- 2 months ago
With a torrid past that haunts him, a movie theatre owner is hired to search for the only existing print of a film so notorious that its single screening caused the viewers to become homicidally insane.
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Short filmTranscript
00:00Transcription by CastingWords
00:30CastingWords
01:00CastingWords
01:29CastingWords
01:59Okay.
02:29You're late.
02:37Mr. Bellinger is waiting for you.
02:59Mr. Sweetman?
03:27Mr. Bellinger.
03:31Wow, you have an incredible collection.
03:35I'm sure you have some rare pieces of your own.
03:38Not really. It's too expensive.
03:41Must be a torture.
03:43Hunting down pieces for others?
03:46To have something your hands on it to give it up immediately?
03:49There's perks.
03:51When I track down a rare print, I get to screen it.
03:54Quality assurance purposes, of course.
03:56The fin absolute du monde.
04:01The absolute end of the world.
04:04What do you know about it?
04:06I know it played once.
04:08Opening night premiere of the Festival International de Cinéma Fantastique des Sitges.
04:13Violence erupted in the theater.
04:16When Hans Bakovic, the director, tried to get it out of the country, the government seized it and destroyed it.
04:21Not realizing it was a work in progress and his only print.
04:25He quit the business.
04:27And film's only been seen by that one audience.
04:30You did your homework.
04:32But the government didn't destroy the film.
04:35What's this?
04:40A prop from the film.
04:52I'm a bit obsessive about Le Fan's absolute demand.
04:55Why this particular film?
04:57I have a collection of over 8,000 films.
05:01The most extreme images.
05:03Created by some of the most obscure filmmakers from around the world.
05:07I'm not about to drag you up here in the middle of the night for something that made a schoolgirl dizzy.
05:14I'm talking about real power.
05:20Were you at the festival on the screen?
05:22Yes.
05:23I even had tickets for the screening.
05:26But I'd seen Bakovic's previous work and I wasn't impressed.
05:30So I went to see the first Dr. Fibes.
05:33Instead, hoping to meet Vincent Price.
05:37In 83, the Rotterdam Festival announced the screening.
05:42By the time I've flown there, they had cancelled it, saying it was an error.
05:46The fact that the venue had burned down must have had something to do with it.
05:54Every mention of the films in 71,
05:57every rumor about underground screenings.
06:00The official report from Sitges.
06:02Mr. Sweetman?
06:05Why are you giving me this?
06:09Isn't it obvious?
06:12I want you to find a print for me.
06:16Finding a rare print can be costly, even under the best circumstances.
06:20Le Fan's absolute demand is infamous.
06:23It's rarer than rare.
06:24If there was a print of that out there, I'd know it.
06:28It is out there.
06:31Believe me.
06:33My souls are unimpeachable.
06:38Follow me.
06:40I have to show you something.
06:54As you can see, I collect modern movies, Mr. Sweetman.
07:03Meet one of the stars of Le Fan's absolute demand.
07:06Tell Mr. Sweetman what you told me.
07:15We are a part of the film, bound to the negative like soul to flesh.
07:21If it had been destroyed, we would know.
07:22I did terrible things in my life.
07:23I know full well what will happen to this desiccated cop-web I call a soul.
07:24Call me crazy.
07:25But I wanted at least one of the stars of Le Fan's absolute demand.
07:26Before an eternity of hell.
07:27This is my soul, Spurman.
07:28But I needed to try and knock my eyes.
07:29To see him.
07:30And he's not yet to be unstable.
07:31Who are you?
07:32I'm lucky.
07:33Really?
07:34No, he said.
07:35I'm lucky.
07:36Who are you?
07:37Who are you?
07:38Who are you?
07:39You're a part of the film.
07:40Bound to the negative like soul to flesh.
07:41If it had been destroyed, we would know.
07:42I know full well what will happen to this desiccated cop-web I call a soul.
07:49Call me crazy, but I wanted at least a taste of heaven before an eternity of hell.
07:59Money is no object.
08:01I pay all your expenses and one hundred thousand dollars on top.
08:08I'm not a well man.
08:11And my days are numbered when I don't want to die without having seen this film.
08:20Why me?
08:22Because you have great taste as a programmer.
08:26You see it as a shitbox.
08:30You have eight hundred seats and you are happy to sell fifty tickets a night.
08:38Find this copy for me.
08:41And after I've seen it, I'll give it to you for a two weeks run.
08:46I promise I wouldn't give it to any other theater.
08:56You need it.
08:59Two hundred thousand.
09:00Two hundred thousand.
09:09Two hundred thousand.
09:11A deal.
09:12Two hundred thousand.
09:38There you are, you son of a bitch.
10:08Kirby's sweet man is my sweet man.
10:37Are you my sweet man, Kirby?
10:43Will you take care of me?
10:45Always.
10:56Hey, Timpson, what's up?
10:58Last show will be over in about 15 minutes.
11:01Profundo Rosso, ready to go.
11:04Did you get your souvenir?
11:06Dude, it's Argento. Had to do it.
11:10What's up with you and the cigarette burns?
11:13When you're watching a film and one of those bugs appears,
11:15it lets you know, you know?
11:17Something's gonna happen.
11:18Hold on, here it comes.
11:21You take him out, all of a sudden it's anarchy.
11:26All right, Mr. Anarchy.
11:28Try not to burn the place down when I'm away, all right?
11:30Did you get a new client?
11:32Yeah, yeah, an incredible offer.
11:34The guy kind of freaks me out.
11:36What film is it this time?
11:38If I absolute them all.
11:44No shit?
11:47No shit.
11:48Kirby knows absolutely everything about movies.
12:04Kirby knows absolutely everything about movies and the theater is beautiful it just needs a little
12:22work yeah we could do it ourselves think of it as a wedding present okay why don't you wait in
12:32the car sweetheart well Kirby and I work out the details okay this is not a gift it's a loan
12:54get your shit together get her shit together don't make me sorry
13:24excuse me sir but we're not open yet oh Mr. Matthews listen uh Kirby's not here right now I
13:52I can tell him you can't oh wow look at that you're a hard man to get hold of it's almost
14:02like you're avoiding me why would I avoid you you're so much fun to be around we need to talk
14:09look I don't have time to talk to you right now how about a check for 200,000 you got time to
14:13talk about that get your money when soon I don't believe that I don't believe anything you say look
14:23I know that you're not gonna go away until I get you your money but every time you stop by every
14:29time you call I feel like I'm getting cut open I see Annie's face every day all day long you have
14:36no idea what I'm going through to get you out of my life you've got one week if you can't get the
14:42money I'll take great delight in coming down here and tearing the shit hole down
15:06hey Kay Myers I've read all this guy's shit good critic big fan of the esoteric not all Kale's
15:21disciples the most original thinker in order to fully appreciate la fin absolue du mot one must
15:28understand the context in which it premiered the Sitges festival is still young but there is a boldness
15:33to their programming that makes this an essential stop for any fan of what are typically thought
15:37of as lesser genres science fiction fantasy or horror what's he up to these days don't know lives upstate
15:47New York kind of a recluse I'll tell you when I get back
16:03Mr.
16:07Because ...
16:10he ...
16:11both
16:13again
16:14I will know
16:16he's
16:18like
16:19people
16:20I
16:22I
16:23forgot
16:25or
16:27he
16:29Mr. Myers, can I speak to you, please?
16:53No way.
16:54It's important. It'll just take a minute.
16:56Who sent you?
16:57No one sent me. It's about something you wrote.
16:58It's about a review.
17:00I've done with all that. I won't discuss any review.
17:02It's about Le film Absolute de Monde.
17:12Mr. Myers, did they pass out any press notes at the Sitra screening?
17:15They did.
17:16Did you happen to save any of those?
17:18I did.
17:19I'd love to read those. Anything else you have on Le film Absolute de Monde?
17:22Dangerous.
17:24Bakovic said film in the right hands is a weapon.
17:27He was right.
17:28But Le film Absolute de Monde is not a movie but more like a bullet
17:40fired directly into the collective brainpan of all those assembled.
17:44And the only rational response is violence?
17:47We trust filmmakers.
17:49We sit in the dark, daring them to affect us,
17:52secure in the knowledge that they won't go too far.
17:56You know, I've read your review twice on the plane,
17:59and I still have no idea what this movie's about.
18:01Hans Bagovic was a terrorist.
18:03He abused that trust we place in filmmakers.
18:06He didn't want to hurt his audience.
18:08He wanted to destroy them completely.
18:11I've seen extreme gore, and it never made me crazy or violent.
18:14And what is it about Le Fan Absolue Tomol that's so dangerous?
18:17Bagovic was brilliant.
18:18Yeah, but all that violence in the theater,
18:20that was all exaggerated, right?
18:25If anything, the incident was downplayed.
18:28I watched four people die.
18:31It smelled like a slaughterhouse.
18:35The center aisle was slick with blood.
18:38Bagovic knew what he was doing.
18:41When Stravinsky's the right of spring premiere to riots,
18:44it was an accident.
18:46Le Fan Absolue Tomol was no accident.
18:48He told me so.
18:50But you spoke to Bagovic?
18:52At the start of the festival.
18:54He told me exactly what was going to happen.
18:57I recorded the whole interview.
18:59Could I listen to that tape?
19:02People weren't ready.
19:04They still aren't.
19:07That review I published was a joke.
19:09It doesn't begin to describe the film.
19:11I was given the opportunity to be the messenger,
19:14and I failed.
19:16But you'll see.
19:19People will understand as soon as I finish my new review.
19:22Is that what this is?
19:26All of this?
19:28That one review?
19:29Almost finished now.
19:34You know, there's a chance that there still may be a print out there.
19:38I was hired to find it.
19:41To what purpose?
19:43To show it.
19:44You should know what you're getting into.
20:00You're right.
20:02The film is still alive.
20:04Even if they tried to destroy it,
20:06they couldn't.
20:08Some films are meant to be seen.
20:11And these,
20:13these will change your life.
20:19Now promise me,
20:20promise me,
20:22when you find the film,
20:23you'll let me see it again.
20:25I've dreamed about it every night for 30 years,
20:29laying eyes on it again.
20:35Once you start this,
20:36you can't just shake it off and walk away.
20:41It gets inside you.
20:55Mr. D'Arcaddeck,
20:56this is your third feature of film.
20:59Well,
21:00I prefer not to categorize any film.
21:04What difference does a running time make?
21:06The mechanics of film,
21:07the language,
21:08that is what matters.
21:09Your work so far has been experimental.
21:12You assume conventional narrative.
21:15Well,
21:15narrative is dead.
21:17Hollywood is shit.
21:20Filming is not entertainment.
21:21People who canilight move to our website.
21:22Man,
21:22you haven't seenすごい.
21:22It's just a fucking karma.
21:35cortic want me to do this...
21:37To do it.
21:40It's just a fucking trivf.
21:41Never mind hasn't died anymore.
21:43I got to seeśli.
21:44Oh man,
21:44I got to find out the beautiful movie.
21:46You know how you found it?
21:48You know how you found it?
21:48I got to seeämmeral��.
21:49I got to see the 찍meled.
21:50What the fuck?
22:20What the fuck?
22:50What the fuck?
22:52What the fuck?
22:54Don't help him.
22:56I may not have a choice.
22:57I'm up to my neck in debt.
22:58This one job could turn everything around.
23:00Don't do it for the money, Kirby.
23:01It's not worth it.
23:03This guy came to me because he could find anything.
23:05I'd kind of like to prove him right.
23:07Besides, I'd like to see the film.
23:10How much do you know about Lafayette Absolue du Monde and Hans Bakovic?
23:15Not enough.
23:16I talked to A.K. Myers about it.
23:18Nice choice.
23:19Most people start with Sitges and try to drag it that way.
23:22Most people?
23:24Well, you don't think you're the first to look for this film, do you?
23:28If you know so much about it, why don't you try to help me find it?
23:31You can use my assistant's office next door, but it's not in there.
23:35You have to earn this movie.
23:37What do you know about Patton League?
24:05The cinematographer.
24:07Yeah.
24:08You think he could help me?
24:09A tragic story that he went blind after they made the movie.
24:12As I understand, he won't even speak Bakovic's name.
24:15The last person to ask him about Lafayette Absolue du Monde needed six stitches from where League smacked him with his cane.
24:22What's with all the mystery?
24:24There's a wall of silence around this film, around Bakovic's whole life.
24:28If I could just talk to him for a second.
24:30He's dead.
24:31But there's no records that he's dead.
24:33Trust me.
24:34Bakovic is quite dead.
24:36Well, who told you that?
24:37His family?
24:38His friends?
24:39Anybody maybe you could introduce me to?
24:40I'm sorry, I can't tell you no more.
24:41You're not dead.
24:42You're dead.
24:43You're dead.
24:44You're dead.
24:45No more.
24:46Allo, c'est Henri, écoutez, quelqu'un est venu ici
25:00s'est renseigné sur la femme, celui du monde.
25:03Non, je n'ai rien dit, mais il a quelques bons tuyaux.
25:05C'est une conincidence, je suis sûre.
25:08C'est toujours d'accord pour ce soir.
25:10À 10 heures.
25:11Oui, je l'ai fait l'écu.
25:13Le nom de la veuve Bakovic n'est mentionné nulle part.
25:15Tout ira bien.
25:16Attendez une minute.
25:42Henri, tu me disappointes.
25:45Vous n'allez pas ici.
25:46Je pensais qu'on était friends, mais vous savez plus que vous dites.
25:49C'est un film de Bakovic, c'est un film de Bakovic, n'est-ce pas ?
25:52Non, je ne comprends pas.
25:53Je ne comprends pas.
25:54Je ne comprends pas rien que je me dis.
25:56L'année dernière, je n'ai pas vu quelque chose.
25:57C'est un film ?
25:58C'est un film ?
25:59L'année dernière, c'est un film ?
26:00Yeah.
26:03L'année dernière, c'est un film qui s'est passé.
26:04C'est un film qui s'est passé.
26:05C'est un film qui s'est passé.
26:06C'est un film qui s'est passé.
26:07C'est un film qui s'est passé.
26:08C'est un film qui s'est passé.
26:09C'est un film qui s'est passé.
26:10Ce qui s'est passé ?
26:11C'est un film qui s'est passé ?
26:12La plus la plus la plus la plus la plus la plus la plus la plus la plus la plus la plus la plus la plus la plus la plus la plus la plus la plus la plus la plus la plus la plus.
26:16Je veux que vous fassiez faire.
26:20Je te dis que je veux que vous arrêtes.
26:21Je veux que vous devez votre PROMPE.
26:22Je suis là où je suis arrivé.
26:23J'ai fait la même curiosité.
26:26Un cool.
26:27Je savais que le premier.
26:28J'ai trouvé ça.
26:29J'ai pensé.
26:31J'ai pensé.
26:36Je ne sais plus que ça.
26:37Je suis le projectioniste sur laprivate scénitionale en 1988.
26:40And the faces in that room.
26:43Famous, beautiful people from all over Europe.
26:47When I threaded the film into the projector,
26:49I saw the same dots you described.
26:52When I actually started it running,
26:55I lost my nerve.
26:58I looked away.
27:01It was playing right there, right in front of me,
27:04and I was too frightened to watch.
27:10When the screaming started and the smell of blood hit me,
27:14I tried to stop the film.
27:17The projector wouldn't shut off,
27:19and I grabbed the film to rip it out,
27:21and then I saw the same circles.
27:23And... I don't know.
27:27I must have blacked out.
27:29Time seemed to drop away.
27:32When I came to, the film was over, and my hand...
27:36Look, I appreciate you trying to protect me.
27:39I really do.
27:40But I need this.
27:42Look, I won't watch the film,
27:44and I won't play it at my theater.
27:46I'll just give it to this collector, and I'll walk away.
27:55If I were you, I would not call his number.
27:58This man has an excellent collection, but he's dangerous.
28:02Does he have the film?
28:04No, but he does have items given to him
28:07by the back of the estate.
28:09God knows why.
28:11He can get in touch with them for you.
28:14I'll be here for you.
28:44Let's go.
28:45Come.
28:46Please follow me.
28:47I'll watch you.
28:48You have to go.
28:49You can see.
28:50Let's go.
28:51Thanks you for joining us.
28:52I'll watch you later.
28:53Let's leave.
29:02Get her.
29:03You're ready.
29:04You're ready.
29:05Let's go.
29:06You're ready.
29:07Let's get her.
29:08You're ready.
29:09I'm ready.
29:10It's not for me.
29:36It's for a client.
29:38But you're curious, aren't you?
29:42If Henry sent you to me, then you've had your first glimpses.
29:45Glimpses?
29:48Glimpses of what?
29:50It's different for everyone.
29:52What you see isn't the important part.
29:55It's the way you change.
29:57It's what the film does to you that matters.
30:00Have you seen the film?
30:02No.
30:04Would you, if you got the chance?
30:06Of course.
30:09Is it true that you keep in contact with the Barkovic estate?
30:14I've got a number I've called a few times.
30:17I've managed to pry a few items loose.
30:20Barkovic's widow can be difficult to deal with.
30:24I admire a man like Barkovic.
30:27Unafraid to transgress.
30:30In life and in art.
30:34You see, I've always wanted to make my own films.
30:39But I detest the falseness of Hollywood.
30:43I would rather die than make something false.
30:49Don't you agree?
30:52Yeah.
30:53Sure.
30:55care was.
30:57I might as well.
30:58But I can see people on their own.
31:00I've also enjoyed touching upon this scene.
31:02Why not?
31:03I caught my guy too.
31:04I can't find it!
31:05Even outside of it!
31:06There's no pain.
31:07What a lord!
31:08Consulsiveness!
31:09– Other than I can see people come here–
31:10I can't hide it!
31:11– Or perhaps they have to hide it?
31:12Are you real fast again?
31:13Don't leave, Mr. Sweetman.
31:32There's all much more for us to talk about.
31:35What is it that you Americans say?
31:39Relax.
31:41Chill out.
31:43The blade of a splicing table can be used to create a lie or to tell the truth.
32:03It all depends whose hand it's in.
32:06This may be larger than an actual splicing blade, but you get the point.
32:11I believe in truth.
32:18One take.
32:27One uninterrupted shot.
32:30The only cut was to her.
32:32I turned her into art.
32:39Something happens when you point the camera at something terrible.
32:44The resulting film takes on power.
32:46No, it doesn't.
32:50It's not as powerful.
32:52It doesn't reveal some hidden truth.
32:54It's just fucking murder.
32:55You're not listening to me, my friend.
33:03You come all this way, then you don't listen.
33:07You want to understand why the far absolute demand tore through the audiences.
33:14You come all this.
33:15You come all this.
33:16Bakovic was an exceptional editor.
33:17You understood the value of a cut.
33:20But there was more to it.
33:22They say the movie works sublimely as you're watching, but the things that made the film a weapon, blood, spilt blood.
33:38What if you got over an angel, a divine being with the blood of God flowing through its veins, and what if you sacrificed it on camera?
33:53Something that profound, that personal, it changes everyone who was part of putting it on film.
34:05And everyone who sees it, the closer you get to the film, the more you'll be changed too.
34:13This was Bakovic's secret.
34:17Film is magic, is it?
34:19And he was right.
34:23What is it you see?
34:27Who is it who haunts you?
34:29Or are they waiting for you on the other side?
34:48Fuck you.
34:50Fuck me.
34:51Fuck me.
34:52Fuck you.
34:53Huh?
34:54Fuck you, psycho.
34:57Tell me where the film is.
34:58Tell me who to talk to.
34:59No.
35:00You have the film?
35:01Yes, yeah.
35:03Yes, yeah.
35:04Yes, yeah.
35:33Uh, uh...
35:34Uh, bonjour.
35:35Uh, can you connect me to, uh, Air France?
35:36See if you'll play.
35:37Air France, see if I play it.
35:58Yes?
35:59Ms. Bacovic, can I speak to you for a minute?
36:01I've come a long way.
36:07Are you my sweet man, Kirby?
36:23Will you take care of me always?
36:31You're not real.
36:33You're not real.
36:35You're not real.
36:37I'm looking.
36:39You saw something that upset you?
36:51you saw something that upset you in the elevator you could say that yet now you are here you must
37:09want this very badly you're the first one to ever make it this far I didn't expect you to be here
37:14I thought you'd be in Europe somewhere this is still very much his house he's in every room
37:19Hans moved us here because he thought it would become a place to make films more affordably
37:25than Hollywood could 20 years later he's right there's so many questions I'm not sure I have the
37:32answers you're looking for but we'll see do you have a print of Le Fabsolute tomorrow that's not
37:40what you want to know you want to know if the stories about the film are true are they yes
37:48unfortunately why are you looking for the film I'm being paid to that is just an excuse if someone
37:57paid you to kill a man would you no of course not but you have been warned about this the
38:03Fabsolute demand is no ordinary film it's what everyone keeps telling me I'm gonna back off or
38:08something I don't want to see an ordinary film I want to see something extraordinary you sound
38:15exactly like Hans he would do anything to make his film stand out who produced the film you're very
38:25direct I just want to hear somebody say it I asked Hans the same question many times the producers of this
38:33film produced many other things chaos sorrow suffering famine what does that mean the devil
38:43Hans never put a name on it evil is evil he would say doesn't name really matter come with me I have
38:55something to show you this is nice he kept it all state-of-the-art until the year he died how did he die
39:17there was no official obituary Hans became obsessed with la fin absolutement during the last year of his
39:30life all he did was watch it like a punishment in the end he got too close to the fire the film was too
39:41effective it's um it got inside him it made him crazy he stopped by the kitchen on the way to find me in the
39:57bedroom he meant to kill us both but when he cut my throat he only disfigured me when he cut his own
40:09throat he died I'm not sure I got the better deal I was left to take care of the fan absolute demand I hate
40:21that film and I understand its power I wish it had never been made to understand what that's like Kirby
40:31wanting to do penance for something but knowing it's too late
40:37yeah I do people said terrible things about Hans some people said he deserved his death
40:53repeated but I miss him terribly miss bagovic oops gotcha gotcha can I watch the film
41:09I put it here I hate even having it in the house
41:21ever since I've been tracking this I've been seeing flashes circles with images inside of them
41:30the cigarette burns yeah and every time I see them something terrible things happen when did they
41:36start I heard a tape of an interview with Hans ever since I heard his voice you were marked
41:43that's how potent the absolute demand is it doesn't just affect you when you're watching it as soon as you
41:52start getting close to it it rubs off on you like you're stepping into quicksand so go ahead take the film
42:01it's already too late
42:04I don't know.
42:34I can feel it.
42:55It's worth every penny.
43:04I can feel it.
43:34I can feel it.
44:04I can feel it.
44:34I can feel it.
45:04I can feel it.
45:11I can feel it.
45:18I can feel it.
45:20Tim said, yeah, I just got back.
45:22I'm standing in front of the theater right now.
45:25Where the fuck are you?
45:26What, you were here?
45:27When he came back and put the chains on, he said I had two weeks.
45:30All right, all right, all right, all right, relax, relax.
45:33I've got the money, okay?
45:34We'll be back in business by tomorrow.
45:36I'll take care of it.
45:37Yeah, I'm fucking pissed.
45:39No, man, I'm not pissed at you.
45:41All right, bye.
45:43All right, bye.
45:44All right.
45:48Hello?
45:49Bellinger?
45:50Yeah, wait, wait, wait, wait, wait.
45:52What happened?
45:53All right.
45:54All right.
45:55All right, I'm coming right now.
46:00Mr. Ballinger!
46:25Mr. Ballinger!
46:27Mr. Ballinger called me.
46:29You brought the film to this house.
46:32Look, I don't want any trouble, all right?
46:33But you brought trouble to this house, didn't you?
46:36And now you're back.
46:39Well, I know what you want.
46:43You want to see the movie.
46:45No, I don't.
46:46Yes, you do.
46:48I hope you get what you want.
46:51What you deserve.
46:53We'll go get a man.
46:54Oh, no.
46:56OK.
46:57Oh, no, no, no, no.
47:00Sir?
47:01Ah fun.
47:03Ah fun.
47:04Aharing there, ?
47:06No virtuously.
47:07Ah.
47:08Bellinger?
47:38You missed a good part.
47:42What's going on?
47:46Nothing. Everything is alright.
47:50You sure? Maybe I should call the doctor.
47:54I have done terrible things in my life.
47:58You don't make as much money as I have.
48:02Without burying a few buddies.
48:06You only can sleep at night.
48:10If they stay buried.
48:14They never do.
48:18You watch The Fun Absolutum All?
48:20Yeah.
48:22I highly recommend it.
48:26It's not a movie, however.
48:30It's a preview.
48:34It's The Coming Attractions of the Soul.
48:40By case.
48:44A hell of an ending.
48:48You said on the phone you needed help.
48:50I was going to ask you to find another movie for me.
48:56After all, you did a good job at this one.
49:00I don't need it anymore.
49:04I have been inspired.
49:10I made my own movie.
49:16I have been inspired.
49:18I did a good job.
49:20I'm done again.
49:22Okay, I need to know that.
49:24I did a good job.
49:26You're for fun.
49:28Jesus, Walter, what are you doing?
49:44What's going on here?
49:45What filthy fucking thing?
49:48What is this?
49:49We don't want to be here now.
49:50You're right.
49:51Lately, I've been spending a lot of time doing things I never would have expected.
49:54Like sitting outside your theater for days at a time with a loaded gun.
49:59Or letting my business go to hell while I figure out ways to ruin your life.
50:03I didn't want to throw my life away.
50:06But now, if you get shot here, what's the matter?
50:10Who's going to notice?
50:11Just one more freak on a stack of bodies tomorrow.
50:14Hey! Hey!
50:24Let's go.
50:54No!
51:24I don't know.
51:54Daddy.
51:56Daddy.
52:00Daddy?
52:07Daddy's here.
52:11Everything's gonna be fine.
52:14Daddy?
52:15I'm right here.
52:18I'm so cold.
52:22Everything's fine. I'll get you out of here.
52:26Daddy?
52:28I'm sorry, honey. Everything will be okay now.
52:35I'm hungry.
52:52I see now. I understand.
52:57Ranny, what's happening? She was just here.
53:01Of course she was. Because you won't let her go.
53:04I loved her. And I loved her, too.
53:08But I see now that we can't both let her go.
53:12It's like we're killing her over and over again.
53:15And we'll never let her go. Not until we're both dead.
53:22These are fucking money.
53:47I love you. I'm sorry.
53:52I love you.
53:54I'm sorry. I love you.
53:57I'm sorry. I got to see you.
53:59I'm sorry, Blackie.
54:00I'm sorry.
54:02Get away from the castle.
54:06I'm sorry.
54:08I'm sorry.
54:09I love this one.
54:10I'm sorry.
54:12I hope you have some cold.
54:14I'm sorry.
54:15I'm sorry.
54:16I'm sorry.
54:18Thank you for this.
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