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1974 4-7 The Conversation [Francis Ford Coppola, Gene Hackman, John Cazale] FULL MOVIE

  • 0:00 - 0:01
    Sub by Dongle Mann
  • 3:48 - 3:51
    I want to go over to my place
    and start, you know, getting it on,
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    'cause I'm just tired of this all.
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    - Oh, that's terrible.
    - Yeah.
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    Did you ever take ballet?
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    Weak ankles.
    Do you have a quarter for them?
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    Yes, I do.
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    Well, what about me?
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    You'll see.
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    A lot of fun you are.
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    You're supposed to tease me,
    give me hints, make me guess, you know.
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    Oh, look. That's terrible.
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    He's not hurting anyone.
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    Neither are we.
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    Oh, God.
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    Every time I see one of those old guys,
    I always think the same thing.
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    What do you think?
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    I always think that he was once
    somebody's baby boy.
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    Really, I do.
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    I think he was once somebody's baby boy,
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    and he had a mother
    and a father who loved him.
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    And now there he is,
    half-dead on a park bench,
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    and where are his mother or his father,
    all his uncles now?
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    Anyway, that's what I always think.
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    How's he doing up there?
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    I always think how,
    when they had the newspaper strike...
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    We're getting better than 40%.
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    How about the second position?
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    It's not so good.
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    What have we here?
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    Okay, come on, you little babies,
    now, wet your lips there.
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    All right, give me some tongue.
    Just give me a little tongue there.
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    Come on.
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    Come on, just a little tongue outside.
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    Nice, wet French kiss now.
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    Come on, a nice wet one there.
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    Come on, come on.
    Pay attention to your recordings.
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    She's coming in loud and clear.
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    Look, Mark. Do you see him?
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    The man with the hearing aid like Charles?
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    - No. Where?
    - Right there, with the shopping bag.
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    Well, that's it for Paul. They spotted him.
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    Give me the phones.
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    He's been following us all around,
    and he's following us close.
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    It's nothing. Don't worry about it.
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    We're spending too much time
    together here.
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    No. Let's stay just a little longer.
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    I got burned, Harry.
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    - Yeah.
    - She looked at me.
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    Yeah, yeah, I know. We heard.
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    Oh, did we hear.
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    What do you think?
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    I got some good pieces, maybe 25%.
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    Oh, yeah?
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    Listen, Paul, I'll call you in a couple of days
    if I need you again, okay?
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    Hey, Paul, you going
    to the convention tomorrow?
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    You bet.
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    Hey, how about you, Harry?
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    Yeah. Maybe.
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    Little party like we did two years ago, huh?
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    Hey, Stan?
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    - I'll see.
    - Okay.
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    Here.
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    He's a nice guy for a cop.
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    You go.
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    I'll stay here a while.
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    Who's interested in these two anyway?
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    I don't know for sure.
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    - The Justice Department?
    - No.
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    I figure it must be the Infernal Revenue.
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    Their tapes always put me to sleep.
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    Since when are you here
    to be entertained? Here.
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    Sometimes it's nice to know
    what they're talking about.
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    I don't care what they're talking about.
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    All I want is a nice, fat recording.
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    Hello, Mr. Caul.
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    And happy birthday!
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    Happy birthday, Harry.
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    Happy birthday.
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    Hello.
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    Hello, Miss Evangelista?
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    Yes. This is Harry Caul from upstairs.
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    Yes. Well...
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    Thank you very much. Thank you.
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    Yes, well, you're really very nice.
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    Yes.
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    But...
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    I know...
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    Yes, I found it. Yes.
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    But what I wanted to talk to you about was,
    how did you put it in the apartment?
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    Right.
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    Well, what about the alarm?
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    Oh, you did?
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    Well, yes, I thought I had the only key.
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    Well, what emergency could possibly...
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    All right. Yes.
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    Well, see, I would be perfectly happy
    to have all my personal things
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    burned up in a fire
    because I don't have anything personal.
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    Nothing of value.
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    No. Nothing personal except my keys,
    you see.
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    Yes. Which I really would like
    to have the only copy of, Miss Evangelista.
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    Miss Evangelista, how'd you know
    it was my birthday?
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    Nah. I don't remember telling you.
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    Would you like to take a guess
    how old I am?
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    Forty-four. Well, that's a very good guess.
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    Miss Evangelista, as of today,
    my mail will go to a post office box
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    with a combination on it and no keys.
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    Good-bye.
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    Hey, Harry.
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    Morning.
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    Hey, man, there's an article in here
    about the convention.
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    - It mentions your name.
    - Oh, yeah?
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    Yeah. You're one of the notables
    who's going tomorrow night,
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    did you know that?
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    Yeah. I told them I'd be there.
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    Listen to this here.
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    Listen.
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    "Among those pre-eminent in the field
    expected to attend
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    "are Hal Lipsett and Harry Caul
    from San Francisco.
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    "Kenneth Sperry will speak
    on Surveillance and The Law."
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    Wait a minute. Listen to this.
    Where the hell is it?
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    "Also attending will be
    William P. Moran of Detroit, Michigan."
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    Since when did
    William P. Moran of Detroit, Michigan
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    become pre-eminent in the field?
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    Oh, he's very big there.
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    You want some coffee?
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    He's the guy that told Chrysler
    that Cadillac was getting rid of its fins.
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    It was a while ago,
    but it was a big thing at the time.
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    December 2nd, 1:00 p.m.
    Shopping bag, Unit A.
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    December 2nd, 1:00 p.m. Parabolic, Unit B.
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    December 2nd, 1:00 p.m.
    City of Paris, Unit C.
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    What do you think?
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    I don't know what I'm going
    to get him for Christmas yet.
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    He's already got everything.
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    He doesn't need anything anymore.
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    Well, I haven't decided
    what I'm going to get you yet.
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    ...get him for Christmas yet.
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    He's already got everything.
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    He doesn't need anything anymore.
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    Well, I haven't decided
    what I'm going to get you yet.
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    Well, you better start looking.
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    Well, what about me?
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    You'll see.
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    A lot of fun you are.
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    You're supposed to tease me,
    give me hints, make me guess, you know.
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    Does it bother you?
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    - What?
    - Walking around in circles.
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    Oh, look. That's terrible.
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    He's not hurting anyone.
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    Neither are we.
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    Oh, God.
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    Every time I see one of those old guys...
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    Every time I see one of those old guys,
    I always think the same thing.
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    What do you think?
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    I always think that he was once
    somebody's baby boy.
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    No, really, I do.
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    I think he was once somebody's baby boy,
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    and he had a mother
    and a father who loved him.
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    And now there he is,
    half-dead on a park bench,
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    and where are his mother or his father,
    all his uncles now?
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    Anyway, that's what I always think.
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    I always think how, when
    they had the newspaper strike in New York,
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    more of those old guys died.
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    Fifty of them froze to death in one night.
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    Good afternoon. May I help you?
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    Yes. Extension 746, please.
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    One moment, please.
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    Director's office.
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    Yes, this is Mr. Caul.
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    I have the material
    and I'm calling for an appointment.
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    I'm sorry. The director has
    already left for the day.
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    We'll call you back tomorrow morning.
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    May I have your telephone number, please?
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    No, I'm at a pay phone,
    and I don't have a home telephone.
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    Hold on one moment, please.
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    - Mr. Caul?
    - Yes?
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    2:30 tomorrow afternoon.
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    2:30 in the afternoon?
    Is that payment in full?
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    Whatever was arranged.
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    Thank you very much. I'll be there.
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    - Harry?
    - Hello, Amy.
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    I didn't think you were coming.
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    I brought some wine
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    someone gave me as a birthday present.
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    I didn't know it was your birthday.
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    - Do you want some?
    - Yeah.
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    I do.
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    How old are you, Harry?
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    Forty-two.
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    Sweet.
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    Does something special happen between us
    on your birthday?
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    Like what?
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    Something personal.
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    Like what?
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    Like telling me about yourself, your secrets.
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    I don't have any secrets.
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    I'm your secret.
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    You do have secrets, Harry. I know you do.
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    No.
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    Sometimes you come over here,
    and you don't tell me.
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    Once I saw you up by the staircase, hiding,
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    watching,
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    for a whole hour.
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    You think you're going
    to catch me at something.
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    You know? I know. A woman can always tell.
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    You have a certain way
    of opening up the door.
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    You know, first the key goes in real quiet,
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    and then the door comes open real fast,
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    just like you think
    you're gonna catch me at something.
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    Sometimes I even think
    you're listening to me
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    when I'm talking on the telephone.
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    What are you talking about?
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    I don't know. I just feel it.
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    Really, I do.
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    Why are you singing that?
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    It's pretty.
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    What's the matter?
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    Nothing.
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    It's just that
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    somebody else was singing that today.
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    - A girl?
    - Yes.
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    - Who is she?
    - No, no. It isn't...
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    - I'm jealous.
    - No.
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    Just somebody at work, and she...
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    She reminded me of you.
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    Where do you work, Harry?
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    Oh, different places, different
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    jobs, you know?
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    I'm kind of a musician, you see.
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    Freelance musician and...
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    Where do you live?
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    I mean, why can't I call you over there?
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    'Cause I don't have a telephone.
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    Do you live alone?
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    Why are you asking me all these questions?
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    Because it's your birthday.
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    I don't want people asking me
    a lot of questions.
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    I want to know you.
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    Yes, I live alone.
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    I don't feel like answering
    any more questions.
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    Your rent is due.
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    Here's the money for it.
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    You never used to ask a lot of questions.
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    Harry, I was so happy
    when you came over tonight.
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    When I heard you open up the door,
    my toes were dancing under the covers.
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    But I don't think
    I'm going to wait for you anymore.
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    - I have a package for the director.
    - All right. I'll take it.
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    No. I'm supposed to
    hand it to him personally.
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    I have an appointment.
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    - Are you Mr. Caul?
    - Yes, I am.
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    A Mr. Caul is here. All right.
    Make yourself comfortable.
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    The director's assistant will be right down.
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    There are some nice Christmas cookies
    there I made. You want one?
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    - They're good.
    - No, thanks. I...
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    - What do you see?
    - Oh, not much.
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    Here's your money,
    $15,000 cash, as you asked.
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    And these are our tapes?
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    I had an arrangement with the director.
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    I was to give those to him,
    you see, personally.
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    I understand.
    But he's not here this afternoon.
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    As a matter of fact, he's out of the country.
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    And he asked me to get the tapes from you
    and give you the money.
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    I guess I can just wait on this.
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    Now, look,
    don't get involved in this, Mr. Caul.
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    Those tapes are dangerous.
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    You heard them. You know what I mean.
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    Someone may get hurt.
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    Mr. Caul, be careful.
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    Well, what about me?
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    You'll see.
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    A lot of fun you are.
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    Who started this conversation anyhow?
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    You did.
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    I did not.
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    Yes, you did. You just don't remember it.
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    Pretend like I just told you a joke.
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    Does it bother you?
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    - What?
    - Walking around in circles.
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    Oh, look. That's terrible.
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    He's not hurting anyone.
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    Neither are we.
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    Oh, God.
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    Every time I see one of those old guys,
    I always think the same thing.
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    What do you think?
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    Yeah, what do you think?
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    I always think that he was once some...
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    Hey, Harry,
    what do you say we take a break?
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    Come on. We'll go to Al's Transbay.
    I'll buy you a beer, huh?
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    - How about that?
    - No. I want to finish this.
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    I thought you turned those tapes in.
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    Stan, be quiet, will you?
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    All right, all right.
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    Do you think we can do this?
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    I'm tired of drinking anyhow.
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    What a stupid conversation.
  • 34:48 - 34:50
    Stan, please. I'm trying to work.
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    I'm tired of mostly everything.
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    Tired of me?
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    Tired of you, but not today.
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    What the hell they talking about,
    for Christ's sake?
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    Stanley, please, I'm trying to get this done.
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    All right. Don't get excited.
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    Well, I'm getting fed up.
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    About what?
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    About your asking me questions
    all day long.
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    Jesus.
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    Don't say that.
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    Well, for Christ's sake...
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    Stan, don't say that again, please.
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    Don't use that word in vain. It bothers me.
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    What's the matter, Harry?
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    Your work's getting sloppy.
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    Later in the week. Sunday, maybe.
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    Sunday, definitely.
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    We'd have a much better track
    if you'd paid more attention to the recording
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    and less attention to
    what they were talking about.
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    I can't see why a couple of questions
    about what the hell is going on
  • 35:51 - 35:53
    can get you so out ofjoint.
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    'Cause I can't sit here and explain
    the personal problems of my clients.
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    Jack Tar Hotel.
  • 36:06 - 36:07
    3:00.
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    Room 773.
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    It wouldn't hurt if you filled me in a little bit
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    once in a while. Did you ever think of that?
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    It has nothing to do with me,
    and even less to do with you.
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    It's curiosity. Did you ever hear of that?
    It's just goddamn human nature.
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    Listen, if there's one sure-fire rule
    that I have learned in this business is that
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    I don't know anything about human nature.
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    I don't know anything about curiosity.
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    That's not part of what I do. What I...
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    This is my business, and when I'm...
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    I'll see you later.
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    I think he's been recording my telephone.
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    I love you.
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    We're spending too much time
    together here.
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    No. Let's stay just a little longer.
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    I think he's been recording my telephone.
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    He'd kill us if he got the chance.
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    Bless me, Father, for I have sinned.
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    It's been three months
    since my last confession.
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    I...
  • 40:27 - 40:29
    These are my sins.
  • 40:32 - 40:34
    I've taken the Lord's name in vain
  • 40:35 - 40:37
    on several occasions.
  • 40:39 - 40:41
    I...
  • 40:45 - 40:47
    On a number of occasions,
    I've taken newspapers from the racks
  • 40:47 - 40:49
    without paying for them.
  • 40:50 - 40:52
    I...
  • 40:57 - 41:01
    ...have deliberately taken pleasure
    in impure thoughts,
  • 41:01 - 41:03
    and
  • 41:04 - 41:06
    I've been involved in some work
  • 41:06 - 41:10
    that I think will be used
    to hurt these two young people.
  • 41:12 - 41:13
    It's happened to me before.
  • 41:13 - 41:17
    People were hurt because of my work.
  • 41:17 - 41:19
    I'm afraid it could happen again,
  • 41:20 - 41:22
    and I was in no way responsible.
  • 41:23 - 41:24
    I'm not responsible.
  • 41:26 - 41:29
    For these and all my sins of my past life,
    I am heartily sorry.
  • 41:42 - 41:43
    Hi. Can I help you?
  • 41:43 - 41:47
    - Well, you could explain your system to me.
    - Okay, Mr. Caul, I'm Jim Storey.
  • 41:47 - 41:50
    - How do you do?
    - Come in and take a look here
  • 41:50 - 41:51
    at the system.
  • 41:52 - 41:55
    This is for the surveillance
    of telephone communication systems.
  • 41:56 - 41:57
    I see.
  • 41:57 - 41:58
    ...now available.
  • 41:58 - 42:00
    Here's the new LT 500.
  • 42:00 - 42:05
    If you're in surveillance,
    you belong into the LT 500.
  • 42:05 - 42:07
    You can hear your sounds here
  • 42:08 - 42:10
    and know exactly
    which door has been violated.
  • 42:10 - 42:11
    I see.
  • 42:11 - 42:13
    And you got your local alarms on the doors,
  • 42:13 - 42:14
    which I'm sure you've heard.
  • 42:15 - 42:16
    It's quite noisy.
  • 42:17 - 42:18
    It has a Super 8mm camera in here,
  • 42:18 - 42:21
    and the dot right here, the 10:00 dot,
  • 42:21 - 42:24
    will show exactly
    what the camera sees on the back.
  • 42:24 - 42:25
    It's a magazine-loaded camera,
  • 42:26 - 42:27
    Super 8mm...
  • 42:29 - 42:32
    William P. Moran of Detroit, Michigan,
  • 42:32 - 42:34
    house courtesy telephone, please.
  • 42:38 - 42:40
    That's your automatic recorder actuator.
  • 42:41 - 42:45
    It undetectably starts the recorder
    when the phone is lifted
  • 42:45 - 42:48
    and shuts it off
    when the receiver is put back.
  • 42:49 - 42:51
    - What?
    - It's real nice, you know.
  • 42:52 - 42:54
    It's not your old-fashioned voice actuator,
  • 42:54 - 42:57
    you know, always starting the recorder
    when nobody was talking
  • 42:57 - 43:01
    or shutting it off in the middle
    of an important conversation.
  • 43:01 - 43:03
    Is it anything like the Moran actuator?
  • 43:04 - 43:06
    The Moran E-27 is a copy.
  • 43:06 - 43:09
    I won't let him even smell
    my equipment anymore.
  • 43:09 - 43:11
    - You in surveillance?
    - Yeah.
  • 43:11 - 43:13
    Law enforcement or private operator?
  • 43:14 - 43:15
    Private.
  • 43:15 - 43:18
    You mind if I take your name
    and address for our mailing list?
  • 43:18 - 43:21
    Harry... Harry Caul?
  • 43:21 - 43:23
    I didn't recognize you.
  • 43:23 - 43:27
    Say, I wonder,
    would you take a Model 510-A?
  • 43:27 - 43:28
    Free of charge. Just to test it.
  • 43:29 - 43:32
    You know, say, in return for
    that we can print in our flier
  • 43:32 - 43:33
    that you use it.
  • 43:33 - 43:35
    I build all my own equipment. Thank you.
  • 43:35 - 43:38
    Maybe we could take a picture
    of you holding it?
  • 43:38 - 43:40
    Or take a picture of you
    in front of our booth?
  • 43:40 - 43:42
    It would be a great honor for Spectre.
  • 44:28 - 44:30
    This is not helping crime.
  • 44:30 - 44:31
    It's helping justice.
  • 44:46 - 44:49
    ...that may be affixed to
    the subject's automobile...
  • 44:49 - 44:50
    Slide.
  • 44:51 - 44:53
    ...and will transmit a pulsating tone signal...
  • 44:53 - 44:54
    Slide.
  • 44:55 - 44:55
    ...which is highly detectable...
  • 44:56 - 44:57
    Harry, good to see you.
  • 44:59 - 45:01
    - Beautiful suit.
    - You like it? It's French.
  • 45:02 - 45:03
    Oh.
  • 45:03 - 45:05
    Let's go get a drink and talk.
  • 45:05 - 45:08
    Requiring no knowledge
    or skill in electronics.
  • 45:08 - 45:10
    Come on, it's a bore.
  • 45:13 - 45:19
    The TA-30 may be installed and concealed
    under the dash in a matter of seconds.
  • 45:20 - 45:23
    Hey, come on, there's somebody
    over here I want you to meet,
  • 45:23 - 45:24
    a competitor of yours.
  • 45:24 - 45:27
    - Hey, Bernie, old buddy.
    - Yeah, Paulie, what's up?
  • 45:27 - 45:31
    This is Harry Caul. William P. Moran.
  • 45:31 - 45:33
    Harry Caul, my pleasure.
  • 45:33 - 45:35
    My friends call me Bernie.
    I heard a lot about you, Harry.
  • 45:35 - 45:38
    - Thank you.
    - Bernie just moved in from Detroit.
  • 45:38 - 45:42
    He's the fellow that let Chrysler know
    that Cadillac was discontinuing its fins.
  • 45:42 - 45:43
    That's right. I heard.
  • 45:45 - 45:47
    Harry Caul, you're a tough man
    to get a hold of.
  • 45:47 - 45:49
    I've been wanting to talk to you
    for a long time.
  • 45:49 - 45:51
    Hey, can you take five? We'll get a drink.
  • 45:51 - 45:53
    Yeah. Maybe in a couple of...
  • 45:53 - 45:56
    Honey... Honey, sweetheart,
    show time, all right?
  • 45:57 - 45:59
    I'd appreciate it if you stuck around
    for the demonstration, Harry.
  • 46:02 - 46:06
    Ladies and gentlemen.
  • 46:07 - 46:11
    Ladies and gentlemen, what we have here
    is the Moran S-15 harmonica tap.
  • 46:12 - 46:16
    This electronic marvel can be installed
    in a matter of two minutes.
  • 46:16 - 46:20
    Notice here it has its own
    nickel cadmium power source,
  • 46:20 - 46:22
    so it cannot be detected on the line.
  • 46:22 - 46:26
    Once installed, it can be phoned
    from any telephone in the world,
  • 46:26 - 46:28
    Singapore, Karāchi, even Moscow.
  • 46:29 - 46:32
    I say Moscow 'cause you look
    a little Russian there, sir, with the beard.
  • 46:32 - 46:35
    You just dial the target's phone number,
  • 46:35 - 46:37
    pause before the last digit,
  • 46:37 - 46:40
    blow the harmonica tone into the phone,
  • 46:40 - 46:42
    press the last digit.
  • 46:42 - 46:45
    The phone will not ring
    in the target's house.
  • 46:45 - 46:49
    Instead, the receiver will be turned
    into an actual room microphone,
  • 46:49 - 46:52
    thus enabling surveillance to take place.
  • 46:52 - 46:56
    And now, by way of
    an actual demonstration,
  • 46:56 - 46:58
    we've installed one of these units
    in my very own home.
  • 46:59 - 47:00
    I will now dial that number.
  • 47:02 - 47:03
    Thank you.
  • 47:08 - 47:11
    I pause before the last digit.
  • 47:13 - 47:14
    Harmonica.
  • 47:18 - 47:20
    I dial the last digit.
  • 47:23 - 47:26
    You will note the phone does not ring.
  • 47:27 - 47:28
    Can we get away?
  • 47:28 - 47:30
    I don't know. Maybe I can.
  • 47:31 - 47:32
    Where's your husband?
  • 47:33 - 47:35
    He's out at a convention.
  • 47:37 - 47:39
    When will he be back?
  • 47:39 - 47:40
    Not until late.
  • 47:41 - 47:43
    April fool! Just a little joke, folks.
  • 47:43 - 47:45
    - That shows you the possibilities...
    - Larry Peterson...
  • 47:45 - 47:47
    ...of the Moran S-15.
    - Larry Peterson Burns.
  • 47:47 - 47:50
    Thank you.
    The demonstration is concluded.
  • 47:50 - 47:52
    I'd like you to take a little literature with you
    on your way.
  • 47:53 - 47:55
    Well, what did you think of that?
    How did you like it?
  • 47:55 - 47:57
    It's a good item.
  • 47:57 - 47:58
    It's good for the catalogue suckers, huh?
  • 47:58 - 48:01
    Here you go, Harry. Have a free pen.
  • 48:01 - 48:02
    You, too, Paulie.
  • 48:02 - 48:04
    - I'd rather have a free drink.
    - Hey, me, too.
  • 48:07 - 48:09
    Stanley! Stanley, do me a favor, huh?
  • 48:09 - 48:11
    Come on. Mind the booth, all right?
  • 48:11 - 48:13
    Come on. That's what I pay you for.
  • 48:13 - 48:15
    Just a couple of minutes.
    I just wanna get a drink, all right?
  • 48:15 - 48:16
    Hi, Harry.
  • 48:18 - 48:19
    Hi, Stan.
  • 48:20 - 48:22
    That's right.
    You two used to work together, huh?
  • 48:25 - 48:27
    You see that son of a bitch sitting there?
    He stole my latest idea...
  • 48:27 - 48:29
    A lot of nice ladies around here tonight.
  • 48:29 - 48:31
    Say, how about that pastry in the yellow?
    She come across?
  • 48:31 - 48:34
    Come on. Forget it. She's a part-time nun.
    We'll get supper...
  • 48:34 - 48:36
    Hey, Harry, where you going?
  • 48:36 - 48:38
    You guys go on without me.
    I'm going to talk to Stan.
  • 48:38 - 48:40
    We'll meet you later
    at the chrome-dome exhibit.
  • 48:40 - 48:42
    Don't be long, huh, Harry. Come on.
  • 48:53 - 48:56
    Since when are
    you working for Moran, Stanley?
  • 48:59 - 49:01
    Since yesterday.
  • 49:03 - 49:04
    Listen, that wasn't serious.
  • 49:04 - 49:06
    That was just a stupid argument.
  • 49:06 - 49:07
    That wasn't it, Harry. It's just that
  • 49:07 - 49:09
    I figured it was time I move up, that's all.
  • 49:09 - 49:10
    No... Stan,
  • 49:11 - 49:13
    I don't want you telling him
    about any of my things.
  • 49:13 - 49:14
    It's not ethical.
  • 49:15 - 49:16
    There's not all that much
    you ever let me in on, Harry.
  • 49:16 - 49:17
    Maybe that's the problem.
  • 49:18 - 49:21
    Okay. All right. I'll bring you along faster.
    I'll show you some of the stuff.
  • 49:21 - 49:22
    You won't show me anything.
  • 49:22 - 49:25
    You'll keep it all to yourself.
    You know damn well you will.
  • 49:25 - 49:28
    No, really, Stan, wait a while.
  • 49:29 - 49:30
    Will you think about it?
  • 49:32 - 49:34
    Don't do this to me now.
  • 49:37 - 49:39
    Some guy's following me.
  • 49:40 - 49:41
    Who?
  • 49:41 - 49:43
    I don't know.
  • 49:43 - 49:45
    It has something to do
    with the assignment last week.
  • 49:46 - 49:49
    I don't know what it's about,
    but I don't like it.
  • 49:51 - 49:53
    Okay, all right.
  • 49:54 - 49:56
    Okay. Thanks, Stan.
  • 50:00 - 50:02
    This is junk.
  • 50:26 - 50:29
    I'm sorry, but you have reached
    a disconnected number.
  • 50:29 - 50:31
    Will you please make sure you...
  • 50:40 - 50:41
    Information.
  • 50:41 - 50:44
    The number for Amy Fredericks, please.
  • 50:44 - 50:45
    It's a new listing.
  • 50:45 - 50:47
    One moment, please.
  • 50:52 - 50:55
    Sir, I see no listing for an Amy Fredericks.
  • 50:56 - 50:57
    Thank you.
  • 51:22 - 51:23
    What are you doing here?
  • 51:23 - 51:25
    Take it easy. I'm just a messenger.
  • 51:26 - 51:27
    I brought you a drink.
  • 51:28 - 51:30
    I don't want your drink.
    Why are you following me?
  • 51:30 - 51:33
    I'm not following you. I'm looking for you.
  • 51:33 - 51:34
    There's a big difference.
  • 51:34 - 51:36
    How did you know I was here?
  • 51:36 - 51:38
    It's a convention of wire-tappers, isn't it?
  • 51:38 - 51:42
    Oh, excuse me,
    surveillance and security technicians.
  • 51:42 - 51:43
    It was a snap.
  • 51:43 - 51:46
    Look, I'm telling you, I'm not giving
    those tapes to anybody but the director.
  • 51:46 - 51:48
    Yeah, I know what you told me, Mr. Caul.
  • 51:49 - 51:51
    All right, what's the message?
  • 51:51 - 51:53
    We want you to deliver the tapes
    on Sunday, 1:00.
  • 51:54 - 51:55
    The director will be there.
  • 51:55 - 51:58
    He'll accept the tapes from you, in person.
  • 51:58 - 51:59
    You tell him I'll think about it.
  • 52:16 - 52:19
    - Hey, Paulie!
    - Come on! Come on, let's go!
  • 52:20 - 52:22
    Lurleen and Millard, get in the back there.
  • 52:23 - 52:24
    And, Stanley, get in front!
  • 52:24 - 52:26
    Hey, come on, Harry.
    Hey, what the hell are you doing?
  • 52:26 - 52:28
    Come on. I'm trying to dress up for the bar.
  • 52:29 - 52:32
    Hey, Bernie, it's a come-as-you-are party.
  • 52:32 - 52:35
    Hey, no, no! Wait a minute!
    All the girls up front!
  • 52:35 - 52:38
    I think you take a right
    somewhere around here.
  • 52:40 - 52:41
    Sons of bitches! Those smartasses!
  • 52:42 - 52:43
    Who the hell do they think
    they're tangling with?
  • 52:43 - 52:45
    All right! Easy, easy!
    Come on. We're going to have a party.
  • 52:45 - 52:46
    He could drive, man.
  • 52:51 - 52:53
    Millard, make them stop.
  • 52:53 - 52:55
    Relax, honey.
    Paul's the best tail man in the country.
  • 52:55 - 52:58
    Hey, Meredith, do you hear that?
  • 53:03 - 53:06
    Headquarters 111,
    I'm driving east on Lombard.
  • 53:07 - 53:12
    I'd like a rolling 10-28 on California 5-6-0,
  • 53:13 - 53:15
    Boy Adam Lincoln.
  • 53:16 - 53:18
    What are you calling for a 10-28 for?
  • 53:19 - 53:20
    Thanks.
  • 53:23 - 53:27
    Hey, Willie Sanchez, 565414th Street,
  • 53:27 - 53:31
    162 pounds, 5'10" and a half shithead!
  • 53:37 - 53:39
    You cheated!
  • 53:41 - 53:43
    Oh, man...
  • 53:44 - 53:46
    Want me to pick that lock for you, Harry?
  • 53:48 - 53:51
    - This'll be the bar.
    - It's freezing in here.
  • 53:51 - 53:54
    Oh, boy, Harry. Okay.
  • 53:55 - 53:58
    - All right, the bar is now open.
    - Thank you, thank you.
  • 53:58 - 53:59
    - Stanley.
    - Yes, sir.
  • 53:59 - 54:02
    - How about a little music?
    - The man wants a little music.
  • 54:02 - 54:04
    Harry, you got a nice shop here.
  • 54:21 - 54:22
    You know, I was rereading
  • 54:22 - 54:25
    DearAbby the other night, and there was
    this article, a letter from a fella
  • 54:26 - 54:27
    called "Lonely and Anonymous."
  • 54:27 - 54:31
    I think it was Harry. Hey.
  • 54:34 - 54:38
    Where's the club soda?
    We got any club soda?
  • 54:38 - 54:40
    Let me tell you something about Harry Caul.
  • 54:41 - 54:42
    There you go.
  • 54:42 - 54:45
    I know you heard this a thousand times,
    Harry, but let me say it again.
  • 54:46 - 54:50
    Here's to Harry, the best, bar none.
    I'll drink to that.
  • 54:50 - 54:51
    The best what?
  • 54:53 - 54:56
    The best bugger on the West Coast.
  • 54:56 - 54:58
    And who's the best bugger
    on the East Coast?
  • 54:58 - 55:00
    Me. I'll drink to that, too.
  • 55:00 - 55:03
    I'll bet you will.
  • 55:08 - 55:11
    It's really funny we never bumped into
    each other in New York, Harry.
  • 55:11 - 55:13
    Why is that funny?
  • 55:13 - 55:15
    I don't know, we work in the same business,
    the same city.
  • 55:16 - 55:17
    I figure we'd bump into each other.
  • 55:18 - 55:19
    I didn't know
    you came from New York, Harry.
  • 55:20 - 55:21
    - Yeah.
    - Are you kidding?
  • 55:21 - 55:23
    Harry's famous in New York.
  • 55:23 - 55:25
    You know, the only one
    I couldn't figure out though, Harry?
  • 55:25 - 55:26
    One what?
  • 55:28 - 55:30
    The welfare fund back in '68.
  • 55:31 - 55:33
    - How did you know about that?
    - Everybody in the biz knew about it.
  • 55:34 - 55:35
    But nobody knows
    how you did it though, Harry.
  • 55:40 - 55:41
    - How did you do it, Harry?
    - Harry.
  • 55:43 - 55:45
    Ten cents a dance. Come on.
  • 55:51 - 55:52
    You all right?
  • 55:53 - 55:56
    - You hurt yourself?
    - No. Don't worry about my head.
  • 55:56 - 55:58
    It happens all the time.
  • 55:59 - 56:00
    In fact, when I was a little baby,
  • 56:01 - 56:03
    I used to love to bang my head
    up against the wall.
  • 56:03 - 56:04
    No, really. I did.
  • 56:04 - 56:08
    Sometimes I still feel like doing it
    'cause it's comforting.
  • 56:08 - 56:10
    I tapped my first telephone
    when I was 12 years old, Harry.
  • 56:11 - 56:14
    I mean, that's a fact. 12 years old.
  • 56:14 - 56:17
    It was a hallway payphone right
    in the tenement, right where I lived.
  • 56:18 - 56:20
    Everybody in the building. For six months,
    they didn't know who it was.
  • 56:20 - 56:25
    My father, he was proud as hell.
    He was beaming.
  • 56:25 - 56:30
    Yeah, boy.
    "That Bernie's got a real brain," he said.
  • 56:30 - 56:31
    From then on, it's been all uphill, Harry.
  • 56:33 - 56:36
    I got contacts now you wouldn't believe.
  • 56:36 - 56:38
    Here. Well, bring them over.
  • 56:42 - 56:43
    Take a cab over.
  • 56:43 - 56:45
    Nothing's sacred with you, is it, Harry?
  • 56:45 - 56:48
    Sure. The more, the merrier.
    We'll be here all night.
  • 56:48 - 56:51
    Feel like I'm back in grammar.
  • 56:52 - 56:54
    - Oh, you son of a...
    - What?
  • 56:56 - 56:58
    All right, what's the matter, Harry?
    Can't you take a vacation?
  • 56:58 - 57:01
    You guys are amateurs, you know that?
  • 57:01 - 57:03
    When are you gonna get
    a new scrambler, Harry?
  • 57:03 - 57:05
    This one went out with the Trojan War.
  • 57:05 - 57:07
    Harry, come on. I want to hear all about you.
  • 57:07 - 57:11
    - Where you from?
    - Really obsolete, you know that, Harry?
  • 57:11 - 57:15
    - Harry got himself a girlfriend.
    - Watch out, Harry.
  • 57:16 - 57:19
    - Where are you from?
    - New York.
  • 57:19 - 57:21
    I used to live in New York.
  • 57:21 - 57:27
    Yes. First, I worked as a receptionist,
    and then I got promoted to secretary.
  • 57:27 - 57:30
    And then I was promoted to gal Friday,
  • 57:30 - 57:34
    and special assistant to the boss,
    and then I married him.
  • 57:53 - 57:55
    Do you live far from here?
  • 58:02 - 58:04
    Harry?
  • 58:05 - 58:06
    Are you still married?
  • 58:07 - 58:10
    Oh, I don't know. Probably.
  • 58:13 - 58:14
    I guess maybe I am.
  • 58:15 - 58:17
    Last time I heard, he was...
  • 58:17 - 58:20
    Well, he was trying
    to scrape up enough money
  • 58:20 - 58:24
    - to buy another hardware store.
    - Yeah.
  • 58:24 - 58:28
    And I ended up
    out here in San Francisco, unemployed,
  • 58:29 - 58:32
    which is the entire story of my life
    up until tonight.
  • 58:47 - 58:49
    Here's to you.
  • 58:51 - 58:55
    You don't like me very much, do you?
    You don't want to talk to me or anything.
  • 58:55 - 58:57
    I didn't say that.
  • 59:10 - 59:13
    Something is on your mind.
    I wish you'd tell me.
  • 59:13 - 59:16
    I really do. I wish that...
  • 59:16 - 59:19
    I wish that you'd feel
    that you could talk to me
  • 59:20 - 59:22
    and that we could be friends.
  • 59:22 - 59:25
    I mean, aside from all of this junk.
  • 59:47 - 59:49
    Would you...
  • 59:50 - 59:53
    If you were a girl
    who'd waited for someone...
  • 60:02 - 60:05
    You can trust me.
  • 60:08 - 60:13
    Well, you never really knew
    when he was going to come to see you.
  • 60:14 - 60:19
    You just lived in a room alone,
    and you knew nothing about him.
  • 60:19 - 60:22
    And if you loved him,
    you were patient with him,
  • 60:22 - 60:29
    and even though he didn't dare ever
    tell you anything about himself personally,
  • 60:32 - 60:35
    even though he may have loved you,
    would you...
  • 60:36 - 60:38
    - Would I what?
    - Would you...
  • 60:42 - 60:44
    Would you go back to him?
  • 60:50 - 60:54
    Well, how would I know?
    How would I know that he loved me?
  • 61:03 - 61:05
    You'd have no way of knowing.
  • 61:17 - 61:19
    Hey, Harry!
  • 61:19 - 61:22
    Did you hear the one about
    the broad who busted Vegas?
  • 61:22 - 61:25
    She wore a see-through blouse.
  • 62:24 - 62:25
    You know something, Harry?
  • 62:27 - 62:29
    Twelve years ago,
    I recorded every telephone call
  • 62:29 - 62:32
    made by the presidential nominee
    of a major political party.
  • 62:32 - 62:34
    I don't want to say which party.
  • 62:34 - 62:38
    But everywhere he went, that's where I was.
    Coast to coast, I was listening, Harry.
  • 62:39 - 62:43
    I'm not saying I elected
    the President of the United States, but
  • 62:43 - 62:45
    you can draw your own conclusions, Harry.
  • 62:46 - 62:49
    - I mean, he lost.
    - Harry,
  • 62:49 - 62:52
    tell them about the time
    you put the bug in the parakeet.
  • 62:53 - 62:55
    - Parakeet?
    - No kidding.
  • 62:55 - 62:59
    Harry one time actually put a microphone
    in a little parakeet.
  • 62:59 - 63:01
    Is that right?
  • 63:03 - 63:06
    Parakeets don't happen to be
    my thing, Harry,
  • 63:06 - 63:09
    but I sure would like to know
    how you did the teamster local back in '68.
  • 63:09 - 63:10
    What was that?
  • 63:11 - 63:14
    - Don't you get papers in Chicago, Millard?
    - Probably out on strike.
  • 63:14 - 63:16
    It was all over the front pages.
  • 63:16 - 63:20
    Harry was working
    for the attorney general's office at the time.
  • 63:20 - 63:22
    You didn't know I knew that, did you, Harry?
  • 63:22 - 63:25
    Anyway, the president of this teamster local
    back east
  • 63:25 - 63:28
    set up a phony welfare fund, right?
  • 63:28 - 63:33
    I mean, you correct me on the details, Harry.
    I may be a little fuzzy on them.
  • 63:33 - 63:35
    There was only two people
    that seemed to know about it,
  • 63:35 - 63:37
    the president and his accountant.
  • 63:37 - 63:40
    They only talked about it
    on fishing trips that they went on.
  • 63:40 - 63:43
    On a private boat.
    That was the only place they talked details.
  • 63:43 - 63:46
    And that boat was bug-proof.
    I happen to know that for a fact, Harry.
  • 63:47 - 63:49
    They wouldn't even strike up a conversation
  • 63:49 - 63:52
    if there was another boat
    even on the horizon.
  • 63:52 - 63:56
    That didn't stop Harry though, did it?
    No, he recorded everything.
  • 63:56 - 64:00
    Nobody knows how you did it though,
    Harry. Caused a hell of a scandal, too.
  • 64:00 - 64:01
    Why?
  • 64:01 - 64:05
    Why? No reason.
    Three people were murdered, that's all.
  • 64:05 - 64:08
    Harry's a bit too modest
    to tell us how he did it though.
  • 64:11 - 64:14
    It had nothing to do with me.
    I just turned in the tapes.
  • 64:14 - 64:16
    The president thought
    the accountant had talked.
  • 64:17 - 64:22
    - Well, nobody really knows for sure.
    - That's right.
  • 64:22 - 64:24
    Three days later,
    they found the accountant, his wife and kid,
  • 64:24 - 64:27
    they were all naked and tied up in the house.
  • 64:27 - 64:32
    Hands and feet tied up with rope,
    all the hair on their bodies shaved off.
  • 64:32 - 64:35
    Their heads were found in different places.
  • 64:35 - 64:38
    - They killed them?
    - No. They gift-wrapped them.
  • 64:38 - 64:42
    No, no, no. This is ancient history now.
    Harry, how did you do it?
  • 64:42 - 64:44
    What they do with the tapes
    is their own business.
  • 64:44 - 64:46
    That's the first time
    I heard about you, Harry.
  • 64:46 - 64:49
    Next thing I knew,
    you moved out of New York.
  • 64:49 - 64:50
    It had nothing to do with me.
  • 64:51 - 64:54
    Come on, Harry, show and tell.
    How did you do it?
  • 64:54 - 64:56
    For God's sake, Harry, tell him!
  • 65:02 - 65:04
    - Turn it off, Stan.
    - What for?
  • 65:04 - 65:06
    Stan, turn it off!
  • 65:07 - 65:08
    They ought to hear this, Harry.
  • 65:08 - 65:11
    It's the best thing you've ever done!
  • 65:15 - 65:17
    What was that, Stan?
  • 65:21 - 65:23
    Well, it's the assignment
    that Harry did this week.
  • 65:25 - 65:27
    - It'll make history.
    - Yeah?
  • 65:28 - 65:31
    I bet you there's no moment between
    human beings that I cannot record,
  • 65:31 - 65:33
    and there's no method
    that I cannot figure out.
  • 65:34 - 65:37
    I could figure out
    any of Harry's schemes, right?
  • 65:37 - 65:39
    Come on, come on. Try me.
  • 65:40 - 65:44
    - Let me give him the assignment, Harry.
    - Yeah.
  • 65:50 - 65:52
    Now, this is a quad in the center of the city.
    All right?
  • 65:53 - 65:56
    Now, these are steps coming in here
    and benches all around.
  • 65:56 - 65:58
    It's 12:00 noon,
  • 65:58 - 65:59
    which means that it's lunchtime for
  • 65:59 - 66:02
    all the people that work in
    these offices around here.
  • 66:02 - 66:05
    People are walking, talking, having lunch,
    and it's crowded.
  • 66:05 - 66:07
    - Naturally. Come on, Stan.
    - Okay.
  • 66:08 - 66:09
    Now, two people
  • 66:09 - 66:12
    are constantly moving in circles,
    in and out of the crowd.
  • 66:12 - 66:14
    We don't know
    whether they'll sit down or what.
  • 66:15 - 66:17
    They're convinced that
    they can't be recorded
  • 66:17 - 66:20
    because they're in a crowd
    and constantly moving. Yet,
  • 66:20 - 66:22
    they're the target.
  • 66:22 - 66:25
    Now, the assignment is
    to get everything they say.
  • 66:25 - 66:26
    How would you do it?
  • 66:26 - 66:29
    First of all, one system won't do it.
  • 66:29 - 66:32
    - Hell, I could've told you that.
    - Yeah, why didn't you?
  • 66:32 - 66:33
    Go on, figure it out.
  • 66:33 - 66:36
    Second of all, it's easy.
    All you do is get to their clothes first.
  • 66:36 - 66:37
    You pre-rig their clothes.
  • 66:38 - 66:40
    No. There's no way of telling
    what they're going to be wearing.
  • 66:41 - 66:42
    Then you get somebody to bump into them.
  • 66:42 - 66:46
    You just get a drunk or something, bump
    into them, you plant a pin mike on them.
  • 66:46 - 66:48
    They've been bugged before. It's too risky.
  • 66:49 - 66:51
    I got it.
  • 66:52 - 66:54
    You hire a lip-reader with binoculars.
  • 66:55 - 66:58
    - No. The client wants their actual voice.
    - Why?
  • 67:00 - 67:01
    So he can believe it.
  • 67:03 - 67:05
    All right. I'll figure it out.
  • 67:05 - 67:07
    I don't know.
    It must've been an expensive show.
  • 67:07 - 67:10
    - Who was so interested?
    - Yeah, was it us?
  • 67:10 - 67:12
    - Who's us?
    - Federal government.
  • 67:12 - 67:14
    Private party.
  • 67:14 - 67:16
    It would take at least four passes.
  • 67:16 - 67:18
    - I did it in three.
    - Three?
  • 67:18 - 67:21
    That's very nice, Harry. What did you use?
  • 67:21 - 67:26
    Three-stage directional microphones
    with MOSFET amplifier of my own design.
  • 67:26 - 67:30
    And we got another 20% conventionally,
    just tailing them. Paul did.
  • 67:30 - 67:31
    Beautiful.
  • 67:32 - 67:33
    It really was. It was a work of art.
  • 67:35 - 67:38
    You should have seen it, though.
    These new microphones are just incredible.
  • 67:38 - 67:40
    I couldn't really believe it myself.
  • 67:40 - 67:44
    We were over 200 yards away.
    It was absolutely readable. Everything.
  • 67:44 - 67:46
    I broke in a couple of
    newsreel cameramen, and...
  • 67:47 - 67:48
    You should have been there, Bernie.
    It was really...
  • 67:48 - 67:49
    What did they do?
  • 67:50 - 67:51
    Well, they took
  • 67:51 - 67:54
    the crosshairs of the telescope
    and they lined it up on the mouths...
  • 67:54 - 67:56
    No. The boy and the girl. What did they do?
  • 67:56 - 68:01
    Oh, I don't know. But it was really beautiful,
    really something to see.
  • 68:02 - 68:04
    Yeah. Sounds very pretty.
  • 68:04 - 68:06
    I'd like to take a look at that mike, too.
  • 68:06 - 68:07
    There it is.
  • 68:09 - 68:12
    I always said we should be partners, Harry.
  • 68:12 - 68:14
    I mean, I always said you're the best, right?
  • 68:14 - 68:16
    But you and me together, that'd be tops.
  • 68:16 - 68:18
    All I need is a quick look
    at some of your plans and devices.
  • 68:18 - 68:22
    You know, just get an idea...
    I got all the manufacturing plants.
  • 68:22 - 68:25
    We could make a fortune
    selling stuff to Uncle Sam, Harry.
  • 68:25 - 68:28
    Listen, did you hear
    about the fag wire-tapper
  • 68:28 - 68:32
    - who could only tap a Princess phone?
    - No.
  • 68:36 - 68:40
    Made that up yourself, huh?
    It's pretty funny.
  • 68:40 - 68:42
    Excuse me, can I cut in?
  • 68:42 - 68:43
    He's got a hell of a sense of humor.
  • 68:45 - 68:47
    I'm talking about making millions,
    he's making with the jokes.
  • 68:47 - 68:49
    - Come on!
    - Thanks a lot.
  • 68:52 - 68:54
    What do you say, Harry? Come on.
  • 68:54 - 68:55
    How about going into a partnership, Harry?
  • 68:55 - 68:57
    I could use a partner, so could you.
  • 68:57 - 69:00
    - 50-50, how about it?
    - I don't need anyone.
  • 69:00 - 69:01
    No, no.
  • 69:03 - 69:06
    That's all right.
    I do pretty good on my own, anyway.
  • 69:06 - 69:09
    You got to give credit
    where credit's due, right?
  • 69:09 - 69:11
    Abracadabra, Harry.
  • 69:12 - 69:15
    See, I'm number two, Harry.
    I have to try harder.
  • 69:15 - 69:19
    If you were a girl
    who'd waited for someone...
  • 69:19 - 69:20
    You can trust me.
  • 69:21 - 69:24
    Harry, that's you and me
    when we were out there.
  • 69:24 - 69:26
    What? No shit.
  • 69:26 - 69:28
    ...when he was going to come to see you.
  • 69:28 - 69:31
    It's the Moran Super P-7 pen mike
    and transmitter.
  • 69:31 - 69:34
    That's terrific! The bugger got bugged, huh?
  • 69:34 - 69:35
    He got you, Harry.
  • 69:35 - 69:37
    And if you loved him,
    you were patient with him,
  • 69:38 - 69:44
    and even though he didn't dare ever
    tell you anything about himself personally,
  • 69:44 - 69:47
    even though he may have loved you,
    would you...
  • 69:47 - 69:48
    That was wild. When did you do that?
  • 69:49 - 69:51
    Hey, how do you like it, Harry?
    What do you think about it, huh?
  • 69:52 - 69:57
    Would you... Would you go back to him?
  • 69:58 - 70:00
    I think you'd better turn it off and get out.
  • 70:00 - 70:01
    You'd have no way of knowing.
  • 70:01 - 70:05
    Are you kidding?
    It's just a joke, for Christ's sake.
  • 70:05 - 70:07
    Bernie, Harry don't like you
    to say "Christ's sake."
  • 70:08 - 70:11
    Oh, no? Well, I'm sorry, Harry. I apologize.
    What, are you crazy, too, Stanley?
  • 70:11 - 70:12
    Hey, Harry. What's wrong?
  • 70:12 - 70:14
    Come on. Let's have a party here.
    What do you say?
  • 70:14 - 70:16
    Paul, it's getting late.
  • 70:16 - 70:17
    Come on, take it easy.
  • 70:18 - 70:19
    Come on.
  • 70:19 - 70:21
    - Hey, Millard.
    - Know what these things cost, Harry?
  • 70:22 - 70:24
    This cost 1,500 beans. Come on.
    On the house, from me to you.
  • 70:28 - 70:30
    Very nice to meet you.
  • 70:32 - 70:33
    It was only a joke.
  • 70:34 - 70:37
    - Meredith?
    - Guy's got no sense of humor.
  • 70:37 - 70:40
    - No. I'm going to stay here.
    - Paul!
  • 70:42 - 70:43
    Okay.
  • 70:47 - 70:48
    I forgot my bag.
  • 70:50 - 70:53
    Harry, I'm really sorry.
    I didn't mean anything.
  • 70:54 - 70:56
    - Come on, Stan.
    - See you Monday, Harry.
  • 70:58 - 70:59
    You want us to put the lights out?
  • 71:19 - 71:21
    - Good night, Harry!
    - Yeah. Good night, Harry.
  • 71:27 - 71:29
    What do you think?
  • 71:29 - 71:31
    I don't know what I'm going
    to get him for Christmas yet.
  • 71:31 - 71:34
    He's already got everything.
  • 71:40 - 71:45
    Harry, are you going to
    give me a hard time tonight? Harry!
  • 71:47 - 71:51
    Harry! Come on. Come back. Turn it off.
  • 72:03 - 72:06
    She's frightened.
  • 72:08 - 72:10
    This is where she's frightened.
  • 72:10 - 72:12
    I don't know what I'm going
    to get him for Christmas yet.
  • 72:12 - 72:14
    This is no ordinary conversation.
  • 72:14 - 72:18
    - He doesn't need anything anymore.
    - It makes me feel...
  • 72:18 - 72:21
    Well, I haven't decided
    what I'm going to get you yet.
  • 72:21 - 72:26
    ...something.
    - Forget it, Harry. It's only a trick.
  • 72:27 - 72:28
    - What?
    - A job.
  • 72:29 - 72:32
    You're not supposed to
    feel anything about it.
  • 72:32 - 72:35
    You're just supposed to do it. That's all.
  • 72:35 - 72:37
    Relax, honey.
  • 72:37 - 72:38
    A lot of fun you are.
  • 72:38 - 72:40
    - Relax.
    - You're supposed to tease me,
  • 72:40 - 72:42
    give me hints, make me guess, you know.
  • 72:44 - 72:46
    Does it bother you?
  • 72:46 - 72:50
    - What?
    - Walking around in circles.
  • 72:51 - 72:56
    Oh, look. That's terrible.
  • 72:56 - 72:58
    He's not hurting anyone.
  • 72:59 - 73:00
    Come on.
  • 73:01 - 73:03
    Neither are we.
  • 73:06 - 73:08
    - Oh, God.
    - "Oh, God."
  • 73:09 - 73:13
    Listen to the way she says, "Oh, God."
  • 73:13 - 73:14
    Come here.
  • 73:15 - 73:20
    Every time I see one of those old guys,
    I always think the same thing.
  • 73:20 - 73:22
    What do you think?
  • 73:23 - 73:26
    I always think that he was once
    somebody's baby boy.
  • 73:29 - 73:31
    Really, I do.
  • 73:31 - 73:34
    I think he was once somebody's baby boy,
  • 73:34 - 73:37
    and he had a mother
    and a father who loved him.
  • 73:37 - 73:41
    And now there he is,
    half-dead on a park bench,
  • 73:41 - 73:45
    and where are his mother or his father,
    all his uncles now?
  • 73:46 - 73:50
    Anyway, that's what I always think.
  • 73:51 - 73:55
    I always think how, when
    they had the newspaper strike in New York,
  • 73:55 - 73:57
    more of those old guys died.
  • 73:57 - 74:00
    Fifty of them froze to death in one night.
  • 74:00 - 74:03
    Just because there were no newspapers?
  • 74:03 - 74:07
    - Really. Keeps them warm.
    - That's terrible.
  • 74:09 - 74:11
    Who started this conversation, anyhow?
  • 74:14 - 74:16
    - You did.
    - Did not.
  • 74:17 - 74:20
    Yes, you did. You just don't remember it.
  • 74:22 - 74:24
    Pretend like I just told you a joke.
  • 74:28 - 74:31
    - Where did you hear that?
    - That's my secret.
  • 74:33 - 74:37
    Later in the week. Sunday, maybe.
  • 74:39 - 74:40
    Sunday, definitely.
  • 74:43 - 74:45
    Jack Tar Hotel.
  • 74:46 - 74:48
    3:00.
  • 74:48 - 74:50
    Room 773.
  • 74:50 - 74:51
    Look, Mark. Do you see him?
  • 74:52 - 74:54
    The man with the hearing aid like Charles?
  • 74:54 - 74:57
    - No. Where?
    - Right there, with the shopping bag.
  • 74:57 - 75:01
    He's been following us all around,
    and he's following us close.
  • 75:03 - 75:05
    It's nothing. Don't worry about it.
  • 75:13 - 75:15
    Angel...
  • 75:17 - 75:20
    God, it will be so good
    to be finished with all this.
  • 75:21 - 75:23
    I love you.
  • 75:24 - 75:27
    It's all right, baby. It's all right.
  • 75:27 - 75:29
    We're spending too much time
    together here.
  • 75:29 - 75:31
    No. Let's stay just a little longer.
  • 75:36 - 75:37
    "Kill us."
  • 75:39 - 75:41
    He'd kill them if he had a chance.
  • 75:41 - 75:43
    He'd kill us if he got the chance.
  • 75:43 - 75:44
    Oh, God, what I have done.
  • 75:46 - 75:50
    I have to destroy the tapes.
    I can't let it happen again.
  • 75:52 - 75:53
    It's true.
  • 75:53 - 75:56
    - I'd better get back. It's almost 2:00.
    - Oh, no, please, don't go.
  • 75:56 - 75:58
    A family was murdered because of me.
  • 76:00 - 76:04
    I know. I know, Harry.
  • 76:04 - 76:06
    Everything will turn out.
  • 76:07 - 76:10
    Oh, God. There's no protection.
  • 76:10 - 76:13
    I follow them wherever they're going.
    And I can hear them.
  • 76:14 - 76:15
    Bye-bye.
  • 76:15 - 76:17
    Oh, wait, you have something in your eye.
  • 76:17 - 76:21
    - Yeah?
    - You really don't. I just wanted to kiss you.
  • 76:21 - 76:25
    I forgive you. I forgive you, darling.
  • 77:57 - 78:01
    Listen. Listen. My name is Harry Caul.
  • 78:04 - 78:05
    Can you hear me?
  • 78:07 - 78:08
    Don't be afraid.
  • 78:09 - 78:14
    I... I know you don't know who I am,
    but I know you.
  • 78:16 - 78:18
    There isn't much to say about myself. I...
  • 78:30 - 78:32
    Sick when I was a boy.
  • 78:34 - 78:36
    I was very sick when I was a boy.
  • 78:36 - 78:40
    I was paralyzed in my left arm
    and my left leg.
  • 78:40 - 78:42
    I couldn't walk for six months.
  • 78:43 - 78:47
    One doctor said that
    I'd probably never walk again.
  • 78:49 - 78:50
    My mother...
  • 78:50 - 78:56
    My mother used to lower me into a hot bath.
    It was therapy.
  • 78:57 - 79:00
    One time the doorbell rang
    and she went down to answer it.
  • 79:00 - 79:02
    I started sliding down.
  • 79:02 - 79:05
    I could feel the water.
    It started coming up to my chin, to my nose.
  • 79:05 - 79:08
    And when I woke up,
  • 79:08 - 79:12
    my body was all greasy
    from the holy oil she put on my body.
  • 79:13 - 79:15
    I remember being disappointed I survived.
  • 79:16 - 79:17
    When I was five,
  • 79:19 - 79:20
    my father introduced me to a friend of his,
  • 79:20 - 79:23
    and for no reason at all, I hit him
    right in the stomach with all my strength.
  • 79:23 - 79:24
    He died a year later.
  • 79:26 - 79:28
    He'll kill you if he gets a chance.
  • 79:32 - 79:35
    I'm not afraid of death.
  • 79:42 - 79:44
    I am afraid of murder.
  • 80:42 - 80:44
    Meredith?
  • 80:48 - 80:49
    Hey!
  • 81:34 - 81:35
    Bitch.
  • 81:52 - 81:54
    Good morning. May I help you?
  • 81:54 - 81:58
    - Yes. Extension 765, please.
    - One moment, please.
  • 81:59 - 82:00
    Director's office.
  • 82:00 - 82:03
    Yes, I'd like to speak
    to the director's assistant, please.
  • 82:03 - 82:08
    Mr. Stett. Mr. Martin Stett.
    Mr. Caul is on the line.
  • 82:08 - 82:10
    One moment, please.
  • 82:13 - 82:15
    I'm sorry. That's impossible now.
    Can we get back to you?
  • 82:15 - 82:19
    No, I... I have to talk to him.
  • 82:19 - 82:22
    - Can we have your name again?
    - Caul.
  • 82:22 - 82:27
    - Would you mind spelling that?
    - C-A-U-L. Caul.
  • 82:27 - 82:29
    I'm putting you on hold.
  • 82:33 - 82:37
    - Mr. Caul, we'll get right back to you.
    - No. You don't have my telephone number!
  • 82:37 - 82:38
    Hello?
  • 83:33 - 83:36
    - Yes?
    - Mr. Caul? This is Martin Stett.
  • 83:36 - 83:37
    How did you get this phone number?
  • 83:37 - 83:41
    We prepare a full dossier on everyone
    who comes in contact with the director.
  • 83:41 - 83:44
    You know that means
    we've been watching you.
  • 83:44 - 83:46
    We have the tapes. They're perfectly safe.
  • 83:46 - 83:49
    The director was very anxious
    to hear them as soon as possible.
  • 83:49 - 83:54
    You seemed to be...
    I don't know... Disturbed.
  • 83:54 - 83:57
    I couldn't take the chance
    that you might destroy our tapes.
  • 83:57 - 84:00
    You understand, don't you, Mr. Caul?
  • 84:00 - 84:02
    Our tapes have nothing to do with you.
  • 84:04 - 84:07
    Why don't you come over now
    and bring the photographs?
  • 84:07 - 84:08
    - Yes...
    - The director's here,
  • 84:08 - 84:10
    and he's prepared to pay you in full.
  • 85:32 - 85:37
    Every time I see one of those old guys,
    I always think the same thing.
  • 85:38 - 85:40
    What do you think?
  • 85:40 - 85:44
    I always think that he was once
    somebody's baby boy.
  • 85:46 - 85:48
    Really, I do.
  • 85:48 - 85:51
    I think he was once somebody's baby boy,
  • 85:52 - 85:54
    and he had a mother
    and a father who loved him.
  • 85:54 - 85:58
    And now there he is,
    half-dead on a park bench,
  • 85:58 - 86:02
    and where are his mother or his father,
    all his uncles now?
  • 86:03 - 86:06
    Anyway, that's what I always think.
  • 86:08 - 86:12
    I always think how, when
    they had the newspaper strike in New York,
  • 86:12 - 86:14
    more of those old guys died.
  • 86:14 - 86:16
    Fifty of them froze to death in one night.
  • 86:17 - 86:20
    Just because there were no newspapers?
  • 86:20 - 86:24
    - Really. Keeps them warm.
    - That's terrible.
  • 86:26 - 86:29
    Who started this conversation anyhow?
  • 86:31 - 86:33
    - You did.
    - Did not.
  • 86:34 - 86:37
    Yes, you did. You just don't remember it.
  • 86:38 - 86:41
    Oh, Mark, it's all right. We can talk.
  • 86:41 - 86:46
    I can't stand it. I can't stand it anymore.
  • 86:46 - 86:51
    - You're going to make me cry.
    - I know, honey, I know. Me, too.
  • 86:51 - 86:54
    - No, don't.
    - Oh, God.
  • 86:54 - 86:59
    - You want to hear that again?
    - You want it to be true!
  • 86:59 - 87:04
    No, I don't. I just want you to know
    whatever you need to know.
  • 87:04 - 87:05
    That's all.
  • 87:06 - 87:08
    Your money's on the table.
  • 87:10 - 87:12
    Do you think we can do this?
  • 87:14 - 87:16
    I'm tired of drinking anyhow.
  • 87:18 - 87:20
    I'm tired of mostly everything.
  • 87:20 - 87:22
    - Tired of me?
    - Tired of you,
  • 87:23 - 87:25
    but not today.
  • 87:26 - 87:30
    Later in the week. Sunday, maybe.
  • 87:32 - 87:34
    Sunday, definitely.
  • 87:40 - 87:42
    Jack Tar Hotel.
  • 87:42 - 87:43
    3:00.
  • 87:44 - 87:46
    Room 773.
  • 87:47 - 87:48
    Look, Mark. Do you see him?
  • 87:49 - 87:51
    The man with the hearing aid like Charles?
  • 87:51 - 87:53
    - No. Where?
    - Right there, with the shopping bag.
  • 87:55 - 87:57
    Please count your money outside.
  • 87:58 - 88:02
    He's been following us all around,
    and he's following us close.
  • 88:03 - 88:05
    It's nothing. Don't worry about it.
  • 88:21 - 88:25
    God, it will be so good
    to be finished with all this.
  • 88:27 - 88:29
    I love you.
  • 88:32 - 88:35
    These are the pictures you asked for.
  • 88:35 - 88:37
    We're spending too much time
    together here.
  • 88:37 - 88:39
    No. Let's stay just a little longer.
  • 88:40 - 88:41
    What will you do to her?
  • 88:42 - 88:44
    ...kill us if he got the chance.
  • 88:48 - 88:50
    I think he's been recording my telephone.
  • 88:53 - 88:55
    Listen, I'd better get back. It's almost 2:00.
  • 88:55 - 88:58
    No, please, don't go back there. Not just yet.
  • 88:59 - 89:03
    All right. All right, honey. I won't.
  • 89:08 - 89:09
    Fifteen thousand bucks.
  • 89:09 - 89:12
    That's not bad for a day's work,
    is it, Mr. Caul?
  • 89:14 - 89:15
    What'll he do with them?
  • 89:18 - 89:19
    We'll see.
  • 89:29 - 89:32
    He'd kill us if he got the chance.
  • 89:43 - 89:47
    Later in the week. Sunday, maybe.
  • 89:49 - 89:51
    Sunday, definitely.
  • 89:54 - 89:56
    Jack Tar Hotel.
  • 89:58 - 90:00
    3:00.
  • 90:00 - 90:02
    Room 773.
  • 90:06 - 90:09
    I wonder if you could give me Room 773.
  • 90:09 - 90:11
    773?
  • 90:13 - 90:14
    That is occupied, sir.
  • 90:18 - 90:20
    The rooms are
    all basically the same, however.
  • 90:21 - 90:22
    Well...
  • 90:25 - 90:30
    Do you have a room that would be
    adjoining, close by?
  • 90:30 - 90:33
    - Adjoining, just... Yes, I do.
    - You do.
  • 94:45 - 94:48
    I'm tired of this lying, all right?
    I'm tired of lying!
  • 94:55 - 94:58
    Oh, Mark, it's all right. We can talk.
  • 94:58 - 95:03
    I can't stand it. I can't stand it anymore.
  • 95:03 - 95:07
    - You're going to make me cry.
    - I know, honey, I know. Me, too.
  • 95:08 - 95:09
    No, don't.
  • 95:09 - 95:11
    I have no idea what you're talking about.
  • 95:11 - 95:13
    No idea! This has all been a lie!
    Don't you understand that?
  • 95:19 - 95:20
    I love you.
  • 96:24 - 96:26
    The answer is, "No."
  • 96:26 - 96:27
    At the end of the briefing last night,
    it was stated
  • 96:28 - 96:31
    that Nixon would not deliver
    the State of the Union message in person...
  • 96:31 - 96:32
    Why not?
  • 96:42 - 96:45
    - Watch out for the bumps!
    - Will you cut that out?
  • 96:46 - 96:50
    How can you yell at me like that?
    And in my condition.
  • 96:50 - 96:53
    You're not fit to be the father of my child.
  • 96:53 - 96:54
    Oh, what is this?
  • 96:54 - 96:58
    - I'm just trying to act like Wilma.
    - Well, you're overdoing it.
  • 97:03 - 97:04
    All right. Pull over.
  • 97:06 - 97:08
    What's the big rush?
  • 97:08 - 97:11
    I'm taking my wife to the hospital.
    She's having a baby.
  • 97:11 - 97:15
    I got to hand it to you, buddy.
    You sure got intestinal fortitude.
  • 97:15 - 97:18
    You better sit down, Fred.
    You're wearing a groove in the floor.
  • 97:21 - 97:22
    Look at Wilma out there.
  • 97:22 - 97:26
    How can she be so calm
    when she knows what I'm going through?
  • 97:26 - 97:29
    - How are you, Fred?
    - How do you think I am?
  • 97:29 - 97:31
    This waiting, waiting, waiting... It's tough!
  • 97:32 - 97:34
    Betty, you go back out there
    and tell Wilma if she doesn't...
  • 101:55 - 101:58
    - Wait. Richard!
    - I want to see the director.
  • 101:58 - 102:02
    He's not in today.
    I'm afraid you'll have to leave now.
  • 104:01 - 104:03
    Let's clear an aisle
    and let these people through,
  • 104:03 - 104:05
    - and we can move on upstairs.
    - Come on, clear the way here.
  • 104:05 - 104:07
    We'll answer your questions upstairs.
  • 104:07 - 104:10
    Just let these people through.
    Let these people through.
  • 104:10 - 104:13
    - Just one question.
    - No, please.
  • 104:13 - 104:16
    Do you suspect any foul play
    in the accident?
  • 104:16 - 104:17
    Please!
  • 104:17 - 104:19
    What about your corporate control?
  • 104:19 - 104:21
    Will your stock now give you
    a controlling interest...
  • 104:21 - 104:22
    What kind of insurance do you have?
  • 104:22 - 104:23
    What's going to happen to the company?
  • 104:23 - 104:24
    That's an unfair question.
  • 104:24 - 104:26
    - Did you have...
    - Did your husband...
  • 104:30 - 104:31
    What do you think?
  • 104:32 - 104:34
    I don't know what I'm going
    to get him for Christmas yet.
  • 104:34 - 104:36
    He's already got everything.
  • 104:37 - 104:40
    He doesn't need anything anymore.
  • 104:43 - 104:46
    Do you feel now
    that there's an enemy within the company?
  • 104:48 - 104:51
    He's not hurting anyone.
  • 104:51 - 104:52
    Neither are we.
  • 104:54 - 104:55
    Oh, God.
  • 104:55 - 104:57
    Did your husband have
    a history of drunk driving?
  • 104:57 - 104:58
    No comments, no more...
  • 104:58 - 105:01
    Did your husband have
    a history of drunk, reckless driving?
  • 105:01 - 105:06
    I can't stand it. I can't stand it anymore.
  • 105:09 - 105:12
    Take it!
  • 105:18 - 105:20
    Do you think we can do this?
  • 105:20 - 105:24
    Later in the week. Sunday, maybe.
  • 105:25 - 105:27
    Sunday, definitely.
  • 105:28 - 105:29
    Jack Tar Hotel.
  • 105:31 - 105:32
    3:00.
  • 105:32 - 105:34
    Room 773.
  • 105:38 - 105:40
    He'd kill us if he got the chance.
  • 106:14 - 106:15
    Hello.
  • 106:17 - 106:18
    Hello?
  • 107:12 - 107:13
    Hello.
  • 107:21 - 107:25
    - Hello?
    - We know that you know, Mr. Caul.
  • 107:25 - 107:28
    For your own sake,
    don't get involved any further.
  • 107:28 - 107:30
    We'll be listening to you.
  • 112:30 - 112:50
    Sub by Dongle Mann
Title:
1974 4-7 The Conversation [Francis Ford Coppola, Gene Hackman, John Cazale] FULL MOVIE
Description:

more » « less
Video Language:
English
Duration:
01:53:37

English subtitles

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