Hotel (2001) - full transcript

♪[flamenco music playing]

[feet tapping]

HELLO. YES.

(hotel manager)
BUONASERA.
BUONASERA.

I HAVE A RESERVATION
FOR OMAR JONNSON.

OMAR JONNSON? SI.

IF I COULD GET YOUR SIGNATURE,
PLEASE, SIR?

YEAH.

DO--DO YOU HAVE
A PEN BY ANY CHANCE?

YES.

[in Italian]
HERE.



GRAZIE.

PREGO.

[people chattering]

CAN YOU TELL ME,
IS THERE A PHARMACY NEAR HERE

THAT WOULD BE OPEN NOW?

(hotel manager)
FOR, UH, UH, DRUGS?

♪[flamenco music playing]

[people chattering]

THEY DO.
THEY SHOULDN'T.

NO, BUT THEY DO.
THEY'RE NOT ALLOWED TO BUY

MORE THAN A CERTAIN AMOUNT
OF ITEMS PER PERSON.

(maid)
REALLY?

WOW!

IT'S TRUE.



(maid)
AND WHY IS THAT?

I HAVE NO IDEA.

HMM. IS THAT REALLY TRUE?

YES, YES, IT'S TRUE.

BUT...

(nurse)
I THINK BECAUSE
THEY ARE AFRAID

MAYBE OF BLACK MARKET
OR SOMETHING.

(tour guide)
OR IS IT BECAUSE
IT WOULD COMPROMISE

THE PRADA FRANCHISE
IN TOKYO?

(nurse)
MAYBE.

WELL, ANYWAY...

BUT YOU MEAN IF THEY GO INTO
PRADA OR LOUIS VUITTON, UH...

(nurse)
THEY CAN'T BUY 10 WALLETS
OF THE SAME KIND.

RIGHT. AND IS THERE A LIMIT

ON THE NUMBER OF
JAPANESE WHO CAN GO IN?

(nurse)
OH, NO.

OH, NO?

(tour guide)
THEY'D BE AFRAID THAT
IF THEY HAVE TOO MANY JAPANESE

IN THE SHOP, THE SHOP MIGHT
SINK INTO THE SUPERSTRUCTURE

AND DRIVE THE PILES
FURTHER INTO THE MUD.

(Omar)
COULD BE.

LET ME TELL YOU ABOUT
THAT FILM. IT'LL BE--

WHAT DOES IT MEAN,
I MEAN, WHAT--WHAT
DO YOU MEAN, "DOGMA"?

"DOGMA" MENS,
IN THIS CASE, UNWATCHABLE.

COME FROM THE DARK.

[hotel manager laughing]

UNWATCHABLE,
UNWATCHABLE GARBAGE.

(hotel manager)
ABSOLUTELY.

AND WHY UNWATCHABLE?

BECAUSE IT'S
A COMPLETELY SENSELESS

INTERPRETATION OF
THE DUCHESS OF MALFI

WHICH I'VE TALKED TO THEM
ABOUT, BUT THEY WON'T LISTEN.
HMM.

(tour guide)
THEY HAVE, UH...

(Omar)
ALL THIS SMOKE.
I HATE-- I HATE CIGARETTES.

[hotel manager in Italian]
AN OLIVE?

[Omar in Italian]
OH, THANKS.

YOU'RE WELCOME.

[maid in English]
THEY ALL SMELLED NICE,
YOU KNOW?

(hotel manager)
IT MUST BE TIME
FOR THE MEAT.

THEY SMELL NICE, I MEAN,
BETTER THAN FRENCH PEOPLE.

MEAT?
(Omar)
YEAH?

THE MEAT?
YES.

JOSIE?
YES, WHT?

THE MEAT?
YEAH.

(Omar)
THE FRENCH, I THINK,
TAKE 2 OR 3 BATHS PER WEEK,

AND THEY CHANGE
THEIR UNDERWEAR,
LIKE, 50 TIMES A WEEK.

[all chattering]

WHO WANTS TO START?

FOR OUR GUEST.

YEAH. WE SHOULDN'T
LEAVE OUR GUEST...

AND THIS DOESN'T HAVE
A LOT OF CHOLESTEROL?

NOT AT ALL.

YOU SURE?

(maid)
NO, IT'S OUR
SPECIAL--SPECIAL MEAT.

IT'S FANTASTIC.

IS IT SPANISH
OR ITALIAN?

(hotel manager)
A NAME!

[maid laughing]

(tour guide)
WE HAVE A GLOBAL AGRICULTURAL
HARVEST, SO TO SPEAK.

(hotel manager)
OH, PLEASE, DON'T BORE PEOPLE.

MMM-HMM.

[hotel manager in Italian]
IS IT OK?

[in English]
VERY GOOD.

(Omar)
WHAT WAS YOUR
HOUSEMASTER CALLED?

(tour guide)
MR. MARUM. GOD BLESS HIM.
I MISS HIM.

HE'S DEAD?

NOT BEFORE HE TAUGHT ME
EVERYTHING I KNOW
ABOUT THE WORLD.

HE LEFT ME MOST
OF HIS CLOTHES.

OH, YES? DO YOU
STILL HAVE THEM?

TO THIS DAY I WEAR
ONE OF HIS COATS.

(hotel manager)
BUONISSIMO!

AND HATS, ALL AND ALL.

[crockery clanking]

BEFORE HE DIED,
HE ASKED ME A QUESTION

WHICH, SADLY,
HE NEVER GOT TO ANSWER.

THE QUESTION WAS THIS:

WHAT'S THE DIFFERENCE
BETWEEN A DUCK?

WHAT'S THE DIFFERENCE
BETWEEN A DUCK?

WHAT IS THE DIFFERENCE
BETWEEN A DUCK?

HE SAID,
"BEFORE I GO, I WANT TO LEAVE
YOU GENTLEMAN WITH A RIDDLE."

WHAT IS THE DIFFERENCE
BETWEEN A DUCK?

ANY THOUGHTS,
MR. JONNSON?

(Omar)
WHAT'S THE DIFFERENCE
BETWEEN A DUCK?

[hotel manager in Italian]
THE BREAD?

[Omar in English]
ACTUALLY, I'M ON, UH,
A VERY LOW-CHOLESTEROL...

IS THERE A LOT OF
CHOLESTEROL IN CHEESE?

[kitchen manager laughing]

(nurse)
WELL...

(tour guide)
TAKING YOUR HEALTH
VERY SERIOUSLY? IS THIS A...

VERY RECENTLY
I HAD A BLOOD TEST.

AND, UM, EVERYTHING WAS FINE
EXCEPT FOR THIS VERY,

VERY CONCERNING
HIGH CHOLESTEROL LEVEL.

I MEAN, ACTUALLY
VERY ALARMING, I THINK.

UH-OH.

(Omar)
AND, UH...

(nurse)
HMM.

(Omar)
OH, IT'S VERY NICE.

[hotel manager in Italian]
IS IT GOOD?
YES.

DO YOU LIKE IT?
YES.

(nurse in English)
YEAH, AND?

(tour guide)
ATTITUDE.

I DON'T KNOW
ABOUT THAT.

[hotel manager in Italian]
OH, YEA AND A BEAUTIFUL
VOICE AS WELL.

[in English]
YEAH, YOU--YOU REALLY HAVE
A VERY NICE SMELL.

THANK YOU.

HAS ANYONE EVER
TOLD YOU THAT BEFORE?

NO, I DON'T THINK SO.

(maid)
YOU SMELL LIKE, UM,
THE WEST OR SOMETHING.

(maid)
YOU KNOW?

(tour guide)
WE'RE SO LUCKY TO HAVE YOU.

(hotel manager)
I FEEL A--A WARM FEELING.

MAYBE--MAYBE TO
MR. JONNSON FIRST.

(all)
TO MR. JONNSON.

THANK YOU FOR HAVING ME.

(hotel manager)
I'M SO HAPPY
TO SEE YOU DRINKING.

(maid)
YES.

(Boris)
I WANT TO KNOW
WHY I LOST WEIGHT.

THIS SUIT USED TO
FIT ME BEAUTIFULLY,

NOW IT'S LIKE, UH, OMAR,
THE TENT MAKER, HERE.

[sighing]

[tapping]

YOU COULD LAUGH
AT THAT, YOU KNOW?

[Ferdinand reading]

[Boris clearing throat]

(Boris)
SNAP OUT OF IT, WILL YOU,
GRETA, FOR CHRIST'S SAKE?

(Ferdinand)
"I WOULD HAVE
THEIR BODIES BURNT

"IN A COAL PIT WITH
THE VENTILATION STOPPED

"SO THAT THEIR CURSED SMOKE
MIGHT NOT ASCEND TO HEAVEN,

"OR BOIL THESE ILL-BORN
BASTARDS INTO A BROTH,

"AND GIVE IT
TO THEIR LECHEROUS FATHER

"AND HAVE HIM RETCH
UP HIS UNGODLY LIFE

WITH HIS OWN
LIQUID OFFAL."

[phone ringing]

♪[man singing]

SAY IT AGAIN.
SAY IT.

[phone ringing]

HELLO, ROOM SERVICE.

(Boris)
HI, ROOM 104.

YES.

COULD YOU, UH,
BRING UP A SANDWICH,

SOME KIND OF
A MEAT SANDWICH...

MEAT SANDWICH?

...UH, WITH MUSTARD
ON A HARD ROLL?
YES.

AND A BIG BOTTLE OF WATER
WITHOUT, UH, SELTZER. OK?

STILL WATER?
YEAH.

ROOM 104.
THANK YOU.

OK, YOU'RE WELCOME.
BYE-BYE.

♪[man whistling]

[razor buzzing]

YOU KNOW, GRETA, YOU'RE, UH,
BEGINNING TO DEPRESS ME.

WHY DON'T YOU GO OUTSIDE
AND GET UH, A MINK COAT?

YOU SHOULD GO OUTSIDE
AND BUY YOURSELF
SOME DRESSES OR...

TOMORROW MORNING
I'M GETTING ON A PLANE

AND I'M GOING
BACK TO LONDON.

NO, YOU'RE NOT.
AHEM.

THIS IS SO FUCKED.
ALL RIGHT.

HE'LL BE HERE.
HE'LL BE HERE.

THIS IS FUCKED.

YEAH, IT'S TOTALLY FUCKED.
WHAT ARE WE GONNA DO?

I HAVEN'T SEEN HIM
SINCE 9:00 LAST NIGHT.

SNAP OUT OF IT, GRETA.

YOU'RE PISSING ME OFF.

AND YOU'RE GETTING FAT.

OK, GREAT.

LOOK AT YOURSELF
IN THE MIRROR?

OLD BORIS SHOULD BE HERE
IN ABOUT 15 MINUTES,

YOU GOT
A STOMACH ON YOU.

...AND HE WILL THEN
AND YOUR ASS IS SPREADING.

PULL THE PLUG
ON THE MOVIE.

YOU GOTTA SEE THAT
DOCTOR WHEN WE GET BACK,

HAVE YOUR EYES REDONE.

Y-YOU HAVE TO
CONTROL HIM. SERIOUSLY.

YOU CAN'T JUST LET HIM
NOT SHOW UP AT NIGHT.

I SURRENDER.

(Boris)
YOU FUCKING MOPE.

EVA. YEAH.

HELLO, DARLING.
I HAD TO CUT YOU OFF. SI?

ANOTHER PHONE CALL?

SI. SI. OK.

SO, NOW YOU COME TO VENICE

IN 2 WEEKS.

2 WEEKS, UH... DOS?

IS IT DOS?
D WEEKS.

DO WEEKS, SI. OK.

OK, CIAO, GRACIAS.

♪[flamenco music playing]

HEY, CAN I TALK TO YOU
FOR A SECOND?

YES.

EXCUSE ME ONE SECOND.
BREATHE ON ME.

[exhales]

BREATHE ON ME.

WHAT'S WRONG
WITH YOU?

WANNA SMELL MY COCK
AS WELL?

ONE MORE TIME.

WANT A KISS?

YOU KNEW, FUCK YOU,
YOU MOTHERFUCKER.

DON'T PULL THIS ON ME.

IF YOU DO THIS
TO ME AGAIN,

I SWEAR TO GOD,
I-I-I'M OUT OF HERE.
I'M GONE.

DON'T FUCKING SPEAK
TO ME LIKE THAT
IN FRONT OF MY ACTORS.

WE GOT A MEETING.
I KNOW I'M LATE.

THE REASON I'M LATE--

YOU'RE 45 MINUTES LATE!
BUT FUCK, JOHN...

THE REASON I'M
LATE IS BECAUSE

I'VE BEEN OUT
LOOKING AT FUCKING LOCATIONS.

YOU SHOULD HAVE
FUCKING BEEN WITH ME.
ALL NIGHT?

YOU'VE BEEN OUT
ALL NIGHT LOOKING--

YES. YOU'RE THE PRODUCER.
I'M THE DIRECTOR.

YOU CARRY ME,
ALL RIGHT?

FUCK!

(female P.A.)
YOUR LETTUCE.

THANK YOU.

I KNOW.

BABE, I'VE BEEN
TALKING TO FUCKING SPAIN
ALL FUCKING NIGHT.

FUCK OFF.
SHUT UP.

FUCK OFF.

WE'LL TALK
ABOUT THIS LATER.

AND I CAN'T
AFFORD TO DIVORCE YOU.

NOW LET ME
TELL YOU SOMETHING.

IF YOU EVER
THINK OF DIVORCING ME,

I'LL HAVE YOU PUT AWAY
IN A FUCKING MENTAL HOSPITAL,
I SWEAR TO GOD.

OH, PLEASE,

CAN YOU PLEASE TAKE THIS?
JESUS CHRIST!

BUONASERA.
BUONASERA.

WELCOME TO
THE HOTEL HUNGARIA.

I AM ON A PROTEIN DIET,
SO I CAN ONLY EAT PROTEIN.

SO PLEASE TELL
YOUR KITCHEN

IF I ASK FOR ANYTHING
THAT IS NOT PROTEIN,
DON'T BRING IT.

DON'T PUT BREAD
ON MY TRAY, NOTHING.

OF COURSE, SIGNORINA BOUX.
THANK YOU.

AND WE HAVE
DELICIOUS MEAT HERE.

OH, GOOD.

♪[music playing]

COULD I INTRODUCE MYSELF?

I-I'M THE TOUR GUIDE
FOR THE HOTEL,

AND I WILL BE DOING
AN ART AND CULTURE TOUR,

AND A FLORA
AND FAUNA TOUR.

THE FLORA AND FAUNA
IS MUCH SHORTER.

WE WON'T BE GOING.

[burps]
AHEM. SORRY, EXCUSE ME.
I'M VERY SORRY I'M LATE.

WON'T HAPPEN AGAIN,
IT'S JUST A QUESTION OF, UH,

IT'S A QUESTION OF JONATHAN

TELLING ME EXACTLY
WHEN THE MEETING IS.

(Jonathan)
RIGHT.
SO IF YOU COULD
DO THAT NEXT TIME--

YEAH, RIGHT,
I'M ON TOP OF IT.
YEAH, I'M ON TOP OF IT.

YOU CAN LIVE WITH THAT?
MMM-HMM.

OK, ON YOUR FEET,
THANKS.

RIGHT, I GUESS YOU'VE
ALL GOT THE NEW DRAFTS,

OR HOPEFULLY READ THEM.

I THINK IT'S A CRACKER.

WE'VE GOT A REAL
TIGHT DUCHESS OF MALFI
ON OUR HANDS HERE.

BUT I'M SURE
YOU'VE ALL GOT QUESTIONS,

UM, SO I AM--I AM
YOUR SLAVE.

YOU'RE PROBABLY WONDERING
WHY I DON'T HAVE A SCRIPT?

I DON'T HAVE A SCRIPT BECAUSE
I DON'T NEED A SCRIPT.

BECAUSE I HAVE
NOTHING TO SAY ANYMORE.

I HAVE NO LINES
LEFT IN THE SCRIPT.

NINA HAS NO LINES
LEFT IN THE SCRIPT.

SO I WAS WONDERING

THE FACT THAT WE ARE BOTH
FOREIGNERS AND THAT
WE HAVE ACCENTS,

IS THAT AFFECTING
YOUR DECISION?

THE REASON
YOU'VE LOST LINES

IS BECAUSE
IN ITS ORIGINAL FORM,

THE SCRIPT WAS A BLASTED
4-AND-A-HALF FUCKING
HOURS LONG.

RIGHT? IT WOULD HAVE
COST MILLIONS TO MAKE,

AND IT WOULD HAVE BEEN VERY,
VERY, VERY... PLEASE!

IN MY ONLY 2 SCENES,
PLEASE, IT WOULD HAVE
BEEN VERY BORING. OK?

I'M--I'M NAKED
BOTH OF THE TIMES,

SO YOU KNOW VERY WELL
NOBODY'S GOING TO LISTEN
TO WHAT I'M SAYING.

WELL, LISTEN--
I DON'T WANT TO BE
UPSTAGED BY MY OWN TITS!

I'VE NOT SEEN YOU IN A FILM
WITH YOUR KIT ON YET.

THAT'S WHY
YOU'RE HERE.

YOU'VE GOT BEAUTIFUL ACCENTS
AND BEAUTIFUL TITS,

AND YOU'RE A LOVELY
LITTLE ACTRESS.

AND IF YOU WANT
TO LEAVE THE ROOM,
LEAVE THE FUCKING ROOM!

"FOOLISH MEN WILL ERR,
TRUST THEIR HONOR

"IN A BOAT THAT'S MADE OF
SO SLIGHT AND WEAK A SUBSTANCE

"THAT IS WOMAN

APT EVERY MINUTE
TO SINK IT."

[speaking in French]
DO YOU SPEAK FRENCH?

[speaking in French]
FRENCH? YES.

YOU ARE VERY PRETTY.

THANKS.

[moans]

[chuckles]

MY NAME IS CLAUDE.

ISABELLA.

[in English]
I KNOW.

UH, MY NAME IS BORIS.
I'M, UH...

I GUESS I'M THE GUY
THAT'S FUNDING THIS THING.

GAVIN, HOW ARE YOU?
GOOD TO SEE YOU, MAN.
HOW ARE YOU, MAN?

HOW ARE YOU DOING?
NICE TO HAVE YOU HERE.

CONGRATULATIONS,
ALL OF YOU BEING CAST
THIS WAY. GREAT WRITER.

THE MAN'S A GREAT WRITER.
TRENT. GOOD TO SEE YOU.

RIGHT. OK.

SO, UM, WE'VE OBVIOUSLY,
FROM THE ITALIAN CONTINGENT

GOT SOME SERIOUS GRIEVANCES
ABOUT THE SCRIPT,

ABOUT THE LACK OF LINES
THEY'VE GOT.

MAYBE IF YOU DID READ IT,
YOU WOULD FIND

SOME LINES TO USE
THAT PEN WITH.

WHERE'S SHE?
SHE'S GONE.

I SAY WE KISS
GOODBYE TO HER.

RIGHT.
ANY MORE COMPLAINTS?

I JUST LIKE TO SAY
I'M REALLY EXCITED
ABOUT THIS THING.

I THINK IT'S REALLY
FUCKIN' CRACKING.

CAN'T WAIT TO GET
MY TEETH INTO IT.

BUT AT THE RISK OF BEING
A LITTLE BIT, UH, CRITICAL,

I DON'T KNOW, JON,
IF WE MIGHT HAVE
LOST SOME OF THE POETRY.

UH, THANKS, GAVIN.

WHILE YOU WERE ON
THE TELEPHONE TO LOS ANGELES
FOR 5-AND-A-HALF HOURS,

WE CAME TO A GROUP DECISION

TO CUT THE IAMBIC PENTAMETERS,
HEPTAMETERS, ARCHAISMS,

IN ORDER TO TRY AND CREATE
A FAST-FOOD McMALFI,
AS IT WERE

THAT WOULD BE VERY
EASILY DIGESTIBLE

AND ACCESSIBLE EVEN
TO ASPIRING HOLLYWOOD STARS.

RIGHT. IF ANY OF YOU
UNDERSTAND A WORD OF THAT,

I'M THE FUCKING POPE HERE.

HOWEVER, THANK YOU.

IF UH...

ONE THING THAT'S
VERY IMPORTANT TOMORROW

IS THE REASON I WAS
SLIGHTLY LATE TODAY,
AS WELL AS JONATHAN'S FUCK-UP,

IS I'VE BEEN UP ALL NIGHT
TALKING TO THE LAW
DEPARTMENT HERE--

HELLO! HELLO!

ONE MINUTE, BABY,
WHOEVER YOU ARE,

JUST ONE FUCKING MINUTE,
PLEASE!

MY NAME IS CHARLEE BOUX
AND THIS IS A.J.,

MY PARTNER AND PRODUCER,

AND WE ARE
DOING A DOCUMENTARY
ABOUT THIS DOGMA MOVIE.

I BELIEVE YOU ARE ALL ACTORS
OF THIS DOGMA MOVIE.

AND WE ARE VERY EXCITED,
SO WE ARE GONNA

FOLLOW SOME OF
YOUR DOGMA RULES.

FOR EXAMPLE,
NO GOOD LIGHTING
ON YOUR ACTORS.

I-I'LL HAVE THE GOOD
LIGHTING ON ME,

BUT I WILL FOLLOW
ALL THE RULES.

THERE WILL BE
NO MURDERS.

HELLO, I'M THE DIRECTOR.

CAN I GET A FUCKING WORD IN?

(Charlee)
EXCUSE ME.
WHAT DID YOU SAY? IS HE...

(A.J.)
CHARLEE, MAYBE
WE COULD LEAVE THEM

TO DISCUSS THEIR PROJECT.

LET'S TAKE
THE MALFI TO THE SQUARE,

AND LET'S FUCKING
ROCK AND FUCKING ROLL!

[man chattering]

...LIKED IT SO MUCH
HE TOOK A LOT OF IT AWAY.

DICKENS CALLED IT
THE STUFF OF OPIUM DREAMS.

BYRON WROTE
TREMENDOUS ELEGIES
TO THE BEAUTY AND STATURE,

THE AESTHETIC
GRANDEUR OF THIS PLACE.

♪[music playing]

THERE ARE NO
WELL-KNOWN NAMES

AND I CAN'T EVEN
REMEMBER THE NAMES
OF THE FAMOUS ONES

SO I'M GOING TO
BE REALLY LOST.

WHAT'S THE NAME
OF THE DIRECTOR?

TRENT STOKER.

WHICH ONE IS THE NAME
AND WHICH IS THE LAST NAME?

TRENT. FIRST NAME.

IMAGINE, TOO,
AS A VENETIAN CITIZEN,

FINDING THE DISMEMBERED
ENTRAILS OF YOUR FRIENDS

AND NEIGHBORS
HANGING FROM GIBBETS.

KEEP AWAY FROM TRENT
AT ALL TIMES.

SURE. YEAH.

VENICE, THE FIRST SECRET
POLICE STATE, BUT IT WORKED

BECAUSE THE QUALITY OF LIFE
HERE WAS AS MAGNIFICENT

AS THE PATRIARCHY
THAT RULED IT.

♪[music playing]

REMEMBER WHAT
I TOLD YOU YESTERDAY?

I WANT TO HEAR THAT
FLAMENCO RIGHT THE WAY
THROUGH THIS TEXT.

I WANT TO HEAR IT BUZZING,
I WANT TO HEAR IT FLOATING,

I WANT TO HEAR IT MOVING
THROUGH YOU LIKE FUCKING LAVA.

THERE ARE A LOT
OF PEOPLE OUT HERE.

WORK WITH THEM.
WORK THROUGH THEM.

USE THESE FUCKING PIGEONS.
USE THE FUCKING...

HE'S COMPLETELY
OUT OF HIS MIND.

CORONESI, TINTORETTO,
TITIAN, TIEPOLO,

CANALETTO, GUARDI,
SICKERT, MONET, TURNER.

THE TENTATIVE TITLE IS MALFI.

UH, UH, FROM
THE DUCHESS OF MALFI,
WHICH IS A PLAY,

UH, WRITTEN BY ONE,
DO YOU HAVE ANY...

IT'S WRITTEN BY ONE OF
SHAKESPEARE'S CONTEMPORARIES.

OH, REALLY, WHAT'S--
JOHN WEBSTER.

JOHN WEBSTER?

DO WE HAVE A CHANCE
TO INTERVIEW HIM
A LITTLE LATER ON?

IS HE AROUND?

HE'S NOT AROUND,
UNFORTUNATELY.

UH, YOU KNOW WHAT?
I'M SORRY.

BUT ARE YOU HAPPY
WITH THE SCRIPT?

I'M SORRY,
WE'RE STARTING THE SHOOTING.

DEATH IN VENICE.

YEAH, I SAW THAT.

STARRING MY LATE FRIEND,
DIRK BOGARDE.

HE WAS A REAL ACTOR,
NOT LIKE THESE
RIFFRAFF WE HAVE TODAY.

MOST OF THEM LOOK
AS IF THEY COULD DO
WITH A GOOD WASH.

(Jonathan)
CHECK YOUR MARKS.
CHECK YOUR MARKS.

(Jonathan)
HERE WE GO, EVERYONE!
HERE WE GO.

WE MUST START.
WE MUST GO, EVERYONE!

♪[actors vocalizing]

[exhaling]

(Trent)
GOOD. RIGHT.

LET'S HAVE IT.

NOW, TRENT, I'VE GOT TO
TALK TO YOU BEFORE WE...

IN A MINUTE!
WE'RE SHOOTING A MOVIE.

GOOD LUCK.

[bell tolling]

[people chattering]

GET ON YOUR MARKS.

[pigeons flapping]

(Boris)
WE'LL KNOW
THE BOX OFFICE IN THE MORNING.

SEE THE RECORDS.

UH-UH.

OH, SMALL, SMALL,
BUT IT'S GOOD.

FLAMENCO! FLAMENCO!
FLAMENCO!

RIGHT? WE ARE GOING.
SORRY, NO TIME.

WE'RE GOING.

IT'S A REHEARSAL, RIGHT?

BECAUSE I'VE GOT
TO TALK TO YOU.

♪[music playing]

REMEMBER.
YOU ARE ALONE HERE, ANTONIO.

AND THE CARDINAL,

HE'S GIVEN CAUSE
TO BE JEALOUS OF ANY MAN.

HE ENGENDERS WORSE
LIBELS AND PLOTS FOR THEM

THAN EVER WERE
IMPOSED ON HERCULES.

AND AS FOR FERDINAND,
HIS BROTHER,

HE LIVES TO ENTRAP
MEN WITH THEIR ANSWERS.

I KNOW.

2 BROTHERS WITH DEVILS
HANGING ON THEIR LIPS.

BUT WITH SUCH
A SWEET SISTER.

[pigeons flapping]

HI, JON. HOW ARE YOU?

[bell tolling]

OH, LISTEN, LISTEN.

ISN'T THAT--ISN'T THAT
BEAUTIFUL?

THAT'S BEAUTIFUL.

SEE, THAT'S WHAT...
THAT'S WHAT WE CAPTURE.
THAT'S ONE OF THE THINGS

WE GET HERE
BY SHOOTING IN VENICE.

OF COURSE,
BENITO WAS VERY PARTICULAR
ABOUT PEOPLE'S APPEARANCE

WHEN HE FOUNDED
THE FILM FESTIVAL.

IT WAS OPENED
BY LENI RIEFENSTAHL,
AT THAT TIME

A POPULAR FILMMAKER.

TO WATCH--

THE NAZI FILMMAKER.

[people chattering]

LET'S SEE
WHAT'S GOING ON.

SISTER, WELL MET.

BROTHERS.

WE MUST TALK.

YOU ARE A WIDOW

AND THEREFORE HAVE ALREADY
KNOWN WHAT A MAN IS.

LET NOT YOUTH OR ELOQUENCE
EVER SWAY YOUR HIGH BLOOD.

YOU KNOW THEY ARE MOST
DISSOLUTE THAT WED TWICE,

IF TWICE, THEN THRICE,

IF THRICE,
WHY NOT INFINITY?

BUT, DIAMONDS ARE OF
MOST VALUE, THEY SAY,

THAT PASS THROUGH
THE MOST JEELERS' HANDS.

THEN WHORES,
BY SUCH A RULE, WERE JEALOUS.

WILL YOU HEAR ME,
BROTHERS?

I HAVE SAID
I WILL NEVER MARRY.

(Ferdinand)
WE WISH YOU TO BEWARE.

YOU LIVE IN A RANK PASTURE
HERE IN YOUR COURT.

THERE ARE THOSE WHOSE FACES
DO BELIE THEIR HEARTS

AND FROM THEM COMES AKIND OF
HONEY DEW THAT'S DEADLY.

IT WILL POISON
YOUR REPUTATION.

THAT IS TERRIBLE
GOOD COUNSEL.

OF COURSE,
YOU ARE MY SISTER.

THE MARRIAGE NIGHT
IS THE ENTRANCE TO A PRISON.

THINK ON THE END
BEFORE YOU BEGIN.

I HAVE MY FATHER'S DAGGER.
AND I WILL BE LOATH
TO SEE IT GO RUSTY

FOR HE WOULD WISH IT ALWAYS
TO SHINE IN A PROPER CAUSE.

SO REMEMBER,
BEFORE YOU PLAY
THE LUSTY WIDOW,

CAVORTING YOURSELF
AND STEPPING FORTH
TO MAKE A SHOW

AT COSTLY REVELS
IN THE TOWN,

REMEMBER TO HOLD
YOURSELF IN CHECK.

FOR AT THE ROOT,
WOMEN DO SO LOVE
THAT PART OF A MAN

WHICH, LIKE THE EEL,
HATH NO BONE.

(cardinal)
AYE, INDEED.

THEY LOVE IT TO EXCESS.

FIE, SIRS, FIE!

NAY, I MEANT THE TONGUE.

LET'S CUT HERE.
LET'S RUN IT BACK. LET'S RUN
IT BACK. LET'S RUN IT BACK.

SORRY, MAN.
HE HAD A PIGEON ON HIS HEAD.

USE THE FUCKING PIGEON.
IF A PIGEON LANDS

ON YOUR HEAD,
FUCKING USE IT!

YEAH, I WAS USING IT!

(Trent)
OK, LET'S GO.
3, 2, 1, ACT.

[people chattering]

FOR AT THE ROOT,

WOMEN DO SO LOVE
THAT PART OF A MAN...
I'M SORRY, MAN.

STOP THAT FUCKING LAUGHING.

IF A PIGEON
SHITS IN YOUR MOUTH,

YOU CARRY ON.
ALL RIGHT?

I WAS THERE,
I WAS THERE.

(Trent)
I HAVEN'T GOT TIME, GAVIN.

(Trent)
3, 2, 1, GO.

FOR AT THE ROOT,
WOMEN DO SO LOVE
THAT PART OF A MAN

WHICH, LIKE THE EEL,
HATH NO BONE.

(Trent)
ALL RIGHT. GET DOWN,
SUCK HIS COCK.

AYE. THEY LOVE IT TO EXCESS.

(duchess)
FIE, SIRS, FIE!

NAY, NAY, NAY,
I MEANT THE TONGUE.

AYE, INDEED,
THE TONGUE.

VERY SUBTLE
VARIETIES OF COURTSHIP

WHAT...
WHY CAN'T A KNAVE...

LET'S GO
AND TAKE OUR PICNIC,

AND BYPASS THIS
PARTICULAR DISPLAY

OF NOT VERY INTERESTING
STREET THEATER.

THE DUCHESS OF MALFI
WAS A SLUT!

[cell phone ringing]

HELLO?

IS THIS SOPHIE?

MY NAME IS MAGIC.
I WOULD LIKE TO SEE YOU

AT THE HOTEL HUNGARIA
AT 7:00.

YEAH?
WHAT ARE YOU LOOKING FOR?

♪[music playing]

OK.

AND WEAR A RED DRESS.
YES, THAT'S RIGHT.

[people chattering]

BYE.

[bell tolling]

WISH ME GODSPEED,
FOR I SHALL ENTER

INTO A WILDERNESS
WHERE NO PATH

NOR FRIENDLY CLUE
SHALL BE MY GUIDE.

(Trent in Italian)
NINA, BREAK.

[in English]
NO, I CAN'T--I CAN'T
REMEMBER MY LINES.

(Trent)
LINES. FUCK IT.

(Trent)
WE'RE LOSING OUR SCENE.
SORRY.

YOU CAN'T WORK BECAUSE
YOU DON'T KNOW YOUR LINES?

N-NO, BECAUSE OF
THE PEOPLE,

THE PIGEONS, EVERYTHING.
IT'S IMPOSSIBLE.

LISTEN, WE'RE IN THE MIDDLE OF
FUCKING VENICE, RIGHT?

I-IT'S FAMOUS FOR PEOPLE,
AND IT'S FAMOUS
FOR FUCKING PIGEONS.

RIGHT? WHERE DO YOU
WANT TO DO THIS,
IN THE FUCKING SAHARA DESERT?

I THOUGHT
YOU WERE TERRIFIC.

NO, I WAS NOT.
NO, I WAS NOT.

(Jonathan)
NINA, I THOUGHT
YOU WERE TERRIFIC. ALL RIGHT.

(Trent)
CAN WE DO THAT
ONE AGAIN?

[cell phone ringing]

YEAH?

WHAT?

WELL, I DON'T GIVE
A SHIT ABOUT THAT.

WISH ME GODSPEED

FOR I AM GOING
INTO A WILDERNESS

WHERE I SHALL
FIND NO PATH

NOR FRIENDLY
CLUE TO BE MY GUIDE.

I WILL CONCEAL
THE SECRET TO THE WORLD,

AS WARILY AS THOSE
WHO TRADE IN POISON.

YOU'RE A FOOL,
JONATHAN.

THERE WAS HAMMERING
ALL OVER THE FUCKING PLACE.

IT'S A DOGMA FILM.
I DON'T CARE.

THEY CAN DIG A HOLE
IN THE MIDDLE OF THE SQUARE--

IN THE 1490s,
THERE WAS HAMMERING.

GREAT, LET'S DO IT.

WHY DON'T WE GET A SHOT
OF THE CRANE TOO?

RIGHT.

OK, WHAT HAPPENED
IN SAN BERNARDINO?

THEY'RE SCUMBAGS,
THAT'S WHY.

JUST CALL THEM
AND JUST TELL THEM
I HAVE TO KNOW NOW.

YEAH,
YOU TELL ME IF SOMEONE ELSE
WOULD PUT UP $1.1 MILLION

TO DO THE FUCKING
DUCHESS OF FUCKING MALFI.

I WANT TO HEAR THAT FLAMENCO.

OK, SO, WHAT?

I GOT A LITTLE
KIND OF QUESTION,
MAYBE AN ANNOUNCEMENT.

IS THERE ANY WAY, YOU THINK,

JONATHAN, LISTEN UP,
PLEASE,

THAT WE COULD DO ALL
OF MY SCENES TODAY?

DO YOU THINK THERE'S
ANY CHANCE OF SCHEDULING THAT?

(Jonathan)
THERE'S ABSOLUTELY NO WAY.

I'M TRYING TO
SHOOT THIS FUCKING
FILM IN SEQUENCE.

SO, IT'S FUCKING
RIDICULOUS.

YOU REMEMBER IN SAN MARTIN
YOU SAID IF I EVER GOT,

IF I EVER GOT A PAYING GIG,
ALL RIGHT, THAT YOU WOULD,

THAT IT WOULD BE ALL RIGHT,
YOU'D UNDERSTAND?

[people chattering]

WELL, I GOT THE RIDLEY SCOTT
GIG. I GOT IT.

[chuckling]

(Australian actor)
JOHNNY'S GOT SOME KIND OF
URINARY INFECTION,

AND THEY JUST
CALLED ME THIS MORNING.

AND, UH, WHAT I'M SAYING IS
I CAN DO IT FULL DAY TODAY
OR I CAN...

[whispering]
WE'RE TRYING TO GET CLOSER

I'LL PUT THE MIKE ON
TO SEE IF WE CAN LISTEN IN.

WELL DONE. WE'RE MOVING ON.

SORRY, GAVIN,
NO FUCKING TIME FOR THAT.

COME ON, OVER HERE.
YOU'RE BUSTING A SCENE.

(Jonathan)
GAVIN...

WHAT HAPPENED, GAVIN?

AH. IT'S THE SCHEDULING.
I LOVE THESE GUYS.

WE'RE ACTUALLY VERY,
VERY CLOSE FRIENDS,

NOW THERE'S A SCHEDULING
CONFLICT WITH ANOTHER JOB

THAT THEY ALWAYS
KNEW MIGHT COME UP.

FOR THE RECORD, GAVIN McKAY

IS A FUCKING USELESS
LET-ME-DOWN CUNT.

BOSOLA, MY BROTHER,
THE CARDINAL IT SEEMS
CAN'T BEAR YOU.

EVER SINCE
HE WAS IN MY DEBT.

MAYBE SOME
OBLIQUE CHARACTERISTIC

OF YOUR FACE
MAKES HIM SUSPECT YOU.

OH, SO NOW HE STUDIES
PHYSIOGNOMY AS WELL AS URDER?

THERE'S NO MORE
TO BE READ IN A FACE

THAN IN A SICK
MAN'S URINE.

THOUGH MANY DOCTORS
EARN A FORTUNE BY IT.

THERE'S GOLD.

SO, WHAT FOLLOWS?

THERE'S NEVER SUCH
A HEAVENLY SHOWER AS THIS

WITHOUT A THUNDERBOLT
OR 2 IN THE TAIL.

WHOSE THROAT
SHALL I CUT, AND WHY?

DO NOT ASK
THE REASON FOR OUR REQUEST.

NO?

THEN I SHALL STILL
BE YOUR FAMILIAR.

A FAMILIAR?
WHAT'S THAT?

WHY,

IT'S AN INVISIBLE
CUNNING DEVIL. INTELLIGENCER.

JUST SUCH A STRIVING
ALL-SEEING FELLOW,

I WOULD WISH THEE
TO BECOME.

VERY WELL.

I SHALL BE YOUR CREATURE.

[sighs]

OH, WHAT THE HELL
IS THIS?

[both chattering]

I DON'T WANT YOU
TO LET HIM KNOW.
THEY'LL GET PLENTY.

YOU GIVE THEM A REST...
LISTEN, PLEASE.

YOU GIVE THEM A REST.
I'M TIRED.

YOU GIVE THEM A REST,
THEY'RE GONNA GET TIRED.

I WANNA GO
STRAIGHT INTO THE SCENE.

(Charlee)
Mr. Trent!

PLEASE, MA'AM, DON'T DO THAT
TO ME AGAIN! JESUS CHRIST!

ARE YOU DOING THIS MOVIE
OUT OF NECESSITY
OR OUT OF A CHOICE?

ARE YOU DOING IT
WALK FREE!

BECAUSE...
MR. TRENT!

(Charlee)
MR. TRENT!

AHHH! WHO'S THAT?

HEY! HEY! THAT'S MY...
THAT'S MY FACE, NOT YOURS.

(Charlee)
MR. TRENT, ARE YOU ALSO...

RIGHT!

I WANT ALL THE ACTORS,

EVERY SINGLE LAST
TOM JACK OF YOU!

I WANT YOU
IN THAT REHEARSAL NOW,

REHEARSING THE SHAGGING SCENE
FOR TOMORROW!
MR. TRENT! HOW...

[assassin whistles]

IS IT SOMETHING YOU ENJOY?

HOW DO YOU FEEL
ABOUT DIRECTING HER

IN A SHAGGING FILM, UH, SCENE

WITH A BETTER-LOOKING
ACTOR THAN YOU?

[screaming]

LEAVE ME ALONE!

LEAVE ME ALONE!

AND YOU, LEAVE ME ALONE!
RIGHT.

I WANNA REHEARSE
THIS FUCKING SCENE
ON MY OWN WITH MY ACTORS!

GET OUT OF MY
FUCKING FACE, BOTH OF YOU!

OK, ALL RIGHT.
COME HERE. CALM DOWN.

[barking]

[snarling]

[growling]

PLEASE, JUST...

JUST LISTEN TO ME.

THE THINGS I SAID TO YOU
ARE SOME OF THE WORST THINGS

ANY MAN COULD
EVER SAY TO A WOMAN.

DID YOU HEAR
WHAT I'M SAYING?

BORIS?

LEAVE ME ALONE. PLEASE?

[sobbing]

BABY, DON'T DO THAT TO ME.

PLEASE,
DON'T DO THAT TO ME.

I'M TELLING YOU,
WHEN I YELL AT YOU...

[phone ringing]

[Boris gasping]

SHIT!

[sniffling]

I LOVE YOU.

HELLO?

YES.

[sighing]

WHAT THE FUCK
ARE YOU TALKING ABOUT?

I WANT TO SPEAK WITH YOU--

FIONA, GO SHAVE YOUR LEGS.
GIVE IT UP.

...TO GET MORALE UP.
IT WOULD BE GREAT...

[sighs]

[people chattering]

(duchess)
I VOWED NEVER TO PART WITH IT,
BUT TO MY 2ND HUSBAND.

(Antonio)
YOU'VE PARTED WITH IT NOW.

(duchess)
YES, TO HELP YOUR EYESIGHT.

(Antonio)
YOU'VE MADE ME
STARK BLIND.

(duchess)
DOES IT FIT?

AMBITION, MADAM,
I-IS A GREAT MAN'S MADNESS.

I WOULD NOT BE
SO STUPID AS NOT TO AIM

WHERE YOUR FAVORS TEND, BUT...

HI, I'M JUST...

I'M GONNA POP IT
IN DIFFERENT WAYS.

BUT, OF COURSE, YOU MUST TRY
ALL DIFFERENT WAYS

AND I LOVE THE--THE
MERCHANT-IVORY VERSION
YOU'RE DOING AT THE MOMENT.

SWEET PUNGENT
SMELL OF ROSE MEADOWS,

EARL GREY,

AND A WET SADDLE
ON THE BACK OF A HORSE.

THAT SORT OF THING.

WE THOUGHT YOU'D BE...
IT'S FUCKING SHIT.

[footsteps approaching]

[people chattering]

NOW LISTEN,
YOU'RE IN A FUCKING BUS STOP
IN MARSEILLES.

IT'S PISSING DOWN THE RAIN,
YOU'RE FREEZING COLD.

YOU'RE SKINT,
YOUR COCK'S FUCKING SORE.

I WANNA SMELL IT.
I WANNA SMELL PUSSY.

I WANT YOU SHAGGING
UP AGAINST THE WALL

WITH BITS OF BROKEN
GLASS IN YOUR ASS.

I WANT YOU WINKING AT WHORES
AS THEY PASS YOU BY.

I WANT SIRENS
IN THE BACKGROUND.

I WANT YOU TO FUCK
HER LIKE A CRIMINAL.

[panting]

DO IT. JUST FUCKIN'

DO IT. PLEASE.

(duchess)
WHAT DO YOU THINK
OF MARRIAGE?

(Antonio)
ME? I HEAR IT CONTAINS
HEAVEN OR HELL.

THERE'S NO 3RD PLACE IN IT.

(duchess)
FIE, FIE, WHAT'S ALL THIS?

(duchess)
ONE OF YOUR EYES
IS BLOODSHOT.

(duchess)
HERE, USE MY RING TO IT.

(duchess)
THEY SAY IT IS
A SOVEREIGN REMEDY.

(duchess)
IT WAS MY WEDDING RING,

AND I DID VOW
NEVER TO PART WITH IT,

BUT TO MY 2ND HUSBAND.

(Antonio)
YOU'VE PARTED WITH IT NOW.

(duchess)
YES, TO HELP YOUR EYESIGHT.

(Antonio)
YOU HAVE MADE ME
STARK BLIND.

(duchess)
DOES IT FIT?

[groaning]

[sighing]

[duchess rehearsing]

♪[humming]

OH, I LOVE
TO HEAR YOU SING.

YOU GOTTA DO ME THE BIGGEST
FAVOR OF YOUR LIFE.

AND I KNOW YOU DON'T WANT TO
BECAUSE OF WHAT I DID BEFORE.

[sobbing]

BUT I GOTTA
GO TO A MEETING,

AND I'M NOT GONNA BE ABLE
TO MEET THIS GUY

WHO'S PUTTING
$2-FUCKING-MILLION
IN MY NEXT PICTURE.

WOULD YOU DO ME A FAVOR,
HONEY?

WOULD YOU PLEASE
GO AND MEET HIM

AND JUST SIT WITH HIM
FOR A WHILE

UNTIL I GET THERE?
I'LL--I'LL BE THERE.

LOOK, SWEETIE.

YOU KNOW SOMETHING?
THAT DRESS YOU BOUGHT?

YOU LOOK SO
FUCKING GOOD IN THAT.

THIS ONE, BABY.

THIS ONE, BABY.
YOU LOOK FUCKING SEXY
IN THIS DRESS.

(Antonio)
BROTHER, WHAT DO YOU THINK?

[coughs]

I THINK TRENT NEEDS
SOME TIME TO THINK.

WE'LL JUST GIVE
HIM 5 MINUTES,

SNEAK OFF AND GET
A COFFEE OR SOMETHING?

TAKE A BREAK.

WHAT THE FUCK'S
HE DOING?

(cardinal)
CHEERS.

HE'S JUST RESTING
A FEW MINUTES.

(Steve)
THANKS.

(hotel manager)
MR. HAWK?

YEAH. STEVE HAWK.

SIGNOR BORIS IS DELAYED.

[phone ringing]
YEAH, SAY, 20 MINUTES.

HE SAY IF YOU PLEASE
MEET HIS WIFE IN THE BAR.

SHE'S WEARING A RED DRESS,
A BEAUTIFUL RED DRESS.

[chuckling]

(Steve)
HI.
HI.

STEVE.

SOPHIE.

[laughing]

WHAT DO YOU THINK?

I THINK
IT WOULD BE NICE.

ANYWAY,
HAVE A THINK ABOUT IT.

JUST WONDERING WHETHER TO DO
THE FISHNETS TOMORROW

OR THE RED TIGHTS

SO WHEN HE PULLS HER SKIRT UP,
THERE'S A NICE REVEAL.

I GOT A WINDOW SEAT.

BORIS SAID
GET A WINDOW SEAT.

I SEE WHY HE SAID THAT.
I COULDN'T BELIEVE IT.

WHEN YOU FLY,
YOU CAN'T SEE
WHERE YOU'RE LANDING.

YOU HAVE A ROOM?

YES.

[inaudible]

[elevator bell dings]

WAIT.

WAIT. DON'T--
DON'T DO THAT.

COME IN.

(Cariola)
I JUST WANTED TO THANK YOU.
YOU KNOW?

I'M HAVING
SUCH A GREAT TIME.

IT IS SO DIFFICULT
FOR ME TO MAKE FRIENDS.

I'M SORRY.

WHAT ARE YOU...

I'M VERY HAPPY
TO BE HERE

AND I WANT TO THANK YOU
FOR THIS OPPORTUNITY.

EVEN THOUGH MY PART
IS NOT VERY BIG,

I FEEL THAT
I HAVE A LOT TO GIVE

AND YOU HAVE GIVEN
ME AN OPPORTUNITY...

SO, THAT'S IT.

I'LL LET YOU REST,
YOU MUST BE EXHAUSTED.

TODAY IT WAS
A GREAT DAY.

I THOUGHT THE SHOOTING
WENT GREAT BY THE WAY
TODAY. THAT'S ALL.

[sniffing]

(Boris)
HELLO, FUCKHEAD.

YOU CAN'T LIE TO ME.

I KNOW YOU DON'T KNOW
WHAT THE FUCK YOU'RE DOING.

I KNOW.

YOU KNOW, YOU HAVE
A PRETENTIOUS ATTITUDE.

[chattering]

DEUS BELLI.

HOW'S THAT SOUND?

(duchess)
I THINK TONIGHT
WE SHOULD MAKE LOVE.

CLIFF! CLIFF!

(Ferdinand)
WHAT THE FUCK IS THAT?

(Ferdinand)
WHERE DID THIS COME FROM?

HE'S BLEEDING.

(Ferdinand)
OH, JESUS CHRIST!

JESUS CHRIST!

WHAT?

[whispering]
GET JONATHAN.
GET JONATHAN.

(Ferdinand)
JONATHAN, YES.
WHERE'S JONATHAN?

JONATHAN!

(Ferdinand)
JONATHAN!

(Ferdinand)
JONATHAN!

(Cariola)
WHAT HAPPENED?

♪ I KNOW

♪ YOU'D LIKE ME

♪ YOU'D LIKE ME

♪ TO BE YOUR LITTLE FIX

♪ TO BE THE REASON YOU LICK

♪ YOUR LIPS

♪ YOU KNOW YOU AND ME

♪ YOU KNOW YOU AND ME
OUGHT TO KNOW BETTER ♪

♪ FATALLY GORGEOUS

♪ FEELINGS I CARE

♪ I SEE ME

♪ YOUR GLITTERING
JESUS FACE ♪

♪[castanets clicking]

[tapping rhythmically]

[tapping continues]

[people clapping]

WHO'S IN CHARGE HERE?

I AM.

WHERE'S TRENT?

[indistinct chattering]

[monitor beeping]

[sighing]

[speaking Italian]
CAN YOU HELP ME UNCOVER HIM?

[monitor beeping]

[sighs]

[in English]
THE CASE WITH YOUR FRIEND

IS ALMOST UNIQUE, I MUST SAY.

[speaking Italian]
MISS, CAN YOU HELP ME
WITH THIS SMALL DEMONSTRATION?

THANKS.

[in English]
LET'S BEGIN WITH THE FACT

THAT WE HAVE
AN ENTRANCE WOUND

FOR THE BULLET

EXACTLY HERE.

BUT WE DON'T HAVE
ANY EXIT WOUND ANYWHERE.

(doctor)
NO EXIT WOUND,
NO BULLET INSIDE.

NO. WE CAN ONLY SUPPOSE

THAT THE BULLET ENTERS HERE

AND THEN RICOCHETING
UP AND DOWN THE SPINE,

EXITS FROM THE SAME SPOT.

GRAZIE.

AS A RESULT OF THIS TRAUMA,

HE IS NOW IN
A STATE THAT WE CALL

COMA VIGILE.

ATTENTIVE COMA.

UH, WHAT IS-- WHAT IS THAT?
WHAT DOES THAT MEAN, DOCTOR?

AS YOU WOULD SAY IN AMERICA:

"THE LIGHTS ARE ON

BUT NOBODY'S HOME."

UH, WELL, HIS EYES--
HIS EYES ARE MOVING.

THE EYES ARE
THE MIRROR OF THE SOUL.

[door closing]

THIS YOUNG ARTIST

WHO HAS BEEN
TAKEN AWAY FROM US

AT SUCH A YOUNG AGE

HAD A CONTRACT
WITH MY LITTLE GROUP,

MY TALENTED,
WONDERFUL LITTLE GROUP.

AND YOU MIGHT SAY,
"HOW DOES THAT FIT

IN THE GREAT SCHEME
OF THINGS?"

AND I'M GOING TO TELL YOU.

MY DEAR FRIEND,
ORSON WELLES,

HAD HE DIED
RIGHT AFTER CITIZEN KANE,

WOULD HAVE BEEN THOUGHT OF AS

EVEN A BIGGER GIANT
THAN HE IS TODAY.

BECAUSE DEATH
MAKES US MARTYRS,

MAKES US ICONS.

YOU LOVED HIM VERY MUCH,
DIDN'T YOU?

[sobs]

YES, WELL...

(flamenco manager)
WHAT OBLIGATIONS,

SACRED OBLIGATIONS
THAT HE PASSED ON TO YOU,

MUST BE HONORED?

HIS CONTRACT, BY THE WAY,
TO MY LITTLE GROUP HERE,

MUST BE HONORED.

NOW THE QUESTION IS,
WHO HERE AMONG YOU

IS GOING TO DIRECT THIS FILM?

WHAT DO YOU
THINK OF MARRIAGE?

ME? I HEAR IT
CONTAINS HEAVEN OR HELL.

THERE'S NO THIRD PLACE IN IT.

FIE, FIE, WHAT'S ALL THIS?

A WHIPPING MARK.

USE MY RING TO IT.

THEY SAY IT IS
A SOVEREIGN REMEDY.

IT WAS MY WEDDING RING

AND I DID VOW
NEVER TO PART WITH IT

BUT TO MY SECOND HUSBAND.

YOU'VE PARTED WITH IT NOW.

YES. TO HEAL YOUR WOUND.

[panting]

[grunts]

DOES IT FIT?

AMBITION, MADAM,
IS A GREAT MAN'S MADNESS.

I'M NOT SO STUPID
AS NOT TO AIM

WHERE YOUR FAVORS TEND.

HOW OFTEN HAVE
I SEEN CHILDREN

EAT SWEETMEATS THUS

AS IF FEARFUL TO DEVOUR
IT ALL TOO SOON?

BUT HE'S A FOOL,
THAT BEING COLD, WOULD

THRUST HIS HANDS IN
THE FIRE TO WARM THEM.

THERE. THE GROUND IS BROKEN.

NOW YOU MAY DISCOVER

WHAT A WEALTHY MINE,

SOMETHING FAR MORE
PRECIOUS THAN GOLD

I MAKE YOU LORD OF.

I MAY ALSO DISCOVER
MY UNWORTHINESS.

YOU DO TREMBLE.

MAKE NOT YOUR HEART
A DEAD PIECE OF FLESH

THAT FEARS ME
MORE THAN LOVES ME.

[pants]

THIS IS FLESH AND BLOOD

NOT THE ALABASTER FIGURE

THAT KNEELS AT
MY HUSBAND'S TOMB.

WHAT OF YOUR BROTHERS?

[panting]

DON'T THINK OF THEM.

ALL DISCORD...

[moans]

[pants]

[moaning]

PUSH.

PUSH.

[Duchess screams]

(maid)
PUSH.

PUSH.

[screams]

(Antonio)
OH, MY GOD!

[Duchess screaming]

PUSH.

[baby crying]

CUT.

[Antonio coughs]

THAT WAS FUCKING GOOD.

A LITTLE CREEPY.

HELLO. THIS IS CHARLEE BOUX,
BOUX,

CHARLEE BOUX,

AND YOU'RE WATCHING...

HELLO.
HELLO.

HELLO.
HELLO.

LISTEN, JONATHAN,

I'M DOING THIS AS
A FAVOR TO YOU, OK?

NOT TO ME, TO BORIS.

NOT TO BORIS, TO YOU.
NOT TO ME, TO BORIS.

TO YOU.
THIS FUCKING MOVIE SUCKS.

YOU HAVE NO STARS.

YOU KNOW, EVERYBODY
TREATS ME LIKE SHIT.

I HAVE TO STAY
IN A SHITTY HOTEL
'CAUSE THERE IS NO MONEY.

YOU OWE ME BIG-TIME.

HELLO.

UH, JONATHAN DANDERFINE.

YEAH, JONATHAN DANDERFINE.

WE'VE HAD A
TERRIBLE TRAGEDY HERE. UM....

UH-HUH.

UH, YOU KNOW,
AS YOU KNOW,

HE'S MY BEST FRIEND
OF 14 YEARS

AND, UH, UH,
WE'VE HAD

A LONG AND WONDERFUL
HISTORY TOGETHER...

DO YOU THINK THAT
NOW THAT THE DIRECTOR

AND THE ONLY STAR YOU HAD
IN THIS MOVIE ARE GONE,

DO YOU THINK THAT THIS MOVIE
WILL NEVER COME OUT?

YOU KNOW WHAT?

SERIOUSLY,
A.J., YOU'VE GOTTA
CONTROL HER.

I'M NOT GONNA--
I'M NOT GONNA DEAL WITH THIS.

HELLO.

I DON'T WANT TO
TALK ABOUT TRENT.

I AM DIRECTING THE FILM.

THE POINT IS, HE'S IN
A COMA IN THE HOSPITAL.

[machine beeping]

I WAS 7 WHEN MY FATHER DIED.

I MEAN,
WHEN MY FATHER LEFT US.

ALL PHOTOGRAPHS OF HIM
VANISHED FROM THE HOUSE

BUT I CLEARLY REMEMBER HIM.

THERE WERE 3 CHILDREN

AND MY MOTHER

HAD TO WORK HARD
TO BRING US UP.

I AM THE ELDEST.

AND I WAS
MY FATHER'S FAVORITE.

HE LOVED ME
MORE THAN THE OTHERS.

CLEARLY HE
DID NOT LOVE MY MOTHER.

IT WAS ME THAT FOUND HER
WHEN SHE HAD HER STROKE.

I WAS 18, AND SHE WAS LYING
ON THE KITCHEN FLOOR.

IT WAS MIDNIGHT.

I WAS SUPPOSED
TO BE IN BY 11:00

BUT I HAD BEEN OUT
WITH FRIENDS

CELEBRATING
THE END OF OUR EXAMS.

I HAD COME TOP IN MY YEAR,

ASSURED OF A PLACE
AT THE UNIVERSITY.

THE MANAGER OF THE HOTEL
WHERE MY MOTHER WORKED

AGREED TO MY TAKING HER PLACE
AS A CHAMBERMAID.

BUT AT A REDUCED WAGE

BECAUSE OF MY
YOUTH AND INEXPERIENCE.

I LIKE THE HOTEL.

IT SUITS ME FINE.

THE WORK IS NOT HARD,

AND I HAVE ALL THE TIME
IN THE WORLD TO THINK.

THERE'S ONE MAID,

LET'S CALL HER MARIE.

SHE'S FAT AND UGLY,
BUT HER BREASTS ARE LARGE.

AND SHE'S WILLING
TO PLAY A ROLE,

AND THIS EXCITES SOME MEN.

SHE BLUSHES,

AND I THINK THIS
ALSO EXCITES MEN.

SHE'S NO THREAT
TO THE MEN THAT TAKE HER

AND THEY WATCH HER LEAVE

WITH A SENSE OF PHILANTHROPY,

OF HAVING DONE HER A FAVOR.

I HAVE PERFECTED THE ART

OF BEING INVISIBLE
AS A WOMAN.

I CAN WALK INTO
A ROOM FULL OF MEN

WITHOUT EXCITING
THE SLIGHTEST INTEREST.

NO MOLECULE IS MOVED BY ME.

[whispering]
I LEAVE NO TRACE BEHIND.

[both panting]

[both moaning]

SORRY, MAN.
SORRY, MAN.

IS EVERYTHING ALL RIGHT?

(man)
WHAT?

IS EVERYTHING ALL RIGHT?

(hotel guest)
WHERE ARE YOU TAKING HER?

WHAT ARE YOU DOING?

LEAVE ME!

[screams]

[grunts]

IS EVERYTHING ALL RIGHT?
I--I--I CAN HEAR SCREAMING.

YES, EVERYTHING'S ALL RIGHT.

IT'S ALL RIGHT.

BUT I JUST SAW A WOMAN
DRAGGED DOWN
THE CORRIDOR THERE,

AND I THOUGHT--

NO, NO.
EVERYTHING'S FINE, MR. HAWK.

HERE.

BYE.

DIE THUS, VIRTUE.
WHERE ART THOU HID, VIRTUE?

WHAT HIDEOUS THING
DOTH ECLIPSE THEE, VIRTUE?

PRAY, SIR,
HEAR ME. HEAR ME.

SPEAK.

[panting]

THROUGHOUT MY LIFETIME

I HAVE PLANTED MY SOUL
IN MINE EARS TO HEAR YOU.

DO YOU LIKEWISE HEAR ME.

I AM MARRIED,

HAPPILY, NOT TO YOUR LIKING.

ALAS, YOUR SHEARS
HAVE NOW UNTIMELY COME
TO CLIP MY BIRD'S WINGS.

WHAT SHOULD I SAY
TO THY LECHER?

THOU HAST ENJOYED MY SISTER?

LET NOT THE SUN SHINE ON HIM
TILL HE BE DEAD.

WHY SHOULD NOT I BE ENCASED
LIKE A HOLY RELIC?

I--I HAVE YOUTH.

THOU ART UNDONE.

AND A LITTLE BEAUTY.

THOU HAST TAKEN
THE MASSY SHEET OF LEAD

THAT HID THY
FORMER HUSBAND'S BONES

AND FOLDED IT
AROUND MY HEART.

MY HEART BLEEDS FOR THIS.

THY HEART?

THY HEART?

DOST THOU KNOW
WHAT REPUTATION IS?

YOU SHOOK
REPUTATION BY THE HAND

AND MADE HIM DISAPPEAR.

FARE THEE WELL.

I WILL NEVER SEE THEE MORE.

WHAT IS THIS?

[sobs]

ANTONIO?

MY HEART IS
TURNED TO HEAVY LEAD

ON HEARING
THE SOUNDING OF OUR DANGER.

MY LORD, MY LOVE,
I DO TOUCH THEE.

TAKE THE CHILDREN.
I WILL JOIN YOU SOON.

LET ME LOOK UPON YOU MORE.

GO! GO!

NOW HIS KISS IS COLDER
THAN A DEAD MAN'S SKULL.

CUT. CUT.

CUT. THAT WAS IT.
THAT WAS THE ONE.

THAT WAS THE ONE.

DID YOU FEEL IT? THAT WAS...
THAT WAS...

OH, I HAD CHILLS, NAOMI.

YES, LET IT OUT.
LET IT OUT.

YOU'RE THE DUCHESS,
LET IT OUT.

SHE WAS IN PAIN.

WHAT THE FUCK.
WHAT ARE YOU DOING HERE?

WELL, NAOMI DIDN'T GIVE
MY CUE AGAIN, SO--

(Jonathan)
YOU DIDN'T CUE HER?
WHAT WAS YOUR CUE?

"GET THE CHILDREN."

I SAID "TAKE THE CHILDREN."
I'M SORRY.

I'M SORRY.

I'M SORRY. I--I JUST--

I'LL GET IT RIGHT NEXT TIME.

(Jonathan)
SO, LEAVE THEN.

IF SHE DOESN'T
CUE YOU, YOU LEAVE.

I MEAN, YOU--YOU
IMPROVISE. OK?

I MEAN, SHE'S SO
IN THE MOMENT, NINA.

IT'S MY FAULT.

DON'T--DON'T
START CRYING EITHER. OK?

YOU LEAVE! OK?
JUST BE IN THE MOMENT.

THINK. USE YOUR HEAD.

OK?

GO. PRACTICE.
PRACTICE RUNNING. PRACTICE.

DON'T WORRY ABOUT HER.
DON'T WORRY. IT WASN'T YOU.

SHE'S GOTTA...

OK. AGAIN.
YOU WANT, AGAIN?

YEAH, LET'S GO AGAIN.

OK. WE'RE GOING TO
GO AGAIN, EVERYONE! UH...

WE'RE GOING TO
GO AGAIN, EVERYONE.

FROM THE--
FROM THE TOP.

[machine beeping]

[Trent mumbling]

(Trent)
I KNOW WHAT YOU DID, JOHNNY.

WHO'S THIS MAN?

I'M GONNA HAVE A DRINK.

IS THIS MY ASSASSIN, JONATHAN?
IS THIS MY ASSASSIN, JONATHAN?

IS THIS MY ASSASSIN?

IS THIS MY ASSASSIN?

JONATHAN, LOOK AT ME.

I KNOW. I SEE.

ENEMY.

I HEAR FUCKING EVERYTHING.

FUCK YOU.

YOU DON'T HAVE
THE GUTS TO FIGHT ME.

I KNOW. I KNOW.
I KNOW. I KNOW.

I KNOW WHAT YOU DID.

(Duchess)
IT WAS LOVELY.

I GOTTA KISS YOU, JOHNNY.
I GOTTA KISS YOU.

COME HERE.
COME HERE.

COME HERE.

[snarling]

[growling]

I GOTTA GO.

I'LL BE BACK.

(man)
GET UP. GET UP
GET UP FROM HERE.

SOMETIMES I HAD TO GET UP,
BUT ONCE I--
BUT ONCE I WENT IN THE BED.

AND ME MOM WAS CROSS,

AND SHE SAID,
"WELL, THAT'S IT."

(Antonio)
♪ BA BI PA PA DO DO DO DO NO

♪ BABE

♪ CHARLEE

♪[piano playing]

♪ WHAT AM I GONNA DO?

♪ I THINK DEEP INSIDE

♪ I'M FALLING
IN LOVE WITH YOU ♪

CHARLEE BOUX.

♪ BOO, BOO, BA, BAA

♪ OH, CHARLEE

BOUX.

♪ LOOK AT ME LOOKING AT YOU

♪ MAYBE TONIGHT
WE CAN DO THE DO ♪

I DON'T THINK SO.

♪ YOU'VE GOT
A FUCKING JUICY ASS ♪

♪ AND A LOVELY PAIR
OF COCONUTS ♪

♪ I'D LIKE YOU
TO SUCK MY BIG ♪

BUONASERA.

(man)
BUONASERA.

WHERE'S YOUR BAR?

[speaking Italian]
THE BAR IS OVER THERE, MISS.

GRAZIE.
PREGO.

WHY DON'T YOU TAKE
IT AWAY, CHARLEE?

GIVE ME SOME
OF THAT SCAT.

♪[humming]

♪[piano playing continues]

LOVELY.

NOT JUST
A PRETTY FACE, BABY.

YEAH.

♪[continues singing]

♪[singing off-key]

UH, HIT THOSE
HIGH NOTES, DARLING.

[screeching]

♪ CHARLEE BOUX

YEAH, GO, BABY.

[laughs]

♪ BOUX, BOUX,
BOUX, BOUX ♪

(Boris)
...DO ANYTHING.

ARE YOU KIDDING?
NO, BORIS, EXCUSE ME.
ONE SEC.

(Charlee)
SAY IT AGAIN. COME ON!

KAWIKA?
KAWIKA?

OH, MY GOD!

[laughs]

WHAT ARE YOU DOING IN ITALY?

UNBELIEVABLE!

♪ HEY, HEY

KAWIKA IN THE HOUSE.

OH, MY GOD!

UNBELIEVABLE,
YOU LOOK FUCKING GREAT.

HOLY SHIT. THE LAST TIME I SAW
YOU WAS LIKE A YEAR AGO.

SARATOGA.
SARATOGA SPRINGS!

THIS IS THE CAST RIGHT HERE.

EVERYONE, THIS IS KAWIKA.

WHAT'S YOUR NAME?

KAWIKA.
KAWIKA.

HI. I--I THINK
I INTERVIEWED YOU LAST YEAR.

THAT'S RIGHT.
HOW ARE YOU?

JOHN. THIS IS JOHN SHIRLEY,
THIS IS KAWIKA.

HI, JOHN, HOW ARE YOU?
GOOD TO SEE YOU.

HELLO, I'M COLIN NUTTER.
I'M THE ADMINISTRATOR
OF MR. WALKER'S REMAINING--

CHARLEE?

HELLO!

HELLO!

IT'S GOOD TO SEE YOU.

YOU LOOK BEAUTIFUL.

THANK YOU.

CAN I GET YOU A BEVERAGE?

YEAH. I'LL HAVE...

ABSOLUT TONIC?

(both)
2 LIMES.

EXCUSE ME, KAWIKA.

AREN'T THESE,
LIKE, 3 YEARS AGO?

THE COLLECTION
FROM 3 YEARS AGO

FROM VERSACE.
I KNOW MY DESIGNERS!

NO.

DID YOU GET, UH,
BREAST IMPLANTS?

NO, THEY ARE NATURAL.
YOU WANNA TOUCH?

MY GOD!

THEY'RE REAL.

SHE'S FANTASTIC.
ARE YOU STILL A LESBIAN?

NO.

AND SHE CRIES.
AND YOU KNOW WHAT?

AM I A LESBIAN?

OH, MY GOD,
SHE'S TOTALLY DRUNK.

HI, A.J., GOOD TO SEE YOU!

BORIS, MY GOD!

NICE TO SEE YOU AGAIN, DOLL.
HOW ARE YOU?

KISS HER ASS, BORIS.
KISS HER ASS.

(Boris)
RIGHT. IT IS NICE.

(Charlee)
YEAH. SO ARE YOU.

(Jonathan)
OK. HELLO, GOODBYE.

HELLO, GOODBYE, MOTHERFUCKER!

SO NOT AT THE SAME LEVEL!
I KNOW NOW.

IT'S OK,
YOU'LL GET THERE, HONEY.

I ALREADY SAID IT FIRST.

YOU GOTTA COME UP
WITH SOME NEW LINES.

NICE--NICE TO MEET YOU.

WHAT ARE YOU DOING HERE?

(Kawika)
YOUR SHOW IS NOT ON CABLE.

(Jonathan)
GOODBYE.

[all chattering]

SHE IS SUCH A BITCH!

SEE YOU NEXT TIME, CUNT.

SEE YOU NEXT TIME.

DON'T TOUCH ME, BORIS.
YOU ARE CREEPY.

TAKE IT THE FUCK EASY, OK?

TAKE THE FUCK
YOUR HANDS OFF OF ME.

YOU KNOW,
IT'S REALLY UNFORTUNATE

THAT YOU HAVE TO
BE SO AGGRESSIVE

BECAUSE YOU COME
OFF SO ABRASIVE

AND YOU JUST DON'T NEED TO.
YOU KNOW?

(Charlee)
GO GET A DRINK WITH JONATHAN.

I'M SURE HE WILL SHOW
YOU A GOOD TIME.

DON'T PUSH ME,
I WILL SMACK YOUR HEAD.

I WILL SMACK
YOUR FUCKING ASS!

(Jonathan)
KNOCK IT OFF!
DON'T FUCKING FIGHT!

I WILL GET YOUR
FOREIGN EYES, LIKE THIS,

COMPLETELY BLUE!

OK, BITCH?

WHAT THE HELL ARE
YOU ALL LOOKING AT?

YOU, RACIST SHIT!
YOU HAVE NO RIGHT...

[screaming]

WILL YOU HELP ME HERE,
FOR CHRIST'S SAKE?

YOU BITCH!

JESUS CHRIST!

EASY. WHAT THE FUCK'S
THE MATTER WITH YOU?

SHE WAS MEAN TO ME.

HOLY CHRIST!

(Antonio)
LET'S GO PLAY PIANO.

(Charlee)
LET'S PLAY MY SONG.

I DON'T KNOW, BUT I KNOW
SHE'S OUT TO GET ME.

MYSTERIOUSLY,
SHE'S JUST AROUND.

I JUST DON'T EVEN
KNOW WHAT TO THINK,

OR HOW TO HANDLE IT.

THE BITCH CAN DO
SOMETHING HORRIBLE TO ME

LIKE TAKE MY JOB,
OR MY MAN, OR SOMETHING.

THE FOOD IS HORRIBLE,
AND I'M DEPRESSED,

AND THE ROOMS ARE HORRIBLE,

AND I HATE IT HERE,
AND IT'S WET AND IT'S COLD.

[woman screaming]

HELLO?

IS ANYBODY THERE?

ARE YOU OK?

HELLO?

[glass clinking]

HELLO.

THIS IS CHARLEE BOUX
AND YOU'RE WATCHING...

HELLO? HELLO?

I MEAN, LISTEN, I'M GONNA--
I'M GONNA TELL YOU STRAIGHT

FROM WHAT I'VE SEEN OF THIS
SO-CALLED DOCUMENTARY.

IT'S A PIECE OF SHIT.

[machine beeping]

I THINK I'M GOING
TO FUCK HIM.

I THINK HE WANTS
TO SLEEP WITH ME.

HE SUGGESTED SOMETHING

QUITE GRAPHIC

THAT WE SHOULD
DO TOGETHER ON CAMERA,

JERRY AND I. AND

THERE WAS, UM,

SOMETHING IN ME
THINKING YOU WOULD

HAVE BEEN QUITE
TURNED ON BY IT.

(Duchess)
GO. GO GET SOMEON .

[pants]

[sobbing]

SISTER,

COME.

COME WITH ME.

THERE'S SOMETHING
I WANT TO SHOW YOU. COME.

WAIT THERE.
WAIT THERE.

[panting]

[laughing]

I CURSE YOU!

I CURSE
THE VERY STARS IN HEAVEN!

YOU CURSE THE STARS?

THEY SHINE STILL
IN THEIR FIRMAMENT.

♪[music playing]

[knocking on door]

MY REVENGE STILL BURNS

AND BURNS AND WILL NOT SLACK
UNTIL IT HAS SPENT ITS FUEL.

MY WORK IS ALMOST DONE.

HARK

HOW EVERYTHING IS STILL.

THE SCREECH OWL
AND THE WHISTLER SHRILL,

DO CALL MY DAME ALOUD

TO QUICKLY DON
HER FUNERAL SHROUD.

ALAS!

WHAT ARE YOU GOING TO DO
WITH MY SWEET LADY?

I'VE COME TO MAKE HER TOMB.

I'LL CALL FOR HELP.

PEACE. IT AFFECTS ME NOT.

(Cariola)
NO! LEAVE ME, PLEASE.

LEAVE ME.

[panting]

MY SWEET LADY.

NO. NO.
I WILL NOT DIE.

I MUST NOT.

I'M QUICK WITH CHILD.

SHE'S QUICK WITH CHILD.

I'M PREGNANT.

WHY THEN,
YOUR REPUTATION IS SAVED.

I'M PREGNANT.

[choking]

I AM DUCHESS OF MALFI STILL.

[laughs]

"I AM DUCHESS
OF MALFI STILL."

IT IS THAT WHICH
SO BREAKS THY SLEEP
AT NIGHT, DUCHESS?

THOU ART VERY PLAIN.

AYE, MY TRADE IS
TO FLATTER THE DEAD,

NOT THE LIVING.

I'M A TOMB MAKER.

AND THOU COM'ST
TO MAKE MY TOMB?

YES.

AND THIS
PRINCELY GIFT I BRING
FROM YOUR BROTHERS

SHOULD BE MOST
WELCOMELY RECEIVED

FOR IT BRINGS
THY LAST BENEFIT,

THY LAST SORROW.

I STILL HAVE
OBEDIENCE IN MY BLOOD

SO THAT IF THIS
BE THE ONLY MEANS
TO MAKE THEM GOOD,

LET THIS BE MY
LAST PRESENCE-CHAMBER.

ART THOU NOT AFRAID
OF DEATH?

ART THOU NOT FRIGHTENED
BY THE CORD?

HERE IS THY EXECUTIONER!

I FORGIVE HIM.

THE APOPLEXY,
OR CATARRH,

OR A COUGH OF THE LUNGS
WILL DO AS MUCH AS HE.

WELL,
IT'S GOOD TO SEE THOU ART
SO WELL-PREPARED.

[sobbing]

NOT A WHIT.

STRANGLE HER.

WHAT WOULD IT PLEASURE ME

TO HAVE MY THROAT
CUT WITH DIAMONDS

OR TO BE SMOTHERED
WITH THE FINEST PERFUME

OR TO BE SHOT TO
DEATH WITH PEARLS.

I KNOW DEATH HATH
10,000 SEVERAL EXITS

STRANGLE HER.
STRANGLE HER.

AND YOU CAN OPEN
THEM MANY WAYS.

STRANGLE HER!

TELL MY BROTHERS
I PERCEIVE DEATH FULLY

AND I'M FULL AWAKE.

THEY MAY SAY IN JEST

THE LAST THING TO DIE
IS A WOMAN'S TONGUE

THEREFORE I SHALL
SHORTLY BE SILENT.

COME SWEET
NARCOTIC OFDEATH...

FINISH IT!

...HELP ME SLEEP.

STRANGLE HER!

FROM NOW ON,

ONLY DEEDS OF DARKNESS.

♪[music playing]

[maid whispering]
AS HE WALKED OUT,
THE ELDER MAN,

I KNEW THAT ANY DANGER
TO ME HAD PASSED.

IN LEAVING,

HE CLEARLY HAD WANTED
SOMETHING TO HAPPEN

BETWEEN
THE YOUNGER MAN AND MYSELF.

HE LOOKED AT ME STRANGELY,
HAD BEEN CONCERNED FOR ME.

WHY SHOULD THIS
BE SO INTERESTING?

WHY SHOULD MY BODY
BE INTERESTING TO HIM?

WHY SHOULD ANY HUMAN BODY

BE INTERESTING
TO ANYONE ELSE?

I HEARD MY VOICE.

IT WAS SEVERE.

BY NOW I HAD
TAKEN OFF MY BLOUSE
AND MY SKIRT.

I CUPPED ONE BREAST
WITH MY HAND

AND USED THE OTHER FINGERS

TO SQUEEZE
AND STRETCH THE NIPPLE

AND SUDDENLY
BEGAN TO FEEL SLIGHTLY
DISTURBED ABOUT WHAT YOU DID.

BECUSE NOW I DIDN'T KNOW
HOW TO PREPARE

FOR WHERE I WANTED IT TO GO,

TO WHICHEVER PART OF...
I WANTED TO SEE HIM NAKED NOW

BEFORE I WAS NAKED.

I KNEW HE WANTED
TO EMBRACE ME,

TO MAKE LOVE TO ME
IN A CONVENTIONAL WAY.

AND HE WANTED
LOVE AND TENDERNESS

AND ME TO BE THE WHORE ALSO.

I DIDN'T WANT THAT

SO I PUT MY HAND TO HIS FACE
AND CLOSED HIS EYES

AS IF HE HAD JUST DIED.

♪[music playing]

[whispering]

THE COLOR, THE TEXTURE,

THE HEAT COMING OFF IT
SO CLOSE TO MY FACE.

I TOOK IT IN MY HAND
AND WAS AMAZED

AT THE FEELING OF POWER
THAT IT GAVE ME.

I WAS CURIOUS

AS TO HOW IT
WOULD TASTE, SUDDENLY,

AND I BROUGHT MY FACE CLOSER
AND THEN CLOSER,

AND WITH MY TONGUE

I TOUCHED
THE HEAD OF HIS SEX.

IT WAS SOFT, THE SKIN THERE,

AND I TOOK IT IN MY MOUTH.

I STAYED STILL,

FEELING HIM
ENLARGING EVEN MORE.

THE SCENT OF THE HOTEL SOAP
THAT I KNEW SO WELL

HAVING STOLEN SO MANY
FOR MY MOTHER AND MYSELF...

THE SMELL WAS NOT
SO PURE FROM HIS SEX.

IT WAS A DARK,
SOMEWHAT DISGUSTING SMELL,

ALTHOUGH NOT REPULSIVE.

THE AIR IN THE ROOM
WAS COLD AND I KNEW

THAT MY NIPPLES
WERE HARD AND POINTED.

I CRAWLED AWAY FROM
HIM UNTIL I COULD FEEL

THE COOL LEATHER
OF AN ARMCHAIR

ON THE TOP OF MY THIGH

AND IT WENT
WHEREVER I WANTED IT TO GO,

TO WHICHEVER PART OF MY BODY.

I PUT MY RIGHT LEG

ON THE SIDE
OF THE ARM OF THE CHAIR

AND THEN DID THE SAME
WITH THE OTHER LEG

SO NOW I WAS OPEN TO HIM.

HE RAISED HIS HEAD
AND LOOKED AT ME,

LOOKED AT MY FACE,

AND THEN HIS EYES LOWERED

TO WHERE
I WAS TOUCHING MYSELF.

I OPENED MYSELF
AND STOOD STILL,

MOVING MY FINGERS
TO PROBE AND VIOLATE MYSELF,

THE WAY HE WOULD
HAVE VIOLATED ME.

THEN I ROLLED AWAY FROM HIM

UNTIL I COULD FEEL
THE COOL LEATHER

OF AN ARMCHAIR
ON THE BACK OF MY THIGH.

I WATCHED HIM
ALL THE TIME HE WATCHED ME.

(Jonathan)
HEY, BARRY.

I'M SUPPOSED TO
BE MARRYING YOU.

[all chattering]

I DON'T THINK
THAT'S APPROPRIATE.

DO YOU?

WHOA--WHOA.

(Jonathan)
WHAT HO, GOOD SIRRAH?

[woman giggling]

[snarling]

THE CONTEST IS OVER THERE.

[all laughing]

[bells jingling]

(Jonathan)
OH, VERY DRAMATIC,
EVERYONE, VERY DRAMATIC.

(Boris)
MAYBE WE OUGHT TO
PUT HIM IN THE SHOT.

[Jonathan yelping]

PUT HIM IN A SHOT.

THERE'S SOME JERK-OFF.
I'LL CALL YOU BACK.

[bells jingle]

[laughs]

[growls]

[growling]

[both growling]

[howls]

[howling]

[all howling]

TRENT,
YOU HAD MENTIONED EARLIER

THAT YOU COULD
FLOAT FROM ROOM TO ROOM,

THAT YOU COULD SEE

AND YOU WERE AWARE
OF ALL THE THINGS THAT WAS...

SORT OF
THE GOINGS-ON IN THE HOTEL,

INCLUDING YOUR OWN ROOM.

IS THAT--
IS THAT CORRECT?

LAST NIGHT, AT 7:30,

YOU WENT TO YOUR ROOM

AND YOU READ

THE SECOND ACT

OF THE DUCHESS OF MALFI.

THEN YOU HAD A PHONE CALL

FROM A FRIEND CALLED SUE

WHO LIVES IN TORONTO.

SHE TOLD YOU

THAT SHE WAS THINKING
OF LEAVING HER BOYFRIEND.

YOU TOLD HER

TO DUMP JOHN.

YOU FINISHED YOUR
CONVERSATION WITH HER,

THEN YOU STARTED CRYIN'.

YOU HAVE A

DONALD DUCK TATTOO

ON YOUR ASS.

IS THIS UM,
SOMETHING THAT...

[Trent laughs]

IS IT SORT OF AN OLD...

IT'S A TRICK.

A TRICK.
YEAH, THAT'S WHAT I THOUGHT.

♪ YOU'D LIKE ME

♪ TO BE YOUR LITTLE FIX

♪ TO BE THE REASON YOU LICK

♪ YOUR LIPS

♪ YOU KNOW YOU AND ME

♪ YOU KNOW YOU AND ME
OUGHT TO KNOW BETTER ♪

♪ FATALLY GORGEOUS

♪ FEELINGS I CARE

♪ I SEE ME

♪ YOUR GLITTERING

♪ JESUS FACE

♪ FLAWLESS EYES

♪ BLINDING THE LEFT SIDE
BY THE RIGHT SIDE ♪

♪ TRAILS OF SMOKE

♪ FLOWIN' OVER ME

♪ A BEAUTIFUL ANGEL

♪ GREEDILY GORGING THE FREE

♪ WILLS

♪ WHERE CAN WE GO?

♪ WHAT CAN WE DO?

♪ I FEEL

♪ MY WINGS ARE CUT