CAPTIONING MADE POSSIBLE BY VIDMARK ENTERTAINMENT
[HORN HONKS]
OHH.
[BREATHING DEEPLY]
OHH.
DON'T MOVE.
[SIGHS]
[WHINNY]
JOHN?
MAY I REST NOW?
[KNOCK ON DOOR]
UH, IT'S OPEN.
I'M SORRY.
[DOOR SLIDING]
[SIREN]
[SIREN STOPS]
[WHINNY]
[TOILET FLUSHING]
[DOOR CLOSES]
I, UH, ORDERED YOU SOME BREAKFAST.
I HAVE TO GO.
WILL THAT BE CASH OR CHARGE?
SHOULD I LEAVE YOU MY NUMBER?
BY THE WAY,
WHO'S ELIZABETH?
[SIREN]
LAST NIGHT, YOU CALLED ME ELIZABETH.
John: WOULD YOU PLEASE COME BACK
WHEN I COUNT TO 50?
1...
2...
3...
4...
5...
6...
7...
Stewardess: MONSIEUR GRAY? SIR?
MONSIEUR GRAY?
WE'RE GOING TO BE LANDING SOON IN PARIS.
MR. GRAY.
A PLEASURE TO HAVE YOU BACK AT THE RAPHAEL HOTEL WITH US.
THANK YOU, PIERRE. YOU LOOK TERRIFIC.
THANK YOU, SIR.
OH, MR. GRAY.
HEY, BONJOUR, CHARLES.
YOUR SUITE.
UHH.
AND NO CALL FOR YOU?
NO ONE KNOWS I'M HERE.
ALL RIGHT, SIR.
OH.
JE SUIS CONFUSE.
EXCUSEZ MOI. MERCI BEAUCOUP, MONSIEUR.
HE'S HERE.
[DOOR CLOSES]
John: NO ONE KNOWS I'M HERE, HUH?
ELIZABETH.
Auctioneer: AND NOW UNDER LOT 12,
WE ARE PRESENTING L'ATTENTE,
ONE OF THE FINEST PIECES
IN THE COLLECTION OF ELIZABETH McGRAW.
AND FOR THIS LOT,
WE HAVE A BID OF 600,000 TO START WITH.
AT 600,000, 600,000?
AT 600,000. 650,000?
IN THE LEFT OF THE ROOM AT 650--
700,000. AT 700,000.
STILL AT THE BACK OF THE ROOM.
700,000. DO I HAVE 8--
YES, 800,000.
ANY ADVANCE ON 800,000?
ONCE. TWICE.
SOLD!
THE GENTLEMAN STANDING IN THE BACK OF THE ROOM.
LOT NUMBER 13:
PERSONNAGE AUX MAINS LEVéES BY RECONDO,
ALSO FROM THE McGRAW COLLECTION.
I'LL START THE BIDDING AT 400,000 FRANCS.
AT 400,000 FRANCS? AT 400,000.
I HAVE 450,000. AT 450,000.
500,000? AT 500,000.
I HAVE 550,000. DO I HAVE 6? DO I HAVE 600?
DO I HAVE 600? AT 600,000.
650. 700,000.
AT 750,000. SOLD!
PERSONNAGE EN YORK ALSO BY RECONDO.
I WILL START THE BIDDING AT 600,000.
DO I HAVE 7? 8? 800.
9. 1 MILLION FRANCS.
1 MILLION FRANCS.
ONCE. TWICE.
SOLD! 1 MILLION FRANCS.
NOW LOT 15: FEMALE AU BLANC, ALSO BY RECONDO.
I'LL HAVE 600,000.
DO I HAVE 7? I HAVE 7.
8? 801,000.
9?700,000.
SOLD!50,000.
1 MILLION, 1 HUNDRED.
750,000. 800,000.
IT STILL BUYS FOR 600,000.
GONE.SOLD!
THIS WAS THE FIFTH AND LAST RECONDO PASTEL
FROM THE McGRAW COLLECTION
SOLD TO THE GENTLEMAN STANDING IN THE BACK.
CONGRATULATIONS, SIR. YOU HAVE THEM ALL.
EXCUSE ME.
I DON'T MEAN, UH...
TO BE RUDE. UH...
BUT IT'S JUST, UH, THE SCARF THAT YOU'RE WEARING, IT'S--
MM-HMM.
IT'S EXACTLY LIKE, UH...
A GIFT I GAVE A FRIEND A LONG TIME AGO IN NEW YORK.
ELIZABETH McGRAW?
YOU'RE RIGHT. IT'S HER SCARF.
WHAT'S YOUR NAME?
JOHN. JOHN GRAY.
GRAY.
YES.
ELIZABETH ACTUALLY GAVE THIS TO ME
RIGHT AFTER WE FIRST MET.
SHE KNEW I LIKED IT, SO SHE GAVE IT TO ME.
YOU KNOW ELIZABETH-- SO IMPULSIVE.
JOHN GRAY.
I PICTURED YOU VERY DIFFERENT, JOHN GRAY.
HEY, CALL ME JOHN. IT'S EASIER.
LEA. CALLOT.
LEA CALLOT.
MY ASSISTANT CLAIRE.
BONJOUR.
OK.
GOOD. BONJOUR.
WHAT ARE YOU DOING IN PARIS?
I WAS JUST CURIOUS AFTER ALL THESE YEARS TO SEE WHY...
ELIZABETH WAS SELLING HER COLLECTION.
I'D SAY THAT'S A LITTLE MORE THAN CURIOUS
TO COME ALL THE WAY TO PARIS.
I WAS REALLY HOPING SHE'D BE HERE.
WHY?
I WANTED TO SPEAK WITH HER.
SHE DIDN'T TELL ME YOU COLLECTED.
YOU BUY MUCH ART?
I REALLY NEED TO TALK TO HER.
DO YOU THINK YOU CAN HELP ME?
ELIZABETH HAS SUCH A GREAT EYE.
CALL ME IN THE MORNING.
WE'LL GET TOGETHER.
YOU KNOW, I WAS THINKING, PEOPLE...
USUALLY DON'T SELL WHAT THEY VALUE MOST.
YOU SHOULD KNOW.
HMM.
YOU'RE A VERY LUCKY MAN, JOHN GRAY.
THEY'RE FABULOUS PAINTINGS.
[INHALES]
[EXHALES]
Receptionist: ALLO. OUI? BONJOUR.
UH, HELLO.
COULD I PLEASE SPEAK TO, UH, LEA CALLOT?
UN INSTANTE, S'IL VOUS PLAIT.
HELLO?
[BEEP]
[SIGHS]
Receptionist: OUI? BONJOUR.
YEAH, LEA CALLOT, PLEASE.
YOUR NAME, MONSIEUR?JOHN GRAY.
OK, COULD YOU TELL HER THAT, UM...
I'M STAYING AT THE RAPHAEL.
THAT'S GRAY. JOHN GRAY.
OF COURSE, MONSIEUR.
[SIGHS]
[LAUGHS]
I'M LATE. I MUST GO. I MUST GO.
OH.
YOU ARE LOOKING FOR LEA. HMM?
THIS IS CHARLIE. THIS IS JOHN.
YEAH.
YOU COME WITH ME.
I WAS HAVING A QUICK LUNCH.
YOU KNOW, I LIVE HERE, AND I WORK HERE.
THAT'S COOL.
I'M REALLY SORRY.
I DIDN'T, UH, MEAN TO INTERRUPT YOU AND CHARLIE.
C'EST PAS GRAVE.
BONJOUR, CLAIRE.
BONJOUR, NATALIE. CA VA?
♪ IT'S COME ALIVE
IL VA BIEN CE COULEUR SUR TOI.
OUI. COMME TOUJOURS TU M'AS CHOISI LA PLUS BELLE.
LE MEILLEUR POU TOI, MON AMOUR.
VAS-Y.
[ARGUING IN FRENCH]
[MUSIC PLAYING, SINGING IN FRENCH]
[CELL PHONE RINGS]
EXCUSE ME, SIR.
WE'RE GOING IN.
OK.
[SPEAKING FRENCH]
MERCI. CIAO.
OK, STOP THE MUSIC A SECOND.
STOP THE MUSIC.
WHO'S NEXT?
UH, NATASHA, BUT SHE'S LATE.
I NEVER LIKED HER.
HER WALK, HER STRIDE. SHE'S FAR TOO VULGAR.
SHE LOOKS LIKE A HORSE.
A CARTHORSE, NOT A RACEHORSE, DARLING.
SHE'S JUST WHAT WE NEED FOR THE SHOW.
OK, GRETHA, LET'S GO.
HOW ARE YOU? TRES BIEN?
[CELL PHONE RINGS]
[RING]
AH, FRANCOISE.
YOU'RE LOOKING WONDERFUL, DARLING.
HOW CAN I TELL? WELL, I'M TELEPATHIC.
EXCELLENT. MAKE SURE YOU DON'T PULL IT OUT, THOUGH.
EXCELLENT. OK.
BON. CINQ MINUTES?
OK, CINQ MINUTES, TOUT LE MONDE.
[HANDS CLAPS]
[MUSIC STOPS PLAYING]
LEA, LES MANCHES NE VONT PAS. REGARDE.
ALLORS, FAIS COMME CA.
MERCI, MARCEL.
WHY DON'T WE GO INTO MY OFFICE?
JOHN GRAY.
[LAUGHS] WHAT TOOK YOU SO LONG?
SERIOUSLY, YOU SHOULD HAVE CALLED FIRST.
NOW MY DAY IS TOTALLY JAMMED UP
PREPARING FOR THE SHOW.
I'M ABSOLUTELY CRAZED.
SO WHEN ARE YOU GOING BACK TO THE STATES?
I'M NOT GOING BACK.
NOT UNTIL I TALK TO YOU.
SO AM I TO UNDERSTAND
THE DETERMINATION OF ALL YOUR FUTURE MOVEMENTS IS IN MY HANDS?
THAT'S QUITE A RESPONSIBILITY.
ONE...I'M NOT SURE I'M UP TO.
FRANCOISE IS BEGGING FOR A PEEK AT THE COLLECTION.
SHE'S FROTHING AT THE MOUTH.
IN FACT, SHE'S OOZING FROM EVERY ORIFICE.
SHE SWEARS SHE WON'T UTTER A DICKY BIRD.
I TOLD YOU, VITTORIO,
NO OUTSIDERS, NO VISITORS, NO EXCEPTIONS.
NO VISITORS?
THIS IS A FRIEND OF ELIZABETH'S.
JOHN GRAY, MEET VITTORIO da SILVA, MY PARTNER.
A FRIEND OF ELIZABETH'S?
WELL, I'M DELIGHTED TO MEET A FRIEND OF ELIZABETH'S,
BUT THIS IS A PRIVATE SHOW.
I LOVE THAT COAT.
ARMANI OR VERSACE?
UH, PERHAPS YAMAMOTO?
OR, UH...THE GAP?
I'M JOKING, OF COURSE.
[HUMMING]
HOW ABOUT BREAKFAST?
I'LL PICK THE PLACE.
YEAH. I'D LIKE THAT.
SO...
THAT'S HIM?
[CAR ALARM SOUNDING]
MERCI, DANIELLE. A DEMAIN, MaäMéRE.
I WON'T BE A JIFFY. I'LL BE BACK WITH LEA IN A FEW MINUTES.
JUST WAIT.
[DOOR CLOSES]
[WHISTLING]
HELLO, DARLING. I'VE ARRIVED.
OH, PLEASE DON'T HURRY GETTING DRESSED. WE'RE ALREADY LATE.
WE'LL PROBABLY ARRIVE IN TIME FOR THE NEXT PARTY.
FRANCOISE WAS EASY,
BUT THE PENANCE IS HAVING TO ENDURE THE UNMITIGATING GARBAGE
THAT FLOWS OUT OF HER MOUTH.
CHEERS, DARLING.
NOT THIS EVENING, VITTORIO.
I'M NOT UP TO IT.
I'VE HAD ENOUGH OF FASHION GROUPIES FOR ONE DAY.
OH, WHAT I NEED IS A LONG HOT BATH.
AVOIDING ME...
UPSETS ME.
IT MAKES ME MAD!
IT'S AN EMOTION THAT I CAN... QUITE LIVE WITHOUT.
THIS IS A DANGEROUS GAME YOU'RE PLAYING, YOUNG LADY.
YOU KNOW, NOT EVERYTHING IS A GAME, VITTORIO...
OR DIDN'T YOUR MOTHER TELL YOU THAT?
BUT WHAT I FIND REALLY UPSETTING
IS THAT YOU DON'T TRY TO MAKE ME MAD.
YOU JUST DON'T CARE.
YOU KNOW...
THAT'S EXACTLY WHAT YOU USED TO LIKE.
YOU USED TO SAY TO ME,
"LET'S KEEP NOTHING PERSONAL."
OH.
THANK YOU.
[THUMP]
IT'S A MAGNIFICENT BUILDING.
MM-HMM.
SHE'S IN THERE?
YES.
COME ON.
SO, UH, HAVE YOU WORKED FOR LEA LONG?
ALMOST ONE YEAR,
BUT SHE DIDN'T HIRE ME FOR FASHION.
I'M AN ARTIST.
I DESIGN CRAZY, ABSTRACT THINGS
FOR DINNERS AND SPECIAL OCCASIONS.
LEA LIKED ONE OF MY SCULPTURES--
A SORT OF FUTURISTIC WORLD CRASHING TOGETHER.
YOU KNOW?
OH, SURE, I KNOW.
I MEAN, I SEE ONE OF THOSE THINGS EVERY DAY.
I WAS ALL SET TO HAVE A LITTLE, YOU KNOW...
ARTISTIC PARISIAN LIFE,
BUT YOU DON'T HAVE A LITTLE LIFE AROUND LEA.
A LITTLE LIFE?
YES.
YOU KNOW...
YOU'RE BORN. YOU EAT. YOU CRY.
YOU SLEEP. YOU SLEEP. LISTEN. LISTEN.
WORK, WORK, WORK,
AND DIE.
John: AND LEA?
SHE'S THE BEST.
SHE'S MY TEACHER. SHE'S MY FRIEND.
SHE SAYS, "NO LIMIT,
VER LA LUNE"--
TO REACH FOR THE MOON.
BUT, IT GIVES ME A KICK.
AND WHAT ABOUT VITTORIO?
VITTORIO. HE'S LEA'S PARTNER.
HE TAKE CARE OF ALL THE BUSINESS.
THEY ARE VERY CLOSE...
FOR A LONG TIME.
YOU ASK A LOT OF QUESTION.
MMM.
SOMETIMES I DO.
I TALK TOO MUCH.
VITTORIO SAYS I DO.
THAT'S LEA OVER THERE.
BUT HER, SHE IS THE SILENT TYPE, HUH?
CAN I ASK YOU ONE LAST QUESTION?
SURE.
DID YOU EVER MEET ELIZABETH?
NO.
[CELL PHONE RINGS]
OH, MERDE.
ALLO? OUI, DEUX MINUTES.
LEA IS A LOT. YOU WILL SEE.
I'M ON CALL ALL DAY.
Claire: YES, VITTORIO. OUI.
LEA?
N-NO, I DON'T KNOW WHERE SHE IS.
NO, NO. I AM SURE SHE WILL BE THERE SOON.
OUI.
John: IT'S, UH, VERY KIND OF YOU TO MEET WITH ME.
Waiter: EST VOILá.
Lea: I HOPE YOU DON'T MIND. I ALREADY ORDERED.
I'M RUNNING LATE.
NO. I COULD USE A CUP OF COFFEE.
MM-HMM.
LEA,
WHERE'S ELIZABETH?
YOU KNOW, THIS IS ONE OF MY FAVORITE PLACES IN PARIS.
I LOVE IT UP HERE.
YEAH, I CAN, UH, I CAN SEE WHY.
IT'S LIKE THE OLD AND THE NEW
RUNNING INTO EACH OTHER WITHOUT INTRODUCTIONS.
PLACES LIKE THIS, THEY GIVE YOU--
WHERE IS SHE, LEA?
WHERE IS SHE?
TANGIERS.
TANGIERS?
SHE'S IN TANGIERS...
WITH HER HUSBAND, OF COURSE.
WHAT KIND OF MAN DID SHE, UH...
MARRY?
A NICE MAN.
OLDER, BUT VERY POWERFUL.
HIS FAMILY LIVE IN TANGIERS, SO THAT'S WHERE THEY WENT.
SHE JUST, UH--
IT'S NOT LIKE ELIZABETH JUST TO TAKE OFF,
GO TO A PLACE LIKE TANGIERS.
OR MAYBE YOU DIDN'T KNOW ELIZABETH AS WELL AS YOU THOUGHT YOU DID.
DO YOU STILL KEEP IN TOUCH WITH HER?
I'M SORRY, JOHN. I'VE REALLY GOT TO GO.
John: LISTEN, DON'T PLAY GAMES WITH ME.
HOW COME YOU KNOW SO MUCH ABOUT ME AND ELIZABETH?
ARE YOU GONNA TALK TO ME?
"WE'RE IN A WHOREHOUSE IN CHICAGO, IT'S 1952,
"AND I'M A MAN WITH A PROBLEM.
I CAN'T GET EXCITED UNLESS I SEE YOU CRAWL ACROSS THE FLOOR."
[SIGHS]
ELIZABETH WAS MY BEST FRIEND.
WOULD YOU TELL ME WHAT THE HELL IS GOING ON HERE?
THIS IS ALL MORE THAN A COINCIDENCE.
LET IT GO, JOHN.
ARE YOU GONNA ANSWER ME?
ELIZABETH WOULD WANT YOU TO HAVE THIS.
MONSIEUR GRAY?
[FOOTSTEPS]
[KNOCK ON DOOR]
[FOOTSTEPS]
WHAT'S THIS CRAP?
OH, JESUS, I HATE MUSEUMS.
Lea: MEET ME AT 2 P.M. AÄ LA CONCIERGERIE.
John: OK.
[BELL TOLLING]
WOW, YOU SURE KNOW HOW TO PICK PLACES.
THIS IS WHERE THEY HELD MARIE ANTOINETTE...
BEFORE SHE DIED.
I CERTAINLY HOPE THIS IS GOING TO LEAD SOMEWHERE.
HISTORY.
YOU KNOW, LEA, I'M NOT REAL BIG ON GROUP TOURS
AND THAT KIND OF SHIT.
DEPENDS ON YOUR GUIDE.
I'VE BEEN LOOKING FOR A GUIDE...
FOR A LONG TIME.
I DON'T THINK YOU'RE READY FOR THAT.
FOR WHAT?
[FOOTSTEPS]
[PEOPLE TALKING]
NO! NO!
HEY!
NO! NO!
HEY, HEY, HEY. LEA.
HEY! HEY, THAT'S ENOUGH RIGHT THERE.
OH.
MISTER, IT'S JUST A GAME.
YOU CALL TERRORIZING A LADY A GAME?
ARE YOU ALL RIGHT?
YEAH. I'M OK.
HE JUST GETS A LITTLE CARRIED AWAY SOMETIMES.
MISS, YOU WANT TO WALK OUT WITH US?
NO. IT'S OK.
I'LL BE ALL RIGHT.
YOU'RE AMERICAN.
YOU SHOULD KNOW BETTER.
THAT WAS REAL NICE.
SOMETHING'S BEEN ON MY MIND...
SINCE YESTERDAY'S...
WHAT YOU SAID TO ME.
WHAT?
ALL THAT STUFF ABOUT...
WHOREHOUSE IN CHICAGO.
HOW'D YOU KNOW ABOUT THAT?
I READ ABOUT IT.
ELIZABETH WENT TO MOSCOW ABOUT A YEAR AGO
ON A BUYING SPREE FOR HER GALLERY.
[SIGHS]
AND SHE LEFT BEHIND A JOURNAL
THAT SHE CALLED NINE & A HALF WEEKS.
IT WAS THE STORY OF YOUR AFFAIR.
WHEN SHE CAME BACK, SHE WANTED TO STAY WITH ME FOR A FEW DAYS.
SHE NEEDED TO TALK ABOUT THESE...
DEEP FEELINGS SHE HAD INSIDE.
SHE SAID THAT NOT A DAY WENT BY...
THAT WASN'T AFFECTED BY THE TIME YOU SPENT TOGETHER.
SHE ALSO WANTED TO KNOW IF IT WAS RIGHT THAT SHE LEFT YOU.
YEAH.
IT WAS.
I GUESS IT WAS.
I LIKE YOU, JOHN.
YOU'RE A LITTLE SWEET,
A LITTLE BIT MEAN.
LOOK TOUGH.
MAYBE NOT TOUGH ENOUGH.
NOT ANYMORE.
TOUGH ENOUGH FOR WHAT?
FOR WHAT YOU'VE STEPPED OUT OF...
LIFE.
LIFE!
[DANCE MUSIC PLAYING]
♪ I
♪ I FEEL IN MY MIND
♪ I GOT TO LET GO ♪
♪ I GOT TO UNWIND
♪ I
♪ I NEED A GOOD TIME
♪ I NEED TO FIND LOVE ♪
♪ I GOT TO GET HIGH
♪ I
♪ I FEEL IN MY MIND
♪ I GOT TO LET GO ♪
♪ I GOT TO UNWIND
♪ I
♪ I NEED A GOOD TIME
♪ I NEED TO FIND LOVE ♪
♪ I GOT TO GET HIGH!
♪ YOU'VE GOT THE PASSION THAT YOU FEEL INSIDE ♪
♪ A LITTLE LOVE, A LITTLE LIFE ♪
♪ NOW YOU DESIRE
♪ THERE AIN'T NO REASONS WHY WE CAN'T SHARE ♪
♪ A LITTLE LOVE, A LITTLE LIFE ♪
♪ CAN TAKE US THERE
♪ YOU'VE GOT THE INSTINCTS, AND NOW YOU KNOW ♪
♪ A LITTLE LOVE, A LITTLE LIFE ♪
♪ WILL LET IT SHOW
♪ JUST TAKE AHOLD
♪ OF WHAT YOU FEEL
♪ A LITTLE LOVE, A LITTLE LIFE ♪
♪ WILL MAKE IT REAL
♪ I
♪ I FEEL IN MY HEART
♪ I WANT TO LET GO
♪ AND MAKE A NEW START
♪ I
♪ I GOT TO BREAK FREE
♪ I GOT TO RUN WILD ♪
♪ I GOT TO BELIEVE
♪ I
♪ I FEEL IN MY HEART
♪ I WANT TO LET GO
♪ AND MAKE A NEW START
♪ I
♪ I GOT TO BREAK FREE
♪ I GOT TO RUN WILD ♪
POUFFE CONNE!
♪ I GOT TO BELIEVE!
♪ YOU'VE GOT THE PASSION THAT YOU FEEL INSIDE ♪
CHARLES!
[SPEAKING FRENCH]
AAH!
GET YOUR FUCKING HANDS OFF HER.
UHH!
John: UHH...
PIECE OF SHIT.
MMM.
LOOK AT YOURSELF.
JESUS.
[SOBBING]
WHERE IS HE?!
STOP HIM!
[SCREAMING]
STOP HIM!
GET HIM!
NO! GET HIM!
[TIRES SCREECH]
[HORN HONKS]
OH, SO, WHERE ARE WE GOING?
THAT WAS QUITE A SHOW.
AH, DO YOU THINK YOUR LITTLE FRIEND IS, UH...
IS GONNA BE ALL RIGHT?
CLAIRE? YES, SHE'LL BE ALL RIGHT.
TURN RIGHT HERE.
SO WHERE ARE WE GOING?
COME ON, JOHN, DON'T YOU TRUST ME?
OH, SURE.
COME ON, TURN LEFT, LEFT, LEFT.
[CAR ALARM SOUNDING]
DON'T WORRY. YOU'RE NOT LOST YET.
[LAUGHING]
NOT YET.
[TIRES SCREECH]
[KNOCK ON DOOR]
BON SOIR, SERVI. CA VA?
BON SOIR, LEA.
MONSIEUR.
HI.
[MUSIC PLAYING]
UH-OH.
CA FAIT LONGTEMPS QUE TU ES VENUE NOUS VOIR.
MéCHANTE.
YOU'RE LOOKING WONDERFUL TONIGHT.
YOU ALWAYS DO, OF COURSE.
OH, WON'T YOU INTRODUCE ME
TO YOUR VERY NICE-LOOKING FRIEND?
JOHN GRAY.
HI. NICE TO MEET YOU.
MICHEL.
WOULD YOU LIKE YOUR SPECIAL TABLE?
I WOULD LOVE MY SPECIAL TABLE.
GO IN THERE.
[SPEAKING NATIVE LANGUAGE]
WANT TO PLAY?
WHAT'S THE GAME?
IT'S A GAME OF CHANCE.
WHO CARES?
WHAT IS THIS?
A LUCKY DRINK.
ABSINTHE.
FOOD FOR A LOST SOUL.
GIVE ME MONEY.
[LAUGHING]
MY MONEY.
I'M GONNA LOSE ALL YOUR MONEY.
YOU CAN'T LOSE ALL MY MONEY.
WATCH ME.
YAH! OHH! OHH!
OHH!
AW. OHH. AW.
YAY! YAY! YAY!
I LOST YOUR MONEY.
HEY! STOP THEM! STOP THEM!
HEY, HEY, HEY. WHAT'S HAPPENING? WHAT'S HAPPENING, HUH?
GIVE ME THAT.
WATCH YOUR POCKETS, NOW.
COME ON, JOHN.
YOU WEREN'T.
COME ON, JOHN.
I'LL SEE YOU AGAIN.
COME ON, MOTHERFUCKER, COME ON.
[HORN HONKS]
[TIRES SCREECH]
COME OVER HERE.
[LAUGHING] BY THE TIME I COUNT TO 50?
1...
WHOO!
[LAUGHING]
COME ON, JOHN!
COME ON!
COME ON, JOHN.
WHOO!
COME ON!
[MAN TALKING]
WHOO!
[BARKING]
WHOO!
♪ BABY
♪ ALL NIGHT
♪ I'D RATHER NOT
♪ YOUR BEAUTY IS BEFORE ME ♪
♪ SOMETIMES
♪ IT'S THE WATER
HEY. OH. OH.
[LAUGHING]
OH, GOD.
OOH.
[LAUGHING]
MMM.
♪ HELLO
♪ HELLO, STRANGER
♪ WHERE'VE YOU BEEN?
♪ WHERE YOU GOIN'?
♪ I REALLY WANNA KNOW
♪ OOH, I SAID, HELLO
♪ HELLO, STRANGER
♪ HAVE YOU HAD A GOOD TIME? ♪
♪ IT MAKES ME SMILE
♪ WHEN YOU LOOK AT ME THAT WAY ♪
[LEA LAUGHS]
♪ CAN I COME HOME WITH YOU TONIGHT? ♪
♪ IS THAT WHAT YOU'RE ASKIN'? ♪
♪ YOU SAY YOU'RE GONNA TREAT ME RIGHT ♪
♪ A STRANGER'S TOUCH IS WHAT I NEED TONIGHT ♪
♪ IT'S A STRANGE KIND OF MAGIC ♪
♪ WHEN WE TOUCH
♪ IT'S A STRANGE KIND OF MAGIC ♪
♪ OH, IT'S DANGEROUS
♪ IT'S A STRANGE KIND OF MAGIC ♪
♪ TELL ME, WHY CAN'T YOU SEE? ♪
♪ STRANGERS YOU AND I WILL ALWAYS BE ♪
♪ WHEN WE TOUCH
♪ OOH, WHEN WE TOUCH
♪ HELLO
♪ HELLO, STRANGER
♪ HELLO
♪ HELLO, STRANGER
♪ OOH, I SAID, HELLO
♪ HELLO, STRANGER
♪ OOH, I SAID, HELLO
Claire: EVERYONE IS CRAZY AT THE SHOW.
VITTORIO SHOUTING.
THE MODELS, ELLES NE SAVANT JAMAIS CE QU'LL FAUT FAIRE.
LEA ASKED ME TO COME AND GET YOU,
BUT WE HAVE A LITTLE TIME BEFORE THE SHOW.
WOULD YOU LIKE TO SEE SOME OF PARIS?
I DON'T KNOW.
TRUST ME. I WILL TAKE YOU TO A VERY NICE PLACE.
YOU ARE GOING TO LOVE IT.
ONLY IF YOU GET RID OF THAT HAT.
[LAUGHS]
OH, HOW NICE OF YOU TO DROP BY.
DRAMA'S FOR THE THEATER, VITTORIO.
NOW, HERE WE HAVE A UNIQUE EVENING GOWN
DESIGNED BY MADEMOISELLE CALLOT
WITH HER CUSTOMARY GENIUS,
WITH HER IDIOSYNCRATIC EYE FOR DETAIL.
SO WHY, TELL ME, PRAY, DOES IT HANG LIKE A SACK OF OLD LAUNDRY?
MERCI.
LEA, WE ARE FALLING APART.
IT'LL BE ALL RIGHT, VITTORIO. HAVE FAITH.
FAITH? DOCTORS HAVE FAITH. HEALERS HAVE FAITH.
FASHION HAS...
DEADLINES!
BACK TO WORK!
I WANT TO SAY THANK YOU FOR LAST NIGHT.
YOU'RE WELCOME.
WERE YOU SCARED?
A LITTLE, I SUPPOSE.
I WAS JUST PLAYING WITH HIM.
I DON'T UNDERSTAND WHY THIS GUY WENT CRAZY.
MAYBE YOU KNEW IT WAS GONNA HAPPEN.
NON.
WELL, WHEN YOU PLAY GAMES,
SOMEONE'S GONNA GET HURT.
THAT'S THE WAY IT IS.
IT'S TRICKY.
TRICKY, TRICKY.
[LAUGHS] LIKE THAT?
THE BOAT CAN SINK.
LE BATEAU EST CHERIAC.
THE BOAT MIGHT SINK.
IT'S COLD.
DO YOU WANT SOME COFFEE?
LET'S PUT YOUR HAT OUT THERE.
NON.
[LAUGHING] NO, NO, DON'T DO THIS. NO.
I LIKE IT HERE.
YEAH.
I LIKE PLACES THAT LET DOGS IN.
WE SHOULDN'T BE LATE FOR THE SHOW.
Doorman: CARTON, S'IL VOUS PLAIT.
CARTON, S'IL VOUS PLAIT.
YOUR INVITATION, MADAME, PLEASE.
I'M INVITED.
I FORGOT MY INVITATION, BUT I'M ON THE LIST.
I'M SORRY, MADAME. I CAN'T LET YOU IN.
I AM THE GODDAMN EDITOR
OF THE BIGGEST FASHION MAGAZINE IN AMERICA,
AND I AM GONNA KICK YOUR ASS IF YOU DON'T LET ME IN.
FRANCOISE. IT'S ME CLAIRE.
CLAIRE, I AM HAVING A TERRIBLE TIME.
IT'S OK. SHE'S WITH US. MERCI.
THEY WERE GONNA STOP ME.
I MEAN, WELL, WHO ARE THESE PEOPLE?
FIRST UP, NATASHA, ADRIaäNNE, MONICA, ERICA. LET'S GO.
JOHN IS HERE. HE'S HERE.
YEAH, GREAT, EXCELLENT.
KEEP THIS UP HERE.
KEEP IT UP, LADIES, KEEP IT TOGETHER.
NO, WAIT, WAIT, WAIT.
PUT IT TOGETHER. MAKE SURE YOU PUT IT TOGETHER.
COME ON.
LEA, LEA. OH. OH!
[APPLAUSE, CHEERING]
[MUSIC PLAYING]
COME ON, AISHA.
WATCH THIS, OK?
!¡ESTA!
DO IT!
YOU GOT TOO MUCH MAKEUP.
LET'S GO.
WHERE'S HER DRESSER?
AH, PIEUSE!
FABIaäNNE!
Lea: HELP HER.
OHH. OHH. OHH.
YAY! YAY! YAY!
BRAVO! BRAVO!
BRAVO!
[WHISTLES]
BRAVO!
[WHISTLES]
BRAVO!
MISS. MISS,
JOHN IS WAITING FOR YOU ON THE STAGE.
LEA, OVER HERE, PLEASE. LEA, FOR THE CAMERA.
THIS IS A PROUD DAY.
OH, BEAUTY IS A FORM OF GENIUS.
IT NEEDS NO EXPLANATIONS.
CONGRATULATIONS.
WHERE ARE YOU GOING?
YOU KNOW WHERE I'M GOING.
SURELY YOU'RE NOT TAKING HIM TO THE PARTY, ARE YOU?
TAKE CLAIRE AND MEET ME OUT FRONT.
ARE YOU COMING WITH ME TONIGHT?
I HAVE TO GO WITH LEA TO THE PARTY.
IT'S BUSINESS, CHARLIE.
FUCK BUSINESS. ARE YOU COMING WITH ME?
MERDE.
WELL, CONGRATULATIONS.
I'M HAPPY FOR YOU. YOU GOT WHAT YOU WANTED.
YOU THINK SO?
YOU'RE EXTREMELY CLEVER.
I ADMIRE THAT IN A WOMAN.
YOU STILL DON'T GET IT, DO YOU?
I'M GETTING CLOSE.
YOU'RE COMING TO A PARTY WITH ME.
OH, I DON'T KNOW. I HATE PARTIES.
YOU LIKE SURPRISES?
ONLY IF THEY COME IN SMALL PACKAGES.
HA HA. COME ON.
HELLO?
KAHDIJAH.
HELLO, DARLING.
KAHDIJAH, JOHN GRAY.
ENCHANTé, MONSIEUR.
VOUS ETES LE BIENVENU.
LEA TOLD ME MUCH ABOUT YOU.
HI.
AH, DARLING, HOW ARE YOU?
CA VA BIEN?
♪ AIN'T NO BIG THING
♪ TO LEAP FOR THE BELL TO RING ♪
♪ AIN'T NO BIG THING
♪ TILL THE OTHER BELL
♪ AIN'T NO LADY, STAYIN' FOR DAYS ♪
♪ STROLL DOWNTOWN TO THE RED LIGHT PLACE ♪
♪ JUMP UP, TURN AROUND
♪ WHAT'S IN STORE?
THIS IS MY SURPRISE?
WELL, UNLESS YOU WANT TO BE NEXT,
I SUGGEST YOU FOLLOW ME.
♪ SHOWING NOW, HIT AND RUN ♪
♪ BOY MEETS GIRL WHILE THE BEAT GOES ON ♪
♪ STITCHED UP TIGHT
♪ CAN SHE BREATHE?
♪ LOVE IS THE DRUG GOT A HOOK ON ME ♪
THIS IS FOR YOU.
MAYBE THAT'S SOMETHING I DON'T WANT ANYMORE.
WELL, THEN, I GUESS YOU WON'T FIND OUT
WHY I BROUGHT YOU HERE.
DON'T MOVE.
WHO'S HERE?
JOHN, YOU KNOW ALL ABOUT THIS--
RAISING THE STAKES.
INVENTING.
REINVENTING.
COME HERE.
♪ EVEN NOW, I PARK MY CAR
♪ SPEAK MY PIECE IN THE SINGLES' BAR ♪
♪ FACE TO FACE, TOE TO TOE ♪
♪ HEART TO HEART AS WE HIT THE FLOOR ♪
♪ LIMBO RIGHT, LIMBO DOWN
♪ LOCKED EMBRACE, STUMBLE ROUND ♪
♪ I SAY GO, YOU SAY YES
♪ DIM THE LIGHTS, GUESS THE REST ♪
♪ OH, OH, CATCH THAT BUZZ
♪ LOVE IS THE DRUG I'M THINKING OF ♪
♪ OH, OH, CAN'T YOU SEE?
♪ LOVE IS THE DRUG GOT A HOOK ON ME ♪
WHAT HAPPENED TO ELIZABETH?
I TOLD YOU.
TELL ME AGAIN.
TELL ME AGAIN BECAUSE I DON'T BELIEVE YOU.
SHE LEFT YOU, JOHN.
SELF-INDULGENCE IS THE LAST REFUGE OF THE BORED.
HAVE YOU TOLD HIM?
DON'T.
THEN I SHALL.
IT WAS A SUBLIME FUNERAL.
HUNDREDS OF WHITE IRISES.
NOTHING BUT WHITE IRISES.
ELIZABETH WOULD HAVE LOVED IT.
OH, NO.
TELL ME WHY, LEA?
I CAN'T HELP YOU, JOHN.
WELL, YOU SHOULD HAVE THOUGHT ABOUT THAT
BEFORE YOU STARTED LYING.
YOU'RE GONNA TELL ME HOW SHE DIED.
I DIDN'T HAVE THE HEART TO TELL YOU.
I THOUGHT IT WOULD BE BEST YOU DIDN'T KNOW.
AH, THAT'S NICE.
I'M NOT INTERESTED IN YOUR, UH, LITTLE EXCUSES.
NOW, I WANT YOU TO TELL ME.
YOU WANT TO KNOW EVERYTHING, JOHN?
I'LL SHOW YOU.
I FIRST MET ELIZABETH AT A PARTY
FOR AN ART EXHIBITION SHE WAS INVOLVED IN.
WE LIKED EACH OTHER IMMEDIATELY.
ONE NIGHT ABOUT 2:00 IN THE MORNING, MY PHONE RANG.
I HEARD A WOMAN CRYING.
IT TOOK ME A WHILE TO REALIZE THAT IT WAS ELIZABETH.
SHE ASKED ME TO COME GET HER.
SHE WAS STRUNG OUT ON BAD DRUGS.
THOSE DEALERS KNEW HER BY HER FIRST NAME.
I HATED THEM.
SHE'D BE FINE FOR MONTHS AT A TIME,
AND THEN SHE'D DISAPPEAR FOR WEEKS.
AND I'D FIND HER IN THIS HOLE.
DEAD END.
THE POLICE FOUND HER IN SOME CHEAP HOTEL,
BUT I KNOW IT WAS THIS PLACE THAT KILLED HER.
[SCREAMING]
Man: WHERE'S YOUR PRETTY BLONDE SISTER?
WHY DON'T SHE COME ALONG HERE NO MORE?
WE'LL JUST HAVE TO MAKE DO WITH YOUR SEXY ASS.
AAH!
WHAT IS THIS?
YOU BOYS LIKE TO PLAY GAMES?
VA TE FAIRE ENCULER, TOI. CASSE-TOI.
IL EST CALIBRE?
UN CALIBRE.
COME ON.
FUCK YOU.
YEAH.
SCARED?
NO...NOT OF THESE BASTARDS.
WHERE ARE YOU GOING?
HOME.
YOU KNOW, I NEVER FELT GOOD ENOUGH FOR HER.
I REALIZED THAT THE DAY SHE LEFT.
I WAS STUPID. I HAD TO WAIT TILL SHE CLOSED THE DOOR
TILL I WAS ABLE TO TELL HER HOW MUCH I LOVED HER.
I DON'T WANT TO BE ALONE.
NOT NOW.
♪ TELL ME, WHAT DID YOU DREAM ABOUT? ♪
♪ DID YOU RUN IN THE SUN HAVING FUN, AND WAS I WITH YOU? ♪
♪ AND WHEN YOU DREAM, DO YOU DREAM ABOUT ME? ♪
♪ WHEN YOU SPEAK, DO YOU TALK ABOUT ME? ♪
AH, BONJOUR, LEA.
MADELEINE.
CA VA?
CA VA BIEN.
OUI. JOHN GRAY.
HELLO.
OH, IT'S SO NICE TO BE BACK.
John: YOU KNOW, I USED TO HATE COMING OUT TO PLACES LIKE THIS.
IT'S SO QUIET, SO STILL.
I KINDA LIKE IT TODAY.
YOU KNOW THE EIFFEL TOWER-- THE GLASS BALL?
YEAH.
IT WAS ME.
NOW, LOOK. I'M GONNA MAKE YOU A DEAL.
OK?
MM-HMM.
THIS WEEKEND-- JUST ME AND YOU.
NOBODY ELSE.
OK?
FEELS GOOD.
SO YOU GLAD YOU MET ME?
WHY DO YOU FEEL THAT YOU HAVE TO ASK ME THAT?
YOU NEED ME, JOHN GRAY.
SOMETIMES I'D IMAGINE WHAT IT WOULD BE LIKE TO BE WITH YOU.
HOW YOU'D...
SHUT OFF THE REST OF THE WORLD
AND NEVER LET IT...
INTRUDE ON OUR PLEASURE.
HOW YOU'D PLAN EVERYTHING.
NEVER HURRY A MOMENT.
NEVER NEGLECT A DETAIL.
WELL, NOT THIS TIME, LEA.
YOU KNOW, WHERE I CAME FROM, IT TOOK ME ABOUT 16 YEARS
TO REALIZE THAT THE WORLD THAT I SAW ON MY TELEVISION SET EVERY DAY
WAS REALLY OUT THERE.
THEN IT TOOK ME ANOTHER 2 YEARS TO WORK UP THE COURAGE
TO FIND THAT WORLD.
YOU KNOW, WE'RE A LOT ALIKE, YOU AND I.
WE HAD TO INVENT OURSELVES.
WHAT'S THE MATTER?
NOTHING.
DON'T TREAT ME LIKE THAT.
I--I--I'M JUST A LITTLE CONFUSED.
NO, YOU'RE NOT.
LOOK AT ME.
OK, PICTURE THIS.
WE'RE IN A WHOREHOUSE IN CHICAGO.
IT'S 1952.
AND I'M A MAN WITH A PROBLEM.
WE MADE A DEAL.
WE'RE IN A WHOREHOUSE IN CHICAGO. IT'S 1952.
SOUND FAMILIAR? AND I'M A MAN WITH A PROBLEM.
I CAN'T GET EXCITED UNLESS I SEE YOU CRAWL ACROSS THE FLOOR.
DON'T PUSH ME, LEA.
BUT I CAN.
I CAN COME TO YOU IF YOU WANT.
COME ON, JOHN, WE BOTH KNOW WHAT YOU WANT.
YOU CAN'T STOP ME.
[HORN HONKS]
YOU JUST DON'T GET IT, DO YOU?
WHAT?
[KNOCK ON DOOR]
WHO IS IT?
VITTORIO.
MERDE.
[KNOCK ON DOOR]
SORRY, VITTORIO. I HAVEN'T COME TO THE OFFICE
BUT I HAVE SO MANY THINGS TO DO.
IT'S NOT IMPORTANT.
WHEN THE CAT'S AWAY, THE MICE WILL PLAY.
WONDER WHERE THE CAT IS TONIGHT? HMM?
PROBABLY SCREWING ON THE ROOF WITH HER TOMCAT.
OR SHOULD I SAY, HER JOHN CAT?
DO YOU MIND?
I DON'T MIND, AND I DON'T CARE. I'M FED UP.
I'M GOING BACK TO MY LITTLE LIFE.
EVERYTHING-- I GAVE HER EVERYTHING.
BEFORE SHE MET ME, SHE WAS NOTHING.
SHE WAS A VACANT, BLANK, EMPTY CANVAS.
STUPIDITY OOZED FROM EVERY PORE OF THAT LUSCIOUS AND DELICIOUS BODY.
I GAVE HER EDUCATION, TASTE, SOPHISTICATION, INTELLIGENCE.
I EVEN TOOK HER TO THE BLOODY THEATER.
I JUST FEEL SO...
BLOODY...EMPTY.
I'M SORRY, BUT...
[KNOCK ON DOOR]
I DON'T UNDERSTAND YOU.
LEA? LEA, IT'S ME CHARLIE. OPEN THE DOOR.
LEA, COME ON, BABY, IT'S ME. IT'S CHARLIE.
OPEN THE DOOR.
LEA?
CLAIRE, WHERE HAVE YOU BEEN? WHAT HAVE YOU BEEN DOING?
WHY HAVEN'T YOU CALLED ME SINCE BEFORE THE SHOW?
Claire: I'VE BEEN BUSY.
BUSY.
A TOUT A L'AIR, CHERIE
ET BON CHANCE.
WHAT'S HE DOING HERE? HUH?
C'EST MON BOSS, D'ACCORD.
YES, I KNOW HE'S YOUR BOSS
BUT I ASKED YOU WHAT HE WAS DOING HERE.
HAVE YOU BEEN FUCKING HIM?
[SLAP]
OH, GOD.
CLAIRE?
I JUST WANTED TO SAY
I DIDN'T KNOW ANYTHING ABOUT ELIZABETH.
I KNOW THAT.
AND WHAT HAPPENED TO YOU? WHO DID THIS TO YOU?
CHARLIE.
CHARLIE DID THIS TO YOU?
YEAH.
I WAS NOT AS GROWN UP AS I THOUGHT.
HEY, YOU'RE AS GROWN UP AS YOU SHOULD BE.
I GUESS I SHOULD HAVE KNOWN BETTER. COME HERE.
TRICKY, TRICKY.
HELLO. HI.
HERE YOU ARE.
AND YOUR NAME HERE, PLEASE.
MERCI, AU REVOIR.
♪ SEE THE CLOUDS AROUND MY HEART ♪
♪ BABY, CLOSIN' IN RIGHT FROM THE START ♪
♪ TURN THE TIDE DOWN LOW
♪ IF IT'S QUIET, I WILL HEAR YOU GO ♪
THIS JUST ISN'T AMUSING ANYMORE.
[CLANK]
♪ ...WAVE OF LOVE
♪ OR A SEXUAL RAINBOW FROM ABOVE? ♪
♪ WAS IT THE TIDAL WAVE OF LOVE ♪
♪ OR A SEXUAL RAINBOW FROM ABOVE? ♪
♪ SHOW YOU ALL THE REAL EMOTION
♪ BABY, I REVEAL
♪ MY DEVOTION
♪ YOU WHO TURN THE TIDE
♪ YOU WHO SEE THE STORM
♪ WAS IT THE TIDAL WAVE OF LOVE ♪
♪ OR A SEXUAL RAINBOW FROM ABOVE?
♪ WAS IT THE TIDAL WAVE OF LOVE? ♪
♪ OOH HOO HOO-OOH OOH OOH
♪ WAS IT THE TIDAL WAVE OF LOVE ♪
♪ OR A SEXUAL RAINBOW FROM ABOVE? ♪
♪ WAS IT THE TIDAL WAVE OF LOVE? ♪
♪ WAS IT THE TIDAL WAVE OF LOVE ♪
♪ OR A SEXUAL RAINBOW FROM ABOVE? ♪
♪ WAS IT THE TIDAL WAVE OF LOVE? ♪
♪ OOH HOO HOO
♪ YOU WHO TURN THE TIDE
♪ YOU WHO SEE THE STORM
♪ WAS IT THE TIDAL WAVE OF LOVE ♪
♪ OR A SEXUAL RAINBOW FROM ABOVE? ♪
LEA, I'VE DECIDED TO GIVE YOU EXACTLY WHAT YOU WANT.
TAKE THAT CHAIR
AND MOVE IT TO THE CENTER OF THE ROOM.
JUST DO IT.
TAKE THE CHAIR
AND MOVE IT TO THE CENTER OF THE ROOM.
WHAT IF IT'S NOT WHAT I WANT ANYMORE?
JUST DO IT.
ARE YOU DOING THIS FOR ME, JOHN,
OR ARE YOU DOING THIS FOR YOU?
SIT DOWN.BECAUSE IF YOU'RE DOING THIS FOR ME,
DON'T BOTHER.
UNCROSS YOUR LEGS.
YOU'VE BEEN PUSHING IT REAL HARD, LEA,
SO NOW I'M GONNA GIVE YOU EXACTLY WHAT YOU WANT.
GET ON THE FLOOR ON YOUR HANDS AND KNEES.
I AM SOSCARED, JOHN.
YOU FORGOT I READ ALL ABOUT THIS, JOHN.
I KNOW THIS GAME.
I'VE BEEN WAITING FOR THIS FOR A LONG TIME.
LIFT UP YOUR SKIRT.
HI.
John: THAT'S GILLES.
HE'S A FRIEND.
HE'S GONNA DO EXACTLY WHAT I TELL HIM TO DO.
John: SHE DOESN'T NEED A LOT, GILLES, JUST MORE.
SHE'S ALL YOURS.
DID I TELL YOU TO MOVE?
NO. [COUGHING]
NO, JOHN.
NO. JOHN--
I DIDN'T TELL YOU YOU COULD MOVE.
NO.
JOHN, I CAN'T DO THIS.
I CAN'T DO THIS.
COME ON, BABY.
JOHN!
STOP IT!
PUT HER IN THE CHAIR.
NO.
AAH!
FUCKING WHORE.
PUT HER IN THE CHAIR.
[SOBBING]
PUT HER IN THE CHAIR.
SIT.
SIT DOWN!
[SOBBING]
FUCKING ASSHOLE!
[KISSES LOUDLY]
[SOBBING]
IS THAT WHAT YOU WANTED?
NO.
HEY.
NO.
OK.
HUH?
THINGS WILL BE ALL RIGHT.
OK?
YOU'RE SUCH A JERK.
OH...
WHERE ARE YOU GOING?
I GOTTA GO FOR A WALK.
YOU'RE NOT COMING BACK, ARE YOU?
I DON'T WANT TO, UH, HURT ANYBODY ANYMORE.
I THOUGHT YOU STARTED TO CARE FOR ME.
I DID.
WOULD YOU PLEASE COME BACK BY THE TIME I COUNT TO 50?
[BELL TOLLS]
♪ WHY DID YOU DO IT?
♪ DO IT?
♪ WHY DID YOU DO THAT THING TO ME? ♪
♪ TO ME?
♪ WHY DID YOU DO IT?
♪ DO IT?
♪ WHY DID YOU DO THAT THING TO ME? ♪
♪ TO ME?
CAPTIONING MADE POSSIBLE BY VIDMARK ENTERTAINMENT
CAPTIONING PERFORMED BY THE NATIONAL CAPTIONING INSTITUTE, INC.
PUBLIC PERFORMANCE OF CAPTIONS PROHIBITED WITHOUT PERMISSION OF NATIONAL CAPTIONING INSTITUTE
♪ I'VE BEEN THINKIN' 'BOUT WHAT YOU HAVE DONE TO ME ♪
♪ TO ME, TO ME
♪ THE DAMAGE IS MUCH DEEPER THAN YOU'LL EVER SEE ♪
♪ SEE, SEE
♪ HIT ME LIKE A HAMMER TO MY HEAD ♪
♪ HEAD
♪ I WONDER WHY YOU PUSHED AND WHY YOU LED ♪
♪ LED
♪ WHY DID YOU DO IT?
♪ WHY DID YOU DO THAT THING TO ME? ♪
♪ WHY DID YOU DO IT?
♪ WHY DID YOU DO THAT THING TO ME? ♪
♪ THE ONLY ONE WHO KNOWS THE TRUTH ♪
♪ MAN, IT'S IN ME AND YOU
♪ BEEN DRIFTIN'
♪ AND I'M GOIN'
♪ A MILLION MILES
♪ NOW YOU KNOW
♪ I'M ALIVE, I'M NOT DEAD
♪ SO SAY GOOD-BYE
♪ BECAUSE I'VE LEFT
♪ GONE
♪ TOMORROW
♪ GONE
♪ IN SORROW
♪ GONE
♪ TODAY
♪ GONE AWAY
♪ A-AY-A-AY-A-AY
♪ GONE AWAY
♪ GONE
♪ AWAY