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

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    ♩ ♪ ♫ ♬
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    Sub by Dongle Mann
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    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.
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    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
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    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.
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    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.
  • 40:51 - 40:52
    I...
  • 40:57 - 40:59
    These are my sins.
  • 41:02 - 41:04
    I've taken the Lord's name in vain
  • 41:05 - 41:07
    on several occasions.
  • 41:09 - 41:11
    I...
  • 41:15 - 41:17
    On a number of occasions,
    I've taken newspapers from the racks
  • 41:17 - 41:19
    without paying for them.
  • 41:20 - 41:22
    I...
  • 41:27 - 41:31
    ...have deliberately taken pleasure
    in impure thoughts,
  • 41:31 - 41:33
    and
  • 41:34 - 41:36
    I've been involved in some work
  • 41:36 - 41:40
    that I think will be used
    to hurt these two young people.
  • 41:42 - 41:43
    It's happened to me before.
  • 41:43 - 41:47
    People were hurt because of my work.
  • 41:47 - 41:49
    I'm afraid it could happen again,
  • 41:50 - 41:52
    and I was in no way responsible.
  • 41:53 - 41:54
    I'm not responsible.
  • 41:56 - 41:59
    For these and all my sins of my past life,
    I am heartily sorry.
  • 42:12 - 42:13
    Hi. Can I help you?
  • 42:13 - 42:17
    - Well, you could explain your system to me.
    - Okay, Mr. Caul, I'm Jim Storey.
  • 42:17 - 42:20
    - How do you do?
    - Come in and take a look here
  • 42:20 - 42:21
    at the system.
  • 42:22 - 42:25
    This is for the surveillance
    of telephone communication systems.
  • 42:26 - 42:27
    I see.
  • 42:27 - 42:28
    ...now available.
  • 42:28 - 42:30
    Here's the new LT 500.
  • 42:30 - 42:35
    If you're in surveillance,
    you belong into the LT 500.
  • 42:35 - 42:37
    You can hear your sounds here
  • 42:38 - 42:40
    and know exactly
    which door has been violated.
  • 42:40 - 42:41
    I see.
  • 42:41 - 42:43
    And you got your local alarms on the doors,
  • 42:43 - 42:44
    which I'm sure you've heard.
  • 42:45 - 42:46
    It's quite noisy.
  • 42:47 - 42:48
    It has a Super 8mm camera in here,
  • 42:48 - 42:51
    and the dot right here, the 10:00 dot,
  • 42:51 - 42:54
    will show exactly
    what the camera sees on the back.
  • 42:54 - 42:55
    It's a magazine-loaded camera,
  • 42:56 - 42:57
    Super 8mm...
  • 42:59 - 43:02
    William P. Moran of Detroit, Michigan,
  • 43:02 - 43:04
    house courtesy telephone, please.
  • 43:08 - 43:10
    That's your automatic recorder actuator.
  • 43:11 - 43:15
    It undetectably starts the recorder
    when the phone is lifted
  • 43:15 - 43:18
    and shuts it off
    when the receiver is put back.
  • 43:19 - 43:21
    - What?
    - It's real nice, you know.
  • 43:22 - 43:24
    It's not your old-fashioned voice actuator,
  • 43:24 - 43:27
    you know, always starting the recorder
    when nobody was talking
  • 43:27 - 43:31
    or shutting it off in the middle
    of an important conversation.
  • 43:31 - 43:33
    Is it anything like the Moran actuator?
  • 43:34 - 43:36
    The Moran E-27 is a copy.
  • 43:36 - 43:39
    I won't let him even smell
    my equipment anymore.
  • 43:39 - 43:41
    - You in surveillance?
    - Yeah.
  • 43:41 - 43:43
    Law enforcement or private operator?
  • 43:44 - 43:45
    Private.
  • 43:45 - 43:48
    You mind if I take your name
    and address for our mailing list?
  • 43:48 - 43:51
    Harry... Harry Caul?
  • 43:51 - 43:53
    I didn't recognize you.
  • 43:53 - 43:57
    Say, I wonder,
    would you take a Model 510-A?
  • 43:57 - 43:58
    Free of charge. Just to test it.
  • 43:59 - 44:02
    You know, say, in return for
    that we can print in our flier
  • 44:02 - 44:03
    that you use it.
  • 44:03 - 44:05
    I build all my own equipment. Thank you.
  • 44:05 - 44:08
    Maybe we could take a picture
    of you holding it?
  • 44:08 - 44:10
    Or take a picture of you
    in front of our booth?
  • 44:10 - 44:12
    It would be a great honor for Spectre.
  • 44:58 - 45:00
    This is not helping crime.
  • 45:00 - 45:01
    It's helping justice.
  • 45:16 - 45:19
    ...that may be affixed to
    the subject's automobile...
  • 45:19 - 45:20
    Slide.
  • 45:21 - 45:23
    ...and will transmit a pulsating tone signal...
  • 45:23 - 45:24
    Slide.
  • 45:25 - 45:25
    ...which is highly detectable...
  • 45:26 - 45:27
    Harry, good to see you.
  • 45:29 - 45:31
    - Beautiful suit.
    - You like it? It's French.
  • 45:32 - 45:33
    Oh.
  • 45:33 - 45:35
    Let's go get a drink and talk.
  • 45:35 - 45:38
    Requiring no knowledge
    or skill in electronics.
  • 45:38 - 45:40
    Come on, it's a bore.
  • 45:43 - 45:49
    The TA-30 may be installed and concealed
    under the dash in a matter of seconds.
  • 45:50 - 45:53
    Hey, come on, there's somebody
    over here I want you to meet,
  • 45:53 - 45:54
    a competitor of yours.
  • 45:54 - 45:57
    - Hey, Bernie, old buddy.
    - Yeah, Paulie, what's up?
  • 45:57 - 46:01
    This is Harry Caul. William P. Moran.
  • 46:01 - 46:03
    Harry Caul, my pleasure.
  • 46:03 - 46:05
    My friends call me Bernie.
    I heard a lot about you, Harry.
  • 46:05 - 46:08
    - Thank you.
    - Bernie just moved in from Detroit.
  • 46:08 - 46:12
    He's the fellow that let Chrysler know
    that Cadillac was discontinuing its fins.
  • 46:12 - 46:13
    That's right. I heard.
  • 46:15 - 46:17
    Harry Caul, you're a tough man
    to get a hold of.
  • 46:17 - 46:19
    I've been wanting to talk to you
    for a long time.
  • 46:19 - 46:21
    Hey, can you take five? We'll get a drink.
  • 46:21 - 46:23
    Yeah. Maybe in a couple of...
  • 46:23 - 46:26
    Honey... Honey, sweetheart,
    show time, all right?
  • 46:27 - 46:29
    I'd appreciate it if you stuck around
    for the demonstration, Harry.
  • 46:32 - 46:36
    Ladies and gentlemen.
  • 46:37 - 46:41
    Ladies and gentlemen, what we have here
    is the Moran S-15 harmonica tap.
  • 46:42 - 46:46
    This electronic marvel can be installed
    in a matter of two minutes.
  • 46:46 - 46:50
    Notice here it has its own
    nickel cadmium power source,
  • 46:50 - 46:52
    so it cannot be detected on the line.
  • 46:52 - 46:56
    Once installed, it can be phoned
    from any telephone in the world,
  • 46:56 - 46:58
    Singapore, Karāchi, even Moscow.
  • 46:59 - 47:02
    I say Moscow 'cause you look
    a little Russian there, sir, with the beard.
  • 47:02 - 47:05
    You just dial the target's phone number,
  • 47:05 - 47:07
    pause before the last digit,
  • 47:07 - 47:10
    blow the harmonica tone into the phone,
  • 47:10 - 47:12
    press the last digit.
  • 47:12 - 47:15
    The phone will not ring
    in the target's house.
  • 47:15 - 47:19
    Instead, the receiver will be turned
    into an actual room microphone,
  • 47:19 - 47:22
    thus enabling surveillance to take place.
  • 47:22 - 47:26
    And now, by way of
    an actual demonstration,
  • 47:26 - 47:28
    we've installed one of these units
    in my very own home.
  • 47:29 - 47:30
    I will now dial that number.
  • 47:32 - 47:33
    Thank you.
  • 47:38 - 47:41
    I pause before the last digit.
  • 47:43 - 47:44
    Harmonica.
  • 47:48 - 47:50
    I dial the last digit.
  • 47:53 - 47:56
    You will note the phone does not ring.
  • 47:57 - 47:58
    Can we get away?
  • 47:58 - 48:00
    I don't know. Maybe I can.
  • 48:01 - 48:02
    Where's your husband?
  • 48:03 - 48:05
    He's out at a convention.
  • 48:07 - 48:09
    When will he be back?
  • 48:09 - 48:10
    Not until late.
  • 48:11 - 48:13
    April fool! Just a little joke, folks.
  • 48:13 - 48:15
    - That shows you the possibilities...
    - Larry Peterson...
  • 48:15 - 48:17
    ...of the Moran S-15.
    - Larry Peterson Burns.
  • 48:17 - 48:20
    Thank you.
    The demonstration is concluded.
  • 48:20 - 48:22
    I'd like you to take a little literature with you
    on your way.
  • 48:23 - 48:25
    Well, what did you think of that?
    How did you like it?
  • 48:25 - 48:27
    It's a good item.
  • 48:27 - 48:28
    It's good for the catalogue suckers, huh?
  • 48:28 - 48:31
    Here you go, Harry. Have a free pen.
  • 48:31 - 48:32
    You, too, Paulie.
  • 48:32 - 48:34
    - I'd rather have a free drink.
    - Hey, me, too.
  • 48:37 - 48:39
    Stanley! Stanley, do me a favor, huh?
  • 48:39 - 48:41
    Come on. Mind the booth, all right?
  • 48:41 - 48:43
    Come on. That's what I pay you for.
  • 48:43 - 48:45
    Just a couple of minutes.
    I just wanna get a drink, all right?
  • 48:45 - 48:46
    Hi, Harry.
  • 48:48 - 48:49
    Hi, Stan.
  • 48:50 - 48:52
    That's right.
    You two used to work together, huh?
  • 48:55 - 48:57
    You see that son of a bitch sitting there?
    He stole my latest idea...
  • 48:57 - 48:59
    A lot of nice ladies around here tonight.
  • 48:59 - 49:01
    Say, how about that pastry in the yellow?
    She come across?
  • 49:01 - 49:04
    Come on. Forget it. She's a part-time nun.
    We'll get supper...
  • 49:04 - 49:06
    Hey, Harry, where you going?
  • 49:06 - 49:08
    You guys go on without me.
    I'm going to talk to Stan.
  • 49:08 - 49:10
    We'll meet you later
    at the chrome-dome exhibit.
  • 49:10 - 49:12
    Don't be long, huh, Harry. Come on.
  • 49:23 - 49:26
    Since when are
    you working for Moran, Stanley?
  • 49:29 - 49:31
    Since yesterday.
  • 49:33 - 49:34
    Listen, that wasn't serious.
  • 49:34 - 49:36
    That was just a stupid argument.
  • 49:36 - 49:37
    That wasn't it, Harry. It's just that
  • 49:37 - 49:39
    I figured it was time I move up, that's all.
  • 49:39 - 49:40
    No... Stan,
  • 49:41 - 49:43
    I don't want you telling him
    about any of my things.
  • 49:43 - 49:44
    It's not ethical.
  • 49:45 - 49:46
    There's not all that much
    you ever let me in on, Harry.
  • 49:46 - 49:47
    Maybe that's the problem.
  • 49:48 - 49:51
    Okay. All right. I'll bring you along faster.
    I'll show you some of the stuff.
  • 49:51 - 49:52
    You won't show me anything.
  • 49:52 - 49:55
    You'll keep it all to yourself.
    You know damn well you will.
  • 49:55 - 49:58
    No, really, Stan, wait a while.
  • 49:59 - 50:00
    Will you think about it?
  • 50:02 - 50:04
    Don't do this to me now.
  • 50:07 - 50:09
    Some guy's following me.
  • 50:10 - 50:11
    Who?
  • 50:11 - 50:13
    I don't know.
  • 50:13 - 50:15
    It has something to do
    with the assignment last week.
  • 50:16 - 50:19
    I don't know what it's about,
    but I don't like it.
  • 50:21 - 50:23
    Okay, all right.
  • 50:24 - 50:26
    Okay. Thanks, Stan.
  • 50:30 - 50:32
    This is junk.
  • 50:56 - 50:59
    I'm sorry, but you have reached
    a disconnected number.
  • 50:59 - 51:01
    Will you please make sure you...
  • 51:10 - 51:11
    Information.
  • 51:11 - 51:14
    The number for Amy Fredericks, please.
  • 51:14 - 51:15
    It's a new listing.
  • 51:15 - 51:17
    One moment, please.
  • 51:22 - 51:25
    Sir, I see no listing for an Amy Fredericks.
  • 51:26 - 51:27
    Thank you.
  • 51:52 - 51:53
    What are you doing here?
  • 51:53 - 51:55
    Take it easy. I'm just a messenger.
  • 51:56 - 51:57
    I brought you a drink.
  • 51:58 - 52:00
    I don't want your drink.
    Why are you following me?
  • 52:00 - 52:03
    I'm not following you. I'm looking for you.
  • 52:03 - 52:04
    There's a big difference.
  • 52:04 - 52:06
    How did you know I was here?
  • 52:06 - 52:08
    It's a convention of wire-tappers, isn't it?
  • 52:08 - 52:12
    Oh, excuse me,
    surveillance and security technicians.
  • 52:12 - 52:13
    It was a snap.
  • 52:13 - 52:16
    Look, I'm telling you, I'm not giving
    those tapes to anybody but the director.
  • 52:16 - 52:18
    Yeah, I know what you told me, Mr. Caul.
  • 52:19 - 52:21
    All right, what's the message?
  • 52:21 - 52:23
    We want you to deliver the tapes
    on Sunday, 1:00.
  • 52:24 - 52:25
    The director will be there.
  • 52:25 - 52:28
    He'll accept the tapes from you, in person.
  • 52:28 - 52:29
    You tell him I'll think about it.
  • 52:46 - 52:49
    - Hey, Paulie!
    - Come on! Come on, let's go!
  • 52:50 - 52:52
    Lurleen and Millard, get in the back there.
  • 52:53 - 52:54
    And, Stanley, get in front!
  • 52:54 - 52:56
    Hey, come on, Harry.
    Hey, what the hell are you doing?
  • 52:56 - 52:58
    Come on. I'm trying to dress up for the bar.
  • 52:59 - 53:02
    Hey, Bernie, it's a come-as-you-are party.
  • 53:02 - 53:05
    Hey, no, no! Wait a minute!
    All the girls up front!
  • 53:05 - 53:08
    I think you take a right
    somewhere around here.
  • 53:10 - 53:11
    Sons of bitches! Those smartasses!
  • 53:12 - 53:13
    Who the hell do they think
    they're tangling with?
  • 53:13 - 53:15
    All right! Easy, easy!
    Come on. We're going to have a party.
  • 53:15 - 53:16
    He could drive, man.
  • 53:21 - 53:23
    Millard, make them stop.
  • 53:23 - 53:25
    Relax, honey.
    Paul's the best tail man in the country.
  • 53:25 - 53:28
    Hey, Meredith, do you hear that?
  • 53:33 - 53:36
    Headquarters 111,
    I'm driving east on Lombard.
  • 53:37 - 53:42
    I'd like a rolling 10-28 on California 5-6-0,
  • 53:43 - 53:45
    Boy Adam Lincoln.
  • 53:46 - 53:48
    What are you calling for a 10-28 for?
  • 53:49 - 53:50
    Thanks.
  • 53:53 - 53:57
    Hey, Willie Sanchez, 565414th Street,
  • 53:57 - 54:01
    162 pounds, 5'10" and a half shithead!
  • 54:07 - 54:09
    You cheated!
  • 54:11 - 54:13
    Oh, man...
  • 54:14 - 54:16
    Want me to pick that lock for you, Harry?
  • 54:18 - 54:21
    - This'll be the bar.
    - It's freezing in here.
  • 54:21 - 54:24
    Oh, boy, Harry. Okay.
  • 54:25 - 54:28
    - All right, the bar is now open.
    - Thank you, thank you.
  • 54:28 - 54:29
    - Stanley.
    - Yes, sir.
  • 54:29 - 54:32
    - How about a little music?
    - The man wants a little music.
  • 54:32 - 54:34
    Harry, you got a nice shop here.
  • 54:51 - 54:52
    You know, I was rereading
  • 54:52 - 54:55
    DearAbby the other night, and there was
    this article, a letter from a fella
  • 54:56 - 54:57
    called "Lonely and Anonymous."
  • 54:57 - 55:01
    I think it was Harry. Hey.
  • 55:04 - 55:08
    Where's the club soda?
    We got any club soda?
  • 55:08 - 55:10
    Let me tell you something about Harry Caul.
  • 55:11 - 55:12
    There you go.
  • 55:12 - 55:15
    I know you heard this a thousand times,
    Harry, but let me say it again.
  • 55:16 - 55:20
    Here's to Harry, the best, bar none.
    I'll drink to that.
  • 55:20 - 55:21
    The best what?
  • 55:23 - 55:26
    The best bugger on the West Coast.
  • 55:26 - 55:28
    And who's the best bugger
    on the East Coast?
  • 55:28 - 55:30
    Me. I'll drink to that, too.
  • 55:30 - 55:33
    I'll bet you will.
  • 55:38 - 55:41
    It's really funny we never bumped into
    each other in New York, Harry.
  • 55:41 - 55:43
    Why is that funny?
  • 55:43 - 55:45
    I don't know, we work in the same business,
    the same city.
  • 55:46 - 55:47
    I figure we'd bump into each other.
  • 55:48 - 55:49
    I didn't know
    you came from New York, Harry.
  • 55:50 - 55:51
    - Yeah.
    - Are you kidding?
  • 55:51 - 55:53
    Harry's famous in New York.
  • 55:53 - 55:55
    You know, the only one
    I couldn't figure out though, Harry?
  • 55:55 - 55:56
    One what?
  • 55:58 - 56:00
    The welfare fund back in '68.
  • 56:01 - 56:03
    - How did you know about that?
    - Everybody in the biz knew about it.
  • 56:04 - 56:05
    But nobody knows
    how you did it though, Harry.
  • 56:10 - 56:11
    - How did you do it, Harry?
    - Harry.
  • 56:13 - 56:15
    Ten cents a dance. Come on.
  • 56:21 - 56:22
    You all right?
  • 56:23 - 56:26
    - You hurt yourself?
    - No. Don't worry about my head.
  • 56:26 - 56:28
    It happens all the time.
  • 56:29 - 56:30
    In fact, when I was a little baby,
  • 56:31 - 56:33
    I used to love to bang my head
    up against the wall.
  • 56:33 - 56:34
    No, really. I did.
  • 56:34 - 56:38
    Sometimes I still feel like doing it
    'cause it's comforting.
  • 56:38 - 56:40
    I tapped my first telephone
    when I was 12 years old, Harry.
  • 56:41 - 56:44
    I mean, that's a fact. 12 years old.
  • 56:44 - 56:47
    It was a hallway payphone right
    in the tenement, right where I lived.
  • 56:48 - 56:50
    Everybody in the building. For six months,
    they didn't know who it was.
  • 56:50 - 56:55
    My father, he was proud as hell.
    He was beaming.
  • 56:55 - 57:00
    Yeah, boy.
    "That Bernie's got a real brain," he said.
  • 57:00 - 57:01
    From then on, it's been all uphill, Harry.
  • 57:03 - 57:06
    I got contacts now you wouldn't believe.
  • 57:06 - 57:08
    Here. Well, bring them over.
  • 57:12 - 57:13
    Take a cab over.
  • 57:13 - 57:15
    Nothing's sacred with you, is it, Harry?
  • 57:15 - 57:18
    Sure. The more, the merrier.
    We'll be here all night.
  • 57:18 - 57:21
    Feel like I'm back in grammar.
  • 57:22 - 57:24
    - Oh, you son of a...
    - What?
  • 57:26 - 57:28
    All right, what's the matter, Harry?
    Can't you take a vacation?
  • 57:28 - 57:31
    You guys are amateurs, you know that?
  • 57:31 - 57:33
    When are you gonna get
    a new scrambler, Harry?
  • 57:33 - 57:35
    This one went out with the Trojan War.
  • 57:35 - 57:37
    Harry, come on. I want to hear all about you.
  • 57:37 - 57:41
    - Where you from?
    - Really obsolete, you know that, Harry?
  • 57:41 - 57:45
    - Harry got himself a girlfriend.
    - Watch out, Harry.
  • 57:46 - 57:49
    - Where are you from?
    - New York.
  • 57:49 - 57:51
    I used to live in New York.
  • 57:51 - 57:57
    Yes. First, I worked as a receptionist,
    and then I got promoted to secretary.
  • 57:57 - 58:00
    And then I was promoted to gal Friday,
  • 58:00 - 58:04
    and special assistant to the boss,
    and then I married him.
  • 58:23 - 58:25
    Do you live far from here?
  • 58:32 - 58:34
    Harry?
  • 58:35 - 58:36
    Are you still married?
  • 58:37 - 58:40
    Oh, I don't know. Probably.
  • 58:43 - 58:44
    I guess maybe I am.
  • 58:45 - 58:47
    Last time I heard, he was...
  • 58:47 - 58:50
    Well, he was trying
    to scrape up enough money
  • 58:50 - 58:54
    - to buy another hardware store.
    - Yeah.
  • 58:54 - 58:58
    And I ended up
    out here in San Francisco, unemployed,
  • 58:59 - 59:02
    which is the entire story of my life
    up until tonight.
  • 59:17 - 59:19
    Here's to you.
  • 59:21 - 59:25
    You don't like me very much, do you?
    You don't want to talk to me or anything.
  • 59:25 - 59:27
    I didn't say that.
  • 59:40 - 59:43
    Something is on your mind.
    I wish you'd tell me.
  • 59:43 - 59:46
    I really do. I wish that...
  • 59:46 - 59:49
    I wish that you'd feel
    that you could talk to me
  • 59:50 - 59:52
    and that we could be friends.
  • 59:52 - 59:55
    I mean, aside from all of this junk.
  • 60:17 - 60:19
    Would you...
  • 60:20 - 60:23
    If you were a girl
    who'd waited for someone...
  • 60:32 - 60:35
    You can trust me.
  • 60:38 - 60:43
    Well, you never really knew
    when he was going to come to see you.
  • 60:44 - 60:49
    You just lived in a room alone,
    and you knew nothing about him.
  • 60:49 - 60:52
    And if you loved him,
    you were patient with him,
  • 60:52 - 60:59
    and even though he didn't dare ever
    tell you anything about himself personally,
  • 61:02 - 61:05
    even though he may have loved you,
    would you...
  • 61:06 - 61:08
    - Would I what?
    - Would you...
  • 61:12 - 61:14
    Would you go back to him?
  • 61:20 - 61:24
    Well, how would I know?
    How would I know that he loved me?
  • 61:33 - 61:35
    You'd have no way of knowing.
  • 61:47 - 61:49
    Hey, Harry!
  • 61:49 - 61:52
    Did you hear the one about
    the broad who busted Vegas?
  • 61:52 - 61:55
    She wore a see-through blouse.
  • 62:54 - 62:55
    You know something, Harry?
  • 62:57 - 62:59
    Twelve years ago,
    I recorded every telephone call
  • 62:59 - 63:02
    made by the presidential nominee
    of a major political party.
  • 63:02 - 63:04
    I don't want to say which party.
  • 63:04 - 63:08
    But everywhere he went, that's where I was.
    Coast to coast, I was listening, Harry.
  • 63:09 - 63:13
    I'm not saying I elected
    the President of the United States, but
  • 63:13 - 63:15
    you can draw your own conclusions, Harry.
  • 63:16 - 63:19
    - I mean, he lost.
    - Harry,
  • 63:19 - 63:22
    tell them about the time
    you put the bug in the parakeet.
  • 63:23 - 63:25
    - Parakeet?
    - No kidding.
  • 63:25 - 63:29
    Harry one time actually put a microphone
    in a little parakeet.
  • 63:29 - 63:31
    Is that right?
  • 63:33 - 63:36
    Parakeets don't happen to be
    my thing, Harry,
  • 63:36 - 63:39
    but I sure would like to know
    how you did the teamster local back in '68.
  • 63:39 - 63:40
    What was that?
  • 63:41 - 63:44
    - Don't you get papers in Chicago, Millard?
    - Probably out on strike.
  • 63:44 - 63:46
    It was all over the front pages.
  • 63:46 - 63:50
    Harry was working
    for the attorney general's office at the time.
  • 63:50 - 63:52
    You didn't know I knew that, did you, Harry?
  • 63:52 - 63:55
    Anyway, the president of this teamster local
    back east
  • 63:55 - 63:58
    set up a phony welfare fund, right?
  • 63:58 - 64:03
    I mean, you correct me on the details, Harry.
    I may be a little fuzzy on them.
  • 64:03 - 64:05
    There was only two people
    that seemed to know about it,
  • 64:05 - 64:07
    the president and his accountant.
  • 64:07 - 64:10
    They only talked about it
    on fishing trips that they went on.
  • 64:10 - 64:13
    On a private boat.
    That was the only place they talked details.
  • 64:13 - 64:16
    And that boat was bug-proof.
    I happen to know that for a fact, Harry.
  • 64:17 - 64:19
    They wouldn't even strike up a conversation
  • 64:19 - 64:22
    if there was another boat
    even on the horizon.
  • 64:22 - 64:26
    That didn't stop Harry though, did it?
    No, he recorded everything.
  • 64:26 - 64:30
    Nobody knows how you did it though,
    Harry. Caused a hell of a scandal, too.
  • 64:30 - 64:31
    Why?
  • 64:31 - 64:35
    Why? No reason.
    Three people were murdered, that's all.
  • 64:35 - 64:38
    Harry's a bit too modest
    to tell us how he did it though.
  • 64:41 - 64:44
    It had nothing to do with me.
    I just turned in the tapes.
  • 64:44 - 64:46
    The president thought
    the accountant had talked.
  • 64:47 - 64:52
    - Well, nobody really knows for sure.
    - That's right.
  • 64:52 - 64:54
    Three days later,
    they found the accountant, his wife and kid,
  • 64:54 - 64:57
    they were all naked and tied up in the house.
  • 64:57 - 65:02
    Hands and feet tied up with rope,
    all the hair on their bodies shaved off.
  • 65:02 - 65:05
    Their heads were found in different places.
  • 65:05 - 65:08
    - They killed them?
    - No. They gift-wrapped them.
  • 65:08 - 65:12
    No, no, no. This is ancient history now.
    Harry, how did you do it?
  • 65:12 - 65:14
    What they do with the tapes
    is their own business.
  • 65:14 - 65:16
    That's the first time
    I heard about you, Harry.
  • 65:16 - 65:19
    Next thing I knew,
    you moved out of New York.
  • 65:19 - 65:20
    It had nothing to do with me.
  • 65:21 - 65:24
    Come on, Harry, show and tell.
    How did you do it?
  • 65:24 - 65:26
    For God's sake, Harry, tell him!
  • 65:32 - 65:34
    - Turn it off, Stan.
    - What for?
  • 65:34 - 65:36
    Stan, turn it off!
  • 65:37 - 65:38
    They ought to hear this, Harry.
  • 65:38 - 65:41
    It's the best thing you've ever done!
  • 65:45 - 65:47
    What was that, Stan?
  • 65:51 - 65:53
    Well, it's the assignment
    that Harry did this week.
  • 65:55 - 65:57
    - It'll make history.
    - Yeah?
  • 65:58 - 66:01
    I bet you there's no moment between
    human beings that I cannot record,
  • 66:01 - 66:03
    and there's no method
    that I cannot figure out.
  • 66:04 - 66:07
    I could figure out
    any of Harry's schemes, right?
  • 66:07 - 66:09
    Come on, come on. Try me.
  • 66:10 - 66:14
    - Let me give him the assignment, Harry.
    - Yeah.
  • 66:20 - 66:22
    Now, this is a quad in the center of the city.
    All right?
  • 66:23 - 66:26
    Now, these are steps coming in here
    and benches all around.
  • 66:26 - 66:28
    It's 12:00 noon,
  • 66:28 - 66:29
    which means that it's lunchtime for
  • 66:29 - 66:32
    all the people that work in
    these offices around here.
  • 66:32 - 66:35
    People are walking, talking, having lunch,
    and it's crowded.
  • 66:35 - 66:37
    - Naturally. Come on, Stan.
    - Okay.
  • 66:38 - 66:39
    Now, two people
  • 66:39 - 66:42
    are constantly moving in circles,
    in and out of the crowd.
  • 66:42 - 66:44
    We don't know
    whether they'll sit down or what.
  • 66:45 - 66:47
    They're convinced that
    they can't be recorded
  • 66:47 - 66:50
    because they're in a crowd
    and constantly moving. Yet,
  • 66:50 - 66:52
    they're the target.
  • 66:52 - 66:55
    Now, the assignment is
    to get everything they say.
  • 66:55 - 66:56
    How would you do it?
  • 66:56 - 66:59
    First of all, one system won't do it.
  • 66:59 - 67:02
    - Hell, I could've told you that.
    - Yeah, why didn't you?
  • 67:02 - 67:03
    Go on, figure it out.
  • 67:03 - 67:06
    Second of all, it's easy.
    All you do is get to their clothes first.
  • 67:06 - 67:07
    You pre-rig their clothes.
  • 67:08 - 67:10
    No. There's no way of telling
    what they're going to be wearing.
  • 67:11 - 67:12
    Then you get somebody to bump into them.
  • 67:12 - 67:16
    You just get a drunk or something, bump
    into them, you plant a pin mike on them.
  • 67:16 - 67:18
    They've been bugged before. It's too risky.
  • 67:19 - 67:21
    I got it.
  • 67:22 - 67:24
    You hire a lip-reader with binoculars.
  • 67:25 - 67:28
    - No. The client wants their actual voice.
    - Why?
  • 67:30 - 67:31
    So he can believe it.
  • 67:33 - 67:35
    All right. I'll figure it out.
  • 67:35 - 67:37
    I don't know.
    It must've been an expensive show.
  • 67:37 - 67:40
    - Who was so interested?
    - Yeah, was it us?
  • 67:40 - 67:42
    - Who's us?
    - Federal government.
  • 67:42 - 67:44
    Private party.
  • 67:44 - 67:46
    It would take at least four passes.
  • 67:46 - 67:48
    - I did it in three.
    - Three?
  • 67:48 - 67:51
    That's very nice, Harry. What did you use?
  • 67:51 - 67:56
    Three-stage directional microphones
    with MOSFET amplifier of my own design.
  • 67:56 - 68:00
    And we got another 20% conventionally,
    just tailing them. Paul did.
  • 68:00 - 68:01
    Beautiful.
  • 68:02 - 68:03
    It really was. It was a work of art.
  • 68:05 - 68:08
    You should have seen it, though.
    These new microphones are just incredible.
  • 68:08 - 68:10
    I couldn't really believe it myself.
  • 68:10 - 68:14
    We were over 200 yards away.
    It was absolutely readable. Everything.
  • 68:14 - 68:16
    I broke in a couple of
    newsreel cameramen, and...
  • 68:17 - 68:18
    You should have been there, Bernie.
    It was really...
  • 68:18 - 68:19
    What did they do?
  • 68:20 - 68:21
    Well, they took
  • 68:21 - 68:24
    the crosshairs of the telescope
    and they lined it up on the mouths...
  • 68:24 - 68:26
    No. The boy and the girl. What did they do?
  • 68:26 - 68:31
    Oh, I don't know. But it was really beautiful,
    really something to see.
  • 68:32 - 68:34
    Yeah. Sounds very pretty.
  • 68:34 - 68:36
    I'd like to take a look at that mike, too.
  • 68:36 - 68:37
    There it is.
  • 68:39 - 68:42
    I always said we should be partners, Harry.
  • 68:42 - 68:44
    I mean, I always said you're the best, right?
  • 68:44 - 68:46
    But you and me together, that'd be tops.
  • 68:46 - 68:48
    All I need is a quick look
    at some of your plans and devices.
  • 68:48 - 68:52
    You know, just get an idea...
    I got all the manufacturing plants.
  • 68:52 - 68:55
    We could make a fortune
    selling stuff to Uncle Sam, Harry.
  • 68:55 - 68:58
    Listen, did you hear
    about the fag wire-tapper
  • 68:58 - 69:02
    - who could only tap a Princess phone?
    - No.
  • 69:06 - 69:10
    Made that up yourself, huh?
    It's pretty funny.
  • 69:10 - 69:12
    Excuse me, can I cut in?
  • 69:12 - 69:13
    He's got a hell of a sense of humor.
  • 69:15 - 69:17
    I'm talking about making millions,
    he's making with the jokes.
  • 69:17 - 69:19
    - Come on!
    - Thanks a lot.
  • 69:22 - 69:24
    What do you say, Harry? Come on.
  • 69:24 - 69:25
    How about going into a partnership, Harry?
  • 69:25 - 69:27
    I could use a partner, so could you.
  • 69:27 - 69:30
    - 50-50, how about it?
    - I don't need anyone.
  • 69:30 - 69:31
    No, no.
  • 69:33 - 69:36
    That's all right.
    I do pretty good on my own, anyway.
  • 69:36 - 69:39
    You got to give credit
    where credit's due, right?
  • 69:39 - 69:41
    Abracadabra, Harry.
  • 69:42 - 69:45
    See, I'm number two, Harry.
    I have to try harder.
  • 69:45 - 69:49
    If you were a girl
    who'd waited for someone...
  • 69:49 - 69:50
    You can trust me.
  • 69:51 - 69:54
    Harry, that's you and me
    when we were out there.
  • 69:54 - 69:56
    What? No shit.
  • 69:56 - 69:58
    ...when he was going to come to see you.
  • 69:58 - 70:01
    It's the Moran Super P-7 pen mike
    and transmitter.
  • 70:01 - 70:04
    That's terrific! The bugger got bugged, huh?
  • 70:04 - 70:05
    He got you, Harry.
  • 70:05 - 70:07
    And if you loved him,
    you were patient with him,
  • 70:08 - 70:14
    and even though he didn't dare ever
    tell you anything about himself personally,
  • 70:14 - 70:17
    even though he may have loved you,
    would you...
  • 70:17 - 70:18
    That was wild. When did you do that?
  • 70:19 - 70:21
    Hey, how do you like it, Harry?
    What do you think about it, huh?
  • 70:22 - 70:27
    Would you... Would you go back to him?
  • 70:28 - 70:30
    I think you'd better turn it off and get out.
  • 70:30 - 70:31
    You'd have no way of knowing.
  • 70:31 - 70:35
    Are you kidding?
    It's just a joke, for Christ's sake.
  • 70:35 - 70:37
    Bernie, Harry don't like you
    to say "Christ's sake."
  • 70:38 - 70:41
    Oh, no? Well, I'm sorry, Harry. I apologize.
    What, are you crazy, too, Stanley?
  • 70:41 - 70:42
    Hey, Harry. What's wrong?
  • 70:42 - 70:44
    Come on. Let's have a party here.
    What do you say?
  • 70:44 - 70:46
    Paul, it's getting late.
  • 70:46 - 70:47
    Come on, take it easy.
  • 70:48 - 70:49
    Come on.
  • 70:49 - 70:51
    - Hey, Millard.
    - Know what these things cost, Harry?
  • 70:52 - 70:54
    This cost 1,500 beans. Come on.
    On the house, from me to you.
  • 70:58 - 71:00
    Very nice to meet you.
  • 71:02 - 71:03
    It was only a joke.
  • 71:04 - 71:07
    - Meredith?
    - Guy's got no sense of humor.
  • 71:07 - 71:10
    - No. I'm going to stay here.
    - Paul!
  • 71:12 - 71:13
    Okay.
  • 71:17 - 71:18
    I forgot my bag.
  • 71:20 - 71:23
    Harry, I'm really sorry.
    I didn't mean anything.
  • 71:24 - 71:26
    - Come on, Stan.
    - See you Monday, Harry.
  • 71:28 - 71:29
    You want us to put the lights out?
  • 71:49 - 71:51
    - Good night, Harry!
    - Yeah. Good night, Harry.
  • 71:57 - 71:59
    What do you think?
  • 71:59 - 72:01
    I don't know what I'm going
    to get him for Christmas yet.
  • 72:01 - 72:04
    He's already got everything.
  • 72:10 - 72:15
    Harry, are you going to
    give me a hard time tonight? Harry!
  • 72:17 - 72:21
    Harry! Come on. Come back. Turn it off.
  • 72:33 - 72:36
    She's frightened.
  • 72:38 - 72:40
    This is where she's frightened.
  • 72:40 - 72:42
    I don't know what I'm going
    to get him for Christmas yet.
  • 72:42 - 72:44
    This is no ordinary conversation.
  • 72:44 - 72:48
    - He doesn't need anything anymore.
    - It makes me feel...
  • 72:48 - 72:51
    Well, I haven't decided
    what I'm going to get you yet.
  • 72:51 - 72:56
    ...something.
    - Forget it, Harry. It's only a trick.
  • 72:57 - 72:58
    - What?
    - A job.
  • 72:59 - 73:02
    You're not supposed to
    feel anything about it.
  • 73:02 - 73:05
    You're just supposed to do it. That's all.
  • 73:05 - 73:07
    Relax, honey.
  • 73:07 - 73:08
    A lot of fun you are.
  • 73:08 - 73:10
    - Relax.
    - You're supposed to tease me,
  • 73:10 - 73:12
    give me hints, make me guess, you know.
  • 73:14 - 73:16
    Does it bother you?
  • 73:16 - 73:20
    - What?
    - Walking around in circles.
  • 73:21 - 73:26
    Oh, look. That's terrible.
  • 73:26 - 73:28
    He's not hurting anyone.
  • 73:29 - 73:30
    Come on.
  • 73:31 - 73:33
    Neither are we.
  • 73:36 - 73:38
    - Oh, God.
    - "Oh, God."
  • 73:39 - 73:43
    Listen to the way she says, "Oh, God."
  • 73:43 - 73:44
    Come here.
  • 73:45 - 73:50
    Every time I see one of those old guys,
    I always think the same thing.
  • 73:50 - 73:52
    What do you think?
  • 73:53 - 73:56
    I always think that he was once
    somebody's baby boy.
  • 73:59 - 74:01
    Really, I do.
  • 74:01 - 74:04
    I think he was once somebody's baby boy,
  • 74:04 - 74:07
    and he had a mother
    and a father who loved him.
  • 74:07 - 74:11
    And now there he is,
    half-dead on a park bench,
  • 74:11 - 74:15
    and where are his mother or his father,
    all his uncles now?
  • 74:16 - 74:20
    Anyway, that's what I always think.
  • 74:21 - 74:25
    I always think how, when
    they had the newspaper strike in New York,
  • 74:25 - 74:27
    more of those old guys died.
  • 74:27 - 74:30
    Fifty of them froze to death in one night.
  • 74:30 - 74:33
    Just because there were no newspapers?
  • 74:33 - 74:37
    - Really. Keeps them warm.
    - That's terrible.
  • 74:39 - 74:41
    Who started this conversation, anyhow?
  • 74:44 - 74:46
    - You did.
    - Did not.
  • 74:47 - 74:50
    Yes, you did. You just don't remember it.
  • 74:52 - 74:54
    Pretend like I just told you a joke.
  • 74:58 - 75:01
    - Where did you hear that?
    - That's my secret.
  • 75:03 - 75:07
    Later in the week. Sunday, maybe.
  • 75:09 - 75:10
    Sunday, definitely.
  • 75:13 - 75:15
    Jack Tar Hotel.
  • 75:16 - 75:18
    3:00.
  • 75:18 - 75:20
    Room 773.
  • 75:20 - 75:21
    Look, Mark. Do you see him?
  • 75:22 - 75:24
    The man with the hearing aid like Charles?
  • 75:24 - 75:27
    - No. Where?
    - Right there, with the shopping bag.
  • 75:27 - 75:31
    He's been following us all around,
    and he's following us close.
  • 75:33 - 75:35
    It's nothing. Don't worry about it.
  • 75:43 - 75:45
    Angel...
  • 75:47 - 75:50
    God, it will be so good
    to be finished with all this.
  • 75:51 - 75:53
    I love you.
  • 75:54 - 75:57
    It's all right, baby. It's all right.
  • 75:57 - 75:59
    We're spending too much time
    together here.
  • 75:59 - 76:01
    No. Let's stay just a little longer.
  • 76:06 - 76:07
    "Kill us."
  • 76:09 - 76:11
    He'd kill them if he had a chance.
  • 76:11 - 76:13
    He'd kill us if he got the chance.
  • 76:13 - 76:14
    Oh, God, what I have done.
  • 76:16 - 76:20
    I have to destroy the tapes.
    I can't let it happen again.
  • 76:22 - 76:23
    It's true.
  • 76:23 - 76:26
    - I'd better get back. It's almost 2:00.
    - Oh, no, please, don't go.
  • 76:26 - 76:28
    A family was murdered because of me.
  • 76:30 - 76:34
    I know. I know, Harry.
  • 76:34 - 76:36
    Everything will turn out.
  • 76:37 - 76:40
    Oh, God. There's no protection.
  • 76:40 - 76:43
    I follow them wherever they're going.
    And I can hear them.
  • 76:44 - 76:45
    Bye-bye.
  • 76:45 - 76:47
    Oh, wait, you have something in your eye.
  • 76:47 - 76:51
    - Yeah?
    - You really don't. I just wanted to kiss you.
  • 76:51 - 76:55
    I forgive you. I forgive you, darling.
  • 78:27 - 78:31
    Listen. Listen. My name is Harry Caul.
  • 78:34 - 78:35
    Can you hear me?
  • 78:37 - 78:38
    Don't be afraid.
  • 78:39 - 78:44
    I... I know you don't know who I am,
    but I know you.
  • 78:46 - 78:48
    There isn't much to say about myself. I...
  • 79:00 - 79:02
    Sick when I was a boy.
  • 79:04 - 79:06
    I was very sick when I was a boy.
  • 79:06 - 79:10
    I was paralyzed in my left arm
    and my left leg.
  • 79:10 - 79:12
    I couldn't walk for six months.
  • 79:13 - 79:17
    One doctor said that
    I'd probably never walk again.
  • 79:19 - 79:20
    My mother...
  • 79:20 - 79:26
    My mother used to lower me into a hot bath.
    It was therapy.
  • 79:27 - 79:30
    One time the doorbell rang
    and she went down to answer it.
  • 79:30 - 79:32
    I started sliding down.
  • 79:32 - 79:35
    I could feel the water.
    It started coming up to my chin, to my nose.
  • 79:35 - 79:38
    And when I woke up,
  • 79:38 - 79:42
    my body was all greasy
    from the holy oil she put on my body.
  • 79:43 - 79:45
    I remember being disappointed I survived.
  • 79:46 - 79:47
    When I was five,
  • 79:49 - 79:50
    my father introduced me to a friend of his,
  • 79:50 - 79:53
    and for no reason at all, I hit him
    right in the stomach with all my strength.
  • 79:53 - 79:54
    He died a year later.
  • 79:56 - 79:58
    He'll kill you if he gets a chance.
  • 80:02 - 80:05
    I'm not afraid of death.
  • 80:12 - 80:14
    I am afraid of murder.
  • 81:12 - 81:14
    Meredith?
  • 81:18 - 81:19
    Hey!
  • 82:04 - 82:05
    Bitch.
  • 82:22 - 82:24
    Good morning. May I help you?
  • 82:24 - 82:28
    - Yes. Extension 765, please.
    - One moment, please.
  • 82:29 - 82:30
    Director's office.
  • 82:30 - 82:33
    Yes, I'd like to speak
    to the director's assistant, please.
  • 82:33 - 82:38
    Mr. Stett. Mr. Martin Stett.
    Mr. Caul is on the line.
  • 82:38 - 82:40
    One moment, please.
  • 82:43 - 82:45
    I'm sorry. That's impossible now.
    Can we get back to you?
  • 82:45 - 82:49
    No, I... I have to talk to him.
  • 82:49 - 82:52
    - Can we have your name again?
    - Caul.
  • 82:52 - 82:57
    - Would you mind spelling that?
    - C-A-U-L. Caul.
  • 82:57 - 82:59
    I'm putting you on hold.
  • 83:03 - 83:07
    - Mr. Caul, we'll get right back to you.
    - No. You don't have my telephone number!
  • 83:07 - 83:08
    Hello?
  • 84:03 - 84:06
    - Yes?
    - Mr. Caul? This is Martin Stett.
  • 84:06 - 84:07
    How did you get this phone number?
  • 84:07 - 84:11
    We prepare a full dossier on everyone
    who comes in contact with the director.
  • 84:11 - 84:14
    You know that means
    we've been watching you.
  • 84:14 - 84:16
    We have the tapes. They're perfectly safe.
  • 84:16 - 84:19
    The director was very anxious
    to hear them as soon as possible.
  • 84:19 - 84:24
    You seemed to be...
    I don't know... Disturbed.
  • 84:24 - 84:27
    I couldn't take the chance
    that you might destroy our tapes.
  • 84:27 - 84:30
    You understand, don't you, Mr. Caul?
  • 84:30 - 84:32
    Our tapes have nothing to do with you.
  • 84:34 - 84:37
    Why don't you come over now
    and bring the photographs?
  • 84:37 - 84:38
    - Yes...
    - The director's here,
  • 84:38 - 84:40
    and he's prepared to pay you in full.
  • 86:02 - 86:07
    Every time I see one of those old guys,
    I always think the same thing.
  • 86:08 - 86:10
    What do you think?
  • 86:10 - 86:14
    I always think that he was once
    somebody's baby boy.
  • 86:16 - 86:18
    Really, I do.
  • 86:18 - 86:21
    I think he was once somebody's baby boy,
  • 86:22 - 86:24
    and he had a mother
    and a father who loved him.
  • 86:24 - 86:28
    And now there he is,
    half-dead on a park bench,
  • 86:28 - 86:32
    and where are his mother or his father,
    all his uncles now?
  • 86:33 - 86:36
    Anyway, that's what I always think.
  • 86:38 - 86:42
    I always think how, when
    they had the newspaper strike in New York,
  • 86:42 - 86:44
    more of those old guys died.
  • 86:44 - 86:46
    Fifty of them froze to death in one night.
  • 86:47 - 86:50
    Just because there were no newspapers?
  • 86:50 - 86:54
    - Really. Keeps them warm.
    - That's terrible.
  • 86:56 - 86:59
    Who started this conversation anyhow?
  • 87:01 - 87:03
    - You did.
    - Did not.
  • 87:04 - 87:07
    Yes, you did. You just don't remember it.
  • 87:08 - 87:11
    Oh, Mark, it's all right. We can talk.
  • 87:11 - 87:16
    I can't stand it. I can't stand it anymore.
  • 87:16 - 87:21
    - You're going to make me cry.
    - I know, honey, I know. Me, too.
  • 87:21 - 87:24
    - No, don't.
    - Oh, God.
  • 87:24 - 87:29
    - You want to hear that again?
    - You want it to be true!
  • 87:29 - 87:34
    No, I don't. I just want you to know
    whatever you need to know.
  • 87:34 - 87:35
    That's all.
  • 87:36 - 87:38
    Your money's on the table.
  • 87:40 - 87:42
    Do you think we can do this?
  • 87:44 - 87:46
    I'm tired of drinking anyhow.
  • 87:48 - 87:50
    I'm tired of mostly everything.
  • 87:50 - 87:52
    - Tired of me?
    - Tired of you,
  • 87:53 - 87:55
    but not today.
  • 87:56 - 88:00
    Later in the week. Sunday, maybe.
  • 88:02 - 88:04
    Sunday, definitely.
  • 88:10 - 88:12
    Jack Tar Hotel.
  • 88:12 - 88:13
    3:00.
  • 88:14 - 88:16
    Room 773.
  • 88:17 - 88:18
    Look, Mark. Do you see him?
  • 88:19 - 88:21
    The man with the hearing aid like Charles?
  • 88:21 - 88:23
    - No. Where?
    - Right there, with the shopping bag.
  • 88:25 - 88:27
    Please count your money outside.
  • 88:28 - 88:32
    He's been following us all around,
    and he's following us close.
  • 88:33 - 88:35
    It's nothing. Don't worry about it.
  • 88:51 - 88:55
    God, it will be so good
    to be finished with all this.
  • 88:57 - 88:59
    I love you.
  • 89:02 - 89:05
    These are the pictures you asked for.
  • 89:05 - 89:07
    We're spending too much time
    together here.
  • 89:07 - 89:09
    No. Let's stay just a little longer.
  • 89:10 - 89:11
    What will you do to her?
  • 89:12 - 89:14
    ...kill us if he got the chance.
  • 89:18 - 89:20
    I think he's been recording my telephone.
  • 89:23 - 89:25
    Listen, I'd better get back. It's almost 2:00.
  • 89:25 - 89:28
    No, please, don't go back there. Not just yet.
  • 89:29 - 89:33
    All right. All right, honey. I won't.
  • 89:38 - 89:39
    Fifteen thousand bucks.
  • 89:39 - 89:42
    That's not bad for a day's work,
    is it, Mr. Caul?
  • 89:44 - 89:45
    What'll he do with them?
  • 89:48 - 89:49
    We'll see.
  • 89:59 - 90:02
    He'd kill us if he got the chance.
  • 90:13 - 90:17
    Later in the week. Sunday, maybe.
  • 90:19 - 90:21
    Sunday, definitely.
  • 90:24 - 90:26
    Jack Tar Hotel.
  • 90:28 - 90:30
    3:00.
  • 90:30 - 90:32
    Room 773.
  • 90:36 - 90:39
    I wonder if you could give me Room 773.
  • 90:39 - 90:41
    773?
  • 90:43 - 90:44
    That is occupied, sir.
  • 90:48 - 90:50
    The rooms are
    all basically the same, however.
  • 90:51 - 90:52
    Well...
  • 90:55 - 91:00
    Do you have a room that would be
    adjoining, close by?
  • 91:00 - 91:03
    - Adjoining, just... Yes, I do.
    - You do.
  • 95:15 - 95:18
    I'm tired of this lying, all right?
    I'm tired of lying!
  • 95:25 - 95:28
    Oh, Mark, it's all right. We can talk.
  • 95:28 - 95:33
    I can't stand it. I can't stand it anymore.
  • 95:33 - 95:37
    - You're going to make me cry.
    - I know, honey, I know. Me, too.
  • 95:38 - 95:39
    No, don't.
  • 95:39 - 95:41
    I have no idea what you're talking about.
  • 95:41 - 95:43
    No idea! This has all been a lie!
    Don't you understand that?
  • 95:49 - 95:50
    I love you.
  • 96:54 - 96:56
    The answer is, "No."
  • 96:56 - 96:57
    At the end of the briefing last night,
    it was stated
  • 96:58 - 97:01
    that Nixon would not deliver
    the State of the Union message in person...
  • 97:01 - 97:02
    Why not?
  • 97:12 - 97:15
    - Watch out for the bumps!
    - Will you cut that out?
  • 97:16 - 97:20
    How can you yell at me like that?
    And in my condition.
  • 97:20 - 97:23
    You're not fit to be the father of my child.
  • 97:23 - 97:24
    Oh, what is this?
  • 97:24 - 97:28
    - I'm just trying to act like Wilma.
    - Well, you're overdoing it.
  • 97:33 - 97:34
    All right. Pull over.
  • 97:36 - 97:38
    What's the big rush?
  • 97:38 - 97:41
    I'm taking my wife to the hospital.
    She's having a baby.
  • 97:41 - 97:45
    I got to hand it to you, buddy.
    You sure got intestinal fortitude.
  • 97:45 - 97:48
    You better sit down, Fred.
    You're wearing a groove in the floor.
  • 97:51 - 97:52
    Look at Wilma out there.
  • 97:52 - 97:56
    How can she be so calm
    when she knows what I'm going through?
  • 97:56 - 97:59
    - How are you, Fred?
    - How do you think I am?
  • 97:59 - 98:01
    This waiting, waiting, waiting... It's tough!
  • 98:02 - 98:04
    Betty, you go back out there
    and tell Wilma if she doesn't...
  • 102:25 - 102:28
    - Wait. Richard!
    - I want to see the director.
  • 102:28 - 102:32
    He's not in today.
    I'm afraid you'll have to leave now.
  • 104:31 - 104:33
    Let's clear an aisle
    and let these people through,
  • 104:33 - 104:35
    - and we can move on upstairs.
    - Come on, clear the way here.
  • 104:35 - 104:37
    We'll answer your questions upstairs.
  • 104:37 - 104:40
    Just let these people through.
    Let these people through.
  • 104:40 - 104:43
    - Just one question.
    - No, please.
  • 104:43 - 104:46
    Do you suspect any foul play
    in the accident?
  • 104:46 - 104:47
    Please!
  • 104:47 - 104:49
    What about your corporate control?
  • 104:49 - 104:51
    Will your stock now give you
    a controlling interest...
  • 104:51 - 104:52
    What kind of insurance do you have?
  • 104:52 - 104:53
    What's going to happen to the company?
  • 104:53 - 104:54
    That's an unfair question.
  • 104:54 - 104:56
    - Did you have...
    - Did your husband...
  • 105:00 - 105:01
    What do you think?
  • 105:02 - 105:04
    I don't know what I'm going
    to get him for Christmas yet.
  • 105:04 - 105:06
    He's already got everything.
  • 105:07 - 105:10
    He doesn't need anything anymore.
  • 105:13 - 105:16
    Do you feel now
    that there's an enemy within the company?
  • 105:18 - 105:21
    He's not hurting anyone.
  • 105:21 - 105:22
    Neither are we.
  • 105:24 - 105:25
    Oh, God.
  • 105:25 - 105:27
    Did your husband have
    a history of drunk driving?
  • 105:27 - 105:28
    No comments, no more...
  • 105:28 - 105:31
    Did your husband have
    a history of drunk, reckless driving?
  • 105:31 - 105:36
    I can't stand it. I can't stand it anymore.
  • 105:39 - 105:42
    Take it!
  • 105:48 - 105:50
    Do you think we can do this?
  • 105:50 - 105:54
    Later in the week. Sunday, maybe.
  • 105:55 - 105:57
    Sunday, definitely.
  • 105:58 - 105:59
    Jack Tar Hotel.
  • 106:01 - 106:02
    3:00.
  • 106:02 - 106:04
    Room 773.
  • 106:08 - 106:10
    He'd kill us if he got the chance.
  • 106:44 - 106:45
    Hello.
  • 106:47 - 106:48
    Hello?
  • 107:42 - 107:43
    Hello.
  • 107:51 - 107:55
    - Hello?
    - We know that you know, Mr. Caul.
  • 107:55 - 107:58
    For your own sake,
    don't get involved any further.
  • 107:58 - 108:00
    We'll be listening to you.
  • 113:00 - 113:20
    Sub by Dongle Mann
Title:
1974 4-7 The Conversation [Francis Ford Coppola, Gene Hackman, John Cazale] FULL MOVIE
Description:

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Video Language:
English
Duration:
01:53:37

English subtitles

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