
Why did you fall down there? |
| 01:08:15 |
Because there was no elevator. |
| 01:08:17 |
And you feel |
| 01:08:18 |
Look, if you brought your |
| 01:08:20 |
forward in time before |
| 01:08:22 |
to invent the elevator |
| 01:08:24 |
it stands to reason that nature |
| 01:08:27 |
and the elevator and you |
| 01:08:30 |
But, clearly, you do exist. |
| 01:08:32 |
You know what, I'm sorry. |
| 01:08:34 |
I can see that you |
| 01:08:37 |
and I'm sure there are |
| 01:08:40 |
for your particular |
| 01:08:42 |
Unfortunately, |
| 01:08:43 |
So if you don't mind, would you |
| 01:08:45 |
I'm concerned you might be |
| 01:08:48 |
And in such cases |
| 01:08:50 |
-Hello?! |
| 01:08:53 |
Will someone please |
| 01:08:59 |
Everything all right, |
| 01:09:02 |
Yes, Gretchen. |
| 01:09:06 |
Stuart, I'm going |
| 01:09:07 |
Stuart, I'm going |
| 01:09:07 |
something called Prolixin. |
| 01:09:10 |
It's a mild |
| 01:09:12 |
Nothing too strong. |
| 01:09:14 |
"l was wondering... |
| 01:09:17 |
"l was wondering if you |
| 01:09:22 |
"lf you've already been |
| 01:09:24 |
I understand." |
| 01:09:27 |
Tonight at 7:00, 7:30. |
| 01:09:29 |
Please don't be late. |
| 01:09:33 |
I got to talk to you |
| 01:09:34 |
'Cause there's some shit here |
| 01:09:37 |
Did you assemble |
| 01:09:39 |
Look, you just can't |
| 01:09:41 |
"gracefully serene." |
| 01:09:42 |
No, no, this will not do. |
| 01:09:43 |
Wha... Why? |
| 01:09:45 |
What is wrong |
| 01:09:47 |
The orange lily |
| 01:09:49 |
The begonia and lavender |
| 01:09:50 |
danger and suspicion, |
| 01:09:52 |
Every flower has |
| 01:09:55 |
Might I suggest the amaryllis, |
| 01:09:59 |
a most splendid beauty. |
| 01:10:01 |
Or the cabbage rose. |
| 01:10:08 |
Darci! |
| 01:10:12 |
Hmm? |
| 01:10:13 |
-What is this? |
| 01:10:15 |
-to Leopold's invitation. |
| 01:10:17 |
You're going, right? |
| 01:10:19 |
I haven't decided yet. |
| 01:10:20 |
Oh, you haven't decided |
| 01:10:21 |
if you want to have dinner |
| 01:10:22 |
on your rooftop with a duke? |
| 01:10:24 |
Who thinks he's from 1876! |
| 01:10:27 |
No! And I would |
| 01:10:28 |
Kate, come on, okay? |
| 01:10:30 |
I don't know what this guy did |
| 01:10:32 |
but that is |
| 01:10:33 |
in the history of mankind. |
| 01:10:35 |
-Just sign it, Kate. |
| 01:10:37 |
It's 4:30. |
| 01:10:40 |
Kate McKay's office. |
| 01:10:42 |
They hung up. |
| 01:10:46 |
Hi. Is Patrice there? |
| 01:10:49 |
Hey, Patrice? |
| 01:10:51 |
Hi. It's me, Charlie. |
| 01:10:55 |
Hey, Charlie. |
| 01:10:57 |
I was just calling to find out |
| 01:10:58 |
if you got my flowers-- |
| 01:11:01 |
I was calling to see if you got |
| 01:11:04 |
Yeah, I did. |
| 01:11:05 |
And I was just wondering |
| 01:11:07 |
if you would like to go |
| 01:11:09 |
and maybe |
| 01:11:10 |
accompany me to dinner? |
| 01:11:12 |
I mean, l... |
| 01:11:14 |
I understand completely |
| 01:11:17 |
But, uh, you know, |
| 01:11:21 |
Yeah? |
| 01:11:25 |
I wanted to say |
| 01:11:31 |
you've made an impression on me. |
| 01:11:36 |
And-and it-it's not |
| 01:11:38 |
I mean, which are great. |
| 01:11:39 |
Your looks are, |
| 01:11:41 |
But, uh... |
| 01:11:46 |
I don't know, it's, um... |
| 01:11:49 |
What? |
| 01:11:51 |
You're graceful. |
| 01:11:56 |
You know, the way you move |
| 01:12:01 |
I mean, some people have a way |
| 01:12:03 |
and, you know, you... you do. |
| 01:12:08 |
The bottom line is, I like you. |
| 01:12:15 |
Patrice? |
| 01:12:18 |
What about 7:00? |
| 01:12:21 |
7:00? |
| 01:12:23 |
7:00 would be heaven. |
| 01:12:26 |
See you then. |
| 01:12:27 |
It worked! |
| 01:12:29 |
It worked! Oh! Who's going out |
| 01:12:31 |
Charlie's going out |
| 01:12:33 |
Charlie's going over there. |
| 01:12:34 |
Oh, better go get ready. |
| 01:12:36 |
Better go get changed. |
| 01:12:37 |
Shouldn't change |
| 01:12:39 |
'cause she likes me |
| 01:12:47 |
Oh. |
| 01:12:48 |
Hey. |
| 01:12:49 |
Charlie, you look fantastic. |
| 01:12:51 |
-Yeah? |
| 01:12:52 |
I got a date. |
| 01:12:54 |
I got to go. Bye. |
| 01:12:56 |
Bye. |
| 01:13:01 |
Kate? |
| 01:13:02 |
Yeah? |
| 01:13:03 |
Um, have a good time tonight. |
| 01:13:07 |
Bye. |
| 01:13:53 |
My God. |
| 01:13:58 |
This is beautiful. |
| 01:13:59 |
The very word for which |
| 01:14:05 |
May I? |
| 01:14:24 |
She was a real romantic, my mom. |
| 01:14:26 |
When Prince Charles and Lady Di |
| 01:14:31 |
She made crumpets and jam. |
| 01:14:32 |
It was like a Super Bowl party, |
| 01:14:35 |
She cried for a week. |
| 01:14:37 |
I don't know the story |
| 01:14:38 |
of Prince Charles |
| 01:14:40 |
Oh, you don't want to. |
| 01:14:42 |
It's a cautionary tale. |
| 01:14:44 |
Of what? |
| 01:14:45 |
You can't live a fairy tale. |
| 01:15:05 |
I'm not very good with men. |
| 01:15:08 |
Perhaps you haven't found |
| 01:15:17 |
Maybe. |
| 01:15:18 |
Or, uh, maybe |
| 01:15:20 |
is just a grown-up version |
| 01:15:23 |
just a myth we've been fed |
| 01:15:26 |
so we keep buying magazines |
| 01:15:29 |
and doing therapy |
| 01:15:31 |
and watching movies |
| 01:15:34 |
played over love montages |
| 01:15:36 |
all in this pathetic attempt |
| 01:15:39 |
keeps getting caught |
| 01:15:44 |
Otis always told me |
| 01:15:48 |
Lamentably, |
| 01:15:51 |
By my 30th birthday, |
| 01:15:55 |
become a blemish |
| 01:15:58 |
So he brought me to this country |
| 01:16:01 |
with the proviso |
| 01:16:03 |
A girl |
| 01:16:06 |
Charm? |
| 01:16:08 |
Money. Since my parents died |
| 01:16:10 |
our family fortune had become, |
| 01:16:13 |
I would be married now |
| 01:16:17 |
I was to announce a bride |
| 01:16:19 |
Who? |
| 01:16:26 |
I don't know. |
| 01:16:29 |
Someone. |
| 01:16:31 |
One of them. |
| 01:16:44 |
What are you doing? |
| 01:16:45 |
I'm just cleaning up. |
| 01:16:48 |
Would you do me the |
| 01:16:52 |
Please? |
| 01:17:21 |
I am not much of a dancer. |
| 01:17:23 |
You're doing famously, then. |
| 01:17:42 |
Leopold, this was lovely. |
| 01:17:46 |
But I don't know |
| 01:17:49 |
even if I am inspired. |
| 01:17:54 |
People might think I'm |
| 01:17:57 |
The brave are simply those |
| 01:18:00 |
of what is before them. |
| 01:18:01 |
Glory and danger alike |
| 01:18:03 |
and notwithstanding, |
| 01:18:24 |
Hey. |
| 01:18:26 |
Morning, Charles. |
| 01:18:28 |
How was your evening |
| 01:18:30 |
Good. Nice. |
| 01:18:34 |
How was yours? |
| 01:18:35 |
Good. Nice. |
| 01:18:51 |
So, Leo, don't you think it's |
| 01:18:55 |
What do you mean? |
| 01:18:56 |
I mean... |
| 01:18:58 |
it's a blast doing |
| 01:19:01 |
but I don't want to see Kate |
| 01:19:05 |
I know she seems |
| 01:19:07 |
but she hasn't |
| 01:19:09 |
She's always getting |
| 01:19:11 |
who don't hold up their end. |
| 01:19:12 |
Like me. I just don't... |
| 01:19:15 |
I understand, Charles. |
| 01:19:18 |
You do? |
| 01:19:19 |
Yes. |
| 01:19:20 |
So... who are you? |
| 01:19:27 |
I am the man |
| 01:19:38 |
Okay, door's open. |
| 01:19:39 |
Shut the lid. |
| 01:19:42 |
Push the drawers in. |
| 01:19:43 |
Close the door, and |
| 01:19:46 |
A word to the wise: |
| 01:19:47 |
Don't press that |
| 01:19:50 |
So she sees you doing it. |
| 01:19:52 |
Oh, clever. |
| 01:19:53 |
The proverbial |
| 01:19:56 |
If a man washes a dish |
| 01:19:58 |
Did it happen? |
| 01:19:59 |
Right. |
| 01:20:11 |
A cup of coffee, my dear. |
| 01:20:13 |
Thank you. |
| 01:20:18 |
Breakfast? |
| 01:20:25 |
Nine-grain toast |
| 01:20:28 |
and mascarpone, madame. |
| 01:20:30 |
It's apparently low |
| 01:20:46 |
It's really good. |
| 01:20:50 |
It's good. |
| 01:20:55 |
What should we do today? |
| 01:21:03 |
Oh no, no, no, |
| 01:21:06 |
Thank you. No. |
| 01:21:10 |
You know what |
| 01:21:12 |
You don't look |
| 01:21:13 |
They're so completely |
| 01:21:32 |
Kate. |
| 01:21:35 |
Kate, Kate, come. |
| 01:21:40 |
Leopold? Leopold? |
| 01:21:43 |
Hey, what are you doing? |
| 01:21:45 |
It boggles the mind |
| 01:21:47 |
This is my uncle's home. |
| 01:21:48 |
Well, was. |
| 01:21:49 |
This is where I lived. |
| 01:21:51 |
A portrait of my parents... |
| 01:21:55 |
Uh... uh, Leopold? |
| 01:21:59 |
Look, I just don't think |
| 01:22:01 |
that we should just be barging |
| 01:22:05 |
Leopold? |
| 01:22:19 |
My old quarters. |
| 01:22:31 |
What are you doing? |
| 01:22:35 |
Hey. |
| 01:22:42 |
The place where I put |
| 01:22:48 |
Hmm. |
| 01:22:50 |
Things I didn't want |
| 01:23:03 |
My mother's ring. |
| 01:23:06 |
Oh, it's beautiful. |
| 01:23:18 |
You know, |
| 01:23:20 |
connected to everything |
| 01:23:24 |
and I never cross them. |
| 01:23:28 |
I've lived here |
| 01:23:30 |
and I've never been |
| 01:23:34 |
You've never travelled? |
| 01:23:36 |
No. |
| 01:23:50 |
Do you... |
| 01:23:52 |
What? |
| 01:23:56 |
Do you miss where |
| 01:24:06 |
In a way, l... |
| 01:24:09 |
I miss... |
| 01:24:15 |
It was slower? |
| 01:24:17 |
Quite a bit slower. |
| 01:24:19 |
Like today? |
| 01:24:20 |
Yes. |
| 01:24:28 |
Wherever you're going, |
| 01:24:34 |
Do you hear that, Leopold? |
| 01:24:36 |
-Do you hear that music? |
| 01:24:37 |
Have you ever seen the movie |
| 01:24:40 |
Breakfast a Tiffany's? |
| 01:24:41 |
Uh, no. |
| 01:24:42 |
"No." |
| 01:24:45 |
Not yet. |
| 01:24:47 |
You see that guy down |
| 01:24:50 |
Mm-hmm. |
| 01:24:51 |
He listens to the soundtrack |
| 01:24:53 |
of Breakfast at Tiffany's |
| 01:24:56 |
until exactly midnight. |
| 01:24:58 |
And then he |
| 01:25:01 |
goes to sleep. |
| 01:25:03 |
My huckleberry friend |
| 01:25:07 |
Moon River and me. |
| 01:25:25 |
Oh, that means |
| 01:25:27 |
Oh, I don't want |
| 01:25:29 |
I want more of this. |
| 01:25:32 |
More 1876. |
| 01:25:33 |
But, Kate, you don't |
| 01:25:37 |
We can have more. |
| 01:25:39 |
Well, oh, no, |
| 01:25:42 |
the day I work, so... |
| 01:25:44 |
it gets poisoned. |
| 01:25:47 |
I see. |
| 01:25:50 |
Besides, tomorrow |
| 01:25:52 |
we shoot |
| 01:26:06 |
Kate. |
| 01:26:07 |
Hmm? |
| 01:26:09 |
Would you...? |
| 01:26:13 |
Might you ever... consider...? |
| 01:26:18 |
Hmm? |
| 01:26:28 |
It's time for bed. |
| 01:26:34 |
Oh. |
| 01:26:38 |
I'm so relaxed. |
| 01:26:40 |
That's all right. |
| 01:27:00 |
Oh... |
| 01:27:01 |
You're tucking me in. |
| 01:27:03 |
Yes. |
| 01:27:05 |
Huh, you're my Otis. |
| 01:27:08 |
Yes, Your Grace. |
| 01:27:15 |
Oh, wait. |
| 01:27:17 |
Hey, hey, don't... |
| 01:27:20 |
Stay. |
| 01:28:05 |
I love you, Kate McKay. |
| 01:28:19 |
Scone, Your Grace? |
| 01:28:22 |
Ah, thank you, Millard. |
| 01:28:23 |
And you brought |
| 01:28:26 |
But of course. |
| 01:28:28 |
Ah! |
| 01:28:30 |
Fresh creamery butter. |
| 01:28:32 |
Is there anything more |
| 01:28:34 |
I say there is |
| 01:28:36 |
and perhaps you'll agree |
| 01:28:38 |
when you sample fat-free |
| 01:28:41 |
with the genuine essence |
| 01:28:45 |
in every bite. |
| 01:28:46 |
With every mouthful |
| 01:28:49 |
you shall receive butter's |
| 01:28:51 |
in your mouth |
| 01:28:52 |
without adding to the luxury |
| 01:28:55 |
-Farmer's Bounty. |
| 01:28:57 |
Now, on this one |
| 01:28:58 |
take a bite and smile. |
| 01:29:04 |
And... cut! |
| 01:29:05 |
All right, check gate. |
| 01:29:06 |
-Good enough for me. |
| 01:29:08 |
Can we get a Dedo up here |
| 01:29:10 |
Oh, excuse me. |
| 01:29:12 |
Excuse me. Is this an actual |
| 01:29:16 |
Yeah. Why? |
| 01:29:17 |
This tastes like saddle soap. |
| 01:29:19 |
Well, that's not really |
| 01:29:21 |
Not my concern? |
| 01:29:22 |
This product tastes |
| 01:29:25 |
How is that not my concern? |
| 01:29:26 |
Hey, pal, it's a paycheck! |
| 01:29:28 |
-Wait a minute. |
| 01:29:29 |
A... This is an outrage! |
| 01:29:30 |
Don't worry |
| 01:29:32 |
Come back. |
| 01:29:34 |
Something that brings |
| 01:29:42 |
Leopold. |
| 01:29:44 |
Leopold! |
| 01:29:45 |
Hey! Leopold, |
| 01:29:47 |
What are you doing? |
| 01:29:48 |
They-they need you |
| 01:29:50 |
Do they? |
| 01:29:51 |
Yeah. They have to shoot |
| 01:29:54 |
They're not finished yet. |
| 01:29:56 |
Well, I want |
| 01:29:57 |
Why? |
| 01:29:59 |
Have you tasted it? |
| 01:30:00 |
Farmer's Bounty? |
| 01:30:01 |
Yes, Farmer's Bounty. |
| 01:30:03 |
Yeah, I've tasted it. |
| 01:30:04 |
It's revolting. |
| 01:30:05 |
I know. |
| 01:30:07 |
You know it's revolting |
| 01:30:09 |
yet you have no qualms |
| 01:30:11 |
It's diet; |
| 01:30:13 |
I mean, what is the problem? |
| 01:30:15 |
The problem is |
| 01:30:17 |
beyond my affection for you |
| 01:30:18 |
I find myself peddling pond scum |
| 01:30:21 |
Hey, listen, you know |
| 01:30:22 |
the stakes are very high |
| 01:30:24 |
You can't just quit because... |
| 01:30:25 |
Yes, I can, and so can you. |
| 01:30:27 |
When one finds oneself |
| 01:30:28 |
in an endeavour entirely |
| 01:30:32 |
No. No. Because sometimes |
| 01:30:33 |
you have to do things |
| 01:30:35 |
Sometimes you have to suck it up |
| 01:30:38 |
It's part of life. |
| 01:30:39 |
You sound like my uncle. |
| 01:30:42 |
Look, Leopold, |
| 01:30:44 |
a very important |
| 01:30:46 |
If you don't go |
| 01:30:47 |
then I get into |
| 01:30:49 |
Is this what you do |
| 01:30:51 |
Research methods |
| 01:30:54 |
Refine lies until |
| 01:30:57 |
It's no wonder |
| 01:30:58 |
Oh! Man, I don't |
| 01:31:00 |
What has happened |
| 01:31:02 |
You have every convenience, |
| 01:31:05 |
yet no time for integrity. |
| 01:31:07 |
No. What I don't have time for |
| 01:31:10 |
by 200-year-old men |
| 01:31:11 |
who've never had to work |
| 01:31:13 |
You have no idea |
| 01:31:15 |
And you-you have no idea |
| 01:31:18 |
I haven't had all that many |
| 01:31:21 |
Leopold, because I've been |
| 01:31:25 |
and I'm tired, and I need a rest |
| 01:31:27 |
and if I have to peddle |
| 01:31:28 |
a little pond scum to get one |
| 01:31:30 |
then so be it. |
| 01:31:36 |
Very well. |
| 01:31:46 |
We're kidding ourselves, |
| 01:31:50 |
In point of fact |
| 01:31:51 |
I don't even really know |
| 01:31:57 |
You still don't believe |
| 01:32:02 |
We had a great weekend; |
| 01:32:05 |
And now it's Sunday. |
| 01:32:06 |
It's over. |
| 01:32:28 |
There's such a lot of world |
| 01:33:25 |
I know. |
| 01:33:28 |
I know, I know, |
| 01:33:31 |
talking about... finding a crack |
| 01:33:40 |
But in, in point, |
| 01:33:44 |
you know... |
| 01:33:46 |
it is no more crazy than, uh, |
| 01:33:53 |
Dogs are colour-blind, Gretchen. |
| 01:33:56 |
They don't see colour. |
| 01:33:58 |
Really? |
| 01:34:00 |
Just like we can't see time. |
| 01:34:01 |
We can feel it. |
| 01:34:02 |
Oh... we can feel it passing |
| 01:34:04 |
but, uh, we can't see it; |
| 01:34:07 |
It's like, uh... |
| 01:34:11 |
it's like we're riding |
| 01:34:15 |
and the world is |
| 01:34:17 |
But imagine if we could stop |
| 01:34:22 |
Imagine if we could stop |
| 01:34:24 |
get out, look around |
| 01:34:26 |
and see time |
| 01:34:29 |
A universe, a world |
| 01:34:33 |
a thing as unimaginable |
| 01:34:37 |
And as real and tangible |
| 01:34:44 |
Now, if we could see it |
| 01:34:47 |
I mean, really look at it |
| 01:34:49 |
then... maybe we could see |
| 01:34:59 |
And that's it. |
| 01:35:01 |
It's that simple. |
| 01:35:02 |
That's all I discovered. |
| 01:35:04 |
I'm just a... |
| 01:35:06 |
just a guy who saw a crack |
| 01:35:10 |
that no one else could see. |
| 01:35:13 |
I'm that dog |
| 01:35:17 |
Only, uh... |
| 01:35:23 |
none of the other dogs |
| 01:35:29 |
I believe you. |
| 01:36:13 |
I can see that some things have |
| 01:36:20 |
But... |
| 01:36:24 |
you have to go back. |
| 01:36:52 |
You understand |
| 01:36:54 |
to the same day |
| 01:36:56 |
Yes. |
| 01:36:57 |
So you understand |
| 01:36:59 |
you might be repeating |
| 01:37:01 |
You might even see me. |
| 01:37:02 |
Just don't follow me |
| 01:37:09 |
Can I go in? |
| 01:37:14 |
J.J., you asked to see me? |
| 01:37:17 |
Come on in. |
| 01:37:22 |
I understand you, uh, |
| 01:37:24 |
at the shoot yesterday. |
| 01:37:25 |
Guess Mr. Duke's got a bit |
| 01:37:27 |
Yeah. |
| 01:37:31 |
I'm going to England |
| 01:37:32 |
and I made a decision. |
| 01:37:34 |
Mm-hmm. |
| 01:37:35 |
You're going to be |
| 01:37:38 |
So, this is going |
| 01:37:42 |
I'll be making it official |
| 01:37:47 |
Thank you, J.J. |
| 01:37:48 |
Thank you. |
| 01:37:49 |
You've earned it. |
| 01:37:51 |
I'm heading over |
| 01:37:54 |
the buy-out papers, |
| 01:37:56 |
So I'll see you later |
| 01:37:59 |
-What did he say? |
| 01:38:02 |
Oh, my God, |
| 01:38:03 |
Just give me one second, |
| 01:38:04 |
I'm sorry, Darci. One second. |
| 01:38:09 |
Hi. You've reached Stuart. |
| 01:38:11 |
Please leave a message. |
| 01:38:13 |
Hello? |
| 01:38:15 |
Leopold, l-I don't know |
| 01:38:17 |
but if you're there, |
| 01:38:20 |
I got it. |
| 01:38:23 |
I got the job. |
| 01:38:26 |
I'm the new |
| 01:38:28 |
at CRG. |
| 01:38:30 |
Uh, please call me. |
| 01:38:32 |
I, um... I'm sorry about the way |
| 01:38:36 |
I apologize. |
| 01:38:37 |
I, uh... I just really |
| 01:38:39 |
I'd love to see you tonight |
| 01:38:40 |
but I have this thing |
| 01:38:43 |
But I'd love to see you later. |
| 01:38:44 |
I miss you. |
| 01:38:47 |
I miss you. |
| 01:38:51 |
Hey, Stuart. |
| 01:38:53 |
How you feeling? |
| 01:39:02 |
Where's Leo? |
| 01:39:04 |
He went home. |
| 01:39:36 |
He was for real. |
| 01:39:40 |
He was for real. |
| 01:39:53 |
Holy shit! |
| 01:39:56 |
Look at this! |
| 01:40:08 |
Oh, my God. |
| 01:40:16 |
Chilled, do you understand? |
| 01:40:18 |
And be sure to leave another |
| 01:40:21 |
Yes, sir. |
| 01:40:22 |
Leopold! |
| 01:40:23 |
Leopold! |
| 01:40:24 |
Where have you been?! |
| 01:40:26 |
Otis, I demand explication! |
| 01:40:28 |
It's half past 5:00! |
| 01:40:29 |
He's not even dressed! |
| 01:40:30 |
He'll be ready, my lord, |
| 01:40:32 |
I don't want him ready. |
| 01:40:33 |
I want him resplendent! |
| 01:40:34 |
Here's the invitation. |
| 01:40:36 |
You've got your table number, |
| 01:40:37 |
and I've got Morty down there-- |
| 01:40:39 |
He's on the Madison side. |
| 01:40:40 |
Also, your phone sheet |
| 01:40:42 |
And Stuart called |
| 01:40:43 |
So, have a great |
| 01:40:45 |
You look beautiful. |
| 01:41:23 |
I don't think this is right. |
| 01:41:24 |
I'm supposed to be |
| 01:41:27 |
That's where we are, |
| 01:41:31 |
Have a nice evening. |
| 01:41:33 |
Hi. |
| 01:41:34 |
Hello. |
| 01:41:35 |
Invitation, please. |
| 01:41:36 |
Yes. |
| 01:41:43 |
They're still plugs. |
| 01:41:45 |
They're just randomly seeded |
| 01:41:47 |
No cornrows. |
| 01:41:48 |
Excuse me. |
| 01:41:49 |
Hey, Kate. |
| 01:41:50 |
Congratulations. |
| 01:41:51 |
Thank you. |
| 01:41:52 |
The hell with facelifts. |
| 01:41:54 |
I'm into mini-lifts now. |
| 01:41:55 |
Just a tiny little bit |
| 01:41:57 |
I hear they're bringing |
| 01:41:59 |
So I'm just running |
| 01:42:00 |
-Kate, congratulations. |
| 01:42:02 |
Hey, Kate. |
| 01:42:04 |
-Congratulations. |
| 01:42:05 |
Thank you. |
| 01:42:07 |
Anyway, I'm just glad |
| 01:42:10 |
I was going to move my office |
| 01:42:13 |
Excuse me. |
| 01:42:15 |
Kate, don't powder |
| 01:42:18 |
I'm going to |
| 01:42:20 |
in a couple minutes. |
| 01:42:21 |
Okay. |
| 01:42:25 |
All this time I thought |
| 01:42:28 |
and it had to be untwisted. |
| 01:42:29 |
But what I never considered |
| 01:42:31 |
is that the whole thing |
| 01:42:33 |
A beautiful 4D pretzel |
| 01:42:36 |
Okay, you know what, |
| 01:42:38 |
as soon as you can, |
| 01:42:40 |
I was supposed to go back. |
| 01:42:41 |
He was supposed to come forward |
| 01:42:43 |
then he was supposed |
| 01:42:46 |
so was she. |
| 01:42:50 |
Now it is my pleasure |
| 01:43:08 |
...to take priests |
| 01:43:11 |
You speak of progress |
| 01:43:13 |
But what I offer you |
| 01:43:17 |
Take a wife. |
| 01:43:18 |
Marry. |
| 01:43:19 |
Let us not bother |
| 01:43:22 |
Tell me whom you want me |
| 01:43:23 |
Well, who has the most money. |
| 01:43:25 |
Well... that would be Miss Tree |
| 01:43:30 |
Good. |
| 01:43:31 |
Consider it done. |
| 01:43:32 |
Otis, fetch the ring. |
| 01:43:34 |
I will announce at midnight. |
| 01:43:37 |
Invitation, please. |
| 01:43:38 |
Uh, hello. |
| 01:43:39 |
My name is Stuart Besser. |
| 01:43:40 |
I'm sorry, I know |
| 01:43:42 |
but his sister is Kate McKay; |
| 01:43:44 |
I'm sorry, sir, |
| 01:43:51 |
...and I learned that there was |
| 01:43:54 |
and it didn't require money |
| 01:43:56 |
and it didn't require |
| 01:43:58 |
I learned that I could |
| 01:44:00 |
And there is nothing wrong |
| 01:44:04 |
I am a people pleaser, people! |
| 01:44:06 |
Whoo! |
| 01:44:09 |
J.J.: |
| 01:44:10 |
I am so... |
| 01:44:11 |
Kate! |
| 01:44:12 |
Stuart! |
| 01:44:14 |
Charlie! |
| 01:44:15 |
Take a look |
| 01:44:17 |
No! No-no-no-no! |
| 01:44:18 |
Now it's time |
| 01:44:20 |
who's going to be holding down |
| 01:44:23 |
our own little rising star, |
| 01:44:26 |
Just listen to me |
| 01:44:27 |
They're introducing me |
| 01:44:29 |
I'm sorry I was |
| 01:44:30 |
I'm sorry I let you down. |
| 01:44:31 |
I know all you wanted |
| 01:44:33 |
Oh, Stuart, really |
| 01:44:35 |
I can't talk about our |
| 01:44:37 |
No, Kate, just listen |
| 01:44:38 |
Maybe we weren't such |
| 01:44:41 |
I mean, maybe there's |
| 01:44:43 |
What are you talking about? |
| 01:44:45 |
Maybe I was supposed to help |
| 01:44:49 |
You got to go back, Kate. |
| 01:44:52 |
You got to go back there. |
| 01:44:56 |
Go back? |
| 01:44:57 |
How? |
| 01:44:59 |
You have to jump |
| 01:45:01 |
within the next 23 minutes. |
| 01:45:03 |
-J.J. |
| 01:45:05 |
Oh... |
| 01:45:07 |
Kate, just look |
| 01:45:25 |
Is there a... a Kate McKay |
| 01:45:27 |
Yeah. Here I am! |
| 01:45:28 |
Kate? |
| 01:45:31 |
Here she is. |
| 01:45:34 |
Well, without further ado |
| 01:45:36 |
the new senior vice president |
| 01:45:39 |
Here she is, ladies and |
| 01:45:44 |
Whoa, whoa! Whoa. |
| 01:45:45 |
You okay? |
| 01:45:47 |
Yeah. |
| 01:45:48 |
I'm sorry. |
| 01:45:49 |
Thank you. |
| 01:45:50 |
Quite an entrance, huh? |
| 01:45:51 |
Thank you, J.J. |
| 01:45:52 |
Thank you very much. |
| 01:45:53 |
Thank you. Thank you. |
| 01:45:55 |
Wow. |
| 01:45:56 |
Well, it's a great night. |
| 01:46:00 |
We here at CRG have always |
| 01:46:03 |
to be in the "Find what |
| 01:46:07 |
and at Jansen, you guys are |
| 01:46:08 |
in the "Make what |
| 01:46:11 |
So, imagine |
| 01:46:13 |
We'll be able to find out |
| 01:46:18 |
and make it... for them. |
| 01:46:20 |
So... yeah, so our customers... |
| 01:46:23 |
will be able to get exactly... |
| 01:46:28 |
Uh... |
| 01:46:33 |
...what they... |
| 01:46:38 |
...they want. |
| 01:47:05 |
And, uh... |
| 01:47:09 |
...it's a great thing to... |
| 01:47:13 |
Uh, it's a really good thing. |
| 01:47:14 |
Unless what you thought |
| 01:47:17 |
what you wanted |
| 01:47:20 |
...wanted |
| 01:47:22 |
you couldn't imagine, or you |
| 01:47:27 |
But... but what if someone |
| 01:47:33 |
exactly what you wanted |
| 01:47:36 |
They just knew. |
| 01:47:37 |
Like they could... |
| 01:47:40 |
or listen to your thoughts. |
| 01:47:42 |
And what if they were sure |
| 01:47:45 |
and they didn't have |
| 01:47:47 |
and they loved you... |
| 01:47:50 |
and you hesitated? |
| 01:47:54 |
Uh... |
| 01:47:57 |
And... I have to go. |
| 01:48:02 |
I, uh... I'm sorry, |
| 01:48:09 |
Kate? |
| 01:48:15 |
Stuart, can you tell me |
| 01:48:18 |
in short, complete sentences |
| 01:48:21 |
featuring no words |
| 01:48:22 |
why exactly |
| 01:48:24 |
Probably not. |
| 01:48:25 |
Try. |
| 01:48:26 |
-Because you were there. |
| 01:48:28 |
I would remember. |
| 01:48:29 |
Believe me, I would remember |
| 01:48:30 |
-if I was there. |
| 01:48:32 |
If we get there in time. |
| 01:48:33 |
These are pictures |
| 01:48:36 |
Not exactly. |
| 01:48:37 |
Theoretically speaking |
| 01:48:38 |
if you go to the past |
| 01:48:39 |
then your future |
| 01:48:41 |
And that is a picture of you |
| 01:48:43 |
in the future in the past. |
| 01:48:44 |
We have to make a run |
| 01:48:49 |
Come on, come on. |
| 01:48:52 |
Let's go, let's go. |
| 01:48:53 |
Whoa, where the hell do |
| 01:48:55 |
$6.80 on the metre, pal. |
| 01:48:58 |
It's going to close, Kate! |
| 01:49:08 |
Ladies and gentlemen, |
| 01:49:12 |
The Duke of Albany |
| 01:49:14 |
a very important announcement |
| 01:49:16 |
from this very stage. |
| 01:49:18 |
And I believe it shall be |
| 01:49:20 |
that will justify |
| 01:49:32 |
Okay... |
| 01:49:33 |
this is the hard part. |
| 01:49:34 |
-What? |
| 01:49:35 |
The girder? |
| 01:49:36 |
You have to cross |
| 01:49:40 |
That girder? |
| 01:49:43 |
Stuart, I can't cross |
| 01:49:45 |
-I can't go across... |
| 01:49:46 |
What? |
| 01:49:47 |
Leopold. |
| 01:49:49 |
You love him, right? |
| 01:49:53 |
Yeah. |
| 01:49:54 |
That's all you need to know. |
| 01:49:57 |
-You'll be fine. |
| 01:49:59 |
Charlie... Charlie, |
| 01:50:01 |
How are you... |
| 01:50:02 |
No, don't worry about me. |
| 01:50:05 |
-Now, Kate, now. |
| 01:50:06 |
The portal's going to close. |
| 01:50:08 |
-All right. |
| 01:50:11 |
Jesus. |
| 01:50:13 |
Oh, God. |
| 01:50:14 |
You can do it. |
| 01:50:17 |
Don't look down. |
| 01:50:23 |
Oh, shit. |
| 01:50:40 |
Charlie... |
| 01:50:43 |
I'll love you forever. |
| 01:50:46 |
Love you. |
| 01:50:52 |
It's okay. |
| 01:50:59 |
Lady... Lady, what |
| 01:51:01 |
Step back, lady. |
| 01:51:02 |
-It's okay. |
| 01:51:03 |
Come back, lady. |
| 01:51:08 |
Central, be advised. |
| 01:51:09 |
This is Breech Post Four. |
| 01:51:11 |
on the southwest location |
| 01:51:14 |
Have a supervisor, |
| 01:51:16 |
to this location forthwith. |
| 01:51:37 |
Ladies and gentlemen |
| 01:51:39 |
it is with a glad heart |
| 01:51:41 |
that I proudly introduce |
| 01:51:44 |
Leopold, Duke of Albany. |
| 01:51:46 |
Thank you. |
| 01:51:48 |
Thank you, Uncle Millard. |
| 01:51:50 |
Thank you. |
| 01:51:51 |
I'm sorry, madam, but |
| 01:51:53 |
No, you don't seem |
| 01:51:54 |
I need to get inside. |
| 01:51:55 |
I need to get inside |
| 01:51:57 |
What seems to be the problem? |
| 01:51:58 |
Are you Otis? |
| 01:52:00 |
Well, let us proceed. |
| 01:52:02 |
Please raise your glasses... |
| 01:52:05 |
so we may toast |
| 01:52:07 |
the woman whose |
| 01:52:10 |
shall be my solemn duty |
| 01:52:13 |
-Oh! |
| 01:52:21 |
Kate McKay. |
| 01:52:26 |
Of the McKays of...? |
| 01:52:32 |
Massapequa. |
| 01:52:36 |
Massapequa. |
| 01:52:46 |
I love you. |
| 01:52:47 |
I love you. |
| 01:53:31 |
If I caught the world |
| 01:53:34 |
And everything was still |
| 01:53:38 |
Without your love, |
| 01:53:45 |
If I was smart as Aristotle |
| 01:53:48 |
And understood |
| 01:53:53 |
What would it all matter |
| 01:53:58 |
Here in your arms where |
| 01:54:04 |
With a million dreams |
| 01:54:07 |
And a matter of moments |
| 01:54:12 |
Here in your arms when |
| 01:54:17 |
Not a solitary thing |
| 01:54:21 |
Except when this moment comes |
| 01:54:27 |
If I caught the world |
| 01:54:30 |
Saddled up the moon |
| 01:54:34 |
Until the stars grew dim |
| 01:54:40 |
Until... |
| 01:54:44 |
One day |
| 01:54:47 |
And all the noise |
| 01:54:52 |
You'll feel that you're close |
| 01:54:57 |
In the moonlight |
| 01:55:01 |
You feel as if you've |
| 01:55:06 |
The world's oldest lesson |
| 01:55:11 |
Here in your arms where |
| 01:55:17 |
With a million dreams |
| 01:55:20 |
And a matter of moments |
| 01:55:25 |
Here in your arms when |
| 01:55:31 |
Not a solitary thing |
| 01:55:34 |
Except when this moment |
| 01:55:43 |
Oh, if I caught the world |
| 01:55:47 |
Saddled up the moon |
| 01:55:51 |
Until the stars grew dim |
| 01:55:56 |
Until the time |
| 01:56:03 |
Until... |
