1
00:00:02,257 --> 00:00:06,027
[ "MISSION: IMPOSSIBLE" THEME
PLAYS ]
2
00:01:03,218 --> 00:01:04,718
GOOD MORNING.
3
00:01:04,753 --> 00:01:07,223
IS IT POSSIBLE TO MAKE
AN APPOINTMENT WITH RITA?
4
00:01:07,256 --> 00:01:09,456
I'M SORRY,
WE DON'T HAVE ANYONE HERE
5
00:01:09,491 --> 00:01:10,691
BY THE NAME OF RITA.
6
00:01:10,725 --> 00:01:14,765
OH. IN THAT CASE,
IS OLGA FREE?
7
00:01:17,199 --> 00:01:19,469
THIS WAY, PLEASE.
8
00:01:29,678 --> 00:01:32,648
THANK YOU.
9
00:01:32,681 --> 00:01:34,681
[ DOOR CLOSES ]
10
00:01:59,708 --> 00:02:01,548
Man: GOOD MORNING, MISS CARTER.
11
00:02:01,576 --> 00:02:04,946
THIS IS MIKLOS KLAAR,
THE HEAD OF CINEFOT STUDIOS,
12
00:02:04,979 --> 00:02:07,949
ONE OF THE LARGEST
BEHIND THE IRON CURTAIN.
13
00:02:07,982 --> 00:02:10,482
KLAAR HAS POLITICAL AMBITIONS,
14
00:02:10,519 --> 00:02:12,289
AND TO FURTHER THEM,
15
00:02:12,321 --> 00:02:14,551
HAS TURNED CAPTURED
AMERICAN NEWSREEL FOOTAGE
16
00:02:14,589 --> 00:02:16,229
INTO AN ATROCITY FILM,
17
00:02:16,258 --> 00:02:18,598
PORTRAYING OUR SOLDIERS
AS WANTON MURDERERS.
18
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HE'S PLANNING TO SHOW THIS
19
00:02:20,329 --> 00:02:22,739
TO REPRESENTATIVES
OF THE WORLD PRESS.
20
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IF THIS FILM IS SHOWN,
IT WILL SERIOUSLY DAMAGE
21
00:02:25,900 --> 00:02:28,710
THE UNITED STATES
AND OUR FUTURE PEACE TALKS.
22
00:02:28,737 --> 00:02:30,577
THE MISSION,
SHOULD IT BE ACCEPTED,
23
00:02:30,605 --> 00:02:32,745
WOULD BE TO STOP KLAAR,
AND IN SUCH A WAY
24
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THAT HE CAN NEVER REPEAT
THIS TECHNIQUE.
25
00:02:34,809 --> 00:02:36,679
AS ALWAYS, SHOULD ANY
OF THE I.M. FORCE
26
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BE CAUGHT OR KILLED,
27
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THE SECRETARY WILL DISAVOW
ANY KNOWLEDGE OF YOUR ACTIONS.
28
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THIS TAPE RECORDING
WILL DECOMPOSE IMMEDIATELY.
29
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GOOD LUCK.
30
00:03:35,870 --> 00:03:38,610
[ PROJECTOR ROLLING ]
31
00:03:42,711 --> 00:03:49,511
TORVALD, YOU ARE NOT THE MAN
THAT I MARRIED.
32
00:03:49,551 --> 00:03:52,521
WHEN YOUR FEAR LEFT YOU,
33
00:03:52,554 --> 00:03:57,024
YOU WERE NOT AFRAID FOR ME,
BUT FOR YOURSELF.
34
00:03:57,058 --> 00:03:59,028
AFTER IT WAS OVER,
35
00:03:59,060 --> 00:04:02,470
AS FAR AS YOU
WERE CONCERNED, IT WAS --
36
00:04:02,497 --> 00:04:03,837
Cinnamon: OH.
37
00:04:03,865 --> 00:04:05,835
YOU WERE FINE.
38
00:04:05,867 --> 00:04:10,037
FINE? YOU WOULDN'T HAVE
CUT OFF SARAH BERNHARDT.
39
00:04:10,071 --> 00:04:11,601
Rollin: MOST OF THE LOT
40
00:04:11,640 --> 00:04:14,480
IS JUST LIKE ANY OTHER
MOTION PICTURE STUDIO --
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SECURITY JUST GOOD ENOUGH
TO KEEP OUT UNINVITED TOURISTS.
42
00:04:17,846 --> 00:04:20,546
BUT HERE,
WHERE KLAAR'S OFFICE,
43
00:04:20,582 --> 00:04:23,412
SOUNDSTAGE,
AND FILM VAULT ARE,
44
00:04:23,452 --> 00:04:26,582
IS STRICTLY OFF-LIMITS
AND VERY, VERY WELL-GUARDED.
45
00:04:26,621 --> 00:04:29,051
HOW DOES BARNEY GET
INTO KLAAR'S FILM VAULT
46
00:04:29,090 --> 00:04:30,360
ON THE THIRD FLOOR?
47
00:04:30,392 --> 00:04:32,962
I CAN'T,
BUT I WON'T HAVE TO.
48
00:04:32,994 --> 00:04:34,394
IT'LL BE EASY
FOR ME TO LEARN
49
00:04:34,429 --> 00:04:35,699
HOW FAR UP THE WATER
PIPES RUN VERTICALLY
50
00:04:35,730 --> 00:04:38,470
BECAUSE THE PLUMBER'S SNAKE
HITS THE TOP.
51
00:04:38,500 --> 00:04:41,110
HOW DO YOU MEASURE
THE HORIZONTAL DISTANCE
52
00:04:41,135 --> 00:04:42,475
TO THE SPRINKLERS?
53
00:04:42,504 --> 00:04:44,974
CINNAMON WILL GET THAT
FOR ME.
54
00:04:45,006 --> 00:04:47,376
SHE HAS
A SPECIALLY TAILORED SKIRT
55
00:04:47,409 --> 00:04:49,379
THAT PERMITS HER
TO TAKE A STRIDE
56
00:04:49,411 --> 00:04:51,041
EXACTLY 30 INCHES LONG.
57
00:04:51,079 --> 00:04:54,549
CINNAMON, YOU SEE
HOW THIS GOES ON?
58
00:04:57,151 --> 00:04:58,981
DOES IT COME OFF
AS EASILY?
59
00:04:59,020 --> 00:05:01,630
DON'T PAD YOUR PART.
GETTING IT OFF IS MY JOB.
60
00:05:01,656 --> 00:05:04,456
IF WE DESTROY KLAAR'S FILM,
WON'T HE JUST MAKE IT AGAIN?
61
00:05:04,493 --> 00:05:07,623
THAT'S JUST WHAT
WE WANT HIM TO DO.
62
00:05:07,662 --> 00:05:09,492
DAVID, ARE YOU READY?
63
00:05:09,531 --> 00:05:12,761
SURE.
SOMEBODY SAY "ACTION."
64
00:05:12,801 --> 00:05:15,061
Rollin: ACTION.
65
00:05:35,189 --> 00:05:36,899
TARGET SIX.
66
00:06:27,208 --> 00:06:28,748
WHAT IS IT, CORPORAL?
67
00:06:28,777 --> 00:06:30,747
THIS MAN HAS A FILE CABINET
FOR THE BUILDING,
68
00:06:30,779 --> 00:06:32,149
BUT HE DOES NOT HAVE
A PASS.
69
00:06:32,180 --> 00:06:34,820
EVERYONE WHO WORKS
ON A MOTION-PICTURE LOT
70
00:06:34,849 --> 00:06:37,019
MAKES A PRODUCTION
ABOUT EVERYTHING.
71
00:06:37,051 --> 00:06:38,081
THIS IS NOT
AN ATOMIC PLANT, CORPORAL.
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WAIT.
73
00:06:39,187 --> 00:06:40,987
LET THE MAN IN!
74
00:06:41,022 --> 00:06:44,992
CLEAR UP YOUR PAPERWORK
LATER IN THE DAY.
75
00:06:56,971 --> 00:06:59,941
CAPTAIN PETYOV
OF THE MINISTRY OF PROPAGANDA
76
00:06:59,974 --> 00:07:02,444
TO SEE MIKLOS KLAAR.
77
00:08:42,944 --> 00:08:47,344
A CAPTAIN PETYOV
TO SEE MR. KLAAR.
78
00:08:47,381 --> 00:08:49,281
ALL RIGHT.
79
00:08:49,317 --> 00:08:50,887
GO AHEAD, SIR.
80
00:08:50,919 --> 00:08:52,589
THANK YOU.
81
00:09:03,297 --> 00:09:05,037
WHERE ARE YOU GOING?
82
00:09:05,066 --> 00:09:06,766
SECOND FLOOR.
83
00:09:06,801 --> 00:09:10,071
ALL RIGHT, BUT NO FURTHER.
IT'S OFF-LIMITS.
84
00:09:18,079 --> 00:09:19,689
YES, SIR?
85
00:09:59,854 --> 00:10:01,324
CAPTAIN PETYOV?
86
00:10:01,355 --> 00:10:02,955
YES.
87
00:10:12,701 --> 00:10:14,801
WRONG SIZE.
88
00:10:14,836 --> 00:10:16,836
[ ELEVATOR BELL DINGS ]
89
00:10:20,842 --> 00:10:22,042
AH.
90
00:10:22,076 --> 00:10:27,216
CAPTAIN PETYOV,
I AM MIKLOS KLAAR.
91
00:10:27,248 --> 00:10:30,218
WELCOME TO CINEFOT STUDIOS.
COME IN, COME IN.
92
00:10:30,251 --> 00:10:31,351
THANK YOU.
93
00:10:31,385 --> 00:10:32,955
HOW WAS YOUR TRIP?
94
00:10:32,987 --> 00:10:35,957
WELL [LAUGHS]
IT'S AN OLD STORY.
95
00:10:35,990 --> 00:10:39,300
OUR PLANES ARE SLOW,
BUT ALSO UNCOMFORTABLE.
96
00:10:39,327 --> 00:10:41,227
[ CHUCKLES ]
97
00:10:41,262 --> 00:10:44,232
I'VE HEARD A GREAT DEAL
ABOUT YOU.
98
00:10:44,265 --> 00:10:47,235
YOU ARE VERY KIND.
99
00:10:47,268 --> 00:10:50,478
OUR MINISTRY HAS ARRANGED
FOR A SCREENING
100
00:10:50,504 --> 00:10:53,374
FOR THE REPRESENTATIVES
OF THE WORLD PRESS
101
00:10:53,407 --> 00:10:55,947
OF YOUR FILM
AT THE SWISS LEGATION
102
00:10:55,977 --> 00:10:57,417
THE DAY AFTER TOMORROW.
103
00:10:57,445 --> 00:10:58,875
GOOD. EXCELLENT.
104
00:10:58,913 --> 00:11:02,183
I UNDERSTAND
THIS BRILLIANT PROJECT
105
00:11:02,216 --> 00:11:04,086
IS ENTIRELY YOUR CREATION.
106
00:11:04,118 --> 00:11:06,758
YOU ARE VERY KIND.
PLEASE, SIT, SIT.
107
00:11:06,788 --> 00:11:08,488
THANK YOU.
108
00:11:08,522 --> 00:11:11,792
I UNDERSTAND
THE BASIC ELEMENTS
109
00:11:11,826 --> 00:11:14,166
AND IDEAS OF THIS PROJECT.
110
00:11:14,195 --> 00:11:17,165
HOWEVER, I WOULD BE
VERY APPRECIATIVE
111
00:11:17,198 --> 00:11:20,908
IF YOU WOULD FILL ME IN
ON SOME OF THE DETAILS.
112
00:11:20,935 --> 00:11:22,435
AH, DETAILS.
113
00:11:22,470 --> 00:11:25,780
IT'S WHAT MAKES
AN IDEA WORK.
114
00:11:25,807 --> 00:11:29,847
REALIZE, I MUST HAVE
LOOKED AT 100,000 FEET
115
00:11:29,878 --> 00:11:32,018
OF CAPTURED AMERICAN
NEWSREEL FOOTAGE
116
00:11:32,046 --> 00:11:34,216
JUST TO SELECT
THIS ONE SMALL PIECE.
117
00:11:34,248 --> 00:11:37,488
AMERICAN FILM STOCK,
IDENTIFIABLE AS SUCH,
118
00:11:37,518 --> 00:11:39,828
SHOT WITH AN AMERICAN CAMERA
119
00:11:39,854 --> 00:11:42,524
BY A PHOTOGRAPHER
WITH THE AMERICAN ARMY.
120
00:11:42,556 --> 00:11:44,996
THE PHOTOGRAPHER
IS NOW DEAD.
121
00:11:45,026 --> 00:11:46,866
KILLED IN ACTION?
122
00:11:48,863 --> 00:11:52,363
MY PIECE OF FILM WAS ALSO SHOT
ON AMERICAN STOCK
123
00:11:52,400 --> 00:11:54,340
WITH AN AMERICAN CAMERA,
124
00:11:54,368 --> 00:11:58,478
BUT IT WAS SHOT HERE
ON A JUNGLE SET.
125
00:11:58,506 --> 00:12:00,876
SPLICE THE TWO TOGETHER,
126
00:12:00,909 --> 00:12:03,279
AND THE ONE-MINUTE FILM
WILL SHOW THE WORLD
127
00:12:03,311 --> 00:12:06,271
WHAT GANGSTERS
THE AMERICANS REALLY ARE.
128
00:12:06,314 --> 00:12:10,014
SHOT ON A SET?
SPLICED TOGETHER?
129
00:12:10,051 --> 00:12:13,821
HOW CAN THIS POSSIBLY LOOK LIKE
THE SAME PIECE OF FILM?
130
00:12:13,855 --> 00:12:19,865
THAT IS WHAT MAKES DETAIL...
SO IMPORTANT.
131
00:12:37,145 --> 00:12:38,515
[ LATCHES CLICKING ]
132
00:13:03,872 --> 00:13:07,902
THIS IS THE CAPTURED
NEWSREEL FOOTAGE.
133
00:13:10,945 --> 00:13:15,145
ALL DOCUMENTARY
FILM FOOTAGE, RIGHT?
134
00:13:15,183 --> 00:13:16,583
YES.
135
00:13:22,323 --> 00:13:23,993
WRONG.
136
00:13:24,025 --> 00:13:26,025
YOU NOTICED THE BLACK FRAME
137
00:13:26,060 --> 00:13:28,500
WHERE THE FIFTH SOLDIER
PASSED VERY CLOSE
138
00:13:28,529 --> 00:13:29,969
TO THE CAMERA?
139
00:13:29,998 --> 00:13:31,098
YES.
140
00:13:31,132 --> 00:13:33,202
THAT IS WHERE
I MADE THE SPLICE.
141
00:13:33,234 --> 00:13:35,564
FROM THERE ON IS MY FILM.
142
00:13:35,603 --> 00:13:37,103
THAT'S HARD TO BELIEVE.
143
00:13:37,138 --> 00:13:38,478
WATCH.
144
00:13:38,506 --> 00:13:42,006
I WILL BACK UP
AND SHOW IT TO YOU AGAIN.
145
00:13:42,043 --> 00:13:45,643
THIS IS THE SPOT
WHERE HE BLOCKS OUT THE CAMERA.
146
00:13:45,679 --> 00:13:48,419
WATCH THE TERRAIN,
THE FOLIAGE,
147
00:13:48,449 --> 00:13:52,519
THE SMALLEST EFFECTS,
THE GRAININESS OF THE FILM --
148
00:13:52,553 --> 00:13:54,553
DETAIL, DETAIL.
149
00:13:54,588 --> 00:13:56,528
WATCH, WATCH.
150
00:13:56,557 --> 00:13:58,427
YOU SEE?
151
00:13:58,459 --> 00:13:59,599
YOU SEE?
152
00:14:18,512 --> 00:14:21,982
WELL, MY FRIEND,
WHAT DO YOU THINK?
153
00:14:23,651 --> 00:14:25,151
IT IS BRILLIANT.
154
00:14:25,186 --> 00:14:26,216
THANK YOU.
155
00:14:26,254 --> 00:14:28,084
TOTALLY INCRIMINATING.
156
00:14:28,122 --> 00:14:30,322
THEN I HAVE YOUR APPROVAL?
157
00:14:30,358 --> 00:14:33,428
HMM.
158
00:14:33,461 --> 00:14:36,391
I SHOULD LIKE TO SEE IT AGAIN
BEFORE I GIVE MY APPROVAL.
159
00:14:36,430 --> 00:14:38,370
CERTAINLY.
160
00:14:51,745 --> 00:14:54,185
OH!
161
00:14:54,215 --> 00:14:55,585
OH, MY GLASSES!
162
00:14:55,616 --> 00:14:57,186
OH.
163
00:14:57,218 --> 00:15:00,428
WHAT ROTTEN LUCK.
BUT YOU HAVE ANOTHER PAIR?
164
00:15:00,454 --> 00:15:02,424
NO, I HAVE A PRESCRIPTION.
165
00:15:02,456 --> 00:15:05,426
BUT IT WOULD TAKE A FULL DAY
TO HAVE IT FILLED.
166
00:15:05,459 --> 00:15:08,999
OH, I WILL SEE THAT FILM
AGAIN TOMORROW MORNING.
167
00:15:09,030 --> 00:15:12,270
TOMORROW? WELL, UH, PERHAPS
IF YOU STOOD EXTRA CLOSE...
168
00:15:12,300 --> 00:15:15,370
NO, I CANNOT GIVE
MY APPROVAL TO A FILM
169
00:15:15,403 --> 00:15:17,703
I HAVE ONLY SEEN
ONCE CLEARLY.
170
00:15:17,738 --> 00:15:19,178
TERRIBLE, TERRIBLE.
171
00:15:19,207 --> 00:15:20,707
OF COURSE. I UNDERSTAND.
172
00:15:50,238 --> 00:15:54,008
[ INTERCOM BUZZES ]
173
00:15:54,042 --> 00:15:55,002
YES?
174
00:15:55,043 --> 00:15:56,573
Man: Sir, the gate called.
175
00:15:56,610 --> 00:15:59,350
An extra named Mikeli
hasn't checked off the lot yet.
176
00:15:59,380 --> 00:16:01,050
YOU'RE SURE IT IS NOT
AN INTERVIEW
177
00:16:01,082 --> 00:16:02,382
WITH A PRODUCER
OR A DIRECTOR?
178
00:16:02,416 --> 00:16:04,616
ALL THE PRODUCERS
AND DIRECTORS
179
00:16:04,652 --> 00:16:07,752
have left, sir.
180
00:17:26,800 --> 00:17:28,670
[ DOOR CLOSES ]
181
00:18:30,564 --> 00:18:32,234
[ TAPPING ]
182
00:18:35,503 --> 00:18:37,573
[ RHYTHMIC TAPPING ]
183
00:18:48,249 --> 00:18:51,719
[ RHYTHMIC TAPPING ]
184
00:19:35,996 --> 00:19:37,696
NO, NO.
185
00:19:37,731 --> 00:19:40,401
DON'T.
186
00:19:40,434 --> 00:19:44,274
WHO ARE YOU?
WHAT ARE YOU DOING HERE?
187
00:19:44,305 --> 00:19:45,935
WHAT'S THIS?
188
00:19:45,973 --> 00:19:47,803
WHAT ARE YOU DOING HERE?
189
00:19:47,841 --> 00:19:50,311
ARE YOU MR. KLAAR?
190
00:19:50,344 --> 00:19:53,614
YOU ARE THE EXTRA WHO DID NOT
CHECK OFF THE LOT.
191
00:19:53,647 --> 00:19:56,287
TINA MIKELI.
192
00:19:56,317 --> 00:19:57,957
HOW DID YOU
GET PAST THE GUARD?
193
00:19:57,985 --> 00:20:00,585
WHAT IS THIS FILM
YOU ARE STEALING?
194
00:20:00,621 --> 00:20:03,251
I AM NOT A THIEF,
MR. KLAAR. THIS IS --
195
00:20:03,291 --> 00:20:04,421
DON'T MOVE!
196
00:20:04,458 --> 00:20:07,568
THAT IS MY FILM,
NOT YOUR FILM.
197
00:20:10,331 --> 00:20:11,991
IT'S FILM OF YOU.
198
00:20:12,032 --> 00:20:15,562
I WAS TRYING
TO PUT IT ON YOUR DESK.
199
00:20:15,603 --> 00:20:18,333
YOU COULD NOT HAVE
PUT IT IN THE MAIL?
200
00:20:18,372 --> 00:20:20,502
OF COURSE I COULD HAVE,
AND YOUR SECRETARY
201
00:20:20,541 --> 00:20:22,541
WOULD HAVE RETURNED IT
TO ME UNOPENED.
202
00:20:22,576 --> 00:20:24,546
OR WORSE, SHE WOULD HAVE
LOOKED AT IT
203
00:20:24,578 --> 00:20:26,378
AND TOLD YOU
IT WAS TERRIBLE.
204
00:20:26,414 --> 00:20:27,644
BUT IT IS NOT.
205
00:20:27,681 --> 00:20:29,841
IT IS A GOOD FILM, MR. KLAAR.
I AM GOOD.
206
00:20:29,883 --> 00:20:33,583
A FINE PRODUCER
SHOULD KNOW ABOUT ME.
207
00:20:35,456 --> 00:20:38,956
YOU, UH, HAVE NO LACK
OF EGO, MISS MIKELI.
208
00:20:38,992 --> 00:20:40,722
PLEASE, MR. KLAAR,
209
00:20:40,761 --> 00:20:43,661
IF THIS FILM IS NOT
AS GOOD AS I SAY IT IS,
210
00:20:43,697 --> 00:20:47,507
I SWEAR, I WILL NEVER
TROUBLE YOU AGAIN.
211
00:20:50,871 --> 00:20:52,071
ALL RIGHT.
212
00:20:52,105 --> 00:20:54,545
COME.
213
00:21:09,557 --> 00:21:10,757
OFF-LIMITS GATE.
214
00:21:10,791 --> 00:21:12,791
THE MISSING EXTRA,
MISS MIKELI --
215
00:21:12,826 --> 00:21:14,526
SHE IS WITH ME.
IT'S ALL RIGHT.
216
00:21:14,562 --> 00:21:16,622
Man: Yes, sir, Mr. Klaar.
Thank you.
217
00:21:20,601 --> 00:21:22,061
IT IS NORA'S SPEECH
218
00:21:22,102 --> 00:21:24,832
FROM THE THIRD ACT
OF "A DOLL'S HOUSE."
219
00:21:24,872 --> 00:21:26,472
IT IS THE PART
WHERE SHE --
220
00:21:26,507 --> 00:21:28,477
I, UH, KNOW THE SPEECH.
221
00:21:28,509 --> 00:21:30,419
YES, YES, OF COURSE.
222
00:21:45,459 --> 00:21:47,599
COME.
223
00:21:58,439 --> 00:22:05,019
TORVALD, YOU ARE NOT THE MAN
THAT I MARRIED.
224
00:22:05,045 --> 00:22:07,615
WHEN YOUR FEAR LEFT YOU,
225
00:22:07,648 --> 00:22:11,988
YOU WERE NOT AFRAID FOR ME,
BUT FOR YOURSELF.
226
00:22:12,019 --> 00:22:17,059
AFTER IT WAS OVER,
AS FAR AS YOU WERE CONCERNED,
227
00:22:17,090 --> 00:22:21,170
IT WAS EXACTLY AS IF
NOTHING AT ALL HAD HAPPENED.
228
00:22:21,194 --> 00:22:24,094
[ RHYTHMIC TAPPING ]
229
00:22:26,133 --> 00:22:30,703
EXACTLY AS BEFORE,
I WAS AGAIN YOUR LITTLE DOLL.
230
00:22:34,742 --> 00:22:38,442
AND NOW YOU TREAT ME
WITH DOUBLY GENTLE CARE
231
00:22:38,479 --> 00:22:41,389
BECAUSE I WAS SO DELICATE
AND FRAGILE.
232
00:22:43,083 --> 00:22:45,753
[ METAL SQUEALS ]
233
00:22:52,493 --> 00:22:55,893
TORVALD...
234
00:22:55,929 --> 00:22:59,499
IT WAS THEN
THAT IT DAWNED UPON ME
235
00:22:59,533 --> 00:23:02,763
THAT I HAVE BEEN LIVING
HERE IN THIS HOUSE
236
00:23:02,803 --> 00:23:05,473
WITH A STRANGER
FOR EIGHT YEARS.
237
00:23:32,633 --> 00:23:35,963
YOU ARE QUITE, UH,
QUITE GOOD.
238
00:23:36,003 --> 00:23:38,973
WELL, THANK YOU
SO VERY MUCH, MR. KLAAR.
239
00:23:39,006 --> 00:23:41,546
I WILL LOOK AT IT AGAIN
IN A DAY OR TWO
240
00:23:41,575 --> 00:23:42,905
IN THE PROJECTION ROOM.
241
00:23:42,943 --> 00:23:44,843
THEN PERHAPS I CAN, UH,
242
00:23:44,878 --> 00:23:47,818
PERHAPS I CAN FIND
SOMETHING FOR YOU.
243
00:23:47,848 --> 00:23:49,218
THANK YOU SO MUCH, MR. KLAAR.
244
00:23:49,249 --> 00:23:51,189
AND I DO SO MUCH
WANT TO APOLOGIZE
245
00:23:51,218 --> 00:23:52,718
FOR THE WAY I CAME IN HERE.
246
00:23:52,753 --> 00:23:56,983
IT WAS RUDE, IT WAS WRONG,
BUT I -- I'M SORRY.
247
00:23:57,024 --> 00:23:59,154
FORGET IT.
248
00:23:59,192 --> 00:24:02,162
COME, NOW.
249
00:24:02,195 --> 00:24:04,635
I WILL SHOW YOU
OUT THE GATES,
250
00:24:04,665 --> 00:24:06,165
AND PERHAPS I CAN, UH,
251
00:24:06,199 --> 00:24:09,039
CALL YOU IN A FEW DAYS,
MISS MIKELI --
252
00:24:09,069 --> 00:24:11,179
SOCIALLY.
253
00:24:11,204 --> 00:24:13,744
YES, OF COURSE, MR. KLAAR.
254
00:24:23,751 --> 00:24:26,111
[ METAL SCRAPING ]
255
00:25:06,694 --> 00:25:08,594
[ SCRAPING CONTINUES ]
256
00:25:57,745 --> 00:25:59,115
[ HISSING ]
257
00:26:37,084 --> 00:26:41,124
[ WATER RUSHES ]
258
00:26:54,835 --> 00:26:55,965
Klaar: YOU WILL REMEMBER
259
00:26:56,003 --> 00:26:57,333
AT THE BEGINNING
OF THE FILM --
260
00:26:57,370 --> 00:27:00,680
PLEASE, COULD YOU SHOW IT
TO ME FROM THE SPLICE --
261
00:27:00,708 --> 00:27:02,948
THE BLACK FRAME
YOU TOLD ME ABOUT?
262
00:27:02,976 --> 00:27:04,846
CERTAINLY.
263
00:27:15,723 --> 00:27:21,423
UNDERSTAND, TO THE EYE,
BLACK IS BLACK.
264
00:27:47,387 --> 00:27:49,827
MARVELOUS.
265
00:27:49,857 --> 00:27:51,497
TRULY MARVELOUS.
266
00:27:51,524 --> 00:27:54,724
I WANT YOU TO KNOW THOSE ARE
THE EXACT WORDS I WILL USE
267
00:27:54,762 --> 00:27:56,892
WHEN I GIVE MY REPORT
TO THE MINISTRY.
268
00:27:56,930 --> 00:27:59,470
YOU ARE VERY KIND.
THANK YOU.
269
00:28:07,140 --> 00:28:09,050
WHAT IS THAT?
270
00:28:09,076 --> 00:28:10,706
WHAT?
271
00:28:14,347 --> 00:28:17,087
COULD THIS BE HAPPENING?
272
00:28:17,117 --> 00:28:20,317
NO, NO.
273
00:28:20,353 --> 00:28:21,883
DID YOU DO SOMETHING?
274
00:28:21,922 --> 00:28:24,852
I DIDN'T TOUCH YOUR MACHINE
UNTIL JUST NOW.
275
00:28:24,892 --> 00:28:25,852
I NOTICED IT.
276
00:28:25,893 --> 00:28:27,323
I'M SORRY, BUT THE FILM
277
00:28:27,360 --> 00:28:29,930
HAS BEEN SPLITTING
AS IT COMES OUT.
278
00:28:29,963 --> 00:28:31,393
PERHAPS THERE IS A BUG.
279
00:28:31,431 --> 00:28:33,761
PERHAPS.
280
00:28:36,569 --> 00:28:38,439
YOU HAVE ANOTHER PRINT, YES?
281
00:28:38,471 --> 00:28:42,141
NO, ONLY ONE WAS MADE
FOR SECURITY REASONS,
282
00:28:42,175 --> 00:28:45,415
BUT IT'S EASY TO MAKE
ANOTHER PRINT.
283
00:28:45,445 --> 00:28:48,245
THE NEGATIVE IS NEXT DOOR
IN THE VAULT.
284
00:28:48,281 --> 00:28:49,781
GOOD. GOOD.
285
00:28:52,085 --> 00:28:55,285
LOOK AT IT!
LOOK AT IT!
286
00:28:55,322 --> 00:28:57,152
RUINED!
287
00:28:57,190 --> 00:28:59,300
EVERYTHING RUINED!
288
00:28:59,326 --> 00:29:01,526
PRECIOUS FILM!
289
00:29:01,561 --> 00:29:03,561
FIND OUT WHAT HAPPENED!
290
00:29:03,596 --> 00:29:06,136
FIND OUT AND LET ME KNOW
IMMEDIATELY!
291
00:29:06,166 --> 00:29:07,806
YES, SIR.
292
00:29:30,157 --> 00:29:33,227
DON'T APOLOGIZE TO ME.
DO SOMETHING.
293
00:29:33,260 --> 00:29:35,500
I WILL. OF COURSE.
294
00:29:35,528 --> 00:29:38,238
WHAT'S THE MATTER WITH ME?
295
00:29:38,265 --> 00:29:40,595
I STILL HAVE
THE NEWSREEL FOOTAGE.
296
00:29:40,633 --> 00:29:43,603
I STILL HAVE THE SET.
I STILL HAVE A DAY.
297
00:29:43,636 --> 00:29:47,176
THE ATROCITY PART --
I WILL SHOOT IT AGAIN.
298
00:29:59,519 --> 00:30:02,529
[ HAMMER POUNDING ]
299
00:30:09,997 --> 00:30:11,297
GOOD MORNING, ERIC.
300
00:30:11,331 --> 00:30:12,331
GOOD MORNING, SIR.
301
00:30:12,365 --> 00:30:13,365
THIS IS CAPTAIN PETYOV.
302
00:30:13,400 --> 00:30:14,640
HOW DO YOU DO, CAPTAIN?
303
00:30:14,667 --> 00:30:16,507
ERIC IS MY ASSISTANT.
EVERYTHING READY?
304
00:30:16,536 --> 00:30:18,506
YES, MR. KLAAR.
WE'RE ALMOST READY.
305
00:30:18,538 --> 00:30:20,378
GOOD. I WANT TO CHECK
THE FOLIAGE.
306
00:30:20,407 --> 00:30:21,407
RIGHT, SIR.
307
00:30:28,548 --> 00:30:30,088
[ ENGINE SHUTS OFF ]
308
00:30:51,004 --> 00:30:53,974
HIT THE BACKING.
309
00:30:54,007 --> 00:30:57,007
[ BUZZER SOUNDS ]
310
00:30:57,044 --> 00:30:59,244
OKAY, LET'S TEST IT.
311
00:30:59,279 --> 00:31:01,989
[ GUNSHOTS ]
312
00:31:02,015 --> 00:31:05,485
WELL, WHAT DO YOU THINK,
CAPTAIN?
313
00:31:05,518 --> 00:31:08,928
YOU MEAN, THIS WILL LOOK LIKE
WHAT I SAW IN THE FILM, HMM?
314
00:31:08,956 --> 00:31:11,196
Klaar: IT IS WHAT YOU SAW.
315
00:31:14,361 --> 00:31:15,691
STANDING HERE,
316
00:31:15,728 --> 00:31:18,338
YOU CAN SEE THE EQUIPMENT,
THE STAGE WALLS.
317
00:31:18,365 --> 00:31:19,965
THE VIEWER WILL NOT.
318
00:31:20,000 --> 00:31:22,070
IT JUST NEEDS TO BE DRESSED.
319
00:31:22,102 --> 00:31:24,272
I UNDERSTAND.
320
00:31:30,543 --> 00:31:32,143
YOU.
321
00:31:35,215 --> 00:31:37,015
YOU, THERE, WITH THE CART.
322
00:31:47,427 --> 00:31:50,467
WHAT IN THE NAME
OF HEAVEN IS THIS?
323
00:32:05,345 --> 00:32:09,585
THESE ARE THE DEAD BODIES
YOU ASKED FOR, SIR.
324
00:32:09,616 --> 00:32:11,716
I ASK FOR DEAD BODIES.
325
00:32:11,751 --> 00:32:15,051
SOMEONE DECIDES
TO SAVE ME MONEY.
326
00:32:15,088 --> 00:32:17,358
DUMMIES COST NOTHING.
327
00:32:19,526 --> 00:32:22,626
EXTRAS COST ONLY
PRACTICALLY NOTHING.
328
00:32:22,662 --> 00:32:26,262
OF COURSE, THE PICTURE
IS RUINED, BUT WHAT OF THAT?
329
00:32:26,299 --> 00:32:28,969
GET THESE THINGS
OUT OF HERE.
330
00:32:31,204 --> 00:32:33,634
ALL RIGHT.
331
00:32:33,673 --> 00:32:36,203
AS SOON AS EVERYONE IS READY,
I WANT A FULL REHEARSAL.
332
00:32:36,243 --> 00:32:37,303
Man: YES, SIR.
333
00:32:37,344 --> 00:32:40,044
Eric: ALL RIGHT, MEN,
INTO PLACES.
334
00:32:40,080 --> 00:32:41,720
YOU EXPLAIN TO THEM TO DO
EXACTLY THE SAME THING
335
00:32:41,748 --> 00:32:42,748
AS THEY DID THE LAST TIME.
336
00:32:42,782 --> 00:32:43,582
YES, SIR.
337
00:32:46,186 --> 00:32:50,056
ALL RIGHT, MEN,
AS YOU WERE BEFORE.
338
00:32:56,629 --> 00:32:58,639
PUT A DOUBLE ON THAT!
339
00:32:58,665 --> 00:33:00,035
[ INDISTINCT CONVERSATIONS ]
340
00:33:15,715 --> 00:33:18,715
AND GIVE ME
A SINGLE UP HERE.
341
00:33:26,626 --> 00:33:29,296
YOU, FRESHEN UP
THIS FOLIAGE.
342
00:33:30,730 --> 00:33:32,770
HUGO, THIS WILL BE
343
00:33:32,799 --> 00:33:36,069
EXACTLY THE SAME THING
AS WE SHOT THE LAST TIME.
344
00:33:48,115 --> 00:33:49,445
CAPTAIN.
345
00:33:49,482 --> 00:33:52,152
Man: FIRE ON THE SET!
346
00:33:53,686 --> 00:33:56,556
Man: THE BUCKET.
347
00:33:56,589 --> 00:33:57,829
I'M TERRIBLY SORRY.
348
00:33:57,857 --> 00:33:59,857
THAT WAS EXTREMELY
CARELESS, CAPTAIN.
349
00:33:59,892 --> 00:34:01,492
PLEASE FORGIVE ME --
I WAS SO FASCINATED,
350
00:34:01,528 --> 00:34:03,468
I MUST HAVE DROPPED
A MATCH WITHOUT LOOKING.
351
00:34:03,496 --> 00:34:05,496
FORGIVE ME.
352
00:34:11,704 --> 00:34:14,174
Klaar:
MY AMERICANS, PLEASE.
353
00:34:14,207 --> 00:34:15,207
ALL RIGHT, MEN.
354
00:34:15,242 --> 00:34:17,772
OVER HERE.
355
00:34:29,356 --> 00:34:31,496
NOW, EVERYONE WATCH THIS
VERY CLOSELY.
356
00:34:31,524 --> 00:34:33,654
THIS IS TO REFRESH
YOUR MEMORIES
357
00:34:33,693 --> 00:34:35,623
OF WHAT WE DID LAST TIME.
358
00:35:21,741 --> 00:35:25,711
NOW, THIS IS THE POINT
WHERE YOU BLOCK OUT THE LENS
359
00:35:25,745 --> 00:35:27,875
AND OUR FILM BEGINS,
REMEMBER?
360
00:35:27,914 --> 00:35:29,614
VERY WELL, ONE REHEARSAL,
361
00:35:29,649 --> 00:35:30,949
THEN I WOULD LIKE
TO TRY A TAKE.
362
00:35:30,983 --> 00:35:32,613
Man: YES, SIR.
363
00:35:32,652 --> 00:35:35,182
NOW, REMEMBER, YOU MUST
HIT YOUR MARKS EXACTLY.
364
00:35:35,222 --> 00:35:36,682
YOU BLOCK OUT THE LENS,
365
00:35:36,723 --> 00:35:39,453
THEN CONTINUE ON
WITHOUT TURNING YOUR BACK.
366
00:35:39,492 --> 00:35:42,422
I DO NOT WANT TO SEE
YOUR FACE IN CLOSE-UP YET.
367
00:35:42,462 --> 00:35:45,932
Eric: ALL RIGHT, MEN,
INTO PLACES.
368
00:35:55,608 --> 00:35:57,478
BRING IN THE WOUNDED.
369
00:36:11,891 --> 00:36:16,291
Man: SPECIAL EFFECTS GUN,
PLEASE.
370
00:36:17,897 --> 00:36:19,537
READY, HUGO?
371
00:36:19,566 --> 00:36:21,806
QUIET.
372
00:36:21,834 --> 00:36:23,704
ACTION!
373
00:36:31,344 --> 00:36:35,644
[ IMITATING MACHINE GUNFIRE ]
374
00:36:37,317 --> 00:36:38,957
CUT, CUT, CUT!
375
00:36:38,985 --> 00:36:41,825
WHEN YOU COME IN, YOU MUST
HAVE YOUR HEADS LOWER --
376
00:36:41,854 --> 00:36:43,924
MORE OF A CROUCH.
377
00:36:45,958 --> 00:36:49,668
MORE, MORE, MORE PLEADING.
MORE FEAR. THANK YOU.
378
00:36:49,696 --> 00:36:51,496
SPECIAL EFFECTS READY?
379
00:36:51,531 --> 00:36:52,531
Man: YES, SIR.
380
00:36:52,565 --> 00:36:55,565
THEN THIS WILL BE PICTURE.
381
00:36:55,602 --> 00:36:58,232
PLACES, EVERYONE.
382
00:37:00,840 --> 00:37:02,510
QUIET.
[ BELL RINGS ]
383
00:37:02,542 --> 00:37:03,542
ROLL IT.
384
00:37:06,713 --> 00:37:08,283
Klaar:
YOU HAVE SPEED, HUGO?
385
00:37:08,315 --> 00:37:09,385
SPEED.
386
00:37:09,416 --> 00:37:11,956
THEN ACTION!
387
00:37:11,984 --> 00:37:13,754
Man: NO, NO, NO, NO.
388
00:37:13,786 --> 00:37:15,556
Man #2: NO, NO, NO, NO.
389
00:37:15,588 --> 00:37:18,558
NO, NO, NO, NO.
NO, NO, NO.
390
00:37:18,591 --> 00:37:20,721
AAH!
391
00:37:40,112 --> 00:37:41,382
CUT.
392
00:37:41,414 --> 00:37:43,544
[ BELL RINGS ]
393
00:37:43,583 --> 00:37:45,313
PRINT IT
AND GET ME A MESSENGER.
394
00:37:45,352 --> 00:37:46,382
YES, SIR.
395
00:37:48,421 --> 00:37:50,451
EXCELLENT.
396
00:37:50,490 --> 00:37:52,000
EXCELLENT.
397
00:37:52,024 --> 00:37:54,964
THANK YOU, DOCTOR.
398
00:37:54,994 --> 00:37:57,594
THANK YOU. YOU DIED BEAUTIFUL.
THANK YOU.
399
00:37:57,630 --> 00:38:00,070
THANK YOU.
IT WAS EXCELLENT. EXCELLENT.
400
00:38:00,099 --> 00:38:01,739
THE BEST ONE YET.
401
00:38:08,741 --> 00:38:10,701
BEAUTIFUL, NO?
402
00:38:10,743 --> 00:38:12,743
[ CHUCKLES ]
403
00:38:40,106 --> 00:38:42,006
NOW, LISTEN CAREFULLY.
404
00:38:42,041 --> 00:38:44,841
TAKE THIS FILM
AND RUSH -- I REPEAT --
405
00:38:44,877 --> 00:38:47,977
RUSH IT TO THE LAB
AND WAIT THERE.
406
00:38:48,014 --> 00:38:49,844
WAIT UNTIL IT IS DEVELOPED,
407
00:38:49,882 --> 00:38:52,582
THEN BRING IT TO ME
IN MY OFFICE --
408
00:38:52,619 --> 00:38:54,729
TO ME AND NO ONE ELSE.
409
00:38:59,626 --> 00:39:02,626
[ HAMMER POUNDING ]
410
00:39:33,159 --> 00:39:36,169
YES, WE CAN CONGRATULATE
OURSELVES, PETYOV.
411
00:39:36,195 --> 00:39:40,465
HAVING TO RESHOOT THE FILM
WAS A STROKE OF LUCK.
412
00:39:40,500 --> 00:39:44,070
IT WILL BE EVEN BETTER
THAN THE FIRST TIME.
413
00:39:44,103 --> 00:39:47,973
THIS EVENING,
IF I MAY SAY SO,
414
00:39:48,007 --> 00:39:51,717
WILL BE A RICHLY DESERVED
TRIUMPH.
415
00:39:51,744 --> 00:39:53,844
YES, EVEN MORE THAN THAT.
416
00:39:53,880 --> 00:39:55,590
TO THIS EVENING.
417
00:39:55,615 --> 00:39:58,685
THIS EVENING, MY FRIEND.
418
00:40:11,030 --> 00:40:13,740
[ MUFFLED THUMP ]
419
00:40:24,176 --> 00:40:26,146
I KNOW.
420
00:40:26,178 --> 00:40:30,148
I KNOW JUST AS SURE
AS I AM SITTING HERE,
421
00:40:30,182 --> 00:40:32,952
SOMEONE IS OUT TO GET ME.
422
00:40:34,621 --> 00:40:36,851
THERE IS A PLOT.
423
00:40:39,058 --> 00:40:41,198
WHAT ARE YOU
TALKING ABOUT?
424
00:40:41,227 --> 00:40:45,697
YOU DO NOT UNDERSTAND
THE MOTION-PICTURE BUSINESS.
425
00:40:45,732 --> 00:40:47,662
SUCH JEALOUSY.
426
00:40:47,700 --> 00:40:50,740
YOU REALLY THINK SO, HMM?
427
00:40:52,171 --> 00:40:53,971
[ KNOCK ON DOOR ]
428
00:40:56,008 --> 00:40:59,678
THAT WILL BE THE MESSENGER
WITH THE FILM.
429
00:40:59,712 --> 00:41:02,242
[ KNOCKING CONTINUES ]
430
00:41:22,068 --> 00:41:24,708
SIR, THIS MAN WAS FOUND
IN THE BASEMENT.
431
00:41:24,737 --> 00:41:26,177
HE HAS NO PASS.
432
00:41:26,205 --> 00:41:29,145
WELL, NOW.
433
00:41:29,175 --> 00:41:32,575
Klaar: NOW YOU SEE, PETYOV?
YOU SEE?
434
00:41:32,612 --> 00:41:33,972
WHO ARE YOU?
435
00:41:34,013 --> 00:41:36,113
MORE IMPORTANT, WHAT STUDIO
ARE YOU WORKING FOR?
436
00:41:36,148 --> 00:41:40,758
WHO SENT YOU?
BERNARDIAN AT MAGDA?
437
00:41:42,054 --> 00:41:44,694
CHAPNISS? VACHECK?
438
00:41:46,225 --> 00:41:48,295
WHAT WERE YOU DOING
DOWN THERE?
439
00:41:48,327 --> 00:41:49,297
WELL, SPEAK.
440
00:41:49,328 --> 00:41:51,298
MIKLOS,
441
00:41:51,330 --> 00:41:53,640
YOU'RE BEING FOOLISH.
442
00:41:53,666 --> 00:41:56,336
THERE MAY BE MORE TO THIS
THAN YOU THINK,
443
00:41:56,368 --> 00:41:58,578
PERHAPS EVEN ESPIONAGE.
444
00:42:04,043 --> 00:42:07,013
YES, LET ME TAKE
THIS FELLOW DOWN
445
00:42:07,046 --> 00:42:10,116
TO N.V.D. HEADQUARTERS
AND SWEAT HIM A BIT.
446
00:42:10,149 --> 00:42:12,089
WE'LL GET
TO THE TRUTH. COME.
447
00:42:12,118 --> 00:42:14,218
SIR. I HAVE THE FILM, SIR.
448
00:42:14,253 --> 00:42:15,683
GOOD, THANK YOU.
449
00:42:15,722 --> 00:42:17,682
SOLDIER,
TAKE THIS MAN ALONG --
450
00:42:17,724 --> 00:42:19,694
NO, NO, NO, PETYOV.
451
00:42:19,726 --> 00:42:22,596
THEY CAN TAKE HIM
TO N.V.D. THEMSELVES.
452
00:42:22,629 --> 00:42:24,799
I AM TAKING NO CHANCES.
453
00:42:24,831 --> 00:42:27,131
I AM PUTTING THIS FILM
IN MY POCKET,
454
00:42:27,166 --> 00:42:29,236
AND YOU AND I
ARE PERSONALLY
455
00:42:29,268 --> 00:42:31,708
GOING TO ESCORT IT
TO THE SWISS LEGATION.
456
00:42:31,738 --> 00:42:33,008
BUT I THINK I SHOULD --
457
00:42:33,039 --> 00:42:34,949
NO, CAPTAIN, I MUST
ABSOLUTELY INSIST.
458
00:42:34,974 --> 00:42:37,374
YOU TWO, TAKE HIM OUT.
459
00:42:37,409 --> 00:42:39,849
YOU OTHER TWO,
COME WITH US.
460
00:42:39,879 --> 00:42:42,849
BECAUSE NOT ONLY DO I WANT
TO SEE THESE FILMS
461
00:42:42,882 --> 00:42:44,682
SAFELY IN THE LEGATION,
462
00:42:44,717 --> 00:42:47,857
I AM PERSONALLY GOING TO
HAND IT TO THE PROJECTIONIST,
463
00:42:47,887 --> 00:42:50,027
AND YOU AND I
ARE GOING TO WATCH IT
464
00:42:50,056 --> 00:42:52,026
BEING THREADED
INTO THE MACHINE.
465
00:42:52,058 --> 00:42:55,198
I SWEAR, NOTHING IS GOING
TO HAPPEN TO THIS FILM.
466
00:42:55,227 --> 00:42:56,697
NOTHING.
467
00:43:39,706 --> 00:43:42,806
FINE.
468
00:43:42,842 --> 00:43:45,042
NOW DO NOT TOUCH ANYTHING.
469
00:43:45,077 --> 00:43:49,317
DO NOT DO ANYTHING EXCEPT
HIT THE SWITCH WHEN I TELL YOU.
470
00:43:49,348 --> 00:43:52,058
NO ONE COMES IN. NO ONE.
471
00:43:52,084 --> 00:43:53,914
YOU, OUTSIDE THE DOOR.
472
00:43:53,953 --> 00:43:55,923
YOU, INSIDE.
473
00:43:55,955 --> 00:43:57,925
COME, CAPTAIN,
474
00:43:57,957 --> 00:44:01,727
OUR CURTAIN IS GOING UP.
475
00:44:26,853 --> 00:44:29,823
WELCOME, GENTLEMEN.
WELCOME. WELCOME.
476
00:44:29,856 --> 00:44:31,356
GOOD TO SEE YOU.
477
00:44:31,390 --> 00:44:35,100
ALLOW ME TO INTRODUCE MYSELF.
I AM MIKLOS KLAAR.
478
00:44:35,127 --> 00:44:37,367
THIS IS MY FRIEND
CAPTAIN PETYOV.
479
00:44:37,396 --> 00:44:38,836
HOW DO YOU DO?
480
00:44:38,865 --> 00:44:40,095
NICE TO SEE YOU.
481
00:44:40,132 --> 00:44:41,162
SOKOLOFF,
COORDINATED NEWS.
482
00:44:41,200 --> 00:44:42,810
OH, YES,
HOW GOOD TO SEE YOU.
483
00:44:42,835 --> 00:44:44,835
GEORGE BENGST,
INTERNATIONAL WIRE SERVICE.
484
00:44:44,871 --> 00:44:46,271
A PLEASURE, MR. BENGST.
485
00:44:46,305 --> 00:44:48,235
MAY I INTRODUCE
KLAUS HANSEN, WORLD PRESS?
486
00:44:48,274 --> 00:44:50,844
MR. HANSEN,
I AM GLAD TO SEE YOU.
487
00:44:50,877 --> 00:44:53,117
I AM DELIGHTED
TO SEE YOU ALL
488
00:44:53,145 --> 00:44:56,115
FOR YOU ARE GOING TO SEE
FOR YOURSELVES, GENTLEMEN,
489
00:44:56,148 --> 00:44:57,518
HOW THE AMERICANS,
490
00:44:57,549 --> 00:45:00,389
WHO PROFESS TO ADHERE
TO THE GENEVA CONVENTION,
491
00:45:00,419 --> 00:45:03,289
HAVE BEEN VIOLATING IT,
AS WE, WHO KNOW BETTER,
492
00:45:03,322 --> 00:45:05,492
HAVE CLAIMED ALL ALONG.
493
00:45:05,524 --> 00:45:07,894
THE FILM YOU ARE ABOUT TO SEE
494
00:45:07,927 --> 00:45:10,397
WAS SHOT
BY AN AMERICAN CAMERAMAN,
495
00:45:10,429 --> 00:45:12,499
EXACTLY AS YOU WILL SEE IT,
496
00:45:12,531 --> 00:45:15,831
WHILE HE WAS
ON A NEWS-GATHERING ASSIGNMENT
497
00:45:15,868 --> 00:45:19,238
WITH AN AMERICAN COMBAT PATROL
IN THE WAR ZONE
498
00:45:19,271 --> 00:45:21,901
NEAR THE VILLAGE OF QUON DOC.
499
00:45:21,941 --> 00:45:25,141
ONCE YOU HAVE SEEN THE FILM,
I WILL BE VERY HAPPY TO ANSWER
500
00:45:25,177 --> 00:45:27,377
ANY AND ALL QUESTIONS.
SHALL WE?
501
00:45:37,589 --> 00:45:40,029
WHENEVER YOU ARE READY.
502
00:45:44,096 --> 00:45:47,066
[ FAINT ARTILLERY FIRE ]
503
00:45:58,978 --> 00:46:02,048
[ ARTILLERY FIRE CONTINUES ]
504
00:46:23,269 --> 00:46:25,209
Man: NO, NO, NO, NO.
505
00:46:25,237 --> 00:46:27,277
Man #2: NO, NO, NO, NO.
506
00:46:27,306 --> 00:46:31,306
NO, NO, NO, NO.
NO, NO, NO.
507
00:46:31,343 --> 00:46:34,513
AAH!
508
00:46:34,546 --> 00:46:37,216
[ GUNFIRE ]
509
00:46:37,249 --> 00:46:39,259
[ AUDIENCE MURMURING ]
510
00:46:45,491 --> 00:46:48,251
I DON'T UNDERSTAND IT.
511
00:46:54,967 --> 00:46:57,967
[ FAINT THUMPING ]
512
00:47:20,426 --> 00:47:22,026
THAT IS THE MOST CALLOUS
513
00:47:22,061 --> 00:47:23,661
AND BRUTAL THING
I'VE EVER SEEN.
514
00:47:23,695 --> 00:47:25,395
Man: IT'S HORRIBLE.
515
00:47:25,431 --> 00:47:28,191
Man #2: I CAN'T BELIEVE IT,
516
00:47:28,234 --> 00:47:30,364
BUT IT'S THERE.
517
00:47:37,043 --> 00:47:39,273
[ ARTILLERY EXPLODES ]
518
00:47:39,311 --> 00:47:42,111
Man: THAT'S --
THAT'S TERRIBLE.
519
00:47:44,116 --> 00:47:46,986
THERE IS ONE THING
I WANT TO ASK,
520
00:47:47,019 --> 00:47:48,519
AND THAT IS
WHY THE AMERICANS...
521
00:47:48,554 --> 00:47:51,924
[ INDISTINCT CONVERSATIONS ]
522
00:47:58,164 --> 00:47:59,294
Man: WHAT'S THAT?
523
00:47:59,331 --> 00:48:01,131
WHAT? OH.
524
00:48:01,167 --> 00:48:03,267
Klaar: CUE MY AMERICANS.
525
00:48:03,302 --> 00:48:06,102
[ IMITATING MACHINE GUNFIRE ]
526
00:48:06,138 --> 00:48:08,538
PROJECTIONIST.
PROJECTIONIST.
527
00:48:08,574 --> 00:48:11,104
CUT, CUT, CUT!
528
00:48:11,143 --> 00:48:13,643
WHEN YOU COME IN, YOU MUST
HAVE YOUR HEADS LOWER --
529
00:48:13,679 --> 00:48:15,349
MORE OF A CROUCH,
530
00:48:15,381 --> 00:48:17,541
AND MORE, MORE, MORE PLEADING.
531
00:48:17,583 --> 00:48:20,153
Man: WELL,
THIS WAS JUST A HOAX.
532
00:48:20,186 --> 00:48:22,656
AND THIS WILL BE PICTURE.
PLACES, EVERYONE.
533
00:48:22,688 --> 00:48:26,958
Man: GENTLEMEN, YOU ARE
SEEING A HOMEMADE MOVIE.
534
00:48:26,993 --> 00:48:29,063
[ AUDIENCE MURMURING ]
535
00:48:29,095 --> 00:48:31,195
Man: MR. KLAAR!
536
00:48:34,633 --> 00:48:37,163
Man: YOU MUST THINK
WE'RE FOOLS.
537
00:48:37,203 --> 00:48:41,173
Man #2: MR. KLAAR, I THOUGHT
WE COULD ASK QUESTIONS.
538
00:48:41,207 --> 00:48:43,177
WHERE AND WHEN
WAS THIS SHOT?
539
00:48:43,209 --> 00:48:46,619
[ LAUGHTER ]
540
00:49:09,735 --> 00:49:13,275
[ LAUGHTER CONTINUES ]
541
00:49:26,052 --> 00:49:31,982
[ "MISSION: IMPOSSIBLE" THEME
PLAYS ]