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00:28This is Henry, ma'am.
00:58They got him down the stairs.
01:07Take your time.
01:12Thank you, Gretchen.
01:18Dear reader, this is not a story in the conventional sense.
01:25You see, nothing is neat and tidy,
01:28nor is it laid out with ease for a dim-witted pony,
01:31which I hope you are not for both our sakes.
01:34No.
01:36This story in particular is a cautionary tale,
01:39and I shall begin at the very end as not to dramatize.
01:44My husband is dead.
01:59Killed in the dead of night.
02:03His last breath taken after a series of inexplicable, unconnected events
02:10that together would change the world forever.
02:13Ironically, the days leading up to his demise would remind me why I had loved him.
02:19But it would be the moments afterward that would set me free.
02:29You see, this is not a tale of murder.
02:32This is a story of rebirth.
02:39I suppose the reason I say all of this is to perhaps inspire you to look at this series of events from a different perspective.
02:57Mine.
03:27It's a sad moment.
03:29So feel free to be next.
03:32We've got sides closed.
03:35And now we were talking about that with Sue's events.
03:38You're all同じ, and you're on this one side.
03:41True to be a fantasize.
03:45It's time to be so quiet.
03:47So for her.
03:50This story would begin the morning the artist arrived.
04:11He was supposed to be delivered the night prior, but I did not know this yet.
04:20My husband and I were in that period of marriage where we loathed each other.
04:35I still had not forgiven him for selling our brownstone and moving us up to the country.
04:40Is that the pheasant you're eating?
04:42You have eyes, don't you?
04:43Where we didn't have so much as a working kitchen.
04:46Service!
04:50Are they going to be out there all winter?
04:52I mean, it's fucking freezing.
04:54It's winter.
04:55I'm meeting tomorrow with Mr. Edison on a business opportunity.
05:01Thomas Edison.
05:06See, I overheard the Morgans and, well, now he's coming up to the house tomorrow.
05:12Might very well reverse our little conundrum.
05:14We can time this, right?
05:19Andrews invested twice.
05:20Both times they saw returns before putting pen to paper.
05:23Credit alone.
05:24Just on credit alone.
05:28It's just not fair to the little people in this world.
05:31You know, that doesn't really have to be the pheasant.
05:33I believe you know Tommy from a past life, do you not?
05:35That really could be, could be a chicken breast.
05:38They're interchangeable fowl.
05:39We'd be none the wiser, right, Gretchen?
05:41Is there something I should know about Thomas?
05:44Well, like, how he likes his tea?
05:47Oh, God, I miss the city.
05:49No one misses the city.
05:50And good tea.
05:51We're in the country.
05:52It's an enviable location.
05:53There is no one in the country here to envy us.
05:57Or at least that is what I had assumed.
05:59Putain de machine americane de merde.
06:12I'm so very sorry.
06:14This is quite embarrassing.
06:16You see, the Henrys don't service these Model T's as often as you might expect.
06:21Do you know, Ford?
06:22I sense some frustration.
06:29Ah, oui, les Juifs.
06:31What was that?
06:36Are you a Jew?
06:38No, sir.
06:40Oh.
06:40Well, I don't think so, anyway.
06:45You hear that?
06:46What?
06:46A car.
06:47It's a car.
06:53Stop it.
06:53Hey!
06:55Hey!
06:56Hey!
06:57Hey!
07:05This pheasant's old.
07:08It's left over from something or other.
07:11How's the regimen?
07:15Well, look at me.
07:16I'm looking.
07:17So?
07:19You look as tempestuous as the day I met you.
07:22Only 40 years older.
07:24Ludwig says I'm almost ready.
07:26For what?
07:27You know, a jaunt.
07:28Sparring.
07:29Fight.
07:30You're not fighting.
07:31You're not a fighter.
07:31Maybe I could win a match or two.
07:33Poor people, they fight.
07:34Yeah.
07:34Have something to fight for.
07:35Bring in a little income.
07:36Oh, damn it, Marion.
07:37Don't be a fool.
07:38Oh!
07:39Said the man who invited Thomas Edison up to the house.
07:42You know, come to think of it, I do remember one of Thomas Edison's idiosyncrasies.
07:52He likes to win at all costs.
07:55Trust me.
07:57Thomas Edison is a really smart businessman.
08:01I'm being serious.
08:02Are you?
08:03You wanted Ludwig, I bought you Ludwig.
08:04Oh, you brought me Ludwig.
08:05Very literally, yes.
08:06You know what was wrong with you?
08:07Please do tell.
08:08You were just never very charismatic as a businessman.
08:11You know the definition of a hobbyist.
08:13You.
08:14You are the definition of a hobbyist.
08:17And I love you.
08:19I can say that because I love you.
08:21But you lack the ferocity to succeed.
08:24You've given up on everything but me.
08:34You know, I feel in the mood for some entertainment.
08:47The night would progress with normalcy.
08:49I would insist on a performance from his ballerina, Racka Manonoff.
08:55A prelude, perhaps.
08:56Not a prelude, not tonight.
08:58I have meetings tomorrow.
08:59C-sharp minor.
09:00No.
09:02G-sharp.
09:03C-sharp minor.
09:04If anything, G-sharp, you know she can't dance to the other noise.
09:09Lily.
09:11From Mrs. Henry inside.
09:13It would be the prelude in C-sharp minor.
09:16Set up!
09:17You're nuts!
09:19Have you seen the piece?
09:30Yes, of course.
09:31She toys with us.
09:33I did toy with them.
09:34Think of it this way.
09:36You'll be the first ballerina to ever dance to a Racka Manonoff prelude.
09:39Let's get on with it.
09:40Let's get on with it.
09:44I'm so shy, sir.
09:46Before you judge me and my circumstance, I implore you to read until the bitter end.
10:02It is only on the final page of this journal that you might be well enough equipped to tell
10:07a fact from fiction, hero from villain.
10:11A fact from fiction, hero from villain.
10:37It is very carefully.
10:41testimony from villain.
10:41Aren't you?
10:43I'm ready.
10:46No.
10:46So I'll take on one
11:07I'm in Ludwig.
11:21Jab.
11:22Jab.
11:24Jab.
11:37Oh, uh, the French, it's sexy, but, uh, in moderation.
11:53Or else have you approved my dancing this evening?
11:57Do I approve?
11:59Oh, my darling, it was marvelous.
12:02No one dances to Rachmaninoff like you.
12:04No one dances to Rachmaninoff.
12:07You should fuck her every once in a while.
12:15Yep, yeah. Very good.
12:17Ah, yeah!
12:20Oh, good boy!
12:23These are circumstances that are sometimes lost on young, beautiful ballerinas.
12:32Complexities you shouldn't bore yourself with.
12:34You have real talent.
12:38It was the very same line he used on me.
12:41You have all sorts of talent.
12:43Before I was demoted to hobbyist.
12:45Be careful.
12:57Be careful.
13:11Imagine your perfect little dance of y'all on the stage in Paris for all the world to see.
13:25Their eyes longing for my most intimate skin.
13:30The skin that you and you alone the rightful owner of.
13:41It's what you want, is it not? To see me in Paris?
13:55Oh my God. I would love to see you in Paris.
14:00The girl and I were not all that different.
14:10She was young and optimistic.
14:14Filled with purpose.
14:18Looking back now, I can admit I was rooting for her.
14:28Subconsciously hoping she might avoid the mistakes I had made.
14:36I think there was a part of her that reminded me what it felt like to be alive.
14:46To be alive.
15:00Congratulations Thomas.
15:02I am so very proud of what you have accomplished.
15:32Move your ass.
15:42Move your ass.
15:44Come back.
15:46Come back.
15:47Come back.
15:48Come back.
15:49Come back.
15:50Come back.
15:51Come back.
15:52Come back.
15:53Come back.
15:54Chère mère.
15:55Je te crois depuis la plaine brûlante de la campagne, où je continue mon apprentissage.
16:02Monsieur Henri pense que l'isolation favorise le talent et je n'ai tout simplement pas
16:09moment à dire à ce sujet. Mais je joue le jeu car il m'a été dit que si je me conduis bien,
16:15j'ai mes chances pour l'Anderolle de Coppelia cet automne. Je serai bientôt de retour à Paris,
16:22si Dieu le veut. Votre Lilith, toujours tendrement.
16:32Oh, my darling, oh, my darling, oh, my darling Clementine, I was lost and gone for
16:44an...
16:45Yes, Norman?
16:56I just wanted to remind you I have meetings tomorrow.
16:59With Thomas Edison, yes.
17:03Good, good.
17:04Is that all?
17:05Dreadful sorry, Clementine, I also have an artist coming tomorrow. You should know.
17:18What artist?
17:21Someone the Rockefellers introduced us to. Apparently everyone's meeting with him. He's
17:26in from Paris only for a short time. You know me and Art, I know nothing until it's hit
17:31me on the crease of the forehead.
17:33The mini-creases.
17:34Often it's too late and we're left with nothing. And our neighbors with the classics. Not this
17:39time, Marianne. Look at me being the passionate, impulsive man you married. Are you proud?
17:44Are you proud? Ah! You should be proud. Norman?
17:48Oh!
17:49What are you talking about? Have you commissioned something?
17:52No, no, no, nothing major.
17:54No.
17:55You don't have time works, Marianne.
17:57Mm-hmm.
17:58Rockefellers, William, even Andrew.
17:59No, Andrew is a Carnegie.
18:00Well, I'm a Henry.
18:02Oh, my God, I miss the city.
18:04Good for you.
18:07I refuse to sit and have my portrait taken for an artist.
18:14I wouldn't expect it. He'll paint the poodles.
18:16It's already been decided long before this drab conversation.
18:22It was just like that his fate had been sealed for a portrait of poodles.
18:27When you arrive at the windmill, you make a left.
18:42Yes.
18:43Then it's only four streets further. It'll be the only house with lights.
18:48The only house with lights? What does this mean?
18:53No one else lives here in the off-season except the Henrys. The Henry estate will be the only
18:57house with lights.
18:59This is very dark.
19:02It's very, very dark.
19:04Yes.
19:05And I cannot see very well after dusk.
19:08I understand that you do not know much about me, but know this.
19:14I am all but blind. Huh?
19:20You're a blind artist?
19:23Mm-hmm.
19:25Sir!
19:32Leave them! They're just monkeys, marionettes!
19:40Sir, sir, putain, leave them.
19:45They're just monkeys, marionettes.
19:49Sir, this is pretty good for a blind guy.
20:01We shall now take a short intermission
20:03while the artist fumbles around in the woods.
20:08Thomas Edison has done it again,
20:09only this time it's the moving picture with synchronized sound.
20:13Introducing the Kinetaphone.
20:15And for a limited time, Mr. Edison will be offering shares
20:18to the general public so you too might try your hand
20:21at changing the world.
20:22From the inventor of the light bulb, the Kinetaphone,
20:25don't wait, purchase your stock today.
20:27He walked all night, unable to find the house until dawn.
20:43Who the fuck are you?
21:07Happy meeting day, sir, Mr. Henry.
21:22Is she awake?
21:23Uh, not yet, sir.
21:25You see to it she stays occupied.
21:28Yes?
21:29All day?
21:30Yes, sir.
21:30I don't need tomfoolery, not today.
21:32To the best of my ability, sir.
21:33No, sir.
21:33Tell me, has she ever shared with you the history?
21:35History, sir?
21:37Well, Thomas Edison.
21:41Peculiar comments last night about...
21:44Oh, never mind.
21:49I feel good.
21:50You feel good?
21:50I feel good.
21:52The artist, sir, he's here too.
21:55Shall I arrange a tea with you, sir?
21:57Tea?
21:58What kind of tea?
21:59Earl Grey, if you like, sir.
22:00Arrange a tea with the poodles.
22:01Yes, sir.
22:03Okay.
22:04Go.
22:04Yes, sir.
22:05Gretchen, Gretchen, Gretchen.
22:06Yes, sir.
22:07Keep her occupied all day, yes?
22:09All day, sir.
22:10Let's go, let's go, let's go.
22:12Good luck, doctor.
22:36It appears you've lost blood.
22:46It might be safe to assume that you are hallucinating at this very moment.
22:50Mrs. Henry?
23:04Mrs. Henry?
23:05Yeah, I'm in here.
23:07Oh.
23:08Is everything all right, ma'am?
23:10Of course it's all right.
23:11Why wouldn't it be all right?
23:12It's just normally you're lying in the bed until I pull the curtains.
23:17Well, I just thought a 6 a.m. bath would be just sprightly on a day like today.
23:22And what sort of a day is today, ma'am?
23:25That's a bit of an overstep, isn't it?
23:28Yes, of course.
23:29Sorry, ma'am.
23:30Yes, I just mean that today is just a day like any other day, and let's just leave it at that.
23:35And I won't have you prying and making something out of nothing.
23:42Find me, Ludwig.
23:48Oh, fuck.
23:49Damn it.
24:00Go ahead.
24:05Excuse me.
24:08Have I missed breakfast?
24:12Hello.
24:18You look...
24:19unhoused.
24:23Artist.
24:26The hounds are ready for you.
24:28Mr. Edison.
24:42I trust your journey was refreshing.
24:46It was nippy.
24:48Nippy, yes.
24:49Yes, it's nippy.
24:51Well.
24:51Tell me, was it, um, was it the polo match in Atlantic City?
24:58Was what the polo match in Atlantic City?
25:00When last we crossed paths.
25:02Oh, very possibly.
25:04Um, would you permit me to be brief?
25:07I'm due back in the city for supper.
25:09All right?
25:10Yes.
25:10Now, if you will, I was told it was something innovative that you were after.
25:15Something dramatic and something, well, very daring.
25:18Yes, that is exactly right.
25:20Something with dramatic upside, I should say.
25:23Well, my portfolio does not exist merely as a means to fuel your wealth, sir.
25:28What is it, then?
25:29Well, I'll tell you what it is.
25:35Uh, this right here is going to redefine the next hundred years, perhaps more.
25:42It's going to make women weep and men cower, so it's not just a cash grab.
25:46Please don't invest in it unless your personal fulfillment comes from truly changing the world.
25:52What do you do for supper?
25:54What?
25:55Who's home?
25:55My own, Mr. Henry.
26:01Let's get started, shall we?
26:03Shirley, yes.
26:06I'd like to try a number from Les Saisons.
26:10Les Saisons, Les Saisons.
26:11There's always a number from Les Saisons.
26:14Oh, is it?
26:25Fucking boogers.
26:45And one, and two, and three, and four, and one, and two, and three, and four, and spin.
26:57Have you hired new help?
27:00Luther, could you speak plainly?
27:02A wizard man.
27:04With gardener's hands.
27:06He's been roaming the kitchen, aimlessly.
27:11Hands up.
27:12Hi.
27:23He's a thing.
27:26He already said it?
27:27That might make sense.
27:30Put your eyes right in there.
27:31Oh, sir.
27:32There you go.
27:32I'm going to lower these over your ears.
27:34They should be quite comfortable.
27:36I don't see anything.
27:37Not yet.
27:37This is the first of its kind, you understand.
27:40All right.
27:40This is immersive entertainment.
27:42The moving picture with music.
27:45Hands up!
27:47He has that deep sense of utter darkness.
27:50Darkness?
27:50And one, and two, and three, and four, and back arched darkness.
28:13Ludwig, what do you mean?
28:16Like that of a murderer.
28:18A murderer?
28:19In my house?
28:46Now, any accusation of murder...
28:49...is one we most always take seriously.
28:54I have to speak to Norman about this.
28:57Oh, yeah.
29:00Yep.
29:01I have to speak to Norman.
29:07Even if the accusation is completely and utterly without merit.
29:12Back arching.
29:13Hold.
29:14Hold.
29:15Hold.
29:17Hold.
29:18Hold.
29:19Hold.
29:20Hold.
29:22Hold.
29:23Hold.
29:24Hold.
29:36Hold.
29:37Hold.
29:45Wow.
29:45Oh, Yoo-Hoo, is there a spot of tea I might have swung up from the kitchen?
29:53Yes.
29:54And honey? Lots of honey, yes.
29:56Yes.
29:57Oh, you're a doll. What's your name?
29:59Beatrice, sir.
30:00Oh, really? Beatrice. That's your real name?
30:04Yes, sir.
30:05An oriental maid named Beatrice. What a chinky little thrill.
30:10Fucking asshole.
30:13Listen, Lily, I pick and choose my battles with you.
30:17You understand this saying in America, yes?
30:20I understand the saying, yes. I do not understand you.
30:22You're just not selling me the fantasy, darling.
30:24And as I've said time and time again, to you and to him, I just don't see it.
30:30I just don't know how to get you there.
30:34Then I will speak to Mr. Henry and have him find me someone who will get me there.
30:38Oh, you wouldn't dare, and he would never get rid of me.
30:41Who do you think you'll side with?
30:43And all the heck you couldn't sport talent if you fucked him in the face?
30:47Or who? You? His whore?
30:49Uh...
30:52I will go to Paris. And I will dance.
30:55Dream, baby. Dream.
30:58Oh, my. Oh, my goodness.
31:06Isn't that something?
31:07Ma'am, I've had the carriage brought around. I thought today would be a perfect day for a drive.
31:12Drive? And a picnic, maybe.
31:14Maybe, Lily, didn't Ferdinand break his leg?
31:15Is it?
31:16Well, how is the carriage going to be brought around if Ferdinand has broken his leg?
31:24Maybe he's healed.
31:28Maybe he's healed.
31:30Oh, my God.
31:34Omar, look at that. And the music.
31:37Isn't that marvelous?
31:38This is spectacular.
31:40Norman?
31:42Norman!
31:44Oh, you're almost at the finale. Can you see the bearded man from Coney Island in a musical number with a llama?
31:48A llama. There's a llama.
31:52Oh, my God.
31:53Norman?
31:57Can you hear those acoustics?
31:59That's two cellos and a clarinet.
32:01Or two clarinets and a cello.
32:03Norman, I need a beard.
32:04I'll have you know that I heard a beard.
32:06You are a genius, sir. You are a genius.
32:08There's a rumor that this painter or this artist or whatever it is that the Rockefeller is calling me...
32:12Ma'am, can you just give us a moment, please?
32:13He might be a murderer.
32:15Who's a murderer?
32:19Oh, hello. Um...
32:22Oh.
32:26Thomas.
32:28Thomas Edison?
32:29I can't put... I can't move on.
32:30Yes, I know. I just didn't recognize you because you've grown really old really quickly.
32:37I'm sorry. Do we know each other?
32:39Eh, shut up.
32:41Well, the opinion of a woman. Forever humbling, eh?
32:45Oh, yes. The opinion of a woman. The work of a woman. The plight of a woman.
32:52I'm sorry. I don't follow that.
32:54Oh. I can't get it off.
32:56Marion.
32:58My name is Marion, as you very well know.
33:02Marion.
33:03What a wife.
33:04Mm-hmm.
33:05Lovely name.
33:06Oh, there's a strut.
33:07Oh.
33:08Oh.
33:09I believe you both might have crossed paths some years ago.
33:24Marion was a university student. You were a guest lecturer. I believe the year was, um...
33:29Oh, God.
33:301867.
33:31Yes, that's right.
33:32Yes.
33:33Yeah.
33:34Now, I...
33:35I do recall a young student named Marion. A bright, young, independent thinker.
33:41I believe the line was. She said, uh, over my dead body shall I ever marry.
33:47Mm-hmm.
33:48Mm-hmm.
33:49Mm-hmm.
33:50Mm-hmm.
33:51Yes.
33:52Well, here we are. I'm married all the same.
33:55Yes.
33:56Married and seemingly happy. Happy and fulfilled, yeah?
34:01Norman. Norman. Norman. Norman! Norman!
34:04Yes, yes.
34:05Would you please just have a word with the painter or whatever it is you call him before we lose the last of her help?
34:11Good day.
34:12Count.
34:13My apologies, Mr. Edison, uh, for her outburst. She's, uh, she's a woman. Um, you'll excuse me just a moment. Uh, she didn't, uh, mean anything about the help, I assure you. She's just, uh, just excuse me just a moment.
34:34Ooh! Ooh! Ooh! I knew you had such a grip on you, Norman.
34:41I'll show you more than a grip you screw this up for me.
34:43Ooh, funny you could have been this assertive when we shared a bed together.
34:46Oh, there you are. Apologies.
34:49Ah, busy day. Big day. Busy.
34:51Mm.
34:52You know the ones, I'm sure.
34:58You heard of Thomas Edison? Is that name, uh, wafted across the pond?
35:04He's here today.
35:06He's in the house.
35:08Mm-hmm.
35:09I told you, quite eccentric.
35:10Monsieur Henri, uh, what is this animal?
35:16It's, uh, from my trip to South Africa.
35:21I was of the U.S. contingent. It was a goodwill trip through Grant.
35:25Ulysses S. Grant, former president of the United States.
35:28I am French.
35:29He's a dear friend.
35:30Why do I care about your president?
35:33I imagine you don't.
35:34I ask you about the animal, and you tell me that you have a friend.
35:37It's a story, I would say.
35:39Ah.
35:40You were inquiring about the buck, that's all.
35:42Listen, I'm on a bit of a schedule, um...
35:44Simon!
35:45Yeah.
35:46Ah!
35:47I simply wanted to inquire about your demeanor in the house.
35:50It isn't me, it's my wife.
35:52She's, um...
35:55What do you know about art?
35:57I know you're one of those impressionists.
36:00You make quite a ruckus over there, I've heard.
36:02So you read the press.
36:04No, I've heard.
36:05So you don't read?
36:06Do you?
36:07I paint.
36:08Which I imagine you do not.
36:10Therefore you're either a well-read intellectual who finds his passion within the page,
36:16or a soulless twat inspired by paper bills.
36:23I'd like to know what I'm dealing with.
36:26Whether my art is to be understood.
36:31Or merely a carcass on your world!
36:46Oh.
36:47Yes.
36:48Well.
36:49I don't know.
36:50Tea.
36:51Oh.
36:52Oh.
36:53Yes.
36:56Well.
37:13Tea.
37:21Oh.
37:22Oh.
37:26Oh.
37:27Oh.
37:28God.
37:29I am going to Paris.
37:31You can help or you can get the fuck out.
37:37Oh.
37:38Oh.
37:39Oh.
37:40You wench.
37:42Oh, get back here.
37:47Have you met your handsome subjects yet?
37:50And they're fidgety.
37:54They're dogs.
37:55Fidgety in their soul.
37:58Perhaps they are uncomfortable with their existence in your world.
38:03Who isn't?
38:05Are you uncomfortable?
38:07Must you own me?
38:09Sitting here with you?
38:11Quiet.
38:13I will need my twice-over quoted fee.
38:20Absurd.
38:21They're purebred poodles.
38:23Are they?
38:24Yeah.
38:25Perhaps you prefer to shoot the bitches and mount them on your wall next to this other, uh...
38:30It's a buck.
38:31Twat.
38:34Uh-huh.
38:35You can pay in cash.
38:36Cash?
38:37I don't deal in cash.
38:39I'm a man of means. I don't deal in cash.
38:42Are you broke?
38:45I beg your pardon?
38:46I asked if you are broke.
38:48No, I'm not broke.
38:50No need to be ashamed.
38:52I am broke.
38:53That's why I'm here, bending your fucking poodles.
38:57I'm not broke.
39:07I don't take credit.
39:09So I will reside on the property until I may collect my fee.
39:14Could take weeks to wait on the banks.
39:16Painting must remain in my possession.
39:18I could send you along with a promissory note.
39:20I will not take a promissory note.
39:21I'm a Henry.
39:22A promissory note, you can rest assured.
39:24I'm sure you will find a way.
39:25The rich always do.
39:28Um, would you be so kind as to have somebody show me to my court?
39:34Somebody's out the door.
39:35Just go open the door and someone will help you.
39:37Uh-huh.
39:41Oh, yeah.
39:43Uh-huh.
39:49What the hell?
40:02Mr. Edison is waiting.
40:04Sir.
40:05Sir?
40:06Huh?
40:07Mr. Edison?
40:08mr edison oh yes thank you
40:14how was he how was he he was french he was very frank what does that mean i mean you know what
40:18we say i know the attention you desire marion is that why you act like a petulant child today of
40:23all days anything to sabotage a deal with thomas edison i need to close the deal he is a liar and
40:32a cheat he is thomas edison he is thomas fucking edison you will bite your tongue marion and you
40:39will know your place woman stay here another minute you're a wench you think i need you
40:48you are the two-bit whore with a crooked pussy of course i'm a two-bit whore i'm a ballerina
40:53a great fucking ballerina on my way to paris or you go back to your little show with the dancing
40:57monkeys with the little midgets with a funny hat you're the dancing monkey my show was reviewed
41:02by the times god's name is this mr henry look at what she's done to my lily lily the fraud is
41:08fucking fraud he takes your money and sleeps all my time that's not true i often work with my eyes
41:12close saint mary with her fake virgin pussy mr henry yes she's a cunt norman yes well who's a cunt
41:20oh jesus hello mrs henry marius who is a cunt apologies for the language man marion leave it
41:37just leave it i was speaking to marius mr henry yeah you know let's just all journey back to our
41:44quarters we can discuss this over drinks in the parlor later because i have meetings i have very
41:49important meetings well perhaps i shall handle this so that you can you know carry on with your very
41:54important meetings are you the cunt am i the cunt dear lilith no is she the cunt or my husband oh no
42:05marion i am for you to leave this alone shut up marion marion marion marion well i think you're all
42:13fucking cunts and leeches that's what i think marion mr henry mr henry he's coming this way
42:18yes you are a fucking cow of a woman oh you're making me sweat just for once look i want to say
42:27something that i ain't got there you must feel trapped by him do you do you feel trapped living
42:32with this house you should feel trapped you know why because you are trapped just like the rest of us
42:36we're like mutts in a cage of no canaries in the clip you know what i mean the fucking metaphor
42:41about cages shut up woman shut up see these men they lie to us i never lie to us with their kind
42:47marion shut it shut it what you're trying to say to me marion he doesn't have it he doesn't
42:52have it within him to set you a woman was never to be published i did you a favor you are never
42:58gonna go to paris quite a brazen one at that you are never going to paris do you hear me you bet
43:04on the wrong pony and you lost we all did the rest of it that just doesn't matter because you lost
43:13high loss shut up we all lost shut up marion i'm getting the sense this isn't entirely about me
43:20marion marion god damn it oh god oh god
43:29oh well would you look at that he's out cold
43:39where is my fucking room
43:46where is it
43:47norman norman norman
43:49my experience he's not gonna kill you it's just french sir i'll show you to your room your room
43:57this this way sir my husband was right about one thing it wasn't me who'd end up dead
44:19so
44:29so
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