1 00:00:02,236 --> 00:00:06,006 [ "MISSION: IMPOSSIBLE" THEME PLAYS ] 2 00:01:03,197 --> 00:01:04,698 GOOD MORNING. 3 00:01:04,732 --> 00:01:07,201 IS IT POSSIBLE TO MAKE AN APPOINTMENT WITH RITA? 4 00:01:07,235 --> 00:01:09,437 I'M SORRY, WE DON'T HAVE ANYONE HERE 5 00:01:09,470 --> 00:01:10,671 BY THE NAME OF RITA. 6 00:01:10,704 --> 00:01:14,742 OH. IN THAT CASE, IS OLGA FREE? 7 00:01:17,178 --> 00:01:19,447 THIS WAY, PLEASE. 8 00:01:29,657 --> 00:01:32,626 THANK YOU. 9 00:01:32,660 --> 00:01:34,662 [ DOOR CLOSES ] 10 00:01:59,687 --> 00:02:01,522 Man: GOOD MORNING, MISS CARTER. 11 00:02:01,555 --> 00:02:04,925 THIS IS MIKLOS KLAAR, THE HEAD OF CINEFOT STUDIOS, 12 00:02:04,958 --> 00:02:07,928 ONE OF THE LARGEST BEHIND THE IRON CURTAIN. 13 00:02:07,961 --> 00:02:10,464 KLAAR HAS POLITICAL AMBITIONS, 14 00:02:10,498 --> 00:02:12,266 AND TO FURTHER THEM, 15 00:02:12,300 --> 00:02:14,535 HAS TURNED CAPTURED AMERICAN NEWSREEL FOOTAGE 16 00:02:14,568 --> 00:02:16,204 INTO AN ATROCITY FILM, 17 00:02:16,237 --> 00:02:18,572 PORTRAYING OUR SOLDIERS AS WANTON MURDERERS. 18 00:02:18,606 --> 00:02:20,274 HE'S PLANNING TO SHOW THIS 19 00:02:20,308 --> 00:02:22,710 TO REPRESENTATIVES OF THE WORLD PRESS. 20 00:02:22,743 --> 00:02:25,846 IF THIS FILM IS SHOWN, IT WILL SERIOUSLY DAMAGE 21 00:02:25,879 --> 00:02:28,682 THE UNITED STATES AND OUR FUTURE PEACE TALKS. 22 00:02:28,716 --> 00:02:30,551 THE MISSION, SHOULD IT BE ACCEPTED, 23 00:02:30,584 --> 00:02:32,720 WOULD BE TO STOP KLAAR, AND IN SUCH A WAY 24 00:02:32,753 --> 00:02:34,755 THAT HE CAN NEVER REPEAT THIS TECHNIQUE. 25 00:02:34,788 --> 00:02:36,657 AS ALWAYS, SHOULD ANY OF THE I.M. FORCE 26 00:02:36,690 --> 00:02:38,592 BE CAUGHT OR KILLED, 27 00:02:38,626 --> 00:02:41,962 THE SECRETARY WILL DISAVOW ANY KNOWLEDGE OF YOUR ACTIONS. 28 00:02:41,995 --> 00:02:45,266 THIS TAPE RECORDING WILL DECOMPOSE IMMEDIATELY. 29 00:02:45,299 --> 00:02:46,367 GOOD LUCK. 30 00:03:35,849 --> 00:03:38,586 [ PROJECTOR ROLLING ] 31 00:03:42,690 --> 00:03:49,497 TORVALD, YOU ARE NOT THE MAN THAT I MARRIED. 32 00:03:49,530 --> 00:03:52,500 WHEN YOUR FEAR LEFT YOU, 33 00:03:52,533 --> 00:03:57,004 YOU WERE NOT AFRAID FOR ME, BUT FOR YOURSELF. 34 00:03:57,037 --> 00:03:59,006 AFTER IT WAS OVER, 35 00:03:59,039 --> 00:04:02,443 AS FAR AS YOU WERE CONCERNED, IT WAS -- 36 00:04:02,476 --> 00:04:03,811 Cinnamon: OH. 37 00:04:03,844 --> 00:04:05,813 YOU WERE FINE. 38 00:04:05,846 --> 00:04:10,017 FINE? YOU WOULDN'T HAVE CUT OFF SARAH BERNHARDT. 39 00:04:10,050 --> 00:04:11,585 Rollin: MOST OF THE LOT 40 00:04:11,619 --> 00:04:14,455 IS JUST LIKE ANY OTHER MOTION PICTURE STUDIO -- 41 00:04:14,488 --> 00:04:17,791 SECURITY JUST GOOD ENOUGH TO KEEP OUT UNINVITED TOURISTS. 42 00:04:17,825 --> 00:04:20,528 BUT HERE, WHERE KLAAR'S OFFICE, 43 00:04:20,561 --> 00:04:23,397 SOUNDSTAGE, AND FILM VAULT ARE, 44 00:04:23,431 --> 00:04:26,567 IS STRICTLY OFF-LIMITS AND VERY, VERY WELL-GUARDED. 45 00:04:26,600 --> 00:04:29,036 HOW DOES BARNEY GET INTO KLAAR'S FILM VAULT 46 00:04:29,069 --> 00:04:30,338 ON THE THIRD FLOOR? 47 00:04:30,371 --> 00:04:32,940 I CAN'T, BUT I WON'T HAVE TO. 48 00:04:32,973 --> 00:04:34,375 IT'LL BE EASY FOR ME TO LEARN 49 00:04:34,408 --> 00:04:35,676 HOW FAR UP THE WATER PIPES RUN VERTICALLY 50 00:04:35,709 --> 00:04:38,446 BECAUSE THE PLUMBER'S SNAKE HITS THE TOP. 51 00:04:38,479 --> 00:04:41,081 HOW DO YOU MEASURE THE HORIZONTAL DISTANCE 52 00:04:41,114 --> 00:04:42,450 TO THE SPRINKLERS? 53 00:04:42,483 --> 00:04:44,952 CINNAMON WILL GET THAT FOR ME. 54 00:04:44,985 --> 00:04:47,355 SHE HAS A SPECIALLY TAILORED SKIRT 55 00:04:47,388 --> 00:04:49,357 THAT PERMITS HER TO TAKE A STRIDE 56 00:04:49,390 --> 00:04:51,024 EXACTLY 30 INCHES LONG. 57 00:04:51,058 --> 00:04:54,528 CINNAMON, YOU SEE HOW THIS GOES ON? 58 00:04:57,130 --> 00:04:58,966 DOES IT COME OFF AS EASILY? 59 00:04:58,999 --> 00:05:01,602 DON'T PAD YOUR PART. GETTING IT OFF IS MY JOB. 60 00:05:01,635 --> 00:05:04,438 IF WE DESTROY KLAAR'S FILM, WON'T HE JUST MAKE IT AGAIN? 61 00:05:04,472 --> 00:05:07,608 THAT'S JUST WHAT WE WANT HIM TO DO. 62 00:05:07,641 --> 00:05:09,477 DAVID, ARE YOU READY? 63 00:05:09,510 --> 00:05:12,746 SURE. SOMEBODY SAY "ACTION." 64 00:05:12,780 --> 00:05:15,048 Rollin: ACTION. 65 00:05:35,168 --> 00:05:36,870 TARGET SIX. 66 00:06:27,187 --> 00:06:28,722 WHAT IS IT, CORPORAL? 67 00:06:28,756 --> 00:06:30,724 THIS MAN HAS A FILE CABINET FOR THE BUILDING, 68 00:06:30,758 --> 00:06:32,125 BUT HE DOES NOT HAVE A PASS. 69 00:06:32,159 --> 00:06:34,795 EVERYONE WHO WORKS ON A MOTION-PICTURE LOT 70 00:06:34,828 --> 00:06:36,997 MAKES A PRODUCTION ABOUT EVERYTHING. 71 00:06:37,030 --> 00:06:38,065 THIS IS NOT AN ATOMIC PLANT, CORPORAL. 72 00:06:38,098 --> 00:06:39,132 WAIT. 73 00:06:39,166 --> 00:06:40,968 LET THE MAN IN! 74 00:06:41,001 --> 00:06:44,972 CLEAR UP YOUR PAPERWORK LATER IN THE DAY. 75 00:06:56,950 --> 00:06:59,920 CAPTAIN PETYOV OF THE MINISTRY OF PROPAGANDA 76 00:06:59,953 --> 00:07:02,422 TO SEE MIKLOS KLAAR. 77 00:08:42,923 --> 00:08:47,327 A CAPTAIN PETYOV TO SEE MR. KLAAR. 78 00:08:47,360 --> 00:08:49,262 ALL RIGHT. 79 00:08:49,296 --> 00:08:50,864 GO AHEAD, SIR. 80 00:08:50,898 --> 00:08:52,566 THANK YOU. 81 00:09:03,276 --> 00:09:05,012 WHERE ARE YOU GOING? 82 00:09:05,045 --> 00:09:06,747 SECOND FLOOR. 83 00:09:06,780 --> 00:09:10,050 ALL RIGHT, BUT NO FURTHER. IT'S OFF-LIMITS. 84 00:09:18,058 --> 00:09:19,660 YES, SIR? 85 00:09:59,833 --> 00:10:01,301 CAPTAIN PETYOV? 86 00:10:01,334 --> 00:10:02,936 YES. 87 00:10:12,680 --> 00:10:14,782 WRONG SIZE. 88 00:10:14,815 --> 00:10:16,817 [ ELEVATOR BELL DINGS ] 89 00:10:20,821 --> 00:10:22,022 AH. 90 00:10:22,055 --> 00:10:27,194 CAPTAIN PETYOV, I AM MIKLOS KLAAR. 91 00:10:27,227 --> 00:10:30,197 WELCOME TO CINEFOT STUDIOS. COME IN, COME IN. 92 00:10:30,230 --> 00:10:31,331 THANK YOU. 93 00:10:31,364 --> 00:10:32,933 HOW WAS YOUR TRIP? 94 00:10:32,966 --> 00:10:35,936 WELL [LAUGHS] IT'S AN OLD STORY. 95 00:10:35,969 --> 00:10:39,272 OUR PLANES ARE SLOW, BUT ALSO UNCOMFORTABLE. 96 00:10:39,306 --> 00:10:41,208 [ CHUCKLES ] 97 00:10:41,241 --> 00:10:44,211 I'VE HEARD A GREAT DEAL ABOUT YOU. 98 00:10:44,244 --> 00:10:47,214 YOU ARE VERY KIND. 99 00:10:47,247 --> 00:10:50,450 OUR MINISTRY HAS ARRANGED FOR A SCREENING 100 00:10:50,483 --> 00:10:53,353 FOR THE REPRESENTATIVES OF THE WORLD PRESS 101 00:10:53,386 --> 00:10:55,923 OF YOUR FILM AT THE SWISS LEGATION 102 00:10:55,956 --> 00:10:57,390 THE DAY AFTER TOMORROW. 103 00:10:57,424 --> 00:10:58,859 GOOD. EXCELLENT. 104 00:10:58,892 --> 00:11:02,162 I UNDERSTAND THIS BRILLIANT PROJECT 105 00:11:02,195 --> 00:11:04,064 IS ENTIRELY YOUR CREATION. 106 00:11:04,097 --> 00:11:06,734 YOU ARE VERY KIND. PLEASE, SIT, SIT. 107 00:11:06,767 --> 00:11:08,468 THANK YOU. 108 00:11:08,501 --> 00:11:11,772 I UNDERSTAND THE BASIC ELEMENTS 109 00:11:11,805 --> 00:11:14,141 AND IDEAS OF THIS PROJECT. 110 00:11:14,174 --> 00:11:17,144 HOWEVER, I WOULD BE VERY APPRECIATIVE 111 00:11:17,177 --> 00:11:20,881 IF YOU WOULD FILL ME IN ON SOME OF THE DETAILS. 112 00:11:20,914 --> 00:11:22,415 AH, DETAILS. 113 00:11:22,449 --> 00:11:25,753 IT'S WHAT MAKES AN IDEA WORK. 114 00:11:25,786 --> 00:11:29,823 REALIZE, I MUST HAVE LOOKED AT 100,000 FEET 115 00:11:29,857 --> 00:11:31,992 OF CAPTURED AMERICAN NEWSREEL FOOTAGE 116 00:11:32,025 --> 00:11:34,194 JUST TO SELECT THIS ONE SMALL PIECE. 117 00:11:34,227 --> 00:11:37,464 AMERICAN FILM STOCK, IDENTIFIABLE AS SUCH, 118 00:11:37,497 --> 00:11:39,800 SHOT WITH AN AMERICAN CAMERA 119 00:11:39,833 --> 00:11:42,502 BY A PHOTOGRAPHER WITH THE AMERICAN ARMY. 120 00:11:42,535 --> 00:11:44,972 THE PHOTOGRAPHER IS NOW DEAD. 121 00:11:45,005 --> 00:11:46,840 KILLED IN ACTION? 122 00:11:48,842 --> 00:11:52,345 MY PIECE OF FILM WAS ALSO SHOT ON AMERICAN STOCK 123 00:11:52,379 --> 00:11:54,314 WITH AN AMERICAN CAMERA, 124 00:11:54,347 --> 00:11:58,451 BUT IT WAS SHOT HERE ON A JUNGLE SET. 125 00:11:58,485 --> 00:12:00,854 SPLICE THE TWO TOGETHER, 126 00:12:00,888 --> 00:12:03,256 AND THE ONE-MINUTE FILM WILL SHOW THE WORLD 127 00:12:03,290 --> 00:12:06,259 WHAT GANGSTERS THE AMERICANS REALLY ARE. 128 00:12:06,293 --> 00:12:09,997 SHOT ON A SET? SPLICED TOGETHER? 129 00:12:10,030 --> 00:12:13,801 HOW CAN THIS POSSIBLY LOOK LIKE THE SAME PIECE OF FILM? 130 00:12:13,834 --> 00:12:19,840 THAT IS WHAT MAKES DETAIL... SO IMPORTANT. 131 00:12:37,124 --> 00:12:38,491 [ LATCHES CLICKING ] 132 00:13:03,851 --> 00:13:07,888 THIS IS THE CAPTURED NEWSREEL FOOTAGE. 133 00:13:10,924 --> 00:13:15,128 ALL DOCUMENTARY FILM FOOTAGE, RIGHT? 134 00:13:15,162 --> 00:13:16,563 YES. 135 00:13:22,302 --> 00:13:23,971 WRONG. 136 00:13:24,004 --> 00:13:26,006 YOU NOTICED THE BLACK FRAME 137 00:13:26,039 --> 00:13:28,475 WHERE THE FIFTH SOLDIER PASSED VERY CLOSE 138 00:13:28,508 --> 00:13:29,943 TO THE CAMERA? 139 00:13:29,977 --> 00:13:31,078 YES. 140 00:13:31,111 --> 00:13:33,180 THAT IS WHERE I MADE THE SPLICE. 141 00:13:33,213 --> 00:13:35,548 FROM THERE ON IS MY FILM. 142 00:13:35,582 --> 00:13:37,084 THAT'S HARD TO BELIEVE. 143 00:13:37,117 --> 00:13:38,451 WATCH. 144 00:13:38,485 --> 00:13:41,989 I WILL BACK UP AND SHOW IT TO YOU AGAIN. 145 00:13:42,022 --> 00:13:45,625 THIS IS THE SPOT WHERE HE BLOCKS OUT THE CAMERA. 146 00:13:45,658 --> 00:13:48,395 WATCH THE TERRAIN, THE FOLIAGE, 147 00:13:48,428 --> 00:13:52,499 THE SMALLEST EFFECTS, THE GRAININESS OF THE FILM -- 148 00:13:52,532 --> 00:13:54,534 DETAIL, DETAIL. 149 00:13:54,567 --> 00:13:56,503 WATCH, WATCH. 150 00:13:56,536 --> 00:13:58,405 YOU SEE? 151 00:13:58,438 --> 00:13:59,572 YOU SEE? 152 00:14:18,491 --> 00:14:21,962 WELL, MY FRIEND, WHAT DO YOU THINK? 153 00:14:23,630 --> 00:14:25,132 IT IS BRILLIANT. 154 00:14:25,165 --> 00:14:26,199 THANK YOU. 155 00:14:26,233 --> 00:14:28,068 TOTALLY INCRIMINATING. 156 00:14:28,101 --> 00:14:30,303 THEN I HAVE YOUR APPROVAL? 157 00:14:30,337 --> 00:14:33,406 HMM. 158 00:14:33,440 --> 00:14:36,376 I SHOULD LIKE TO SEE IT AGAIN BEFORE I GIVE MY APPROVAL. 159 00:14:36,409 --> 00:14:38,345 CERTAINLY. 160 00:14:51,724 --> 00:14:54,161 OH! 161 00:14:54,194 --> 00:14:55,562 OH, MY GLASSES! 162 00:14:55,595 --> 00:14:57,164 OH. 163 00:14:57,197 --> 00:15:00,400 WHAT ROTTEN LUCK. BUT YOU HAVE ANOTHER PAIR? 164 00:15:00,433 --> 00:15:02,402 NO, I HAVE A PRESCRIPTION. 165 00:15:02,435 --> 00:15:05,405 BUT IT WOULD TAKE A FULL DAY TO HAVE IT FILLED. 166 00:15:05,438 --> 00:15:08,976 OH, I WILL SEE THAT FILM AGAIN TOMORROW MORNING. 167 00:15:09,009 --> 00:15:12,245 TOMORROW? WELL, UH, PERHAPS IF YOU STOOD EXTRA CLOSE... 168 00:15:12,279 --> 00:15:15,348 NO, I CANNOT GIVE MY APPROVAL TO A FILM 169 00:15:15,382 --> 00:15:17,684 I HAVE ONLY SEEN ONCE CLEARLY. 170 00:15:17,717 --> 00:15:19,152 TERRIBLE, TERRIBLE. 171 00:15:19,186 --> 00:15:20,687 OF COURSE. I UNDERSTAND. 172 00:15:50,217 --> 00:15:53,987 [ INTERCOM BUZZES ] 173 00:15:54,021 --> 00:15:54,988 YES? 174 00:15:55,022 --> 00:15:56,556 Man: Sir, the gate called. 175 00:15:56,589 --> 00:15:59,326 An extra named Mikeli hasn't checked off the lot yet. 176 00:15:59,359 --> 00:16:01,028 YOU'RE SURE IT IS NOT AN INTERVIEW 177 00:16:01,061 --> 00:16:02,362 WITH A PRODUCER OR A DIRECTOR? 178 00:16:02,395 --> 00:16:04,597 ALL THE PRODUCERS AND DIRECTORS 179 00:16:04,631 --> 00:16:07,734 have left, sir. 180 00:17:26,779 --> 00:17:28,648 [ DOOR CLOSES ] 181 00:18:30,543 --> 00:18:32,212 [ TAPPING ] 182 00:18:35,482 --> 00:18:37,550 [ RHYTHMIC TAPPING ] 183 00:18:48,228 --> 00:18:51,698 [ RHYTHMIC TAPPING ] 184 00:19:35,975 --> 00:19:37,677 NO, NO. 185 00:19:37,710 --> 00:19:40,380 DON'T. 186 00:19:40,413 --> 00:19:44,251 WHO ARE YOU? WHAT ARE YOU DOING HERE? 187 00:19:44,284 --> 00:19:45,918 WHAT'S THIS? 188 00:19:45,952 --> 00:19:47,787 WHAT ARE YOU DOING HERE? 189 00:19:47,820 --> 00:19:50,290 ARE YOU MR. KLAAR? 190 00:19:50,323 --> 00:19:53,593 YOU ARE THE EXTRA WHO DID NOT CHECK OFF THE LOT. 191 00:19:53,626 --> 00:19:56,263 TINA MIKELI. 192 00:19:56,296 --> 00:19:57,930 HOW DID YOU GET PAST THE GUARD? 193 00:19:57,964 --> 00:20:00,567 WHAT IS THIS FILM YOU ARE STEALING? 194 00:20:00,600 --> 00:20:03,236 I AM NOT A THIEF, MR. KLAAR. THIS IS -- 195 00:20:03,270 --> 00:20:04,404 DON'T MOVE! 196 00:20:04,437 --> 00:20:07,540 THAT IS MY FILM, NOT YOUR FILM. 197 00:20:10,310 --> 00:20:11,978 IT'S FILM OF YOU. 198 00:20:12,011 --> 00:20:15,548 I WAS TRYING TO PUT IT ON YOUR DESK. 199 00:20:15,582 --> 00:20:18,318 YOU COULD NOT HAVE PUT IT IN THE MAIL? 200 00:20:18,351 --> 00:20:20,487 OF COURSE I COULD HAVE, AND YOUR SECRETARY 201 00:20:20,520 --> 00:20:22,522 WOULD HAVE RETURNED IT TO ME UNOPENED. 202 00:20:22,555 --> 00:20:24,524 OR WORSE, SHE WOULD HAVE LOOKED AT IT 203 00:20:24,557 --> 00:20:26,359 AND TOLD YOU IT WAS TERRIBLE. 204 00:20:26,393 --> 00:20:27,627 BUT IT IS NOT. 205 00:20:27,660 --> 00:20:29,829 IT IS A GOOD FILM, MR. KLAAR. I AM GOOD. 206 00:20:29,862 --> 00:20:33,566 A FINE PRODUCER SHOULD KNOW ABOUT ME. 207 00:20:35,435 --> 00:20:38,938 YOU, UH, HAVE NO LACK OF EGO, MISS MIKELI. 208 00:20:38,971 --> 00:20:40,707 PLEASE, MR. KLAAR, 209 00:20:40,740 --> 00:20:43,643 IF THIS FILM IS NOT AS GOOD AS I SAY IT IS, 210 00:20:43,676 --> 00:20:47,480 I SWEAR, I WILL NEVER TROUBLE YOU AGAIN. 211 00:20:50,850 --> 00:20:52,051 ALL RIGHT. 212 00:20:52,084 --> 00:20:54,521 COME. 213 00:21:09,536 --> 00:21:10,737 OFF-LIMITS GATE. 214 00:21:10,770 --> 00:21:12,772 THE MISSING EXTRA, MISS MIKELI -- 215 00:21:12,805 --> 00:21:14,507 SHE IS WITH ME. IT'S ALL RIGHT. 216 00:21:14,541 --> 00:21:16,609 Man: Yes, sir, Mr. Klaar. Thank you. 217 00:21:20,580 --> 00:21:22,048 IT IS NORA'S SPEECH 218 00:21:22,081 --> 00:21:24,817 FROM THE THIRD ACT OF "A DOLL'S HOUSE." 219 00:21:24,851 --> 00:21:26,453 IT IS THE PART WHERE SHE -- 220 00:21:26,486 --> 00:21:28,455 I, UH, KNOW THE SPEECH. 221 00:21:28,488 --> 00:21:30,390 YES, YES, OF COURSE. 222 00:21:45,438 --> 00:21:47,574 COME. 223 00:21:58,418 --> 00:22:04,991 TORVALD, YOU ARE NOT THE MAN THAT I MARRIED. 224 00:22:05,024 --> 00:22:07,594 WHEN YOUR FEAR LEFT YOU, 225 00:22:07,627 --> 00:22:11,964 YOU WERE NOT AFRAID FOR ME, BUT FOR YOURSELF. 226 00:22:11,998 --> 00:22:17,036 AFTER IT WAS OVER, AS FAR AS YOU WERE CONCERNED, 227 00:22:17,069 --> 00:22:21,140 IT WAS EXACTLY AS IF NOTHING AT ALL HAD HAPPENED. 228 00:22:21,173 --> 00:22:24,076 [ RHYTHMIC TAPPING ] 229 00:22:26,112 --> 00:22:30,683 EXACTLY AS BEFORE, I WAS AGAIN YOUR LITTLE DOLL. 230 00:22:34,721 --> 00:22:38,425 AND NOW YOU TREAT ME WITH DOUBLY GENTLE CARE 231 00:22:38,458 --> 00:22:41,360 BECAUSE I WAS SO DELICATE AND FRAGILE. 232 00:22:43,062 --> 00:22:45,732 [ METAL SQUEALS ] 233 00:22:52,472 --> 00:22:55,875 TORVALD... 234 00:22:55,908 --> 00:22:59,479 IT WAS THEN THAT IT DAWNED UPON ME 235 00:22:59,512 --> 00:23:02,749 THAT I HAVE BEEN LIVING HERE IN THIS HOUSE 236 00:23:02,782 --> 00:23:05,452 WITH A STRANGER FOR EIGHT YEARS. 237 00:23:32,612 --> 00:23:35,948 YOU ARE QUITE, UH, QUITE GOOD. 238 00:23:35,982 --> 00:23:38,951 WELL, THANK YOU SO VERY MUCH, MR. KLAAR. 239 00:23:38,985 --> 00:23:41,521 I WILL LOOK AT IT AGAIN IN A DAY OR TWO 240 00:23:41,554 --> 00:23:42,889 IN THE PROJECTION ROOM. 241 00:23:42,922 --> 00:23:44,824 THEN PERHAPS I CAN, UH, 242 00:23:44,857 --> 00:23:47,794 PERHAPS I CAN FIND SOMETHING FOR YOU. 243 00:23:47,827 --> 00:23:49,195 THANK YOU SO MUCH, MR. KLAAR. 244 00:23:49,228 --> 00:23:51,163 AND I DO SO MUCH WANT TO APOLOGIZE 245 00:23:51,197 --> 00:23:52,699 FOR THE WAY I CAME IN HERE. 246 00:23:52,732 --> 00:23:56,969 IT WAS RUDE, IT WAS WRONG, BUT I -- I'M SORRY. 247 00:23:57,003 --> 00:23:59,138 FORGET IT. 248 00:23:59,171 --> 00:24:02,141 COME, NOW. 249 00:24:02,174 --> 00:24:04,611 I WILL SHOW YOU OUT THE GATES, 250 00:24:04,644 --> 00:24:06,145 AND PERHAPS I CAN, UH, 251 00:24:06,178 --> 00:24:09,015 CALL YOU IN A FEW DAYS, MISS MIKELI -- 252 00:24:09,048 --> 00:24:11,150 SOCIALLY. 253 00:24:11,183 --> 00:24:13,720 YES, OF COURSE, MR. KLAAR. 254 00:24:23,730 --> 00:24:26,098 [ METAL SCRAPING ] 255 00:25:06,673 --> 00:25:08,575 [ SCRAPING CONTINUES ] 256 00:25:57,724 --> 00:25:59,091 [ HISSING ] 257 00:26:37,063 --> 00:26:41,100 [ WATER RUSHES ] 258 00:26:54,814 --> 00:26:55,948 Klaar: YOU WILL REMEMBER 259 00:26:55,982 --> 00:26:57,316 AT THE BEGINNING OF THE FILM -- 260 00:26:57,349 --> 00:27:00,653 PLEASE, COULD YOU SHOW IT TO ME FROM THE SPLICE -- 261 00:27:00,687 --> 00:27:02,922 THE BLACK FRAME YOU TOLD ME ABOUT? 262 00:27:02,955 --> 00:27:04,824 CERTAINLY. 263 00:27:15,702 --> 00:27:21,407 UNDERSTAND, TO THE EYE, BLACK IS BLACK. 264 00:27:47,366 --> 00:27:49,802 MARVELOUS. 265 00:27:49,836 --> 00:27:51,470 TRULY MARVELOUS. 266 00:27:51,503 --> 00:27:54,707 I WANT YOU TO KNOW THOSE ARE THE EXACT WORDS I WILL USE 267 00:27:54,741 --> 00:27:56,876 WHEN I GIVE MY REPORT TO THE MINISTRY. 268 00:27:56,909 --> 00:27:59,445 YOU ARE VERY KIND. THANK YOU. 269 00:28:07,119 --> 00:28:09,021 WHAT IS THAT? 270 00:28:09,055 --> 00:28:10,689 WHAT? 271 00:28:14,326 --> 00:28:17,063 COULD THIS BE HAPPENING? 272 00:28:17,096 --> 00:28:20,299 NO, NO. 273 00:28:20,332 --> 00:28:21,868 DID YOU DO SOMETHING? 274 00:28:21,901 --> 00:28:24,837 I DIDN'T TOUCH YOUR MACHINE UNTIL JUST NOW. 275 00:28:24,871 --> 00:28:25,838 I NOTICED IT. 276 00:28:25,872 --> 00:28:27,306 I'M SORRY, BUT THE FILM 277 00:28:27,339 --> 00:28:29,909 HAS BEEN SPLITTING AS IT COMES OUT. 278 00:28:29,942 --> 00:28:31,377 PERHAPS THERE IS A BUG. 279 00:28:31,410 --> 00:28:33,746 PERHAPS. 280 00:28:36,548 --> 00:28:38,417 YOU HAVE ANOTHER PRINT, YES? 281 00:28:38,450 --> 00:28:42,121 NO, ONLY ONE WAS MADE FOR SECURITY REASONS, 282 00:28:42,154 --> 00:28:45,391 BUT IT'S EASY TO MAKE ANOTHER PRINT. 283 00:28:45,424 --> 00:28:48,227 THE NEGATIVE IS NEXT DOOR IN THE VAULT. 284 00:28:48,260 --> 00:28:49,762 GOOD. GOOD. 285 00:28:52,064 --> 00:28:55,267 LOOK AT IT! LOOK AT IT! 286 00:28:55,301 --> 00:28:57,136 RUINED! 287 00:28:57,169 --> 00:28:59,271 EVERYTHING RUINED! 288 00:28:59,305 --> 00:29:01,507 PRECIOUS FILM! 289 00:29:01,540 --> 00:29:03,542 FIND OUT WHAT HAPPENED! 290 00:29:03,575 --> 00:29:06,112 FIND OUT AND LET ME KNOW IMMEDIATELY! 291 00:29:06,145 --> 00:29:07,780 YES, SIR. 292 00:29:30,136 --> 00:29:33,205 DON'T APOLOGIZE TO ME. DO SOMETHING. 293 00:29:33,239 --> 00:29:35,474 I WILL. OF COURSE. 294 00:29:35,507 --> 00:29:38,210 WHAT'S THE MATTER WITH ME? 295 00:29:38,244 --> 00:29:40,579 I STILL HAVE THE NEWSREEL FOOTAGE. 296 00:29:40,612 --> 00:29:43,582 I STILL HAVE THE SET. I STILL HAVE A DAY. 297 00:29:43,615 --> 00:29:47,153 THE ATROCITY PART -- I WILL SHOOT IT AGAIN. 298 00:29:59,498 --> 00:30:02,501 [ HAMMER POUNDING ] 299 00:30:09,976 --> 00:30:11,277 GOOD MORNING, ERIC. 300 00:30:11,310 --> 00:30:12,311 GOOD MORNING, SIR. 301 00:30:12,344 --> 00:30:13,345 THIS IS CAPTAIN PETYOV. 302 00:30:13,379 --> 00:30:14,613 HOW DO YOU DO, CAPTAIN? 303 00:30:14,646 --> 00:30:16,482 ERIC IS MY ASSISTANT. EVERYTHING READY? 304 00:30:16,515 --> 00:30:18,484 YES, MR. KLAAR. WE'RE ALMOST READY. 305 00:30:18,517 --> 00:30:20,352 GOOD. I WANT TO CHECK THE FOLIAGE. 306 00:30:20,386 --> 00:30:21,387 RIGHT, SIR. 307 00:30:28,527 --> 00:30:30,062 [ ENGINE SHUTS OFF ] 308 00:30:50,983 --> 00:30:53,953 HIT THE BACKING. 309 00:30:53,986 --> 00:30:56,989 [ BUZZER SOUNDS ] 310 00:30:57,023 --> 00:30:59,225 OKAY, LET'S TEST IT. 311 00:30:59,258 --> 00:31:01,961 [ GUNSHOTS ] 312 00:31:01,994 --> 00:31:05,464 WELL, WHAT DO YOU THINK, CAPTAIN? 313 00:31:05,497 --> 00:31:08,901 YOU MEAN, THIS WILL LOOK LIKE WHAT I SAW IN THE FILM, HMM? 314 00:31:08,935 --> 00:31:11,170 Klaar: IT IS WHAT YOU SAW. 315 00:31:14,340 --> 00:31:15,674 STANDING HERE, 316 00:31:15,707 --> 00:31:18,310 YOU CAN SEE THE EQUIPMENT, THE STAGE WALLS. 317 00:31:18,344 --> 00:31:19,946 THE VIEWER WILL NOT. 318 00:31:19,979 --> 00:31:22,048 IT JUST NEEDS TO BE DRESSED. 319 00:31:22,081 --> 00:31:24,250 I UNDERSTAND. 320 00:31:30,522 --> 00:31:32,124 YOU. 321 00:31:35,194 --> 00:31:36,996 YOU, THERE, WITH THE CART. 322 00:31:47,406 --> 00:31:50,442 WHAT IN THE NAME OF HEAVEN IS THIS? 323 00:32:05,324 --> 00:32:09,561 THESE ARE THE DEAD BODIES YOU ASKED FOR, SIR. 324 00:32:09,595 --> 00:32:11,697 I ASK FOR DEAD BODIES. 325 00:32:11,730 --> 00:32:15,034 SOMEONE DECIDES TO SAVE ME MONEY. 326 00:32:15,067 --> 00:32:17,336 DUMMIES COST NOTHING. 327 00:32:19,505 --> 00:32:22,608 EXTRAS COST ONLY PRACTICALLY NOTHING. 328 00:32:22,641 --> 00:32:26,245 OF COURSE, THE PICTURE IS RUINED, BUT WHAT OF THAT? 329 00:32:26,278 --> 00:32:28,947 GET THESE THINGS OUT OF HERE. 330 00:32:31,183 --> 00:32:33,619 ALL RIGHT. 331 00:32:33,652 --> 00:32:36,188 AS SOON AS EVERYONE IS READY, I WANT A FULL REHEARSAL. 332 00:32:36,222 --> 00:32:37,289 Man: YES, SIR. 333 00:32:37,323 --> 00:32:40,026 Eric: ALL RIGHT, MEN, INTO PLACES. 334 00:32:40,059 --> 00:32:41,693 YOU EXPLAIN TO THEM TO DO EXACTLY THE SAME THING 335 00:32:41,727 --> 00:32:42,728 AS THEY DID THE LAST TIME. 336 00:32:42,761 --> 00:32:43,562 YES, SIR. 337 00:32:46,165 --> 00:32:50,036 ALL RIGHT, MEN, AS YOU WERE BEFORE. 338 00:32:56,608 --> 00:32:58,610 PUT A DOUBLE ON THAT! 339 00:32:58,644 --> 00:33:00,012 [ INDISTINCT CONVERSATIONS ] 340 00:33:15,694 --> 00:33:18,697 AND GIVE ME A SINGLE UP HERE. 341 00:33:26,605 --> 00:33:29,275 YOU, FRESHEN UP THIS FOLIAGE. 342 00:33:30,709 --> 00:33:32,744 HUGO, THIS WILL BE 343 00:33:32,778 --> 00:33:36,048 EXACTLY THE SAME THING AS WE SHOT THE LAST TIME. 344 00:33:48,094 --> 00:33:49,428 CAPTAIN. 345 00:33:49,461 --> 00:33:52,131 Man: FIRE ON THE SET! 346 00:33:53,665 --> 00:33:56,535 Man: THE BUCKET. 347 00:33:56,568 --> 00:33:57,803 I'M TERRIBLY SORRY. 348 00:33:57,836 --> 00:33:59,838 THAT WAS EXTREMELY CARELESS, CAPTAIN. 349 00:33:59,871 --> 00:34:01,473 PLEASE FORGIVE ME -- I WAS SO FASCINATED, 350 00:34:01,507 --> 00:34:03,442 I MUST HAVE DROPPED A MATCH WITHOUT LOOKING. 351 00:34:03,475 --> 00:34:05,477 FORGIVE ME. 352 00:34:11,683 --> 00:34:14,153 Klaar: MY AMERICANS, PLEASE. 353 00:34:14,186 --> 00:34:15,187 ALL RIGHT, MEN. 354 00:34:15,221 --> 00:34:17,756 OVER HERE. 355 00:34:29,335 --> 00:34:31,470 NOW, EVERYONE WATCH THIS VERY CLOSELY. 356 00:34:31,503 --> 00:34:33,639 THIS IS TO REFRESH YOUR MEMORIES 357 00:34:33,672 --> 00:34:35,607 OF WHAT WE DID LAST TIME. 358 00:35:21,720 --> 00:35:25,691 NOW, THIS IS THE POINT WHERE YOU BLOCK OUT THE LENS 359 00:35:25,724 --> 00:35:27,859 AND OUR FILM BEGINS, REMEMBER? 360 00:35:27,893 --> 00:35:29,595 VERY WELL, ONE REHEARSAL, 361 00:35:29,628 --> 00:35:30,929 THEN I WOULD LIKE TO TRY A TAKE. 362 00:35:30,962 --> 00:35:32,598 Man: YES, SIR. 363 00:35:32,631 --> 00:35:35,167 NOW, REMEMBER, YOU MUST HIT YOUR MARKS EXACTLY. 364 00:35:35,201 --> 00:35:36,668 YOU BLOCK OUT THE LENS, 365 00:35:36,702 --> 00:35:39,438 THEN CONTINUE ON WITHOUT TURNING YOUR BACK. 366 00:35:39,471 --> 00:35:42,408 I DO NOT WANT TO SEE YOUR FACE IN CLOSE-UP YET. 367 00:35:42,441 --> 00:35:45,911 Eric: ALL RIGHT, MEN, INTO PLACES. 368 00:35:55,587 --> 00:35:57,456 BRING IN THE WOUNDED. 369 00:36:11,870 --> 00:36:16,275 Man: SPECIAL EFFECTS GUN, PLEASE. 370 00:36:17,876 --> 00:36:19,511 READY, HUGO? 371 00:36:19,545 --> 00:36:21,780 QUIET. 372 00:36:21,813 --> 00:36:23,682 ACTION! 373 00:36:31,323 --> 00:36:35,627 [ IMITATING MACHINE GUNFIRE ] 374 00:36:37,296 --> 00:36:38,930 CUT, CUT, CUT! 375 00:36:38,964 --> 00:36:41,800 WHEN YOU COME IN, YOU MUST HAVE YOUR HEADS LOWER -- 376 00:36:41,833 --> 00:36:43,902 MORE OF A CROUCH. 377 00:36:45,937 --> 00:36:49,641 MORE, MORE, MORE PLEADING. MORE FEAR. THANK YOU. 378 00:36:49,675 --> 00:36:51,477 SPECIAL EFFECTS READY? 379 00:36:51,510 --> 00:36:52,511 Man: YES, SIR. 380 00:36:52,544 --> 00:36:55,547 THEN THIS WILL BE PICTURE. 381 00:36:55,581 --> 00:36:58,216 PLACES, EVERYONE. 382 00:37:00,819 --> 00:37:02,488 QUIET. [ BELL RINGS ] 383 00:37:02,521 --> 00:37:03,522 ROLL IT. 384 00:37:06,692 --> 00:37:08,260 Klaar: YOU HAVE SPEED, HUGO? 385 00:37:08,294 --> 00:37:09,361 SPEED. 386 00:37:09,395 --> 00:37:11,930 THEN ACTION! 387 00:37:11,963 --> 00:37:13,732 Man: NO, NO, NO, NO. 388 00:37:13,765 --> 00:37:15,534 Man #2: NO, NO, NO, NO. 389 00:37:15,567 --> 00:37:18,537 NO, NO, NO, NO. NO, NO, NO. 390 00:37:18,570 --> 00:37:20,706 AAH! 391 00:37:40,091 --> 00:37:41,360 CUT. 392 00:37:41,393 --> 00:37:43,529 [ BELL RINGS ] 393 00:37:43,562 --> 00:37:45,297 PRINT IT AND GET ME A MESSENGER. 394 00:37:45,331 --> 00:37:46,365 YES, SIR. 395 00:37:48,400 --> 00:37:50,436 EXCELLENT. 396 00:37:50,469 --> 00:37:51,970 EXCELLENT. 397 00:37:52,003 --> 00:37:54,940 THANK YOU, DOCTOR. 398 00:37:54,973 --> 00:37:57,576 THANK YOU. YOU DIED BEAUTIFUL. THANK YOU. 399 00:37:57,609 --> 00:38:00,045 THANK YOU. IT WAS EXCELLENT. EXCELLENT. 400 00:38:00,078 --> 00:38:01,713 THE BEST ONE YET. 401 00:38:08,720 --> 00:38:10,689 BEAUTIFUL, NO? 402 00:38:10,722 --> 00:38:12,724 [ CHUCKLES ] 403 00:38:40,085 --> 00:38:41,987 NOW, LISTEN CAREFULLY. 404 00:38:42,020 --> 00:38:44,823 TAKE THIS FILM AND RUSH -- I REPEAT -- 405 00:38:44,856 --> 00:38:47,959 RUSH IT TO THE LAB AND WAIT THERE. 406 00:38:47,993 --> 00:38:49,828 WAIT UNTIL IT IS DEVELOPED, 407 00:38:49,861 --> 00:38:52,564 THEN BRING IT TO ME IN MY OFFICE -- 408 00:38:52,598 --> 00:38:54,700 TO ME AND NO ONE ELSE. 409 00:38:59,605 --> 00:39:02,608 [ HAMMER POUNDING ] 410 00:39:33,138 --> 00:39:36,141 YES, WE CAN CONGRATULATE OURSELVES, PETYOV. 411 00:39:36,174 --> 00:39:40,446 HAVING TO RESHOOT THE FILM WAS A STROKE OF LUCK. 412 00:39:40,479 --> 00:39:44,049 IT WILL BE EVEN BETTER THAN THE FIRST TIME. 413 00:39:44,082 --> 00:39:47,953 THIS EVENING, IF I MAY SAY SO, 414 00:39:47,986 --> 00:39:51,690 WILL BE A RICHLY DESERVED TRIUMPH. 415 00:39:51,723 --> 00:39:53,825 YES, EVEN MORE THAN THAT. 416 00:39:53,859 --> 00:39:55,561 TO THIS EVENING. 417 00:39:55,594 --> 00:39:58,664 THIS EVENING, MY FRIEND. 418 00:40:11,009 --> 00:40:13,712 [ MUFFLED THUMP ] 419 00:40:24,155 --> 00:40:26,124 I KNOW. 420 00:40:26,157 --> 00:40:30,128 I KNOW JUST AS SURE AS I AM SITTING HERE, 421 00:40:30,161 --> 00:40:32,931 SOMEONE IS OUT TO GET ME. 422 00:40:34,600 --> 00:40:36,835 THERE IS A PLOT. 423 00:40:39,037 --> 00:40:41,172 WHAT ARE YOU TALKING ABOUT? 424 00:40:41,206 --> 00:40:45,677 YOU DO NOT UNDERSTAND THE MOTION-PICTURE BUSINESS. 425 00:40:45,711 --> 00:40:47,646 SUCH JEALOUSY. 426 00:40:47,679 --> 00:40:50,716 YOU REALLY THINK SO, HMM? 427 00:40:52,150 --> 00:40:53,952 [ KNOCK ON DOOR ] 428 00:40:55,987 --> 00:40:59,658 THAT WILL BE THE MESSENGER WITH THE FILM. 429 00:40:59,691 --> 00:41:02,227 [ KNOCKING CONTINUES ] 430 00:41:22,047 --> 00:41:24,683 SIR, THIS MAN WAS FOUND IN THE BASEMENT. 431 00:41:24,716 --> 00:41:26,151 HE HAS NO PASS. 432 00:41:26,184 --> 00:41:29,120 WELL, NOW. 433 00:41:29,154 --> 00:41:32,558 Klaar: NOW YOU SEE, PETYOV? YOU SEE? 434 00:41:32,591 --> 00:41:33,959 WHO ARE YOU? 435 00:41:33,992 --> 00:41:36,094 MORE IMPORTANT, WHAT STUDIO ARE YOU WORKING FOR? 436 00:41:36,127 --> 00:41:40,732 WHO SENT YOU? BERNARDIAN AT MAGDA? 437 00:41:42,033 --> 00:41:44,670 CHAPNISS? VACHECK? 438 00:41:46,204 --> 00:41:48,273 WHAT WERE YOU DOING DOWN THERE? 439 00:41:48,306 --> 00:41:49,274 WELL, SPEAK. 440 00:41:49,307 --> 00:41:51,276 MIKLOS, 441 00:41:51,309 --> 00:41:53,612 YOU'RE BEING FOOLISH. 442 00:41:53,645 --> 00:41:56,314 THERE MAY BE MORE TO THIS THAN YOU THINK, 443 00:41:56,347 --> 00:41:58,550 PERHAPS EVEN ESPIONAGE. 444 00:42:04,022 --> 00:42:06,992 YES, LET ME TAKE THIS FELLOW DOWN 445 00:42:07,025 --> 00:42:10,095 TO N.V.D. HEADQUARTERS AND SWEAT HIM A BIT. 446 00:42:10,128 --> 00:42:12,063 WE'LL GET TO THE TRUTH. COME. 447 00:42:12,097 --> 00:42:14,199 SIR. I HAVE THE FILM, SIR. 448 00:42:14,232 --> 00:42:15,667 GOOD, THANK YOU. 449 00:42:15,701 --> 00:42:17,669 SOLDIER, TAKE THIS MAN ALONG -- 450 00:42:17,703 --> 00:42:19,671 NO, NO, NO, PETYOV. 451 00:42:19,705 --> 00:42:22,574 THEY CAN TAKE HIM TO N.V.D. THEMSELVES. 452 00:42:22,608 --> 00:42:24,776 I AM TAKING NO CHANCES. 453 00:42:24,810 --> 00:42:27,112 I AM PUTTING THIS FILM IN MY POCKET, 454 00:42:27,145 --> 00:42:29,214 AND YOU AND I ARE PERSONALLY 455 00:42:29,247 --> 00:42:31,683 GOING TO ESCORT IT TO THE SWISS LEGATION. 456 00:42:31,717 --> 00:42:32,984 BUT I THINK I SHOULD -- 457 00:42:33,018 --> 00:42:34,920 NO, CAPTAIN, I MUST ABSOLUTELY INSIST. 458 00:42:34,953 --> 00:42:37,355 YOU TWO, TAKE HIM OUT. 459 00:42:37,388 --> 00:42:39,825 YOU OTHER TWO, COME WITH US. 460 00:42:39,858 --> 00:42:42,828 BECAUSE NOT ONLY DO I WANT TO SEE THESE FILMS 461 00:42:42,861 --> 00:42:44,663 SAFELY IN THE LEGATION, 462 00:42:44,696 --> 00:42:47,833 I AM PERSONALLY GOING TO HAND IT TO THE PROJECTIONIST, 463 00:42:47,866 --> 00:42:50,001 AND YOU AND I ARE GOING TO WATCH IT 464 00:42:50,035 --> 00:42:52,003 BEING THREADED INTO THE MACHINE. 465 00:42:52,037 --> 00:42:55,173 I SWEAR, NOTHING IS GOING TO HAPPEN TO THIS FILM. 466 00:42:55,206 --> 00:42:56,675 NOTHING. 467 00:43:39,685 --> 00:43:42,788 FINE. 468 00:43:42,821 --> 00:43:45,023 NOW DO NOT TOUCH ANYTHING. 469 00:43:45,056 --> 00:43:49,294 DO NOT DO ANYTHING EXCEPT HIT THE SWITCH WHEN I TELL YOU. 470 00:43:49,327 --> 00:43:52,030 NO ONE COMES IN. NO ONE. 471 00:43:52,063 --> 00:43:53,899 YOU, OUTSIDE THE DOOR. 472 00:43:53,932 --> 00:43:55,901 YOU, INSIDE. 473 00:43:55,934 --> 00:43:57,903 COME, CAPTAIN, 474 00:43:57,936 --> 00:44:01,707 OUR CURTAIN IS GOING UP. 475 00:44:26,832 --> 00:44:29,801 WELCOME, GENTLEMEN. WELCOME. WELCOME. 476 00:44:29,835 --> 00:44:31,336 GOOD TO SEE YOU. 477 00:44:31,369 --> 00:44:35,073 ALLOW ME TO INTRODUCE MYSELF. I AM MIKLOS KLAAR. 478 00:44:35,106 --> 00:44:37,342 THIS IS MY FRIEND CAPTAIN PETYOV. 479 00:44:37,375 --> 00:44:38,810 HOW DO YOU DO? 480 00:44:38,844 --> 00:44:40,078 NICE TO SEE YOU. 481 00:44:40,111 --> 00:44:41,146 SOKOLOFF, COORDINATED NEWS. 482 00:44:41,179 --> 00:44:42,781 OH, YES, HOW GOOD TO SEE YOU. 483 00:44:42,814 --> 00:44:44,816 GEORGE BENGST, INTERNATIONAL WIRE SERVICE. 484 00:44:44,850 --> 00:44:46,251 A PLEASURE, MR. BENGST. 485 00:44:46,284 --> 00:44:48,219 MAY I INTRODUCE KLAUS HANSEN, WORLD PRESS? 486 00:44:48,253 --> 00:44:50,822 MR. HANSEN, I AM GLAD TO SEE YOU. 487 00:44:50,856 --> 00:44:53,091 I AM DELIGHTED TO SEE YOU ALL 488 00:44:53,124 --> 00:44:56,094 FOR YOU ARE GOING TO SEE FOR YOURSELVES, GENTLEMEN, 489 00:44:56,127 --> 00:44:57,495 HOW THE AMERICANS, 490 00:44:57,528 --> 00:45:00,365 WHO PROFESS TO ADHERE TO THE GENEVA CONVENTION, 491 00:45:00,398 --> 00:45:03,268 HAVE BEEN VIOLATING IT, AS WE, WHO KNOW BETTER, 492 00:45:03,301 --> 00:45:05,470 HAVE CLAIMED ALL ALONG. 493 00:45:05,503 --> 00:45:07,873 THE FILM YOU ARE ABOUT TO SEE 494 00:45:07,906 --> 00:45:10,375 WAS SHOT BY AN AMERICAN CAMERAMAN, 495 00:45:10,408 --> 00:45:12,477 EXACTLY AS YOU WILL SEE IT, 496 00:45:12,510 --> 00:45:15,814 WHILE HE WAS ON A NEWS-GATHERING ASSIGNMENT 497 00:45:15,847 --> 00:45:19,217 WITH AN AMERICAN COMBAT PATROL IN THE WAR ZONE 498 00:45:19,250 --> 00:45:21,887 NEAR THE VILLAGE OF QUON DOC. 499 00:45:21,920 --> 00:45:25,123 ONCE YOU HAVE SEEN THE FILM, I WILL BE VERY HAPPY TO ANSWER 500 00:45:25,156 --> 00:45:27,358 ANY AND ALL QUESTIONS. SHALL WE? 501 00:45:37,568 --> 00:45:40,005 WHENEVER YOU ARE READY. 502 00:45:44,075 --> 00:45:47,045 [ FAINT ARTILLERY FIRE ] 503 00:45:58,957 --> 00:46:02,027 [ ARTILLERY FIRE CONTINUES ] 504 00:46:23,248 --> 00:46:25,183 Man: NO, NO, NO, NO. 505 00:46:25,216 --> 00:46:27,252 Man #2: NO, NO, NO, NO. 506 00:46:27,285 --> 00:46:31,289 NO, NO, NO, NO. NO, NO, NO. 507 00:46:31,322 --> 00:46:34,492 AAH! 508 00:46:34,525 --> 00:46:37,195 [ GUNFIRE ] 509 00:46:37,228 --> 00:46:39,230 [ AUDIENCE MURMURING ] 510 00:46:45,470 --> 00:46:48,239 I DON'T UNDERSTAND IT. 511 00:46:54,946 --> 00:46:57,949 [ FAINT THUMPING ] 512 00:47:20,405 --> 00:47:22,007 THAT IS THE MOST CALLOUS 513 00:47:22,040 --> 00:47:23,641 AND BRUTAL THING I'VE EVER SEEN. 514 00:47:23,674 --> 00:47:25,376 Man: IT'S HORRIBLE. 515 00:47:25,410 --> 00:47:28,179 Man #2: I CAN'T BELIEVE IT, 516 00:47:28,213 --> 00:47:30,348 BUT IT'S THERE. 517 00:47:37,022 --> 00:47:39,257 [ ARTILLERY EXPLODES ] 518 00:47:39,290 --> 00:47:42,093 Man: THAT'S -- THAT'S TERRIBLE. 519 00:47:44,095 --> 00:47:46,965 THERE IS ONE THING I WANT TO ASK, 520 00:47:46,998 --> 00:47:48,499 AND THAT IS WHY THE AMERICANS... 521 00:47:48,533 --> 00:47:51,903 [ INDISTINCT CONVERSATIONS ] 522 00:47:58,143 --> 00:47:59,277 Man: WHAT'S THAT? 523 00:47:59,310 --> 00:48:01,112 WHAT? OH. 524 00:48:01,146 --> 00:48:03,248 Klaar: CUE MY AMERICANS. 525 00:48:03,281 --> 00:48:06,084 [ IMITATING MACHINE GUNFIRE ] 526 00:48:06,117 --> 00:48:08,519 PROJECTIONIST. PROJECTIONIST. 527 00:48:08,553 --> 00:48:11,089 CUT, CUT, CUT! 528 00:48:11,122 --> 00:48:13,624 WHEN YOU COME IN, YOU MUST HAVE YOUR HEADS LOWER -- 529 00:48:13,658 --> 00:48:15,326 MORE OF A CROUCH, 530 00:48:15,360 --> 00:48:17,528 AND MORE, MORE, MORE PLEADING. 531 00:48:17,562 --> 00:48:20,131 Man: WELL, THIS WAS JUST A HOAX. 532 00:48:20,165 --> 00:48:22,633 AND THIS WILL BE PICTURE. PLACES, EVERYONE. 533 00:48:22,667 --> 00:48:26,938 Man: GENTLEMEN, YOU ARE SEEING A HOMEMADE MOVIE. 534 00:48:26,972 --> 00:48:29,040 [ AUDIENCE MURMURING ] 535 00:48:29,074 --> 00:48:31,176 Man: MR. KLAAR! 536 00:48:34,612 --> 00:48:37,148 Man: YOU MUST THINK WE'RE FOOLS. 537 00:48:37,182 --> 00:48:41,152 Man #2: MR. KLAAR, I THOUGHT WE COULD ASK QUESTIONS. 538 00:48:41,186 --> 00:48:43,154 WHERE AND WHEN WAS THIS SHOT? 539 00:48:43,188 --> 00:48:46,591 [ LAUGHTER ] 540 00:49:09,714 --> 00:49:13,251 [ LAUGHTER CONTINUES ] 541 00:49:26,031 --> 00:49:31,969 [ "MISSION: IMPOSSIBLE" THEME PLAYS ]