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 00:02:18,627 --> 00:02:20,297 HE'S PLANNING TO SHOW THIS 19 00:02:20,329 --> 00:02:22,739 TO REPRESENTATIVES OF THE WORLD PRESS. 20 00:02:22,764 --> 00:02:25,864 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 00:02:32,774 --> 00:02:34,774 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 00:02:36,711 --> 00:02:38,611 BE CAUGHT OR KILLED, 27 00:02:38,647 --> 00:02:41,987 THE SECRETARY WILL DISAVOW ANY KNOWLEDGE OF YOUR ACTIONS. 28 00:02:42,016 --> 00:02:45,286 THIS TAPE RECORDING WILL DECOMPOSE IMMEDIATELY. 29 00:02:45,320 --> 00:02:46,390 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 -- 41 00:04:14,509 --> 00:04:17,819 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. 72 00:06:38,119 --> 00:06:39,159 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 ]