1 00:00:10,833 --> 00:00:12,367 PREVIOUSLY ON THE L WORD... 2 00:00:12,400 --> 00:00:14,033 FUCK YOU, MOTHERFUCKER! GODDAMN YOU! 3 00:00:14,067 --> 00:00:15,933 HE WAS LYING AND CHEATING. 4 00:00:15,967 --> 00:00:18,033 PAPI, COME ON, GET ME OUT OF HERE. 5 00:00:18,067 --> 00:00:19,567 DID WE... 6 00:00:19,600 --> 00:00:21,200 I COULD NEVER TAKE ADVANTAGE OF A LADY 7 00:00:21,233 --> 00:00:22,767 IN A COMPROMISED SITUATION. 8 00:00:22,800 --> 00:00:24,700 SHAY? WHAT'S WRONG? 9 00:00:25,933 --> 00:00:27,100 DAD! 10 00:00:30,600 --> 00:00:32,033 I'D LIKE TO WORK WITH YOU, MAX. 11 00:00:32,067 --> 00:00:33,433 I DON'T CARE ABOUT THE MONEY. 12 00:00:33,467 --> 00:00:34,733 THIS IS GRACE, THE NEW INTERN. 13 00:00:34,767 --> 00:00:36,367 HEY, GRACE, IT'S SO NICE TO MEET YOU. 14 00:00:36,400 --> 00:00:38,033 I LIKE YOUR T-SHIRT. 15 00:00:38,067 --> 00:00:39,800 "KILL ONE AND IT'S MURDER, 16 00:00:39,833 --> 00:00:40,867 KILL THOUSANDS AND IT'S FOREIGN POLICY." 17 00:00:40,900 --> 00:00:41,867 OH, FUCK... 18 00:00:41,900 --> 00:00:43,800 DO YOU THINK I WANT TO KILL PEOPLE? 19 00:00:43,833 --> 00:00:45,033 THEN WHY ARE YOU THERE? 20 00:00:45,067 --> 00:00:46,700 THE QUESTION IS WHY THE FUCK AM I HERE? 21 00:00:46,733 --> 00:00:48,300 BECAUSE WE WANT TO FUCK EACH OTHER! 22 00:00:48,333 --> 00:00:50,033 I GET JEALOUS. I DO. I GET JEALOUS. 23 00:00:52,133 --> 00:00:54,367 I'M JUST NOT AS EVOLVED AS YOU. 24 00:00:54,400 --> 00:00:55,967 WHAT? 25 00:00:56,000 --> 00:00:57,367 I HEAR YOU'RE BUYING THE RIGHTS TO JENNY'S NEW YORKER PIECE. 26 00:00:57,400 --> 00:00:59,033 IT'S THE HOTTEST PROPERTY IN TOWN. 27 00:00:59,067 --> 00:01:00,200 I HAVE TO KISS HER AS, 28 00:01:00,233 --> 00:01:01,300 AND ALL I REALLY WANT TO DO 29 00:01:01,333 --> 00:01:02,433 IS WRING HER NECK. 30 00:01:02,467 --> 00:01:04,200 MY AGENTS ARE HERE. TINA... 31 00:01:05,500 --> 00:01:07,500 YOU SHOULD GO TALK TO THEM IF YOU WANT TO DO THIS. 32 00:01:08,733 --> 00:01:10,233 IT'S INCREDIBLE. 33 00:01:10,933 --> 00:01:12,567 [DRUM ROLL] 34 00:01:12,600 --> 00:01:14,300 [**] 35 00:01:17,567 --> 00:01:19,933 LOVELY, LISSOME LADIES, 36 00:01:19,967 --> 00:01:24,400 LECHEROUS, LEERING LOTHARIOS, 37 00:01:24,433 --> 00:01:27,833 LOVE IS IN THE AIR. 38 00:01:27,867 --> 00:01:30,167 PERHAPS NOT A LOVE 39 00:01:30,200 --> 00:01:33,367 WITH WHICH YOU ARE FAMILIAR, 40 00:01:33,400 --> 00:01:36,067 BUT THIS IS A LOVE 41 00:01:36,067 --> 00:01:39,300 THAT WILL OPEN YOUR MINDS, 42 00:01:39,333 --> 00:01:42,067 TOUCH YOUR HEARTS, 43 00:01:42,100 --> 00:01:45,067 ALTER YOUR WORLDS. 44 00:01:49,067 --> 00:01:53,967 * L'AMOUR, MES CHERS ET MES CHERIES * 45 00:01:54,067 --> 00:01:59,467 * L'AMOUR, L'AMOUR, L'AMOUR... 46 00:01:59,500 --> 00:02:02,467 LES JEUNES FILLES... 47 00:02:02,500 --> 00:02:03,733 LEZ GIRLS. 48 00:02:07,933 --> 00:02:10,833 [**] 49 00:02:10,867 --> 00:02:16,867 * GIRLS IN TIGHT DRESSES WHO DRAG WITH MUSTACHES * 50 00:02:16,900 --> 00:02:24,333 * CHICKS DRIVING FAST INGENUES WITH LONG LASHES * 51 00:02:24,367 --> 00:02:29,833 * WOMEN WHO LONG, LOVE, LUST WOMEN WHO GIVE * 52 00:02:29,867 --> 00:02:36,867 * THIS IS THE WAY IT'S THE WAY THAT WE LIVE * 53 00:02:44,333 --> 00:02:45,633 * TALKING, LAUGHING LOVING, BREATHING * 54 00:02:45,667 --> 00:02:47,567 * FIGHTING, FUCKING CRYING, DRINKING * 55 00:02:47,600 --> 00:02:48,933 * WRITING, WINNING LOSING, CHEATING * 56 00:02:48,967 --> 00:02:50,667 * KISSING, THINKING, DREAMING 57 00:02:50,700 --> 00:02:52,667 * THIS IS THE WAY... 58 00:02:52,700 --> 00:02:55,500 * IT'S THE WAY THAT WE LIVE * 59 00:02:55,533 --> 00:03:01,100 * IT'S THE WAY THAT WE LIVE 60 00:03:01,133 --> 00:03:06,433 * AND LOVE 61 00:03:08,300 --> 00:03:10,533 HE HAS THREE BIG HOLLYWOOD HITS. 62 00:03:10,567 --> 00:03:12,867 BLUE CRUSH, INTO THE BLUE... 63 00:03:12,900 --> 00:03:14,067 HE'S FANTASTIC-- 64 00:03:14,067 --> 00:03:15,567 ISN'T INTO THE BLUE, LIKE, 65 00:03:15,600 --> 00:03:17,133 ABOUT SOMEBODY SHOWING THEIR ASS 66 00:03:17,167 --> 00:03:18,367 ON A BEACH OR SOMETHING? 67 00:03:18,400 --> 00:03:20,167 WHAT? NO. 68 00:03:20,200 --> 00:03:21,333 DID YOU SEE CRAZY/BEAUTIFUL? 69 00:03:21,367 --> 00:03:22,467 NO. 70 00:03:22,500 --> 00:03:23,433 KIRSTEN DUNST, SHE'S PHENOMENAL IN IT. 71 00:03:23,467 --> 00:03:24,433 SO? 72 00:03:24,467 --> 00:03:25,567 THAT'S A FANTASTIC MOVIE. 73 00:03:25,600 --> 00:03:26,733 WELL, DOES THAT MAKE HIM QUALIFIED 74 00:03:26,767 --> 00:03:28,067 TO DIRECT MY MOVIE? 75 00:03:28,067 --> 00:03:29,200 HE'S EXTREMELY QUALIFIED. 76 00:03:29,233 --> 00:03:30,267 WE'D BE LUCKY TO HAVE HIM-- 77 00:03:30,300 --> 00:03:31,367 OKAY, I DON'T WANT TO FEEL SHUSHED 78 00:03:31,400 --> 00:03:32,433 IN THIS PROCESS. 79 00:03:32,467 --> 00:03:34,167 I WANT TO MAKE SURE THAT MY VOICE IS HEARD. 80 00:03:34,200 --> 00:03:35,333 OKAY, COME ON. 81 00:03:35,367 --> 00:03:36,267 HEY... 82 00:03:36,300 --> 00:03:37,567 HI. 83 00:03:37,600 --> 00:03:40,733 I MEAN, I JUST LOVE EXPLORING WORLDS, 84 00:03:40,767 --> 00:03:42,067 AND CULTURES, AND SUBCULTURES, 85 00:03:42,100 --> 00:03:43,167 AND I THINK YOU DID AN AMAZING JOB 86 00:03:43,200 --> 00:03:44,767 OF BRINGING THIS WORLD TO LIFE. 87 00:03:44,800 --> 00:03:46,867 IT JUST FELT REALLY VIVID AND REAL, 88 00:03:46,900 --> 00:03:48,133 AND, YOU KNOW, JUST... 89 00:03:48,167 --> 00:03:49,567 WELL, I APPRECIATE IT. 90 00:03:49,600 --> 00:03:50,733 I'M TOLD I'M A VISUAL WRITER. 91 00:03:50,767 --> 00:03:51,800 YOU'RE VERY VISUAL. 92 00:03:51,833 --> 00:03:54,067 AND YOUR FILMS ARE SO VISUAL. 93 00:03:54,100 --> 00:03:55,467 THE WRITING'S VERY VISUAL, 94 00:03:55,500 --> 00:03:56,733 AND, YOU KNOW, I WAS THINKING, 95 00:03:56,767 --> 00:03:58,933 WOULD IT BE INTERESTING AT ALL IF WE OPENED THE FILM 96 00:03:58,967 --> 00:04:01,067 WITH, UM... 97 00:04:01,067 --> 00:04:02,933 WITH CLOSE-UPS, 98 00:04:02,967 --> 00:04:04,233 WITH THIS SORT OF SERIES OF MACRO SHOTS. 99 00:04:04,267 --> 00:04:05,467 REALLY TIGHT SHOTS. 100 00:04:05,500 --> 00:04:06,700 EXTREME... 101 00:04:06,733 --> 00:04:08,933 WE DON'T KNOW EXACTLY WHAT IT IS WE'RE SEEING AT FIRST, 102 00:04:08,967 --> 00:04:10,067 AND THEN WE REALIZE 103 00:04:10,067 --> 00:04:13,300 THAT IT'S... IT'S, UM... 104 00:04:13,333 --> 00:04:14,800 IT'S JESSIE? YEAH. 105 00:04:14,833 --> 00:04:16,067 AND KARINA... KARINA... 106 00:04:16,100 --> 00:04:17,067 AND THEY'RE FUCKING, RIGHT, 107 00:04:17,067 --> 00:04:18,700 BUT WE'VE NEVER SEEN ANYTHING LIKE IT. 108 00:04:18,733 --> 00:04:20,200 WE DON'T EVEN KNOW 109 00:04:20,233 --> 00:04:21,900 WHAT... PIECES. 110 00:04:21,933 --> 00:04:23,667 NOT EVENLIKE, BODIES... BODIES. 111 00:04:23,700 --> 00:04:24,800 LITERALLY, SO CLOSE, JUST SKIN. 112 00:04:24,833 --> 00:04:25,700 IT'S TACTILE. WE'RE FEELING IT. 113 00:04:25,733 --> 00:04:26,867 THAT'S SO VISUAL. 114 00:04:26,900 --> 00:04:29,400 AND THEN WE WOULD FLASH BACK 115 00:04:29,433 --> 00:04:31,600 TO WHEN JESSIE FIRST ARRIVES IN L.A., 116 00:04:31,633 --> 00:04:32,733 SO WE WOULD BE NON-LINEAR. 117 00:04:32,767 --> 00:04:34,067 I JUST THINK THE WHOLE PIECE SHOULD BE... 118 00:04:34,067 --> 00:04:35,633 NO THANKS, 119 00:04:35,667 --> 00:04:36,900 BUT THIS... 120 00:04:36,933 --> 00:04:38,467 YOU'RE NOT SUPPOSED TO KNOW 121 00:04:38,500 --> 00:04:40,467 THAT JESSIE AND KARINA ARE TOGETHER, 122 00:04:40,500 --> 00:04:41,533 BECAUSE IT'S GOING TO RUIN 123 00:04:41,567 --> 00:04:42,633 THE SUSPENSE OF THE FILM. 124 00:04:42,667 --> 00:04:44,100 SOME OF IT WOULD BE LINEAR. 125 00:04:44,133 --> 00:04:45,067 I MEAN, SOME OF THE STORYTELLING. 126 00:04:45,067 --> 00:04:46,667 SOME, BUT I DON'T... 127 00:04:46,700 --> 00:04:48,333 I'M JUST THINKING VISUALLY RIGHT NOW, 128 00:04:48,367 --> 00:04:49,967 BECAUSE THAT'S WHERE MY HEAD IS AT. 129 00:04:50,067 --> 00:04:51,667 AGAIN, JUST THINKING OUT LOUD. 130 00:04:51,700 --> 00:04:54,133 WOULD IT BE INTERESTING IF THEY WERE REALLY HAVING SEX? 131 00:04:54,167 --> 00:04:55,333 WHAT? WHAT? 132 00:04:55,367 --> 00:04:57,267 [LAUGHS AWKWARDLY] 133 00:04:57,300 --> 00:04:58,467 IN REAL LIFE? 134 00:04:58,500 --> 00:04:59,667 YOU'D BE SURPRISED 135 00:04:59,700 --> 00:05:01,600 HOW MANY ACTORS WOULD LOVE THE OPPORTUNITY 136 00:05:01,633 --> 00:05:03,267 TO REALLY... TO REALLY GO FOR IT. 137 00:05:03,300 --> 00:05:04,367 YOU KNOW, TO NOT FAKE IT. 138 00:05:04,400 --> 00:05:05,933 TO JUST BE RAW AND REAL, AND-- 139 00:05:05,967 --> 00:05:07,200 ISN'T THAT PORNOGRAPHY? 140 00:05:07,233 --> 00:05:08,733 WHY? 141 00:05:08,767 --> 00:05:10,700 PORNOGRAPHY IS WHEN THERE'S NO STORY. 142 00:05:10,733 --> 00:05:12,533 THIS HAS A GREAT STORY. 143 00:05:12,567 --> 00:05:13,667 I JUST AM TRYING TO FIND A WAY 144 00:05:13,700 --> 00:05:14,800 TO MAKE IT DIFFERENT, 145 00:05:14,833 --> 00:05:15,933 TO MAKE IT STAND OUT. 146 00:05:15,967 --> 00:05:17,067 I THINK THE MPAA WOULD ALLOW US 147 00:05:17,067 --> 00:05:18,133 TO GET AWAY WITH IT 148 00:05:18,167 --> 00:05:19,567 BECAUSE THERE'S NO PENETRATION-- 149 00:05:19,600 --> 00:05:21,500 WELL, THERE'S PENETRATION, BUT THERE'S NO... 150 00:05:21,533 --> 00:05:22,700 YOU KNOW, THERE'S NO CONSUMMATION. 151 00:05:22,733 --> 00:05:25,467 I MEAN, NO... 152 00:05:25,500 --> 00:05:28,100 UM, INSEMINATION, NO FORNICATION. 153 00:05:28,133 --> 00:05:29,400 EW! WHAT? 154 00:05:29,433 --> 00:05:31,867 * I JUST DROPPED YOU OFF ON YOUR BLOCK * 155 00:05:33,967 --> 00:05:36,067 * YOU DON'T WANT TO TALK 156 00:05:36,100 --> 00:05:38,267 * YOU DON'T WANT TO NOT TALK... * 157 00:05:45,900 --> 00:05:47,567 * YOU WERE EASY LIKE EASY 158 00:05:47,600 --> 00:05:49,433 * HARD LIKE HARD 159 00:05:49,467 --> 00:05:53,567 * I SHOULD HAVE NEVER TAKEN IT THIS FAR * 160 00:05:53,600 --> 00:05:55,800 * 'CAUSE YOU'RE JUST SORT OF MEAN * 161 00:05:55,833 --> 00:05:58,967 * ALL CAUGHT UP IN SOME SCENE 162 00:05:59,067 --> 00:06:01,600 * AND I HAD THIS TRANSLUCENT DREAM... * 163 00:06:01,633 --> 00:06:03,933 [**] 164 00:06:03,967 --> 00:06:06,533 * THAT YOU COULD DROP IT... 165 00:06:06,567 --> 00:06:07,800 AMY. 166 00:06:10,200 --> 00:06:11,467 IT'S NICE TO MEET YOU. 167 00:06:11,500 --> 00:06:12,700 * AS EASY AS YOU DROPPED YOUR DRAWERS * 168 00:06:12,733 --> 00:06:14,600 * ON THE OTHER SIDE OF MY DOOR 169 00:06:14,633 --> 00:06:16,300 * I KNEW I COULD UNSTONE YOU 170 00:06:16,333 --> 00:06:18,800 * BUT WHAT FOR? 171 00:06:22,567 --> 00:06:23,767 HEY... 172 00:06:23,800 --> 00:06:25,167 WHAT'S UP? 173 00:06:25,200 --> 00:06:26,867 WANT TO GO GET SOME COFFEE? 174 00:06:26,900 --> 00:06:28,067 UM... I CAN'T. 175 00:06:28,067 --> 00:06:29,100 I HAVE A BUNCH OF WORK TO DO 176 00:06:29,133 --> 00:06:30,767 BEFORE THE FACULTY MEETING, 177 00:06:30,800 --> 00:06:32,633 BUT I'LL SEE YOU LATER. 178 00:06:46,500 --> 00:06:47,867 HI, KIT. 179 00:06:52,167 --> 00:06:53,267 WHAT THE FUCK 180 00:06:53,300 --> 00:06:55,867 IS HE DOING IN HERE? 181 00:06:55,900 --> 00:06:57,067 HE'S, UM, HELPING OUT, 182 00:06:57,067 --> 00:06:59,100 KEEPING THINGS TOGETHER WITH THE VENDORS, AND... 183 00:07:11,367 --> 00:07:13,067 [SIGHS] 184 00:07:26,333 --> 00:07:27,867 [SIGHS HEAVILY] 185 00:07:36,533 --> 00:07:38,267 [SIGHS] 186 00:07:57,067 --> 00:07:58,200 [KNOCK ON DOOR] 187 00:07:58,233 --> 00:07:59,833 YEAH? 188 00:07:59,867 --> 00:08:01,833 WOULD YOU JUST GO AWAY? 189 00:08:01,867 --> 00:08:03,067 STOP BRINGING THEM FLOWERS. 190 00:08:03,067 --> 00:08:04,067 IT'S NOT GOING TO... 191 00:08:07,300 --> 00:08:09,400 HEY, PAPI... 192 00:08:09,433 --> 00:08:12,133 WELL, DAMN, LOOKS LIKE SOMEONE BEAT ME TO IT. 193 00:08:12,167 --> 00:08:15,067 NO ONE BEAT YOU TO ANYTHING. 194 00:08:15,100 --> 00:08:16,267 [SIGHS] 195 00:08:16,300 --> 00:08:17,900 HERE YOU GO. 196 00:08:17,933 --> 00:08:20,300 I HAD TO, YOU KNOW, THANK YOU 197 00:08:20,333 --> 00:08:22,133 FOR LETTING ME TAKE YOU DANCING THE OTHER NIGHT. 198 00:08:22,167 --> 00:08:23,800 [CHUCKLES] 199 00:08:23,833 --> 00:08:25,233 THANK YOU. 200 00:08:25,267 --> 00:08:27,067 YOU SHOWED ME RESPECT, YOU KNOW, 201 00:08:27,067 --> 00:08:29,633 AND THAT REALLY MEANS THE WORLD TO ME RIGHT NOW. 202 00:08:29,667 --> 00:08:31,800 WELL, IT WAS AN HONOR AND A PRIVILEGE, 203 00:08:31,833 --> 00:08:33,367 AND, UH... 204 00:08:33,400 --> 00:08:35,467 MAYBE WE CAN DO IT AGAIN SOMETIME SOON 205 00:08:35,500 --> 00:08:37,733 UNDER LESS... COMPROMISING CIRCUMSTANCES. 206 00:08:37,767 --> 00:08:38,967 IF YOU KNOW WHAT I MEAN. 207 00:08:39,067 --> 00:08:41,067 YEAH, WELL, I DON'T THINK I'M GOING TO BE 208 00:08:41,067 --> 00:08:43,467 ANY LESS COMPROMISED ANY TIME SOON. 209 00:08:43,500 --> 00:08:46,267 THEN, BABY, I'LL WAIT FOR YOU. 210 00:08:46,300 --> 00:08:47,567 BECAUSE THEN I CAN SHOW YOU 211 00:08:47,600 --> 00:08:50,400 THAT YOU'LL NEVER NEED A MAN EVER AGAIN. 212 00:08:50,433 --> 00:08:52,267 YOU KNOW PAPI CAN ROCK YOUR WORLD, 213 00:08:52,300 --> 00:08:53,300 RIGHT? 214 00:08:53,333 --> 00:08:55,100 [CHUCKLES] 215 00:08:55,133 --> 00:08:56,533 [SIGHS] 216 00:08:59,300 --> 00:09:00,467 WHEN YOU GOING TO STOP THAT? 217 00:09:00,500 --> 00:09:02,300 STOP WHAT? 218 00:09:02,333 --> 00:09:04,333 THAT PAPI... 219 00:09:04,367 --> 00:09:08,467 YOU KNOW, THING YOU DO. 220 00:09:08,500 --> 00:09:10,267 YOU KNOW, THE OTHER NIGHT, 221 00:09:10,300 --> 00:09:14,300 I SAW A DIFFERENT SIDE OF PAPI, 222 00:09:14,333 --> 00:09:16,667 A SIDE THAT WAS... 223 00:09:16,700 --> 00:09:19,533 DEEPER AND WARMER. 224 00:09:19,567 --> 00:09:20,867 [SIGHS] 225 00:09:20,900 --> 00:09:23,433 YOU KNOW, NOT THAT PAPI PLAYA THING 226 00:09:23,467 --> 00:09:25,567 YOU DO TO DEATH. 227 00:09:29,100 --> 00:09:32,333 YOU KNOW, IF THERE WAS A PAPI 228 00:09:32,367 --> 00:09:36,333 THAT I'D BE ATTRACTED TO, 229 00:09:36,367 --> 00:09:37,800 THAT WOULD BE THE PAPI THAT WOULD ROCK MY WORLD. 230 00:09:40,133 --> 00:09:42,500 [SLOWLY WALKS AWAY] 231 00:09:42,533 --> 00:09:44,733 [DOOR OPENS] 232 00:09:46,233 --> 00:09:48,300 [DOOR CLOSES] 233 00:09:53,333 --> 00:10:01,167 * HALF-ASLEEP I DREAMED THAT YOU WERE HALF-MINE * 234 00:10:01,200 --> 00:10:05,167 * HALF-AWAKE I DREAMED THAT YOU WERE HALF-DIVINE... * 235 00:10:05,200 --> 00:10:06,833 WHAT ARE YOU DOING? 236 00:10:06,867 --> 00:10:09,967 I WAS WATCHING YOU SLEEP. 237 00:10:10,000 --> 00:10:12,533 YOU WERE HAVING QUITE THE LITTLE SEX DREAM. 238 00:10:12,567 --> 00:10:13,800 NO, I WASN'T. 239 00:10:13,833 --> 00:10:15,033 YOU WERE. YOU WERE, LIKE... 240 00:10:15,067 --> 00:10:17,667 [GRUNTING SOFTLY] 241 00:10:17,700 --> 00:10:19,367 YOU'RE FULL OF SHIT. 242 00:10:19,400 --> 00:10:21,533 I'M NOT. 243 00:10:21,567 --> 00:10:22,833 THEN WHO'S LISA? 244 00:10:22,867 --> 00:10:23,867 WHAT? 245 00:10:23,900 --> 00:10:25,200 YOU WERE SAYING HER NAME. 246 00:10:25,233 --> 00:10:26,700 LISA. 247 00:10:26,733 --> 00:10:28,333 NO, I WASN'T. 248 00:10:28,367 --> 00:10:30,867 IS SHE AN EX? 249 00:10:30,900 --> 00:10:33,133 WAS SHE YOUR GIRLFRIEND? 250 00:10:33,167 --> 00:10:34,900 NO. 251 00:10:37,333 --> 00:10:39,733 SHE WAS, UM... 252 00:10:39,767 --> 00:10:42,633 SOMEONE THAT I SERVED IN IRAQ WITH. 253 00:10:42,667 --> 00:10:43,900 OH. 254 00:10:43,933 --> 00:10:45,067 A STRAIGHT GIRL 255 00:10:45,100 --> 00:10:48,833 WITH A HUSBAND AND A CHILD. 256 00:10:48,867 --> 00:10:50,000 YOU WORRIED? 257 00:10:50,033 --> 00:10:51,200 NO. 258 00:10:51,233 --> 00:10:52,367 [APARTMENT DOOR OPENS] 259 00:10:52,400 --> 00:10:53,467 HOLA, CHICA! 260 00:10:53,500 --> 00:10:56,067 HELENA? 261 00:10:56,100 --> 00:10:57,167 IS THAT YOU? 262 00:10:57,200 --> 00:10:58,300 YEAH. 263 00:10:58,333 --> 00:10:59,400 GET IN HERE. WHERE HAVE YOU BEEN? 264 00:10:59,433 --> 00:11:00,933 [LAUGHS] 265 00:11:02,267 --> 00:11:04,233 HI! OH! OH, I'M SORRY. 266 00:11:04,267 --> 00:11:06,267 IT'S FINE. COME IN. 267 00:11:06,300 --> 00:11:07,533 YOU SURE? 268 00:11:07,567 --> 00:11:08,533 TELL US ABOUT YOUR TRIP. I WANT TO HEAR. 269 00:11:08,567 --> 00:11:09,533 WELL... 270 00:11:09,567 --> 00:11:11,633 WE WENT TO NEW YORK 271 00:11:11,667 --> 00:11:13,400 AND DROPPED OFF MY CHILDREN WITH WINNIE, 272 00:11:13,433 --> 00:11:15,067 AND THEN WE FLEW STRAIGHT ON TO MALLORCA. 273 00:11:15,100 --> 00:11:16,900 WE STAYED AT THIS MOST AMAZING VILLA 274 00:11:16,933 --> 00:11:18,067 OVERLOOKING THE BAY OF PALMA. 275 00:11:18,067 --> 00:11:19,400 OH, MY GOD, 276 00:11:19,433 --> 00:11:21,967 AND THEN, THERE WAS THIS POKER GAME-- 277 00:11:22,067 --> 00:11:22,900 YOU FLEW ALL THAT WAY TO PLAY POKER? 278 00:11:22,933 --> 00:11:25,800 IT'S SO, LIKE, UNHEALTHY, 279 00:11:25,833 --> 00:11:27,467 AND UNSTABLE, AND... 280 00:11:27,500 --> 00:11:28,967 WHAT ARE YOU, MY MOTHER NOW? 281 00:11:29,067 --> 00:11:30,267 WELL, YOU KNOW WHAT? 282 00:11:30,300 --> 00:11:32,433 IF I WAS, I WOULD PROBABLY DISINHERIT YOU AS WELL, 283 00:11:32,467 --> 00:11:34,433 SO... 284 00:11:34,467 --> 00:11:36,367 IN WHICH CASE, ALICE, I WOULD HAVE TO FIND 285 00:11:36,400 --> 00:11:38,200 AN ALTERNATIVE SOURCE OF INCOME, 286 00:11:38,233 --> 00:11:39,367 SO I WOULD GO WITH CATHERINE 287 00:11:39,400 --> 00:11:40,700 TO MALLORCA 288 00:11:40,733 --> 00:11:42,233 TO PLAY POKER... 289 00:11:42,267 --> 00:11:44,200 AND WIN. 290 00:11:44,233 --> 00:11:45,200 YOU WON? 291 00:11:45,233 --> 00:11:46,967 ONLY $150,000. 292 00:11:47,067 --> 00:11:47,767 [GASPS] 293 00:11:47,800 --> 00:11:49,700 [LAUGHS] 294 00:11:49,733 --> 00:11:50,533 OH, MY GOD! WOW... 295 00:11:50,567 --> 00:11:51,700 I SHOULD PLAY POKER. 296 00:11:51,733 --> 00:11:53,067 SO THIS, UM, AGREEMENT 297 00:11:53,067 --> 00:11:55,067 THAT YOU HAVE WITH CATHERINE, IS IT OFFICIAL? 298 00:11:55,067 --> 00:11:57,200 I MEAN, WHEN YOU WIN, DO YOU SPLIT IT 50/50? 299 00:11:57,233 --> 00:11:58,600 YEAH, PRETTY MUCH. 300 00:11:58,633 --> 00:11:59,800 PRETTY MUCH? 301 00:12:01,133 --> 00:12:02,200 YEAH, WE-- YOU KNOW, 302 00:12:02,233 --> 00:12:03,367 WE HAVE AN AGREEMENT. 303 00:12:03,400 --> 00:12:04,367 IT'S FINE, ALICE, IT'S FINE. 304 00:12:04,400 --> 00:12:05,667 IT'S HOW THEY DO IT. 305 00:12:05,700 --> 00:12:06,933 TASH! ALICE! 306 00:12:06,967 --> 00:12:08,067 IS THAT PAPI? 307 00:12:08,067 --> 00:12:09,367 SOUNDS LIKE IT. 308 00:12:10,300 --> 00:12:11,800 PAPI! 309 00:12:11,833 --> 00:12:13,267 RING THE BUZZER! 310 00:12:13,300 --> 00:12:14,833 WHOO! 311 00:12:14,867 --> 00:12:15,933 WHERE'S YOUR FATHER STAYING? 312 00:12:15,967 --> 00:12:17,867 SOME SHITHOLE IN HOLLYWOOD. 313 00:12:17,900 --> 00:12:20,300 AND HE DIDN'T TELL YOU WHY HE WAS HERE? 314 00:12:22,633 --> 00:12:23,833 I MEAN... 315 00:12:23,867 --> 00:12:25,133 HE CLEARLY WANTS SOMETHING. 316 00:12:25,167 --> 00:12:27,067 MOSTLY, HE... 317 00:12:27,067 --> 00:12:28,267 TALKED ABOUT CARLA 318 00:12:28,300 --> 00:12:29,367 AND TRYING TO GET HER INTO A HOSPITAL. 319 00:12:29,400 --> 00:12:30,433 TRYING TO? 320 00:12:30,467 --> 00:12:31,933 IS SHE AN ADDICT OR SOMETHING? 321 00:12:31,967 --> 00:12:35,233 I DON'T KNOW IF SHE IS, BUT HE WAS. 322 00:12:36,567 --> 00:12:37,600 [CAR HORN HONKS] 323 00:12:37,633 --> 00:12:39,433 [KIDS WHOOP AND SPLASH] 324 00:12:39,467 --> 00:12:41,433 HERE WE GO. 325 00:12:45,133 --> 00:12:46,867 DO YOU WANT ME TO COME WITH YOU? 326 00:12:46,900 --> 00:12:48,567 NO, NO, JUST... 327 00:12:48,600 --> 00:12:49,667 KEEP AN EYE ON THEM. 328 00:12:49,700 --> 00:12:51,200 MOM, LOOK WHAT I CAN DO! 329 00:12:51,233 --> 00:12:53,467 WHOO-HOO! 330 00:12:53,500 --> 00:12:55,733 THAT'S EXCELLENT, HONEY! 331 00:12:57,633 --> 00:12:59,067 [CHUCKLES] 332 00:12:59,067 --> 00:13:00,267 HEY... 333 00:13:00,300 --> 00:13:01,667 I HAD TO JUST COME BY AND MAKE SURE 334 00:13:01,700 --> 00:13:03,600 Y'ALL WEREN'T GOING BLIND FROM TOO MUCH SEX. 335 00:13:03,633 --> 00:13:04,867 OKAY, LISTEN, 336 00:13:04,900 --> 00:13:07,133 I DON'T WANT TO LECTURE ANYMORE, OKAY? 337 00:13:07,167 --> 00:13:08,400 I JUST THINK "CATHERINE AND I 338 00:13:08,433 --> 00:13:10,200 ARE MAKING $150,000 TOGETHER" IS GREAT, 339 00:13:10,233 --> 00:13:11,433 BUT WHERE IS YOUR SHARE? 340 00:13:11,467 --> 00:13:12,767 ALICE, PLEASE, 341 00:13:12,800 --> 00:13:13,600 I'M NOT AN IDIOT. 342 00:13:13,633 --> 00:13:15,067 WE HAVE A BUSINESS ARRANGEMENT. 343 00:13:15,067 --> 00:13:16,867 OKAY, I JUST THINK YOU SHOULD THINK ABOUT IT FOR A SECOND. 344 00:13:16,900 --> 00:13:18,800 YEAH, BUT IT'S NOT ABOUT THINKING, MAN, YOU KNOW? 345 00:13:18,833 --> 00:13:19,867 THAT'S JUST WHAT HAPPENS WHEN YOU'RE SPRUNG. 346 00:13:19,900 --> 00:13:21,200 I'M NOT SPRUNG! 347 00:13:21,233 --> 00:13:22,200 YOU ARE A LITTLE BIT-- 348 00:13:22,233 --> 00:13:23,433 I DON'T EVEN KNOW WHAT THAT MEANS. 349 00:13:23,467 --> 00:13:24,500 YOU KNOW, THAT'S WHAT HAPPENS 350 00:13:24,533 --> 00:13:25,867 WHEN YOUR HEART DOES WHAT IT WANTS TO, 351 00:13:25,900 --> 00:13:26,900 WHEN YOU'RE WHIPPED. 352 00:13:26,933 --> 00:13:28,833 [LAUGHING] 353 00:13:28,867 --> 00:13:29,933 WHAT? 354 00:13:29,967 --> 00:13:31,733 SHE'S INTO SOMEBODY. 355 00:13:31,767 --> 00:13:33,733 I'M ALWAYS INTO SOMEBODY. IT'S NOT EVEN LIKE THAT-- 356 00:13:33,767 --> 00:13:35,333 HOW DO YOU KNOW?SHE'S GOT THE LOOK. 357 00:13:35,367 --> 00:13:36,367 SHUT THE FUCK UP, MAN. 358 00:13:36,400 --> 00:13:37,667 THERE'S NO LOOK. 359 00:13:37,700 --> 00:13:39,633 SEE, NOW, EVERY ONCE IN A BLUE MOON-- 360 00:13:39,667 --> 00:13:41,333 YOU DON'T KNOW THIS ABOUT HER, BUT-- 361 00:13:41,367 --> 00:13:43,533 SHE FALLS FOR SOMEBODY, 362 00:13:43,567 --> 00:13:45,067 [GIGGLING]: AND SHE GETS THAT LOOK. 363 00:13:45,067 --> 00:13:46,567 LOOK AT HER. 364 00:13:46,600 --> 00:13:48,167 LOOK, ALL SWEET AND CONFUSED. 365 00:13:48,200 --> 00:13:49,333 WELL, WHO'S THE GIRL? 366 00:13:49,367 --> 00:13:50,433 THERE'S NO ONE! 367 00:13:50,467 --> 00:13:52,267 OKAY, THERE COULD... 368 00:13:52,300 --> 00:13:53,833 POSSIBLY BE SOMEBODY, 369 00:13:53,867 --> 00:13:55,333 BUT IT'S NOT EVEN LIKE THAT, MAN. 370 00:13:55,367 --> 00:13:57,200 SHE, LIKE, ACTUALLY GETS ME. 371 00:13:57,233 --> 00:13:58,700 SHE MAKES ME WANT TO, LIKE, 372 00:13:58,733 --> 00:13:59,867 CHANGE MY WAYS AND SHIT, YOU KNOW? 373 00:13:59,900 --> 00:14:00,900 I THINK YOU'RE RIGHT. 374 00:14:00,933 --> 00:14:02,233 [LAUGHING] [DOORBELL CHIMES] 375 00:14:02,267 --> 00:14:04,133 OH, MY GOD. 376 00:14:04,167 --> 00:14:05,500 WHAT THE FRICKIN' FRAK? 377 00:14:05,533 --> 00:14:06,833 OKAY, YOU... 378 00:14:06,867 --> 00:14:08,267 YOU'RE NOT GOING TO GET AWAY WITHOUT TELLING ME, 379 00:14:08,300 --> 00:14:09,567 AND I AM NOT DONE WITH YOU, MISSY. 380 00:14:09,600 --> 00:14:11,500 [DOORBELL CHIMING] 381 00:14:11,533 --> 00:14:12,500 MAN, FUCK YOU... 382 00:14:12,533 --> 00:14:15,167 Y'ALL ARE BOTH SPRUNG, IF YOU ASK ME. 383 00:14:15,200 --> 00:14:16,433 [LAUGHING] 384 00:14:21,267 --> 00:14:23,733 HI, ALICE. 385 00:14:29,367 --> 00:14:30,800 NICE PLACE YOU'VE GOT HERE. 386 00:14:30,833 --> 00:14:32,733 THANKS. 387 00:14:32,767 --> 00:14:34,400 NICE LIFE. 388 00:14:41,067 --> 00:14:42,367 YOU GOT ROOMMATES? 389 00:14:42,400 --> 00:14:44,133 YUP. 390 00:14:48,567 --> 00:14:50,700 SO, WHERE'S MY BOY? 391 00:14:50,733 --> 00:14:53,600 HE'S SWIMMING NEXT DOOR. 392 00:14:53,633 --> 00:14:54,933 TIME TO GET OUT? 393 00:14:59,567 --> 00:15:00,667 WHO'S THAT? 394 00:15:00,700 --> 00:15:02,567 SHE'S A FRIEND OF MINE. 395 00:15:05,100 --> 00:15:06,833 YOU ARE A McCUTCHEON FOR SURE. 396 00:15:06,867 --> 00:15:08,500 WHAT THE HELL'S THAT SUPPOSED TO MEAN? 397 00:15:08,533 --> 00:15:11,400 WELL, WE'RE SURVIVORS, YOU AND ME. 398 00:15:11,433 --> 00:15:13,400 WHEN WE FALL OFF THE WAGON, WE FALL REALLY HARD, 399 00:15:13,433 --> 00:15:15,067 BUT WE BOUNCE BACK, 400 00:15:15,067 --> 00:15:16,200 AND WE ALWAYS FIND A PRETTY GIRL 401 00:15:16,233 --> 00:15:18,533 TO HELP PUT OUR SHIT BACK TOGETHER. 402 00:15:18,567 --> 00:15:19,533 FUCK YOU. 403 00:15:19,567 --> 00:15:21,133 AH, SHANE, 404 00:15:21,167 --> 00:15:23,733 I KNOW CARLA DUMPED A HUGE LOAD OF SHIT ON YOU, HONEY, BUT-- 405 00:15:23,767 --> 00:15:25,867 YOU KNOW WHAT? YOU DON'T GET IT. 406 00:15:25,900 --> 00:15:27,067 I'M NOTHING LIKE YOU. 407 00:15:27,100 --> 00:15:28,967 AND HOW DARE YOU... 408 00:15:29,067 --> 00:15:32,133 YOU COME INTO MY HOUSE, AND YOU SIT THERE, 409 00:15:32,167 --> 00:15:33,467 AND YOU BUILD YOURSELF UP, 410 00:15:33,500 --> 00:15:34,733 BECAUSE YOU'RE A PATHETIC FUCK. 411 00:15:34,767 --> 00:15:35,867 I DIDN'T COME HERE 412 00:15:35,900 --> 00:15:37,067 TO ARGUE WITH YOU, SHANE. 413 00:15:37,100 --> 00:15:38,300 THEN WHY DID YOU COME HERE? 414 00:15:44,200 --> 00:15:45,967 I'M GOING BACK TO OREGON THIS AFTERNOON, 415 00:15:46,067 --> 00:15:49,567 AND I'M TAKING MY SON HOME WITH ME. 416 00:15:52,800 --> 00:15:55,300 NO... 417 00:15:55,333 --> 00:15:56,533 YOU CAN'T DO THAT. 418 00:15:56,567 --> 00:15:59,200 SHANE... 419 00:15:59,233 --> 00:16:02,600 SHANE, I REALLY APPRECIATE YOUR LOOKING AFTER HIM 420 00:16:02,633 --> 00:16:03,867 THE WAY YOU DID. 421 00:16:03,900 --> 00:16:06,267 YOU DID A GOOD JOB, 422 00:16:06,300 --> 00:16:08,333 AND I'M FOREVER GRATEFUL TO YOU. 423 00:16:08,367 --> 00:16:10,233 YOU CAN'T JUST DISAPPEAR FOR MONTHS 424 00:16:10,267 --> 00:16:11,867 WITH SOME FUCKING GIRL, 425 00:16:11,900 --> 00:16:14,267 AND THEN YOU RIP MY FRIENDS OFF. 426 00:16:14,300 --> 00:16:15,467 YOU LEFT HIM AND HE HAD NOBODY. 427 00:16:15,500 --> 00:16:16,533 I LEFT HIM WITH HIS MOTHER. 428 00:16:16,567 --> 00:16:17,900 OH, OH, THE MOTHER. 429 00:16:17,933 --> 00:16:19,567 [LAUGHS] 430 00:16:19,600 --> 00:16:21,467 YOU KNOW, WE'RE... 431 00:16:21,500 --> 00:16:22,700 WE'RE GOOD HERE. 432 00:16:22,733 --> 00:16:24,433 DO YOU HEAR ME? WE'RE GOOD. 433 00:16:24,467 --> 00:16:26,300 HE'S GOING TO SCHOOL, AND HE HAS FRIENDS, AND HE-- 434 00:16:26,333 --> 00:16:28,467 I'M HIS FATHER. 435 00:16:28,500 --> 00:16:30,200 YOU ABANDONED HIM. I'M HIS FATHER. 436 00:16:30,233 --> 00:16:31,967 THAT DOESN'T MEAN SHIT TO ME. I'M SORRY. 437 00:16:32,067 --> 00:16:33,700 SO, WHAT ARE YOU GOING TO DO, TAKE ME TO COURT? 438 00:16:35,067 --> 00:16:37,067 YEAH. 439 00:16:37,067 --> 00:16:38,433 YEAH. I COULD. 440 00:16:38,467 --> 00:16:41,500 OH, SWEETIE, LOOK... 441 00:16:41,533 --> 00:16:43,300 I'M HIS FATHER. 442 00:16:43,333 --> 00:16:44,900 ANY COURT WILL LOOK FAVORABLY ON THAT. 443 00:16:44,933 --> 00:16:46,200 THEY'LL ALSO FIND 444 00:16:46,233 --> 00:16:47,467 THAT I LOOKED HIGH AND LOW FOR MY SON 445 00:16:47,500 --> 00:16:48,600 AND HIS MOTHER, 446 00:16:48,633 --> 00:16:51,067 THAT HOMELESS JUNKIE LIVING OFF THE GRID, 447 00:16:51,100 --> 00:16:52,300 AND IN THE END, 448 00:16:52,333 --> 00:16:53,700 IF THEY DECIDE I'M NOT FIT, 449 00:16:53,733 --> 00:16:55,233 WHAT DO YOU THINK'S GOING TO HAPPEN TO SHAY? 450 00:16:56,867 --> 00:16:58,200 THEY MIGHT GIVE HIM TO YOU, 451 00:16:58,233 --> 00:16:59,400 BUT I DOUBT IT... 452 00:17:01,800 --> 00:17:04,233 AND IF I'M NOT MISTAKEN... 453 00:17:04,267 --> 00:17:05,767 [WHISPERING]: YOU HAVE A RECORD. 454 00:17:05,800 --> 00:17:07,833 I WAS A KID, AND THAT WAS A LONG TIME AGO. 455 00:17:09,100 --> 00:17:10,800 SHANE IS ONE OF THE MOST RESPONSIBLE PEOPLE 456 00:17:10,833 --> 00:17:12,133 YOU WILL EVER MEET. 457 00:17:12,167 --> 00:17:13,567 AND IF THE COURT DOESN'T THINK SO, 458 00:17:13,600 --> 00:17:17,133 THEN WHAT? 459 00:17:17,167 --> 00:17:18,300 THEY'LL PUT SHAY IN THE SYSTEM... 460 00:17:20,300 --> 00:17:22,100 AND YOU KNOW WHAT THAT'S LIKE, DON'T YOU, SHANE? 461 00:17:23,867 --> 00:17:25,900 IS THAT WHAT YOU WANT? 462 00:17:31,400 --> 00:17:33,200 IT'S REALLY NOT A GOOD TIME RIGHT NOW 463 00:17:33,233 --> 00:17:34,267 TO COME IN, LEONARD. 464 00:17:34,300 --> 00:17:35,533 YEAH, WELL, IT WASN'T THE BEST TIME 465 00:17:35,567 --> 00:17:36,767 FOR MY WORLD TO COME APART, THERE, 466 00:17:36,800 --> 00:17:38,700 EITHER, ALICE. 467 00:17:38,733 --> 00:17:40,167 [SIGHS HEAVILY] 468 00:17:40,200 --> 00:17:41,433 [MOUTHING WORDS] 469 00:17:41,467 --> 00:17:45,700 I'M... LEONARD KROLL. 470 00:17:45,733 --> 00:17:47,933 I'M PHYLLIS KROLL'S HUSBAND. 471 00:17:47,967 --> 00:17:50,533 YEAH... 472 00:17:50,567 --> 00:17:52,233 HI, HELENA. 473 00:17:52,267 --> 00:17:53,600 LEONARD... 474 00:17:53,633 --> 00:17:56,633 YOU KNOW PHYLLIS? 475 00:17:56,667 --> 00:17:59,433 YEAH, I IMAGINE YOU ALL HAVE HAD THE PRIVILEGE 476 00:17:59,467 --> 00:18:01,533 OF GETTING TO KNOW PHYLLIS. 477 00:18:03,067 --> 00:18:04,900 MAYBE NOT AS... 478 00:18:04,933 --> 00:18:06,233 INTIMATELY AS ALICE DID. 479 00:18:06,267 --> 00:18:07,267 AH... 480 00:18:08,533 --> 00:18:11,667 SO, WHAT DID YOU DO TO MY WIFE, ALICE? 481 00:18:11,700 --> 00:18:12,700 WHAT DID I... 482 00:18:12,733 --> 00:18:13,767 WHAT DID I DO TO YOUR WIFE? 483 00:18:13,800 --> 00:18:14,767 UH... 484 00:18:14,800 --> 00:18:16,567 YOU KNOW WHAT? 485 00:18:16,600 --> 00:18:17,633 I'M GOING TO GO, ALL RIGHT? 486 00:18:17,667 --> 00:18:18,833 NO, BECAUSE YOU TOLD ME 487 00:18:18,867 --> 00:18:20,600 YOU TOOK CARE OF THIS SHIT. 488 00:18:20,633 --> 00:18:22,400 HOW DID YOU TURN HER INTO A LESBIAN? 489 00:18:22,433 --> 00:18:24,700 LEONARD, NOBODY TURNS SOMEBODY ELSE 490 00:18:24,733 --> 00:18:26,067 INTO A LESBIAN. 491 00:18:26,100 --> 00:18:29,567 SHE TOLD ME THAT YOU WERE THE LOVE OF HER LIFE... 492 00:18:31,067 --> 00:18:32,833 THAT WHAT SHE EXPERIENCED WITH YOU 493 00:18:32,867 --> 00:18:36,933 WAS UNPRECEDENTED. 494 00:18:36,967 --> 00:18:40,367 SHE SAID THAT THE SEX WAS LIFE-ALTERING. 495 00:18:40,400 --> 00:18:41,733 MM, WELL... 496 00:18:41,767 --> 00:18:43,367 LIFE... 497 00:18:43,400 --> 00:18:45,367 ALTERING. 498 00:18:49,700 --> 00:18:51,433 THIS IS WHERE IT ALL HAPPENED, ISN'T IT? 499 00:18:54,267 --> 00:18:59,367 RIGHT HERE IN THIS GODDAMN BED. 500 00:19:01,133 --> 00:19:03,567 [SIGHS] 501 00:19:08,467 --> 00:19:09,700 [ALL SHOUTING AT ONCE] 502 00:19:09,733 --> 00:19:11,367 MARKUS BASCHUNG REPRESENTS EVERYTHING THAT IS WRONG 503 00:19:11,400 --> 00:19:12,533 WITH THIS PROGRAM! 504 00:19:12,567 --> 00:19:13,533 YOU MIGHT AS WELL SAY 505 00:19:13,567 --> 00:19:14,700 THAT PORNOGRAPHY IS LITERATURE. 506 00:19:14,733 --> 00:19:16,333 HE IS A FRAUD. OH, PORNOGRAPHY-- 507 00:19:16,367 --> 00:19:18,633 HE IS SEARCHING FOR THE CONSUMMATE EXPANSE--- 508 00:19:18,667 --> 00:19:21,167 LOOK, LOOK, LOOK. 509 00:19:21,200 --> 00:19:23,067 MARKUS BASCHUNG'S PHOTO ESSAY 510 00:19:23,100 --> 00:19:24,900 IS THE BEST WORK THAT I'VE SEEN IN 10 YEARS-- 511 00:19:24,933 --> 00:19:26,833 IT IS A RAPE FANTASY. 512 00:19:26,867 --> 00:19:28,400 HOW CAN YOU NOT SEE THAT? 513 00:19:28,433 --> 00:19:30,900 GIVE YOUR THIRD-WAVE FEMINIST AGENDA 514 00:19:30,933 --> 00:19:33,067 A REST, ALL RIGHT? 515 00:19:33,067 --> 00:19:34,900 ART SHOULD BE JUDGED 516 00:19:34,933 --> 00:19:36,467 ON ITS AESTHETIC MERITS-- 517 00:19:36,500 --> 00:19:38,233 YOU CANNOT DIVORCE THE WORK FROM ITS MEANING-- 518 00:19:42,200 --> 00:19:43,400 [TOM INTERPRETING]: I AGREE WITH CAROL, 519 00:19:43,433 --> 00:19:45,167 TOTALLY, BECAUSE HIS WORK IS VILE-- 520 00:19:45,200 --> 00:19:46,767 OKAY, I THINK THAT WE'VE HEARD ENOUGH. 521 00:19:46,800 --> 00:19:47,933 [TOM]: HE DOES NOT EVEN DESERVE TO BE RECOGNIZED-- 522 00:19:47,967 --> 00:19:49,167 PRESTON, YOU RECOMMEND 523 00:19:49,200 --> 00:19:50,400 MARKUS BASCHUNG. FINE. 524 00:19:50,433 --> 00:19:51,933 WE'RE MOVING ON. 525 00:19:51,967 --> 00:19:53,233 NEXT, WE HAVE LANI SHIPMAN. 526 00:19:53,267 --> 00:19:55,800 WELL, HER WORK IS AMATEUR, 527 00:19:55,833 --> 00:19:57,733 PEDANTIC... 528 00:19:57,767 --> 00:20:00,400 HER INSPIRATION MIGHT AS WELL 529 00:20:00,433 --> 00:20:02,233 [TOM]: LANI SHIPMAN IS A DARING, 530 00:20:02,267 --> 00:20:03,267 ORIGINAL YOUNG VOICE, 531 00:20:03,300 --> 00:20:05,000 AND SHE NEEDS THE MONEY. 532 00:20:05,033 --> 00:20:06,267 WELL, I'M SURE THAT THEY ALL NEED THE MONEY, 533 00:20:06,300 --> 00:20:07,767 BUT WE'RE HERE TO DISCUSS THE QUALITY OF THE WORK. 534 00:20:07,800 --> 00:20:09,500 [TOM]: MARKUS BASCHUNG DRIVES 535 00:20:09,533 --> 00:20:10,467 A NEW MERCEDES BENZ. 536 00:20:10,500 --> 00:20:11,800 THAT'S IRRELEVANT. 537 00:20:11,833 --> 00:20:13,833 YOU KNOW, IF YOU CAN'T DISCUSS 538 00:20:13,867 --> 00:20:16,333 THE NATURE OF THE WORK, THEN WE HAVE TO MOVE ON. 539 00:20:16,367 --> 00:20:17,867 [TOM]: BUT EACH STUDENT'S 540 00:20:17,900 --> 00:20:18,967 INDIVIDUAL FINANCIAL STATUS IS RELEVANT-- 541 00:20:19,000 --> 00:20:21,933 WE'RE BEHIND. 542 00:20:21,967 --> 00:20:23,733 WE CANNOT DEBATE CRITERIA RIGHT NOW. 543 00:20:25,267 --> 00:20:27,167 YOU LET THEM ARGUE ABOUT NOTHING FOR 20 MINUTES. 544 00:20:27,200 --> 00:20:28,233 IT WASN'T ABOUT NOTHING-- 545 00:20:28,267 --> 00:20:29,400 EXCUSE ME. 546 00:20:29,433 --> 00:20:30,967 I SUGGEST THAT WE BREAK FOR LUNCH 547 00:20:31,000 --> 00:20:33,833 AND RECONVENE AT 2:30. 548 00:20:33,867 --> 00:20:36,467 [GROUP MURMURING] 549 00:20:38,867 --> 00:20:39,900 I WONDER IF I CAN HAVE A WORD. 550 00:20:45,333 --> 00:20:47,333 BETTE... 551 00:20:47,367 --> 00:20:50,667 BETTE... 552 00:20:50,700 --> 00:20:52,533 WE NEED TO TALK. 553 00:20:52,567 --> 00:20:53,633 DO YOU WANT TO GET SOMETHING TO EAT? 554 00:20:53,667 --> 00:20:55,233 I'M NOT HUNGRY. 555 00:20:55,267 --> 00:20:57,167 IF YOU'RE MAD AT ME ABOUT THIS MORNING, 556 00:20:57,200 --> 00:20:59,033 I WISH YOU WOULD TELL ME. 557 00:20:59,067 --> 00:21:00,500 I'M NOT MAD, OKAY? 558 00:21:00,533 --> 00:21:03,467 I'M JUST EXHAUSTED. 559 00:21:03,500 --> 00:21:05,367 COME ON. 560 00:21:09,200 --> 00:21:10,833 SO WHERE DID YOU... 561 00:21:10,867 --> 00:21:11,967 SO WHERE DID YOU GO LAST NIGHT? 562 00:21:12,067 --> 00:21:14,167 WHAT? 563 00:21:14,200 --> 00:21:15,967 SO WHERE DID YOU AND AMY... 564 00:21:16,067 --> 00:21:17,067 GO? 565 00:21:19,500 --> 00:21:22,533 A THAI PLACE IN VENICE. 566 00:21:25,500 --> 00:21:26,633 SO SHE LIVES IN VENICE? 567 00:21:28,933 --> 00:21:30,900 I HOPE YOU HAD A GOOD TIME. 568 00:21:30,933 --> 00:21:32,633 [CELL PHONE RINGS] 569 00:21:32,667 --> 00:21:34,133 EXCUSE ME. 570 00:21:44,400 --> 00:21:46,100 HOLY MARY, MOTHER OF JESUS... 571 00:21:46,133 --> 00:21:49,367 ARE YOU ALL RIGHT? 572 00:21:49,400 --> 00:21:50,500 I JUST... 573 00:21:50,533 --> 00:21:51,700 I JUST GOT A TEXT MESSAGE 574 00:21:51,733 --> 00:21:54,133 FROM ALICE. 575 00:21:56,100 --> 00:21:58,133 NO WAY. 576 00:21:58,167 --> 00:21:59,867 WE'LL CONTACT A LAWYER. 577 00:21:59,900 --> 00:22:01,100 HE'S FULL OF SHIT. 578 00:22:01,133 --> 00:22:02,200 HE'S ALL BRAVADO. 579 00:22:02,233 --> 00:22:03,467 NO, HE... 580 00:22:03,500 --> 00:22:05,067 HE'S RIGHT ABOUT WHAT HE SAID. 581 00:22:05,100 --> 00:22:06,267 YEAH, BUT YOU DON'T KNOW THAT. 582 00:22:06,300 --> 00:22:08,200 YOU DON'T KNOW HOW A JUDGE WOULD RULE IF-- 583 00:22:08,233 --> 00:22:09,333 WILL YOU... WILL YOU STOP? 584 00:22:09,367 --> 00:22:11,200 PLEASE! 585 00:22:13,567 --> 00:22:15,600 I'M JUST... 586 00:22:15,633 --> 00:22:16,967 I'M NOT HAVING MY BROTHER GO TO FOSTER CARE. 587 00:22:17,067 --> 00:22:19,067 THAT'S IT. 588 00:22:22,400 --> 00:22:25,100 OKAY, UM... 589 00:22:25,133 --> 00:22:29,067 I'M GOING TO GET JARED, AND WE'RE GOING TO GO. 590 00:22:29,067 --> 00:22:30,533 SO IF YOU WANT TO TALK... 591 00:22:30,567 --> 00:22:32,900 JUST CALL ME. 592 00:22:47,333 --> 00:22:48,733 I DON'T KNOW. 593 00:22:48,767 --> 00:22:50,633 MAYBE IT'S SOME SORT OF MID-LIFE CRISIS OR SOMETHING. 594 00:22:50,667 --> 00:22:52,133 I MEAN, BEING A LESBIAN 595 00:22:52,167 --> 00:22:54,200 IS PRETTY TRENDY THESE DAYS. 596 00:22:54,233 --> 00:22:55,300 YOU PROBABLY DON'T WANT TO SAY THAT 597 00:22:55,333 --> 00:22:56,700 IN A ROOM FULL OF LESBIANS. 598 00:22:56,733 --> 00:22:57,933 I THINK HE MIGHT BE RIGHT. 599 00:22:57,967 --> 00:22:58,967 I THINK BEING GAY IS VERY COOL RIGHT NOW. 600 00:22:59,067 --> 00:23:00,433 MAYBE IN THE YOUNGER CROWD. 601 00:23:00,467 --> 00:23:01,567 I CAN GUARANTEE YOU, 602 00:23:01,600 --> 00:23:05,300 PHYLLIS IS NOT TRYING TO BE COOL. 603 00:23:05,333 --> 00:23:06,833 OKAY, WELL, UM, MENOPAUSE. 604 00:23:06,867 --> 00:23:08,667 I MEAN, THAT CAUSES WOMEN 605 00:23:08,700 --> 00:23:09,900 TO DO CRAZY THINGS-- 606 00:23:09,933 --> 00:23:12,900 YOU KNOW, LEONARD, 607 00:23:12,933 --> 00:23:14,433 THIS MIGHT BE REALLY HARD 608 00:23:14,467 --> 00:23:15,933 FOR YOU TO ACCEPT, 609 00:23:15,967 --> 00:23:17,333 BUT I THINK PHYLLIS 610 00:23:17,367 --> 00:23:18,500 MIGHT BE A LESBIAN. 611 00:23:18,533 --> 00:23:19,867 THAT IS INCONCEIVABLE. 612 00:23:19,900 --> 00:23:24,367 YOU CANNOT BE MARRIED 23 YEARS AND HAVE CHILDREN 613 00:23:24,400 --> 00:23:25,533 WITHOUT SOME INKLING-- 614 00:23:25,567 --> 00:23:26,933 LEONARD, IT HAPPENS. 615 00:23:26,967 --> 00:23:28,800 MUCH MORE OFTEN THAN YOU WOULD IMAGINE. 616 00:23:28,833 --> 00:23:30,333 YEAH, SHE PROBABLY KNEW FOR A LONG TIME. 617 00:23:30,367 --> 00:23:31,300 SHE JUST DIDN'T WANT 618 00:23:31,333 --> 00:23:32,167 TO ADMIT IT TO HERSELF. 619 00:23:32,200 --> 00:23:32,933 SEE, THAT'S THAT HEART. 620 00:23:32,967 --> 00:23:34,067 THAT'S WHAT I WAS SAYING, MAN. 621 00:23:34,067 --> 00:23:35,767 THAT'S BULLSHIT. 622 00:23:35,800 --> 00:23:37,867 I MEAN, IT'S ABOUT SEX. 623 00:23:37,900 --> 00:23:39,233 I MEAN, I DON'T WANT TO BE A PIG HERE, 624 00:23:39,267 --> 00:23:40,933 BUT... I MEAN... 625 00:23:40,967 --> 00:23:42,600 WHAT CAN YOU LADIES DO TO A WOMAN 626 00:23:42,633 --> 00:23:43,767 THAT I CAN'T DO TO A WOMAN? 627 00:23:43,800 --> 00:23:45,633 NOW, WHAT IS... 628 00:23:45,667 --> 00:23:48,100 EXPLAIN TO ME THE BIG MYSTERY HERE. 629 00:23:48,133 --> 00:23:49,767 UM, LEONARD, IT'S NOT ABOUT SEX. 630 00:23:49,800 --> 00:23:51,633 YOU KNOW? 631 00:23:51,667 --> 00:23:52,867 I MEAN, IT'S ABOUT SO MUCH MORE THAN THAT. 632 00:23:52,900 --> 00:23:53,867 THERE'S... 633 00:23:53,900 --> 00:23:55,200 THINGS... 634 00:23:55,233 --> 00:23:56,633 IT'S ABOUT KNOWING 635 00:23:56,667 --> 00:23:57,600 WHAT A WOMAN IS THINKING, 636 00:23:57,633 --> 00:23:58,433 WHAT A WOMAN IS FEELING 637 00:23:58,467 --> 00:23:59,433 WHEN YOU TOUCH HER-- 638 00:23:59,467 --> 00:24:01,067 I DON'T KNOW ABOUT ALL THAT. 639 00:24:01,067 --> 00:24:03,067 SOMETIMES IT'S GREAT WHEN PEOPLE ARE COMPLETELY DIFFERENT. 640 00:24:03,067 --> 00:24:04,433 BUT IT'S NOT ABOUT MECHANICS. 641 00:24:04,467 --> 00:24:06,133 THIS IS SOMETHING PHYLLIS IS GOING THROUGH 642 00:24:06,167 --> 00:24:08,367 FOR THE FIRST TIME IN HER WHOLE LIFE. 643 00:24:08,400 --> 00:24:09,900 IT'S VERY BIG. 644 00:24:09,933 --> 00:24:10,833 WHAT DID YOU DO TO HER, ALICE? 645 00:24:10,867 --> 00:24:12,067 IT'S LIKE YOU CAST 646 00:24:12,067 --> 00:24:14,067 SOME SORT OF SPELL ON HER. 647 00:24:14,067 --> 00:24:15,767 SHE CRIED MORE 648 00:24:15,800 --> 00:24:17,500 OVER YOU 649 00:24:17,533 --> 00:24:21,233 THAN SHE HAS CRIED HER WHOLE LIFE. 650 00:24:21,267 --> 00:24:23,067 LEONARD, IT'S NOT ABOUT ALICE. 651 00:24:23,100 --> 00:24:24,067 RIGHT, IT'S NOT ABOUT HER, MAN. 652 00:24:24,067 --> 00:24:25,267 IT'S NOT. 653 00:24:25,300 --> 00:24:26,933 YEAH, BUT SHE SHOULDN'T HAVE GOTTEN INVOLVED 654 00:24:26,967 --> 00:24:28,100 WOMAN. MARRIED THAT'S TRUE. 655 00:24:28,133 --> 00:24:28,900 THAT'S A GIVEN. 656 00:24:28,933 --> 00:24:30,867 NO, AND-- AND I-- 657 00:24:30,900 --> 00:24:32,500 I WANT TO APOLOGIZE 658 00:24:32,533 --> 00:24:34,100 TO YOU... ABOUT THAT. 659 00:24:34,133 --> 00:24:36,467 THE NIGHT I MET YOU, YOU KNOW, I... 660 00:24:36,500 --> 00:24:37,533 I PUT A STOP TO IT. 661 00:24:37,567 --> 00:24:38,500 SO... 662 00:24:38,533 --> 00:24:39,667 BUT IT'S NOT ABOUT HER. 663 00:24:39,700 --> 00:24:41,500 SEE, YOUR LADY WAS GOING DOWN THIS ROAD 664 00:24:41,533 --> 00:24:42,933 ON HER OWN. 665 00:24:42,967 --> 00:24:44,233 ALICE JUST HAPPENED FIRST. 666 00:24:44,267 --> 00:24:45,833 NOTHING WAS GOING TO STOP THAT. 667 00:24:45,867 --> 00:24:47,767 WE MET[SOBBING] AT A BAD TIME... 668 00:24:47,800 --> 00:24:49,167 EXACTLY! 669 00:24:49,200 --> 00:24:50,800 LEONARD, LEONARD, LEONARD, 670 00:24:50,833 --> 00:24:53,100 LEONARD, LISTEN... 671 00:24:53,133 --> 00:24:55,833 LEONARD, YOU'VE GOT TO HOLD ON TO YOURSELF. 672 00:24:55,867 --> 00:24:56,967 [SIGHS AND SNIFFLES] 673 00:24:57,067 --> 00:25:00,867 OKAY, REMEMBER WHAT'S IMPORTANT. 674 00:25:00,900 --> 00:25:03,933 ALL RIGHT, YOUR VALUE IN LIFE IS NOT PHYLLIS. 675 00:25:03,967 --> 00:25:05,267 YOU'RE LEONARD, 676 00:25:05,300 --> 00:25:06,300 AND YOU STILL HAVE 677 00:25:06,333 --> 00:25:08,233 A LOT OF GREAT STUFF AHEAD OF YOU. 678 00:25:08,267 --> 00:25:13,067 ALL RIGHT, YOU AND PHYLLIS HAD AN AMAZING RUN. 679 00:25:13,067 --> 00:25:16,633 ALL RIGHT, YOU EVEN HAVE TWO BEAUTIFUL CHILDREN, 680 00:25:16,667 --> 00:25:18,067 BUT LIFE IS ALL ABOUT CHANGE, 681 00:25:18,100 --> 00:25:21,233 AND YOU'VE GOT TO CONFRONT IT HEAD ON. 682 00:25:21,267 --> 00:25:24,600 DO THE HARDEST THING ANYONE COULD EVER DO. 683 00:25:26,467 --> 00:25:28,400 LEONARD, YOU'VE GOT TO LET HER GO. 684 00:25:31,100 --> 00:25:32,100 [DOORBELL CHIMES] 685 00:25:33,667 --> 00:25:35,833 OH, MY GOD... 686 00:25:37,567 --> 00:25:38,733 YOU'RE FUCKIN' DEEP, MAN. 687 00:25:38,767 --> 00:25:41,467 OH, SHUT THE FUCK UP. 688 00:25:43,533 --> 00:25:44,433 OH, BOY. 689 00:25:44,467 --> 00:25:46,133 I BELIEVE YOU HAVE MY HUSBAND. 690 00:25:50,133 --> 00:25:52,600 HE'S IN THE BEDROOM. 691 00:25:52,633 --> 00:25:55,167 HE'S ASKING SOME PRETTY DIFFICULT QUESTIONS. 692 00:25:55,200 --> 00:25:56,333 I KNOW THE WAY. 693 00:25:56,367 --> 00:25:57,767 PHYLLIS... SORRY, JUST WAIT. 694 00:25:57,800 --> 00:25:59,600 UM... 695 00:25:59,633 --> 00:26:02,567 I WOULD LIKE TO TAKE THIS OPPORTUNITY 696 00:26:02,600 --> 00:26:05,167 TO, UM, APOLOGIZE TO YOU, 697 00:26:05,200 --> 00:26:07,933 TO SAY I'M SORRY. 698 00:26:07,967 --> 00:26:09,933 UH... 699 00:26:09,967 --> 00:26:11,667 WE REALLY, UH, ENDED THINGS ABRUPTLY, 700 00:26:11,700 --> 00:26:14,533 AND, YOU KNOW, I JUST KIND OF DISAPPEARED ON YOU, 701 00:26:14,567 --> 00:26:15,733 DIDN'T I? 702 00:26:15,767 --> 00:26:17,467 YES, YOU DID. 703 00:26:17,500 --> 00:26:18,467 YEAH. 704 00:26:18,500 --> 00:26:19,500 I DON'T REALLY KNOW WHY. 705 00:26:19,533 --> 00:26:21,500 I THINK IT WAS JUST, 706 00:26:21,533 --> 00:26:23,367 UM... 707 00:26:23,400 --> 00:26:24,967 TOO MUCH? 708 00:26:25,067 --> 00:26:26,533 YOU KNOW? 709 00:26:26,567 --> 00:26:27,533 YEAH. 710 00:26:27,567 --> 00:26:28,767 I'M SORRY, TOO. 711 00:26:28,800 --> 00:26:30,967 I ABSOLUTELY 712 00:26:31,067 --> 00:26:32,833 SUFFOCATED YOU. 713 00:26:32,867 --> 00:26:34,767 I WAS LIKE A TEENAGER IN LOVE, 714 00:26:34,800 --> 00:26:36,067 OVERWHELMED BY MY EMOTIONS. 715 00:26:36,067 --> 00:26:38,433 [SIGHS HEAVILY] 716 00:26:38,467 --> 00:26:40,367 IT WAS TOO MUCH. 717 00:26:40,400 --> 00:26:41,867 I SHOULD HAVE NEVER PUT ALL THAT ON YOU. 718 00:26:43,267 --> 00:26:44,333 WELL, I'D LIKE TO BE FRIENDS. 719 00:26:45,333 --> 00:26:46,367 ME TOO. 720 00:26:49,400 --> 00:26:51,167 [LAUGHS] 721 00:26:53,100 --> 00:26:54,533 [PATTING ALICE'S BACK HEARTILY] 722 00:26:54,567 --> 00:26:55,567 OKAY... 723 00:26:55,600 --> 00:26:59,067 OH... YEAH. 724 00:26:59,067 --> 00:27:00,667 GREAT. OKAY. 725 00:27:00,700 --> 00:27:01,900 [TRIES DOOR] 726 00:27:01,933 --> 00:27:04,067 [RATTLING KNOB] 727 00:27:04,067 --> 00:27:05,100 [KNOCKING] 728 00:27:05,133 --> 00:27:06,900 [DRILL WHIRRS] 729 00:27:12,567 --> 00:27:13,867 [KNOCKS ON BEAM] 730 00:27:15,567 --> 00:27:16,733 YOU LEFT. 731 00:27:16,767 --> 00:27:18,867 WE WERE IN THE MIDDLE OF A CONVERSATION. 732 00:27:18,900 --> 00:27:21,467 WE WERE NOT IN THE MIDDLE OF A CONVERSATION. 733 00:27:21,500 --> 00:27:22,967 YOU WERE BEING SNIPPY WITH ME 734 00:27:23,067 --> 00:27:24,333 FOR GOING OUT WITH AMY 735 00:27:24,367 --> 00:27:25,767 AFTER YOU TOLD ME TO GO OUT WITH HER. 736 00:27:25,800 --> 00:27:28,167 I TOLD YOU TO GO OUT WITH HER 737 00:27:28,200 --> 00:27:29,533 BECAUSE YOU WANTED TO, 738 00:27:29,567 --> 00:27:30,800 OKAY? 739 00:27:30,833 --> 00:27:32,433 I DIDN'T TELL YOU TO RUB IT IN MY FACE. 740 00:27:32,467 --> 00:27:34,100 I WASN'T RUBBING IT IN YOUR FACE. 741 00:27:38,733 --> 00:27:40,833 OKAY... 742 00:27:40,867 --> 00:27:42,500 HOW WOULD YOU FEEL 743 00:27:42,533 --> 00:27:45,867 IF I BROUGHT SOMEONE I WAS DATING TO SCHOOL, 744 00:27:45,900 --> 00:27:47,067 AND I JUST PARADED HER AROUND 745 00:27:47,100 --> 00:27:48,267 IN FRONT OF YOU? 746 00:27:48,300 --> 00:27:50,733 NO, NO, ACTUALLY, DON'T. 747 00:27:50,767 --> 00:27:51,967 DON'T ANSWER IT. 748 00:27:57,133 --> 00:27:58,100 FUCK YOU. 749 00:27:58,133 --> 00:27:59,800 JUST FUCK YOU. 750 00:27:59,833 --> 00:28:01,067 JUST-- I'M SORRY. IT'S NOTHING. 751 00:28:01,100 --> 00:28:02,200 IT DOESN'T MATTER. 752 00:28:02,233 --> 00:28:04,433 DOESN'T MATTER? 753 00:28:13,967 --> 00:28:15,867 BUT IT DIDN'T WORK. 754 00:28:18,533 --> 00:28:20,300 [SIGHS] 755 00:28:26,733 --> 00:28:28,600 [SIGHS] 756 00:28:30,333 --> 00:28:33,067 EVERY TIME I LOOKED AT HER, 757 00:28:33,100 --> 00:28:35,500 MY HEAD FILLED 758 00:28:35,533 --> 00:28:39,800 WITH PICTURES OF YOU. 759 00:28:39,833 --> 00:28:44,467 HER SKIN DIDN'T FEEL AS SOFT AS YOURS. 760 00:28:44,500 --> 00:28:48,767 I DIDN'T LIKE THE WAY SHE TOUCHED ME, 761 00:28:48,800 --> 00:28:53,200 AND HER KISS... 762 00:28:53,233 --> 00:28:54,933 DIDN'T MAKE MY HEAD SPIN 763 00:28:54,967 --> 00:29:00,533 THE WAY YOURS DOES. 764 00:29:00,567 --> 00:29:02,567 YOU'VE RUINED ME FOR ANYBODY ELSE. 765 00:29:08,967 --> 00:29:10,233 I TOLD HER 766 00:29:10,267 --> 00:29:12,933 I DIDN'T WANT TO SEE HER ANYMORE. 767 00:29:12,967 --> 00:29:16,233 SHE WAS PRETTY UPSET. 768 00:29:21,200 --> 00:29:23,367 BETTE... 769 00:29:23,400 --> 00:29:25,367 PLEASE? 770 00:29:31,700 --> 00:29:35,100 YOU ARE A FUCKING... 771 00:29:35,133 --> 00:29:36,533 HEARTBREAKER. 772 00:29:57,833 --> 00:30:01,633 CAN SOMEONE GO SEE WHERE MAX IS? 773 00:30:09,467 --> 00:30:11,467 [CELL PHONE VIBRATING] 774 00:30:23,233 --> 00:30:24,333 MAX IS ON THE WAY. 775 00:30:24,367 --> 00:30:25,867 WHAT WAS THE HOLDUP? 776 00:30:27,500 --> 00:30:28,533 HEY, SORRY I'M LATE. 777 00:30:28,567 --> 00:30:30,733 WE'VE BEEN WAITING. 778 00:30:30,767 --> 00:30:32,200 I WAS ON THE PHONE WITH SPACE GATE. 779 00:30:32,233 --> 00:30:33,833 THEY'RE HAVING TROUBLE TESTING THEIR NEW DEVICE DRIVERS, 780 00:30:33,867 --> 00:30:35,233 SO I HAD TO TALK THEM THROUGH IT. 781 00:30:35,267 --> 00:30:37,500 WELL, WE'RE ALL ON A SCHEDULE HERE, MAX. 782 00:30:37,533 --> 00:30:40,167 I WAS JUST TRYING TO HELP OUT ONE OF OUR CLIENTS. 783 00:30:40,200 --> 00:30:42,033 WELL, IN CASE YOU HAVEN'T NOTICED, 784 00:30:42,067 --> 00:30:43,500 WE ALL HAVE CLIENTS HERE, 785 00:30:43,533 --> 00:30:45,667 AND WE ALL NEED TO MEET THEIR DEMANDS. 786 00:30:45,700 --> 00:30:48,900 THAT'S WHY WE MANAGE OUR TIME. 787 00:30:48,933 --> 00:30:50,833 IT WAS POOR JUDGMENT ON YOUR PART 788 00:30:50,867 --> 00:30:53,067 TO KEEP THE ENTIRE STAFF WAITING. 789 00:30:53,100 --> 00:30:55,367 [WHISPERING] 790 00:30:55,400 --> 00:30:56,433 TAKE A SEAT. 791 00:30:56,467 --> 00:30:57,533 WE DON'T HAVE ALL DAY. 792 00:30:57,567 --> 00:30:58,967 AND BY THE WAY, PEOPLE, 793 00:30:59,000 --> 00:31:00,467 JUST SO YOU KNOW, 794 00:31:00,500 --> 00:31:02,200 THERE'S NOTHING I HATE MORE 795 00:31:02,233 --> 00:31:05,067 THAN WHEN YOU MAKE EXCUSES FOR YOURSELVES. 796 00:31:05,100 --> 00:31:07,433 I DON'T EVEN LET MY OWN DAUGHTER GET AWAY WITH THAT. 797 00:31:07,467 --> 00:31:09,600 WE ALL HAVE TO TAKE RESPONSIBILITY 798 00:31:09,633 --> 00:31:11,067 FOR OUR ACTIONS. 799 00:31:11,067 --> 00:31:13,667 NOW, LET'S GET STARTED. 800 00:31:16,933 --> 00:31:18,600 THAT'S NOT WHY SHE WENT BACK TO MEN. 801 00:31:18,633 --> 00:31:20,267 IT WAS THE HUMILIATION OF FINDING OUT 802 00:31:20,300 --> 00:31:21,533 THAT HER LOVER WAS CHEATING ON HER. 803 00:31:21,567 --> 00:31:22,800 THAT WAS THE REASON. 804 00:31:22,833 --> 00:31:26,433 NO, NINA WENT BACK TO MEN 805 00:31:26,467 --> 00:31:27,867 BECAUSE SHE'S ONE OF THOSE WOMEN 806 00:31:27,900 --> 00:31:29,600 THAT FINDS SAFETY AND SECURITY 807 00:31:29,633 --> 00:31:30,867 BY BELONGING TO THE DOMINANT CULTURE. 808 00:31:30,900 --> 00:31:32,067 [SCOFFS] 809 00:31:32,067 --> 00:31:33,900 FEELS SAFE... JENNY... 810 00:31:33,933 --> 00:31:35,667 IF THERE'S A MAN BY HER SIDE. 811 00:31:35,700 --> 00:31:37,100 YOU KNOW? 812 00:31:37,133 --> 00:31:38,400 I'M SORRY. I LOVE YOUR MOVIES. 813 00:31:38,433 --> 00:31:40,300 IT'S SUCH AN HONOR TO MEET YOU. 814 00:31:40,333 --> 00:31:42,300 SORRY, SORRY, I'M JUST... 815 00:31:42,333 --> 00:31:43,667 WE'RE IN THE MIDDLE OF A MEETING, GUYS. 816 00:31:43,700 --> 00:31:46,433 I WAS... MAYBE... 817 00:31:46,467 --> 00:31:48,633 I'LL SIGN MY LAST NAME LATER. 818 00:31:48,667 --> 00:31:50,367 OKAY, SO ANYWAY, AS I WAS SAYING, 819 00:31:50,400 --> 00:31:52,100 THE STORY'S REALLY CENTERED 820 00:31:52,133 --> 00:31:54,533 AROUND JESSIE'S SELF-DETERMINATION, 821 00:31:54,567 --> 00:31:56,533 AND HOW SHE FINDS STRENGTH THROUGH THAT. 822 00:31:56,567 --> 00:31:57,800 THAT IS RIGHT, 823 00:31:57,833 --> 00:31:59,400 AND I LOVE THESE KINDS OF STORIES, 824 00:31:59,433 --> 00:32:00,900 BECAUSE I LOVE THE LADIES' STORIES, 825 00:32:00,933 --> 00:32:04,167 I UNDERSTAND THAT JERRY IS A WOMAN, RIGHT-- 826 00:32:04,200 --> 00:32:05,333 JENNY. 827 00:32:05,367 --> 00:32:06,533 JESSIE. 828 00:32:06,567 --> 00:32:07,967 OH, JESSIE. 829 00:32:08,067 --> 00:32:11,233 LET ME SAY THAT JESSIE HAS HAD THE WORST MEN IN HER LIFE, 830 00:32:11,267 --> 00:32:12,733 YOU KNOW, AND SHE'S STILL BEING VICTIMIZED, 831 00:32:12,767 --> 00:32:14,667 BY CRAPOLA GUYS, 832 00:32:14,700 --> 00:32:17,767 AND THEN SHE FINDS THE ULTIMATE EMPOWERMENT, 833 00:32:17,800 --> 00:32:20,500 WHERE SHE REALIZES THAT SHE DOESN'T NEED MEN. 834 00:32:20,533 --> 00:32:21,867 SHE DOESN'T NEED THEM, 835 00:32:21,900 --> 00:32:23,067 SHE DOESN'T WANT THEM, 836 00:32:23,100 --> 00:32:24,533 AND SHE DOESN'T DESIRE THEM. 837 00:32:24,567 --> 00:32:26,667 YES, HALLELUJAH! 838 00:32:26,700 --> 00:32:27,900 THIS IS SUCH AN UPLIFTING MOVIE 839 00:32:27,933 --> 00:32:30,600 ABOUT A GIRL WHO DISCOVERS HERSELF, 840 00:32:30,633 --> 00:32:31,667 AND, IN DOING SO, 841 00:32:31,700 --> 00:32:33,067 SHE FINDS TRUE LOVE, 842 00:32:33,067 --> 00:32:34,833 AND THAT'S VERY HARD TO DO 843 00:32:34,867 --> 00:32:36,467 IN A ROMANTIC COMEDY, 844 00:32:36,500 --> 00:32:38,900 AND THAT'S WHY THIS IS A PARTICULARLY GOOD ONE, 845 00:32:38,933 --> 00:32:40,300 AND I THINK THE FIRST AND SECOND ACT 846 00:32:40,333 --> 00:32:42,067 LEAD RIGHT TO A THIRD ACT, 847 00:32:42,100 --> 00:32:44,700 WHICH COULD USE A TWIST, JUST A LITTLE MORE INTRIGUE. 848 00:32:44,733 --> 00:32:46,533 LIKE MAYBE... 849 00:32:46,567 --> 00:32:48,767 SHE'S A PRINCESS IN ANOTHER TIME, 850 00:32:48,800 --> 00:32:49,833 AND SHE REVEALS 851 00:32:49,867 --> 00:32:51,067 THAT SHE'S BEEN HIDING IT, 852 00:32:51,100 --> 00:32:52,533 BECAUSE I NEED AN IMAGE, LIKE A TIARA. 853 00:32:52,567 --> 00:32:53,633 YOU KNOW, IT'S-- 854 00:32:53,667 --> 00:32:54,900 CAN I JUST ADD TO IT? 855 00:32:54,933 --> 00:32:57,533 BECAUSE I JUST HAVE, LIKE, A LITTLE BRAINSTORMY THING. 856 00:32:57,567 --> 00:32:59,867 UM, I THINK THAT... 857 00:32:59,900 --> 00:33:03,100 OKAY, WHAT IF JESSIE IS A SEX WORKER, OKAY, 858 00:33:03,133 --> 00:33:07,533 AND KARINA IS, LIKE, A WEALTHY BUSINESSWOMAN, 859 00:33:07,567 --> 00:33:10,100 AND THEN KARINA HIRES JESSIE FOR THE NIGHT, 860 00:33:10,133 --> 00:33:11,567 SWEEPS HER OFF HER FEET, 861 00:33:11,600 --> 00:33:12,667 THEY FALL MADLY IN LOVE... 862 00:33:12,700 --> 00:33:13,600 JENNY-- 863 00:33:13,633 --> 00:33:15,333 TAKES HER SHOPPING ON RODEO DRIVE, 864 00:33:15,367 --> 00:33:16,600 AND GIVES HER THE JEWELRY BOX, 865 00:33:16,633 --> 00:33:18,200 AND THEN HER HAND ALMOST GETS CAUGHT, 866 00:33:18,233 --> 00:33:19,233 AND SHE GOES, "AH, HA, HA, HA, HA!" 867 00:33:19,267 --> 00:33:20,200 LIKE THAT, 868 00:33:20,233 --> 00:33:22,567 AND THEN SHE SITS IN THE BUBBLE BATH-- 869 00:33:22,600 --> 00:33:24,067 OKAY, THAT'S GOOD. THAT'S GOOD. 870 00:33:24,100 --> 00:33:25,133 YOU KNOW, SHE'S REALLY SENSITIVE 871 00:33:25,167 --> 00:33:26,233 ABOUT THE MATERIAL. 872 00:33:26,267 --> 00:33:28,500 WELL, SHE DOESN'T WANT ANYBODY TO MESS IT UP. 873 00:33:28,533 --> 00:33:29,633 I MEAN, UH... 874 00:33:29,667 --> 00:33:30,900 YOU CAN DO WHATEVER YOU WANT. 875 00:33:30,933 --> 00:33:32,300 WHAT IS YOUR NAME? 876 00:33:32,333 --> 00:33:34,533 DO YOU LIKE ROMANTIC COMEDY? 877 00:33:34,567 --> 00:33:35,533 YEAH! 878 00:33:35,567 --> 00:33:36,867 THERE YOU GO. CASE CLOSED. 879 00:33:39,833 --> 00:33:41,933 COME ON. 880 00:33:41,967 --> 00:33:42,933 NO, WAIT. 881 00:33:42,967 --> 00:33:44,067 WAIT A MINUTE. 882 00:33:44,067 --> 00:33:45,267 I WANT TO ASK ONE MORE QUESTION. 883 00:33:45,300 --> 00:33:46,667 WE CAN'T TAKE ANY MORE OF THEIR TIME, LEONARD. 884 00:33:46,700 --> 00:33:47,900 WHY? 885 00:33:47,933 --> 00:33:49,300 WHAT ARE THEY DOING THAT'S MORE IMPORTANT 886 00:33:49,333 --> 00:33:50,833 THAN HELPING ME UNDERSTAND 887 00:33:50,867 --> 00:33:54,500 WHY MY LIFE HAS SUDDENLY FALLEN APART? 888 00:33:54,533 --> 00:33:55,767 HE'S GOT A POINT. 889 00:33:55,800 --> 00:33:58,233 I MEAN, LOOK AT HER. LOOK AT HER. 890 00:33:58,267 --> 00:33:59,867 NOW, IS SHE NOT 891 00:33:59,900 --> 00:34:03,267 THE MOST BEAUTIFUL WOMAN YOU HAVE EVER SEEN, 892 00:34:03,300 --> 00:34:04,500 AND THE MOST BRILLIANT? 893 00:34:04,533 --> 00:34:06,233 SO HOW THE HELL 894 00:34:06,267 --> 00:34:07,600 AM I SUPPOSED TO GET OVER HER? 895 00:34:07,633 --> 00:34:08,633 HMM? 896 00:34:08,667 --> 00:34:09,467 I'M NOT REALLY THAT GREAT. 897 00:34:09,500 --> 00:34:10,333 TELL HIM, ALICE. 898 00:34:10,367 --> 00:34:13,067 OH, PHYLLIS, YOU ARE GREAT. 899 00:34:13,067 --> 00:34:14,200 YOU'RE AMAZING. YOU'RE BEAUTIFUL. 900 00:34:14,233 --> 00:34:15,267 SHE'S BEAUTIFUL, LEONARD. 901 00:34:15,300 --> 00:34:16,300 BUT I'M A LESBIAN. 902 00:34:16,333 --> 00:34:17,967 YEAH, YEAH. 903 00:34:18,067 --> 00:34:19,267 YOU'RE ONE OF THOSE, TOO. 904 00:34:19,300 --> 00:34:20,367 BUT LEONARD IS FANTASTIC, TOO. 905 00:34:20,400 --> 00:34:21,267 HE'S GREAT. 906 00:34:22,400 --> 00:34:23,500 YES, YOU ARE. 907 00:34:23,533 --> 00:34:27,200 YOU ARE SO WONDERFUL. 908 00:34:27,233 --> 00:34:29,067 IF I WAS EVER GOING TO BE WITH A MAN AGAIN, 909 00:34:29,067 --> 00:34:30,367 IT WOULD BE WITH YOU. 910 00:34:32,167 --> 00:34:33,667 NOW, CAN WE PLEASE LEAVE? 911 00:34:33,700 --> 00:34:35,833 YEAH. 912 00:34:35,867 --> 00:34:36,933 [SNIFFLES] 913 00:34:39,700 --> 00:34:41,367 BYE, LEONARD. 914 00:34:41,400 --> 00:34:42,367 [DOOR CLOSES] 915 00:34:42,400 --> 00:34:43,433 OH... 916 00:34:43,467 --> 00:34:44,433 [ALL SIGHING HEAVILY] 917 00:34:44,467 --> 00:34:46,900 OKAY, WHO NEEDS A DRINK, HUH? 918 00:34:46,933 --> 00:34:49,467 RIGHT HERE. ALL RIGHT. 919 00:34:49,500 --> 00:34:49,567 GOT ONE! 920 00:34:51,133 --> 00:34:52,267 OKAY, POP IT, POP IT, AND... 921 00:34:52,300 --> 00:34:55,933 ONE, TWO, THREE, FOUR, FIVE, SIX, SEVEN, 922 00:34:55,967 --> 00:34:58,067 EIGHT, NINE, 10, 11, SHOOT! 923 00:34:58,100 --> 00:34:59,100 GOOD ONE! 924 00:34:59,133 --> 00:35:01,100 LOT OF FOLLOW-THROUGH. 925 00:35:06,633 --> 00:35:08,633 THIS IS FOR YOU. 926 00:35:10,733 --> 00:35:12,500 OPEN IT. 927 00:35:22,567 --> 00:35:23,733 AWESOME! 928 00:35:23,767 --> 00:35:25,500 IT'S FOR YOUR BIRTHDAY NEXT WEEK. 929 00:35:25,533 --> 00:35:27,667 I PUT ALL THE, UM... 930 00:35:27,700 --> 00:35:29,367 THE SONGS WE LISTEN TO ON IT. 931 00:35:30,567 --> 00:35:31,633 "PIECE OF MY HEART"? 932 00:35:31,667 --> 00:35:32,833 JANIS JOPLIN... 933 00:35:32,867 --> 00:35:34,467 I LOVE JANIS JOPLIN. 934 00:35:35,733 --> 00:35:36,833 HEY, LISTEN, 935 00:35:36,867 --> 00:35:38,067 LET'S SEE WHAT'S THERE. 936 00:35:39,633 --> 00:35:40,867 YOU WANT ME TO LISTEN TO ONE 937 00:35:40,900 --> 00:35:42,667 YOU LISTEN TO THE OTHER? 938 00:35:42,700 --> 00:35:45,900 HOW DO YOU TURN IT ON? 939 00:35:45,933 --> 00:35:48,433 [MUSIC BLARES THROUGH EARPHONES] 940 00:35:48,467 --> 00:35:49,967 COOL. 941 00:35:50,067 --> 00:35:52,067 NICE SOUND, HUH? 942 00:35:52,067 --> 00:35:54,067 YOU GUYS, UH, SHOULD GO. 943 00:35:54,067 --> 00:35:56,567 YOU GOT A... 944 00:35:56,600 --> 00:35:57,800 YOU GOT A LONG DRIVE 945 00:35:57,833 --> 00:36:00,100 AND I HAVE TO GO SOMEWHERE, SO... 946 00:36:03,467 --> 00:36:04,967 [CLEARS THROAT] 947 00:36:16,400 --> 00:36:17,667 TAKE CARE. 948 00:36:17,700 --> 00:36:19,267 YEAH. 949 00:36:21,233 --> 00:36:22,533 [CLEARS THROAT] 950 00:36:26,933 --> 00:36:31,067 ALL RIGHT, WELL, LISTEN, I, UH... 951 00:36:31,100 --> 00:36:32,233 I WANT YOU TO BE GOOD TO YOURSELF. 952 00:36:32,267 --> 00:36:33,933 OKAY. 953 00:36:33,967 --> 00:36:36,633 AND YOU KNOW I'M ALWAYS HERE IF YOU NEED ME. 954 00:36:36,667 --> 00:36:39,067 DON'T FORGET THAT. 955 00:36:39,067 --> 00:36:40,133 I PROBABLY SHOULD HAVE GIVEN YOU 956 00:36:40,167 --> 00:36:42,467 A BETTER HAIRCUT. 957 00:36:42,500 --> 00:36:44,567 MAYBE SOME OTHER TIME. 958 00:36:44,600 --> 00:36:46,133 OKAY? 959 00:36:54,100 --> 00:36:55,933 GO. 960 00:37:01,767 --> 00:37:04,300 [ENGINE TURNS OVER] 961 00:37:15,467 --> 00:37:18,567 [CAR RECEDES] 962 00:37:25,500 --> 00:37:28,533 [SOBBING] 963 00:37:31,767 --> 00:37:34,067 THAT'S BULLSHIT, MAX. THEY CAN'T TREAT YOU LIKE THAT. 964 00:37:34,067 --> 00:37:37,967 I MEAN, HE LOOKS FOR ANY EXCUSE TO PICK ON ME, 965 00:37:38,067 --> 00:37:39,467 AND HE CAN'T STEP TOO FAR OUT OF LINE, 966 00:37:39,500 --> 00:37:40,500 BECAUSE HE'S GOT 967 00:37:40,533 --> 00:37:41,967 THE HUMAN RESOURCES LAWYER THERE, 968 00:37:42,067 --> 00:37:44,200 LOOKING OVER HIS SHOULDER. 969 00:37:44,233 --> 00:37:45,667 HE'S JUST GOING TO TRY TO MAKE IT 970 00:37:45,700 --> 00:37:46,867 SO UNCOMFORTABLE FOR ME 971 00:37:46,900 --> 00:37:48,067 THAT I CAN'T TAKE IT ANYMORE. 972 00:37:48,067 --> 00:37:49,433 JUST QUIT. 973 00:37:49,467 --> 00:37:50,633 I CAN'T REALLY AFFORD TO QUIT. 974 00:37:53,500 --> 00:37:56,167 [TELEPHONE RINGS] 975 00:37:56,200 --> 00:37:58,867 DO YOU MIND GRABBING THAT FOR ME? 976 00:38:01,100 --> 00:38:04,100 HELLO? 977 00:38:04,133 --> 00:38:05,767 I'M SORRY? 978 00:38:05,800 --> 00:38:07,133 MOIRA... 979 00:38:07,167 --> 00:38:09,500 UH... 980 00:38:09,533 --> 00:38:11,167 OH, THAT'S ME. 981 00:38:11,200 --> 00:38:12,233 OH. 982 00:38:12,267 --> 00:38:14,200 WHO'S CALLING? 983 00:38:14,233 --> 00:38:15,633 IT'S MAGGIE? 984 00:38:15,667 --> 00:38:18,433 THAT'S MY SISTER. 985 00:38:18,467 --> 00:38:23,700 HEY, MAGGIE. 986 00:38:23,733 --> 00:38:25,500 WHAT? 987 00:38:28,533 --> 00:38:30,900 WHEN? 988 00:38:32,067 --> 00:38:34,167 UM... 989 00:38:34,200 --> 00:38:36,900 WHAT HAPPENED? 990 00:38:39,067 --> 00:38:42,633 WHY DIDN'T YOU CALL ME EARLIER? 991 00:38:47,233 --> 00:38:50,933 WHAT DO YOU MEAN? WHAT ARE YOU SAYING? 992 00:38:50,967 --> 00:38:52,700 WHAT DO YOU MEAN, YOU DON'T WANT ME TO COME HOME? 993 00:38:54,500 --> 00:38:55,567 IT'S NOT A... 994 00:38:57,567 --> 00:38:59,567 YOU KNOW WHAT, MAGGIE? 995 00:38:59,600 --> 00:39:01,433 IT'S NOT UP TO YOU, OKAY? 996 00:39:01,467 --> 00:39:03,200 FUCK OFF! 997 00:39:10,067 --> 00:39:13,067 SHIT. 998 00:39:13,067 --> 00:39:15,833 GRACE... 999 00:39:15,867 --> 00:39:20,200 MY MOM DIED. 1000 00:39:20,233 --> 00:39:23,067 I'M SO SORRY. 1001 00:39:26,967 --> 00:39:28,267 IS THERE ANYTHING I CAN DO? 1002 00:39:30,167 --> 00:39:32,300 I DIDN'T EVEN KNOW SHE WAS SICK. 1003 00:39:33,900 --> 00:39:34,933 MAGGIE SAID SHE WAS DIAGNOSED 1004 00:39:34,967 --> 00:39:38,067 EIGHT WEEKS AGO. 1005 00:39:38,100 --> 00:39:39,333 SHE DOESN'T WANT ME COMING HOME 1006 00:39:39,367 --> 00:39:41,533 FOR THE FUNERAL. 1007 00:39:41,567 --> 00:39:42,633 YOUR SISTER ASKED YOU 1008 00:39:42,667 --> 00:39:47,267 NOT TO GO TO THE FUNERAL? 1009 00:39:47,300 --> 00:39:48,533 SHE'S THE ONLY ONE 1010 00:39:48,567 --> 00:39:52,533 WHO KNOWS I'M TRANSITIONING. 1011 00:39:52,567 --> 00:39:54,100 SHE THINKS IT'S GOING TO BE 1012 00:39:54,133 --> 00:39:56,533 TOO HARD ON MY DAD. 1013 00:39:56,567 --> 00:39:59,400 WOW... 1014 00:40:02,267 --> 00:40:05,033 MAYBE SHE'S RIGHT, YOU KNOW? 1015 00:40:05,067 --> 00:40:09,467 IT WOULD BE A TOTAL... DISASTER. 1016 00:40:09,500 --> 00:40:10,867 BUT SHE HAS NO RIGHT TO TELL YOU 1017 00:40:10,900 --> 00:40:13,233 YOU CAN'T GO. 1018 00:40:13,267 --> 00:40:15,300 I KNOW. 1019 00:40:15,333 --> 00:40:16,767 MAYBE IT... 1020 00:40:16,800 --> 00:40:18,033 MAYBE IT'S FOR THE BEST. 1021 00:40:18,067 --> 00:40:22,200 I DON'T KNOW. 1022 00:40:22,233 --> 00:40:24,500 I MEAN, I... 1023 00:40:24,533 --> 00:40:25,833 MY FAMILY WAS... 1024 00:40:25,867 --> 00:40:29,000 WAS PRETTY ROUGH, YOU KNOW? 1025 00:40:29,033 --> 00:40:31,200 MY MOM... 1026 00:40:31,233 --> 00:40:32,500 SHE WAS THE ONLY ONE 1027 00:40:32,533 --> 00:40:35,700 WHO WAS REALLY THERE FOR ME. 1028 00:40:35,733 --> 00:40:38,033 AND I ALWAYS JUST... 1029 00:40:38,067 --> 00:40:42,400 YOU KNOW, I NEVER THOUGHT... 1030 00:40:42,433 --> 00:40:44,533 I JUST GUESS I WISH 1031 00:40:44,567 --> 00:40:48,933 I COULD'VE SEEN HER OR SOMETHING 1032 00:40:56,600 --> 00:41:00,167 YOU HAVE TO GO, MAX. 1033 00:41:00,200 --> 00:41:03,833 WOULD IT HELP IF I WENT WITH YOU? 1034 00:41:07,600 --> 00:41:09,800 WHY WOULD YOU DO THAT? 1035 00:41:09,833 --> 00:41:11,600 I MEAN, YOU... 1036 00:41:11,633 --> 00:41:13,600 YOU BARELY EVEN KNOW ME. 1037 00:41:13,633 --> 00:41:16,667 IT'S WHAT I'D WANT SOMEONE TO DO FOR ME. 1038 00:41:26,200 --> 00:41:28,900 [CRYING] 1039 00:41:30,900 --> 00:41:32,833 I THINK WE HELPED HIM. 1040 00:41:32,867 --> 00:41:34,400 ARE YOU SERIOUS? 1041 00:41:34,433 --> 00:41:35,833 IT HASN'T EVEN STARTED TO SINK IN. 1042 00:41:35,867 --> 00:41:37,800 POOR LEONARD. 1043 00:41:37,833 --> 00:41:39,167 HIS HEART'S BROKEN, YOU KNOW. 1044 00:41:39,200 --> 00:41:41,433 HE'LL FIND SOMEONE ELSE, BUT IN THE MEANTIME, 1045 00:41:41,467 --> 00:41:43,633 YOU NEED TO STAY AWAY FROM MARRIED PEOPLE. 1046 00:41:43,667 --> 00:41:45,100 OH, LOOK WHO'S TALKING, 1047 00:41:45,133 --> 00:41:47,067 AND BY THE WAY, DON'T THINK I'VE FORGOTTEN. 1048 00:41:47,067 --> 00:41:48,900 YOUR LITTLE BREAK IS UP. WHO'S THE GIRL? 1049 00:41:48,933 --> 00:41:50,333 FIRST OF ALL, THERE'S NO GIRL. 1050 00:41:50,367 --> 00:41:51,933 SHE'S A WOMAN. 1051 00:41:51,967 --> 00:41:53,867 AND SECOND, SHE'S SPECIAL. 1052 00:41:53,900 --> 00:41:54,667 SO IF YOU DON'T MIND, 1053 00:41:54,700 --> 00:41:56,600 I'D LIKE TO RESPECT HER PRIVACY. 1054 00:41:56,633 --> 00:41:58,500 OH, PLEASE, YOU GOT IT BAD. 1055 00:41:58,533 --> 00:41:59,733 [CELL PHONE VIBRATES] 1056 00:41:59,767 --> 00:42:00,733 IS THAT ME? 1057 00:42:00,767 --> 00:42:01,767 NO, THAT'S ME. 1058 00:42:01,800 --> 00:42:02,900 WAIT, I FEEL IT. 1059 00:42:02,933 --> 00:42:04,167 [CELL PHONE VIBRATES] 1060 00:42:04,200 --> 00:42:05,733 OH... 1061 00:42:05,767 --> 00:42:06,900 OH, GOT IT. 1062 00:42:06,933 --> 00:42:08,067 OH, CATHERINE... 1063 00:42:08,100 --> 00:42:09,200 ALICE, GIVE IT HERE. 1064 00:42:09,233 --> 00:42:10,900 OH, CATHERINE. OH, CATHERINE. 1065 00:42:10,933 --> 00:42:12,400 "OH, CATHERINE." GIVE IT. 1066 00:42:12,433 --> 00:42:15,067 HELLO. 1067 00:42:15,067 --> 00:42:16,633 OH, HI, CATHERINE. 1068 00:42:16,667 --> 00:42:18,500 "OH, HI, CATHERINE." 1069 00:42:18,533 --> 00:42:20,700 WHAT? 1070 00:42:20,733 --> 00:42:22,533 OH, UH... 1071 00:42:22,567 --> 00:42:23,600 NO, I, UM... 1072 00:42:23,633 --> 00:42:24,667 I COMPLETELY FORGOT. 1073 00:42:24,700 --> 00:42:25,667 OF COURSE-- 1074 00:42:25,700 --> 00:42:27,067 YEAH, OF COURSE, I'LL BE... 1075 00:42:27,067 --> 00:42:28,567 I'LL BE RIGHT THERE. 1076 00:42:28,600 --> 00:42:30,367 ALL RIGHT. BYE. 1077 00:42:30,400 --> 00:42:31,533 I'VE GOT TO GO. 1078 00:42:31,567 --> 00:42:32,800 CATHERINE'S DRY-CLEANING. 1079 00:42:32,833 --> 00:42:33,833 WHAT? 1080 00:42:33,867 --> 00:42:34,867 YOU'RE RUNNING ERRANDS FOR HER? 1081 00:42:34,900 --> 00:42:35,967 SPRUNG! 1082 00:42:37,200 --> 00:42:38,867 NO, AND NO, AND NO. 1083 00:42:38,900 --> 00:42:40,133 I'M JUST DOING HER A FAVOR, ALL RIGHT? 1084 00:42:40,167 --> 00:42:42,067 SHE'S JUST DOING HER A FAVOR. 1085 00:42:42,067 --> 00:42:43,567 I THOUGHT I'D BE BACK HOURS AGO. 1086 00:42:43,600 --> 00:42:45,200 OKAY, WELL, DON'T FORGET TO PICK UP 1087 00:42:45,233 --> 00:42:46,300 YOUR HALF OF THE MONEY. 1088 00:42:46,333 --> 00:42:47,600 [LAUGHING] 1089 00:42:47,633 --> 00:42:48,767 [CELL PHONE VIBRATES] 1090 00:42:48,800 --> 00:42:50,067 FUCK... 1091 00:42:50,067 --> 00:42:51,233 I FEEL THAT ONE. 1092 00:42:51,267 --> 00:42:52,767 IT'S NOT OVER HERE. 1093 00:42:52,800 --> 00:42:54,500 I MIGHT BE SITTING ON IT. 1094 00:42:54,533 --> 00:42:55,867 GOT IT, GOT IT. 1095 00:42:56,867 --> 00:42:58,233 HELLO. 1096 00:42:58,267 --> 00:43:00,267 HEY, AL? 1097 00:43:00,300 --> 00:43:01,367 YEAH, IT'S ME. 1098 00:43:01,400 --> 00:43:03,233 HI, SHANE! 1099 00:43:03,267 --> 00:43:04,833 SHANE, SHANE... 1100 00:43:04,867 --> 00:43:06,833 OH, MY GOD, WE'VE BEEN HAVING A PARTY IN BED ALL DAY. 1101 00:43:06,867 --> 00:43:08,233 SHANE, COME OVER. 1102 00:43:08,267 --> 00:43:09,233 SHANE? 1103 00:43:09,267 --> 00:43:11,967 UM... 1104 00:43:12,067 --> 00:43:14,833 I CAN'T HEAR YOU. 1105 00:43:14,867 --> 00:43:15,867 HELLO? 1106 00:43:15,900 --> 00:43:17,133 ARE YOU OKAY? 1107 00:43:17,167 --> 00:43:19,867 NO, I'M NOT SO GOOD. 1108 00:43:19,900 --> 00:43:21,067 MM-MM. 1109 00:43:21,067 --> 00:43:22,200 SHAY LEFT. 1110 00:43:26,067 --> 00:43:27,533 DO YOU, UM... 1111 00:43:27,567 --> 00:43:28,833 DO YOU WANT TO COME AND MEET ME? 1112 00:43:28,867 --> 00:43:30,067 ALL RIGHT, WHERE ARE YOU? 1113 00:43:30,067 --> 00:43:31,200 I'M COMING. 1114 00:43:31,233 --> 00:43:32,467 I'M AT SUNSET AND HARPER. 1115 00:43:36,200 --> 00:43:37,833 OKAY. 1116 00:43:47,467 --> 00:43:49,467 FUCK. 1117 00:43:49,500 --> 00:43:52,200 [BEBOP PLAYING] 1118 00:44:00,933 --> 00:44:02,467 KIT? 1119 00:44:02,500 --> 00:44:06,167 WHAT ARE YOU DOING? 1120 00:44:06,200 --> 00:44:07,567 IT'S NONE OF YOUR BUSINESS 1121 00:44:07,600 --> 00:44:11,467 WHAT I DO ANYMORE. 1122 00:44:13,067 --> 00:44:16,867 WELL, YOU SHOULDN'T BE DRINKING, KIT. 1123 00:44:16,900 --> 00:44:18,133 [CHUCKLES RUEFULLY] 1124 00:44:18,167 --> 00:44:21,367 YEAH, AND WHO DO I HAVE TO THANK FOR THAT, HMM? 1125 00:44:27,067 --> 00:44:28,133 COULD I, UM... 1126 00:44:28,167 --> 00:44:30,200 COULD I GIVE YOU A RIDE HOME? 1127 00:44:30,233 --> 00:44:31,400 WHY? 1128 00:44:31,433 --> 00:44:33,700 SO YOU CAN BEG AT ME AND TELL ME 1129 00:44:33,733 --> 00:44:35,467 HOW SORRY YOUR ASS IS? 1130 00:44:35,500 --> 00:44:36,867 PLEASE. GIVE ME A BREAK. 1131 00:44:36,900 --> 00:44:38,200 CAN I... 1132 00:44:38,233 --> 00:44:40,733 CAN I PLEASE JUST TALK TO YOU? 1133 00:44:46,133 --> 00:44:48,067 HEY, EVERYBODY! 1134 00:44:48,067 --> 00:44:50,067 STOP WHAT YOU'RE DOING, 1135 00:44:50,067 --> 00:44:51,967 SHUT THE FUCK UP, AND LISTEN. 1136 00:44:52,067 --> 00:44:53,500 OKAY? 1137 00:44:53,533 --> 00:44:57,067 THE MAN WANTS TO TALK. 1138 00:45:02,700 --> 00:45:04,267 [SIGHS] 1139 00:45:04,300 --> 00:45:09,367 UH... 1140 00:45:09,400 --> 00:45:12,400 I'M SORRY. 1141 00:45:12,433 --> 00:45:14,900 I, UH... 1142 00:45:14,933 --> 00:45:16,933 I'M AN IDIOT, AND I MADE A HUGE MISTAKE. 1143 00:45:16,967 --> 00:45:19,067 YOU THINK? 1144 00:45:19,100 --> 00:45:21,200 AND... 1145 00:45:21,233 --> 00:45:23,100 I KNOW YOU HATE ME RIGHT NOW, UM, 1146 00:45:23,133 --> 00:45:25,100 AND I DON'T... I DON'T BLAME YOU, 1147 00:45:25,133 --> 00:45:28,500 BUT I LOVE YOU. 1148 00:45:28,533 --> 00:45:30,500 I LOVE YOU... 1149 00:45:30,533 --> 00:45:33,467 MORE THAN ANYONE I'VE EVER LOVED IN MY ENTIRE LIFE, 1150 00:45:33,500 --> 00:45:36,767 AND I'M GOING TO STICK AROUND, UM... 1151 00:45:36,800 --> 00:45:38,433 AS LONG AS I CAN 1152 00:45:38,467 --> 00:45:39,800 IN THE HOPES 1153 00:45:39,833 --> 00:45:43,533 THAT YOU'LL EVENTUALLY FORGIVE ME. 1154 00:45:43,567 --> 00:45:44,867 THAT'S... 1155 00:45:44,900 --> 00:45:45,900 THAT'S PRETTY MUCH IT. 1156 00:45:45,933 --> 00:45:47,200 I'M, UH... 1157 00:45:47,233 --> 00:45:48,900 I'M STICKING. 1158 00:45:53,733 --> 00:45:56,133 [SIGHS HEAVILY] 1159 00:46:01,700 --> 00:46:04,533 THANK YOU, EVERYBODY. 1160 00:46:04,567 --> 00:46:06,733 THANK YOU... 1161 00:46:06,767 --> 00:46:08,333 AND HAVE A GOOD NIGHT. 1162 00:46:08,367 --> 00:46:09,400 YOU DID GREAT. 1163 00:46:09,433 --> 00:46:11,133 YOU HELPED ME OUT. 1164 00:46:11,167 --> 00:46:13,100 THANK YOU. 1165 00:46:13,133 --> 00:46:14,500 [DOOR OPENS AND CLOSES] 1166 00:46:17,600 --> 00:46:19,833 [GRINDER WHIRRING] 1167 00:46:35,533 --> 00:46:36,933 REMINDS YOU OF, UH... 1168 00:46:36,967 --> 00:46:38,367 PHOEBE KADLEC? 1169 00:46:40,533 --> 00:46:42,433 I CAN'T BELIEVE YOU REMEMBER THAT. 1170 00:46:42,467 --> 00:46:44,933 I REMEMBER EVERY LITTLE THING 1171 00:46:44,967 --> 00:46:46,367 YOU TOLD ME ABOUT YOURSELF. 1172 00:46:51,233 --> 00:46:52,500 LANI SHIPMAN DESERVES 1173 00:46:52,533 --> 00:46:54,700 THAT SCHOLARSHIP, YOU KNOW. 1174 00:46:54,733 --> 00:46:56,067 SHE DOES. 1175 00:46:56,100 --> 00:46:57,667 WE'LL SEE, OKAY? 1176 00:46:57,700 --> 00:46:59,900 OKAY. 1177 00:47:03,200 --> 00:47:08,467 I SAW A GREAT PIECE OF METAL THIS MORNING ON THE WAY TO WORK, 1178 00:47:08,500 --> 00:47:10,800 AND IT WAS REALLY COOL. 1179 00:47:10,833 --> 00:47:12,400 ON YOUR WAY FROM AMY'S? 1180 00:47:12,433 --> 00:47:15,633 SHE DIDN'T WANT TO STOP FOR IT. 1181 00:47:17,833 --> 00:47:19,067 PHILISTINE. 1182 00:47:22,767 --> 00:47:25,233 I WAS THINKING ABOUT HAVING A DINNER PARTY. 1183 00:47:25,267 --> 00:47:26,800 I REALLY WANT YOU TO... 1184 00:47:26,833 --> 00:47:29,567 MEET SOME OF MY FRIENDS. 1185 00:47:31,400 --> 00:47:32,400 OH... 1186 00:47:38,833 --> 00:47:39,867 DON'T WORRY. 1187 00:47:39,900 --> 00:47:41,167 IT'S NOT FORMAL, 1188 00:47:41,200 --> 00:47:42,400 AND THEY'LL LOVE YOU. 1189 00:47:45,867 --> 00:47:46,867 CAN I COOK? 1190 00:47:47,967 --> 00:47:49,500 I DON'T KNOW, CAN YOU? 1191 00:47:49,533 --> 00:47:52,233 I MAKE A... 1192 00:47:52,267 --> 00:47:54,633 WICKED SPAGHETTI PUTTANESCA. 1193 00:47:54,667 --> 00:47:56,733 YOUR ITALIAN IS VERY GOOD. 1194 00:47:56,767 --> 00:47:57,833 THANK YOU. 1195 00:47:57,867 --> 00:47:59,867 [CHUCKLES] 1196 00:47:59,900 --> 00:48:01,533 SURE. 1197 00:48:12,100 --> 00:48:13,800 I'D LOVE TO. 1198 00:48:16,600 --> 00:48:19,533 YOU KNOW, YOU'RE JUST BEAUTIFUL. 1199 00:48:19,567 --> 00:48:20,600 SO ARE YOU. 1200 00:48:20,633 --> 00:48:21,700 NO, REALLY. 1201 00:48:21,733 --> 00:48:22,833 SO... 1202 00:48:22,867 --> 00:48:24,700 SO BEAUTIFUL. 1203 00:48:24,733 --> 00:48:27,067 [LAUGHING] 1204 00:48:34,333 --> 00:48:37,433 IT'S AMAZING WE GOT THIS MEETING WITH LAWRENCE, 1205 00:48:37,467 --> 00:48:39,333 BECAUSE HE IS THE FIRST PRODUCER 1206 00:48:39,367 --> 00:48:41,067 TO MARRY INDEPENDENT FILM WITH COMMERCIAL SUCCESS, 1207 00:48:41,067 --> 00:48:43,133 AND HE'S DONE IT OVER AND OVER AGAIN 1208 00:48:43,167 --> 00:48:44,367 WITH GUS VAN SANT 1209 00:48:44,400 --> 00:48:45,867 AND QUENTIN TARANTINO, 1210 00:48:45,900 --> 00:48:47,900 SO WE NEED TO LISTEN TO HIM, OKAY? 1211 00:48:47,933 --> 00:48:49,300 OKAY. NO PROBLEM. 1212 00:48:49,333 --> 00:48:51,100 THIS IS REALLY IMPORTANT TO HEAR HIS IDEAS. 1213 00:48:51,133 --> 00:48:52,633 HE HAS A VERY SPECIFIC TAKE ON THIS, OKAY? 1214 00:48:52,667 --> 00:48:54,200 OKAY, I'LL LISTEN. I'LL BE QUIET. 1215 00:48:54,233 --> 00:48:55,200 I WON'T SAY ANYTHING. 1216 00:48:55,233 --> 00:48:56,200 REALLY? OKAY. 1217 00:48:56,233 --> 00:48:57,400 LAWRENCE, HI! 1218 00:48:57,433 --> 00:48:59,333 HI. HOW ARE YOU? 1219 00:48:59,367 --> 00:49:00,533 YOU LOOK GREAT. 1220 00:49:00,567 --> 00:49:01,967 YOU LOOK FANTASTIC, AND YOU MUST BE JENNY. 1221 00:49:02,067 --> 00:49:03,067 I AM. 1222 00:49:03,067 --> 00:49:04,100 I LOVE YOUR STORY, JENNY. 1223 00:49:04,133 --> 00:49:05,400 WHAT PART DO YOU LIKE? 1224 00:49:05,433 --> 00:49:06,433 UM, WE CAN'T WAIT TO HEAR YOUR IDEAS. 1225 00:49:06,467 --> 00:49:07,167 OH, GREAT, GREAT. 1226 00:49:07,200 --> 00:49:08,533 RIGHT, JENNY? 1227 00:49:08,567 --> 00:49:09,767 YES, WHAT DO YOU LIKE ABOUT LESBIANS? 1228 00:49:09,800 --> 00:49:10,800 LESBIANS... 1229 00:49:10,833 --> 00:49:12,167 WHAT'S NOT TO LOVE ABOUT LESBIANS? 1230 00:49:12,200 --> 00:49:13,367 YOU KNOW, I WAS INTO LESBIANS 1231 00:49:13,400 --> 00:49:16,433 WAY BEFORE THIS NEW CHIC LESBIAN FAD. 1232 00:49:16,467 --> 00:49:17,467 I DON'T KNOW IF YOU KNOW, 1233 00:49:17,500 --> 00:49:19,067 BUT I ACTUALLY HAVE A 35-MILLIMETER PRINT 1234 00:49:19,067 --> 00:49:20,433 OF THE KILLING OF SISTER GEORGE. 1235 00:49:20,467 --> 00:49:21,600 WOW. 1236 00:49:21,633 --> 00:49:23,533 YEAH, COME SIT DOWN. 1237 00:49:23,567 --> 00:49:25,200 SO... 1238 00:49:25,233 --> 00:49:26,233 WHERE, HERE? 1239 00:49:26,267 --> 00:49:27,267 YEAH, SIT RIGHT THERE. 1240 00:49:27,300 --> 00:49:28,433 THAT'D BE GREAT. 1241 00:49:28,467 --> 00:49:29,867 WHEN I READ YOUR STORY, 1242 00:49:29,900 --> 00:49:32,167 I THOUGHT, "THIS COULD BE 1243 00:49:32,200 --> 00:49:34,367 "JUST LIKE A REGULAR LESBIAN MOVIE, 1244 00:49:34,400 --> 00:49:35,867 BUT THAT'S BEEN DONE A MILLION TIMES BEFORE." 1245 00:49:35,900 --> 00:49:37,233 SO I STARTED THINKING-- 1246 00:49:37,267 --> 00:49:38,533 I DON'T THINK IT'S BEEN DONE A MILLION TIMES. 1247 00:49:38,567 --> 00:49:40,400 WHAT COULD WE DO TO PUSH THE BOUNDARIES? 1248 00:49:40,433 --> 00:49:42,067 WHAT COULD BE, LIKE, YES, LESBIAN, 1249 00:49:42,100 --> 00:49:43,567 BUT LESBIAN-PLUS, 1250 00:49:43,600 --> 00:49:45,333 AND I GOT TO ADMIT, 1251 00:49:45,367 --> 00:49:46,967 IT'S ALWAYS BEEN MY LIFE'S DREAM 1252 00:49:47,067 --> 00:49:48,700 TO MAKE A MUSICAL, 1253 00:49:48,733 --> 00:49:51,867 AND I REALLY THINK THAT'S WHAT LEZ GIRLS IS, 1254 00:49:51,900 --> 00:49:52,900 IS A MUSICAL. 1255 00:49:52,933 --> 00:49:55,133 I LOVE IT. 1256 00:49:55,167 --> 00:49:56,133 REALLY? 1257 00:49:56,167 --> 00:49:57,133 I LOVE IT! 1258 00:49:57,167 --> 00:49:58,167 [LAUGHING] 1259 00:49:58,200 --> 00:49:59,333 I LOVE IT! I LOVE IT. 1260 00:49:59,367 --> 00:50:01,033 WHAT DID I SAY AT THE FIRST MEETING? 1261 00:50:01,067 --> 00:50:02,233 SHE WANTS A MUSICAL. 1262 00:50:02,267 --> 00:50:04,033 REALLY? I LOVE IT. 1263 00:50:04,067 --> 00:50:05,800 I HAVE BEEN DREAMING OF THIS. 1264 00:50:05,833 --> 00:50:07,933 OKAY, BEFORE YOU SAY ANOTHER WORD, 1265 00:50:07,967 --> 00:50:08,767 I WANT TO SHOW YOU SOMETHING. 1266 00:50:08,800 --> 00:50:10,000 I'M SO EXCITED. 1267 00:50:10,033 --> 00:50:12,333 THERE'S THIS WOMAN WHO IS EXTRAORDINARY, 1268 00:50:12,367 --> 00:50:13,467 AND I'VE BEEN WANTING TO WORK WITH HER 1269 00:50:13,500 --> 00:50:15,600 FOR A LONG TIME, 1270 00:50:15,633 --> 00:50:17,033 AND I REALLY THINK THAT I COULD MAKE A MARRIAGE 1271 00:50:17,067 --> 00:50:18,200 BETWEEN THE TWO OF YOU. 1272 00:50:18,233 --> 00:50:19,200 REALLY? 1273 00:50:19,233 --> 00:50:20,200 YEAH. OKAY, COOL. 1274 00:50:20,233 --> 00:50:21,300 LADIES, WHENEVER YOU'RE READY. 1275 00:50:23,600 --> 00:50:26,267 [DRUM ROLL] 1276 00:50:27,533 --> 00:50:31,233 LOVELY, LISSOME LADIES, 1277 00:50:31,267 --> 00:50:33,933 LECHEROUS, LEERING LOTHARIOS, 1278 00:50:33,967 --> 00:50:35,933 LOVE IS IN THE AIR. 1279 00:50:35,967 --> 00:50:39,133 FROM AS FAR AS PARIS 1280 00:50:39,167 --> 00:50:41,967 AND AS CLOSE AS SILVERLAKE BOULEVARD, 1281 00:50:42,000 --> 00:50:45,533 FROM THE MINDS OF THE MAGI, 1282 00:50:45,567 --> 00:50:47,867 FROM THE BODIES OF ANGELS, 1283 00:50:47,900 --> 00:50:50,200 THE MOUTHS OF BABES, 1284 00:50:50,233 --> 00:50:51,633 I GIVE YOU... 1285 00:50:51,667 --> 00:50:53,567 THE DITTY BOPS... 1286 00:50:53,600 --> 00:50:56,033 I GIVE YOU LE CIRQUE DU FERRER, 1287 00:50:56,067 --> 00:51:01,133 I GIVE YOU... 1288 00:51:01,167 --> 00:51:03,967 "LEZ GIRLS, THE MUSICAL." 1289 00:51:04,067 --> 00:51:06,633 [**] 1290 00:51:14,367 --> 00:51:17,100 * HELLO, I'M JESSIE 1291 00:51:17,133 --> 00:51:19,533 * FROM ANY LITTLE TOWN, USA * 1292 00:51:19,567 --> 00:51:21,933 * COUNTESS KARINA 1293 00:51:21,967 --> 00:51:25,967 * THE MISTRESS OF THE PLUTO CAFE * 1294 00:51:26,067 --> 00:51:27,500 * I HAVE A BOYFRIEND 1295 00:51:27,533 --> 00:51:30,300 * BUT I'M INTRIGUED BY YOU * 1296 00:51:30,333 --> 00:51:32,133 * JUST ONE SMOOCH IN THE LADIES' ROOM * 1297 00:51:32,167 --> 00:51:37,267 * AND I'LL SHOW YOU WHAT TO DO * 1298 00:51:37,300 --> 00:51:41,233 * LEZ GIRLS COME INTO OUR WORLD * 1299 00:51:41,267 --> 00:51:42,367 * IT'S A CATCH * IT'S A CATCH 1300 00:51:42,400 --> 00:51:43,700 * IT'S A CAN * IT'S A CAN 1301 00:51:43,733 --> 00:51:45,500 * IT'S A LIFE WITHOUT THE MAN 1302 00:51:45,533 --> 00:51:47,700 * IN THE CITY OF THE ANGELS 1303 00:51:47,733 --> 00:51:50,167 * WHERE THE DEVIL LIES WITHIN 1304 00:51:50,200 --> 00:51:54,167 * COME ONE, COME ALL LET US BEGIN * 1305 00:51:54,200 --> 00:51:58,333 * LEZ GIRLS COME INTO OUR WORLD * 1306 00:51:58,367 --> 00:52:01,067 * YOU'LL BE SHOCKED AND AMUSED 1307 00:52:01,067 --> 00:52:02,900 * TITILLATED AND CONFUSED 1308 00:52:02,933 --> 00:52:05,067 * BY THE SULTRY, SAPPHIC STORY 1309 00:52:05,067 --> 00:52:08,200 * OF A CERTAIN GROUP OF FRIENDS * 1310 00:52:08,233 --> 00:52:15,667 * COME ON, COME IN WE'RE READY TO BEGIN... * 1311 00:52:15,700 --> 00:52:17,100 WHOO! 1312 00:52:17,133 --> 00:52:20,533 [CLAPPING] 1313 00:52:26,967 --> 00:52:29,833 WELL, YOU WERE THERE WHEN HE NEEDED YOU, RIGHT? 1314 00:52:29,867 --> 00:52:31,300 YEAH, SO WHAT? 1315 00:52:31,333 --> 00:52:33,267 AND YOU'D BE THERE AGAIN IF HE NEEDED YOU. 1316 00:52:33,300 --> 00:52:35,100 RIGHT? 1317 00:52:35,133 --> 00:52:36,167 YEAH. 1318 00:52:36,200 --> 00:52:39,067 WELL, SHAY KNOWS THAT. 1319 00:52:39,067 --> 00:52:41,867 HE KNOWS HE DIDN'T LOSE YOU, 1320 00:52:41,900 --> 00:52:44,400 AND I THINK THAT'S THE MOST IMPORTANT THING, 1321 00:52:44,433 --> 00:52:45,633 BECAUSE WE BOTH KNOW WHAT IT'S LIKE 1322 00:52:45,667 --> 00:52:48,700 TO LOSE SOMEONE WE LOVE. 1323 00:52:48,733 --> 00:52:49,867 YEAH. 1324 00:52:49,900 --> 00:52:50,933 BUT IN THE MEANTIME... 1325 00:52:52,967 --> 00:52:54,200 YOU HAVE TO DRIVE BY THIS FUCKING BILLBOARD 1326 00:52:54,233 --> 00:52:55,467 EVERY DAY. 1327 00:52:55,500 --> 00:52:56,533 AND I DON'T WANT YOU TO GET ANGRY 1328 00:52:56,567 --> 00:52:57,733 EVERY TIME YOU PASS BY IT. 1329 00:53:01,133 --> 00:53:02,433 SO... 1330 00:53:03,433 --> 00:53:04,600 HOW IS IT? 1331 00:53:04,633 --> 00:53:06,600 WOW, I NEVER THOUGHT YOU'D LOOK SO GOOD 1332 00:53:06,633 --> 00:53:07,767 WITH FACIAL HAIR. 1333 00:53:07,800 --> 00:53:08,900 OOH, PUT A UNIBROW. 1334 00:53:12,200 --> 00:53:13,467 OH, BEAUTIFUL. 1335 00:53:13,500 --> 00:53:16,533 YOU GOT IT? YEAH. 1336 00:53:16,567 --> 00:53:17,767 WHOO, LOOK AT THAT. 1337 00:53:19,267 --> 00:53:21,433 YOU'RE A REALLY GOOD FRIEND, ALICE. 1338 00:53:21,467 --> 00:53:23,400 YOU SAVED ME. 1339 00:53:23,433 --> 00:53:24,533 I LOVE YOU, SHANE. 1340 00:53:24,567 --> 00:53:25,567 I LOVE YOU, TOO. 1341 00:53:25,600 --> 00:53:27,200 THANK YOU. 1342 00:53:27,233 --> 00:53:28,400 THANK YOU, THANK YOU. 1343 00:53:28,433 --> 00:53:29,533 [**] 1344 00:53:29,567 --> 00:53:30,667 [LAUGHING] 1345 00:53:30,700 --> 00:53:33,467 I'M GOING TO HAVE A BIG... 1346 00:53:33,500 --> 00:53:35,067 * IF I COULD SHIMMY LIKE MY SISTER KATE * 1347 00:53:35,100 --> 00:53:36,900 * SHAKE IT LIKE A BOWL OF JELLY ON A PLATE * 1348 00:53:36,933 --> 00:53:39,733 * MY MOMMA WANTED TO KNOW LAST NIGHT * 1349 00:53:39,767 --> 00:53:41,467 * HOW SISTER KATE COULD DO IT OH, SO NICE * 1350 00:53:41,500 --> 00:53:43,933 * NOW ALL THE BOYS IN THE NEIGHBORHOOD * 1351 00:53:43,967 --> 00:53:46,567 * KATIE COULD SHIMMY ASS MIGHTY GOOD * 1352 00:53:46,600 --> 00:53:47,933 * WELL, IT MAY BE LATE BUT I'LL BE UP TO DATE * 1353 00:53:47,967 --> 00:53:50,967 * WHEN I CAN SHIMMY LIKE MY SISTER KATE * 1354 00:53:51,067 --> 00:53:54,267 * OH, YEAH SHAKE IT LIKE MY SISTER KATE * 1355 00:53:54,300 --> 00:53:56,133 [LAUGHING] 1356 00:53:56,167 --> 00:53:59,167 [**] 1357 00:54:12,833 --> 00:54:14,900 * IF I COULD SHIMMY LIKE MY SISTER KATE * 1358 00:54:14,933 --> 00:54:17,067 * I'D NEVER STAY HOME STAY OUT TOO LATE * 1359 00:54:17,067 --> 00:54:18,800 * I'D GET MYSELF ABOUT AS HIGH AS A KITE * 1360 00:54:18,833 --> 00:54:22,067 * YOU KNOW I'D DO IT FOR YOU EVERY NIGHT * 1361 00:54:22,067 --> 00:54:24,133 * NOW ALL THE BOYS IN THE NEIGHBORHOOD * 1362 00:54:24,167 --> 00:54:26,067 * KATIE COULD SHIMMY ASS MIGHTY GOOD * 1363 00:54:26,067 --> 00:54:27,967 * WELL, I MAY BE LATE BUT I'LL BE UP TO DATE * 1364 00:54:28,067 --> 00:54:29,900 * WHEN I CAN SHIMMY LIKE MY SISTER KATE * 1365 00:54:29,933 --> 00:54:33,100 * OH, YEAH SHAKE IT LIKE MY SISTER KATE * 1366 00:54:33,133 --> 00:54:36,633 [**] 1367 00:55:10,933 --> 00:55:13,167 * IF I COULD SHIMMY LIKE MY SISTER KATE * 1368 00:55:13,200 --> 00:55:14,967 * SHAKE IT LIKE A BOWL OF JELLY ON A PLATE * 1369 00:55:15,067 --> 00:55:17,600 * MY MOMMA WANTED TO KNOW LAST NIGHT * 1370 00:55:17,633 --> 00:55:20,167 * HOW SISTER KATE COULD DO IT OH, SO NICE * 1371 00:55:20,200 --> 00:55:23,900 * NOW ALL THE BOYS IN THE NEIGHBORHOOD... * 1372 00:55:26,933 --> 00:55:29,200 [**] 1373 00:55:29,233 --> 00:55:29,900 YEAH.