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Alex and Emma

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It is and that stinks.
What happened to aII the money?
You'd be Iucky for Iooking Iike me.
I can't afford to Iook Iike....
Mr. SheIdon?
Maybe he's not here.
Aren't you home?
HeIp me, Lord.
How are you doing?
I was just Iooking for a sweater. Here it is.
We'II teach you.|When was the Iast time you take a bath?
What you think, Tony?|Maybe we shouId open a window.
Wait! As soon as I finish the book,|you get the money!
You say that Iast time.|And the time before.
Wait!
There's nothing but pavement.|There's not an awning in sight.
Wait! I swear I'm aImost finished!
-How cIose?|-Very cIose. InsaneIy cIose.
It was a IittIe sIow going at the start,|but I'm reaIIy cooking aIong now.
Show us.
-Show you?|-Show us.
Have you guys been working out together?|How do I get that Iook?
You know, see,|I think I've been doing too much cardio.
You write on this?
Yeah, it's aII right there.|Just a coupIe of chapters to go. It's good.
Show us.
An author doesn't reaIIy|Iike to show what he's--
Show us the book, Mr. SheIdon.
I can't. I'm bIocked. I haven't started.
-You Iie?|-Yeah.
-That's bad.|-I know.
Very bad.
-What do we do?|-I'II teII you what we're going to do.
We're gonna|do a IittIe science experiment.
-What are you doing?|-Sit down.
Curious what it's Iike to be|''cooking aIong'' on a computer.
Come on, pIease don't do that! How'd you|expect me to write without a computer?
We don't expect you to write, Mr. SheIdon.|We expect you to fIatten.
Wait, pIease don't do this.
Let's rethink this. Come on, guys.|Let's rethink it.
I'II doubIe what I owe you! $100,000!
In 30 days.
Okay! 30 days, that's good!
I'II do it.|You'II have your money in 30 days.
-I gave you $75,000. Where did that go?|-FIorida Gaming Commission.
-What?|-HiaIeah dog track.
-You gambIed away $75,000 on dogs?|-A IittIe more than that.
See, I borrowed from some|Cuban gentIemen down Miami way.
You know, AIex, you have a major taIent...
but you're pissing it away.
You get $125,000|when I get the manuscript.
That's the deaI we made.
I've given you a year.|What have you been doing?
-I feII in Iove. It didn't work out.|-Perfect!
A Iove affair gone bad,|gambIing, criminaI types.
AII the eIements of a bestseIIer.
You see, they're going to kiII me|if I don't get the money in 30 days.
Then you'd better get to work.
-Hi.|-Sorry.
Is there possibIy|another Cambridge Street?
I'm Iooking for the Iaw offices of PoIk,|TayIor, FiIImore, Pierce...
-and Van Buren.|-That's us.
Miss....
Dinsmore. Emma Dinsmore.
AIex SheIdon. Won't you come in?
No, I don't beIieve I wiII.|This doesn't Iook Iike a Iaw office.
-Doesn't even Iook Iike a nice pIace to Iive.|-I know.
Our offices in the PrudentiaI Tower,|which by the way, are very impressive...
you know, Iaw books,|conference tabIes, Ieather...
they're being redecorated,|but there's been a hoIdup with the marbIe.
Something about the cutters in Carrara|wanting better heaIth benefits.
Mr. SheIdon, I'm going to Ieave now.
How can I Ieave|if I have a dead Iawyer Iying on my foot?
How can I do that?
What kind of person|wouId I be, Mr. SheIdon?
Not a good one. Not a very good one.|Okay, come on.
I'II get you out of the door...
put you in the...
reception area.
Better yet...
Iet's put you in your conference room.
This way, if you're preparing|for your big case...
you can just do it here.
-Mr. SheIdon?|-Yeah, I'm fine.
This has onIy happened to me|one time before.
LittIe League, championship game.
I was up with the bases Ioaded|in the bottom of the ninth.
-I hadn't eaten Iunch that--|-I have to go.
PIease, wait a second. I need your heIp.
Unhand me!
-Did you say, ''Unhand me''?|-I won't be taken advantage of.
Miss Dinsmore, I had no intention--
Then why did you ask my company|to send me up here?
Because you're not fooIing anyone,|Mr. SheIdon, if that's even your reaI name.
This is cIearIy not the Iaw office of PoIk,|TayIor, FiIImore, Pierce, Van Buren...
who just happen to have been presidents|of the United States.
You're right. This isn't a Iaw office,|and yes, indeed, they were presidents.
Yes, so what other concIusion|can we draw from this, Mr. SheIdon...
except that|you're trying to take advantage of me?
-We couId aIso concIude that I'm a Iiar.|-Yes, we couId, and in fact, we have.
I'm sorry. It's just that I reaIIy|need your heIp, Miss Dinsmore.
-You see, I'm a briIIiant noveIist--|-Yeah, and I invented nucIear energy.
-Excuse me, I have to spIit some atoms.|-Wait!
CouId we try to put this behind us?
I just want your stenography services.|That's aII.
I assure you, I'm a desperate man.
I don't intend on spending my time in the|personaI apartment of a desperate man.
You want sex, Mr. SheIdon,|you are barking up the wrong body.
Miss Dinsmore, I know my veracity|has been caIIed into question...
but I swear to God that barking up your|body is the furthest thing from my mind.
WeII, I don't beIieve you.
Right now, I can't think of any woman|I'm Iess interested in going to bed with.
-Nice meeting you.|-What was that supposed to mean?
I onIy meant that whiIe I'm sure|many men wouId be thriIIed...
to find themseIves in bed with|such a forthright woman as yourseIf...
I just have different tastes, that's aII.|I prefer women that are more....
Less forthright.
Mr. SheIdon, didn't you expect|that whoever showed up...
wouId immediateIy find out|that you weren't a Iaw office?
I owe some guys $100,000|and I got to get it to them in 30 days.
The onIy way I can do that|is by finishing my next book...
and the onIy way I can do that|is by dictating it to a stenographer.
-How much do you have Ieft?|-AII of it.
-You want to dictate an entire book to me?|-That's right.
-In 30 days?|-Correct.
I get $15 an hour, and I expect to be paid|at the concIusion of each day.
And I'd reaIIy Iike to do that,|but unfortunateIy, I can't.
At the end of each week.
At the end of the job.|I get paid when I turn in the manuscript.
What happens if you don't finish|in 30 days?
I'II finish in 30 days.
But if you don't finish in 30 days,|then what happens?
I get kiIIed.
I forgot my scarf.
Mr. SheIdon, I forgot my scarf.
What's your book about?
It's the story of a man|who's frightened of commitment...
yet so desperateIy in Iove with a woman|he's afraid it might kiII him.
It's a comedy.
-Does it kiII him?|-You'II have to read the book.
-What are you doing?|-I want to see if he dies.
You can't read the end first.
-Then teII me how it ends.|-You have to read the book.
This is how I read books.|If I Iike the ending, I'II Iike getting to it.
If I don't Iike the ending|then I know not to waste my time.
See? Now I want to read this.
What's your new book about?
It's about the powerIessness|of being in Iove...
and how it devours the insides of a person|Iike a deadIy virus.
-Another comedy?|-Yeah.
WiII you have another fit|if I ask you how it ends?
I don't know how it ends.
How can you write a story|if you don't know how it ends?
Because I know the characters,|and they teII me where the story goes.
Interesting.
-You're going to do it?|-Yes.
Great!
Read me back what we've got so far.
The summer of Adam ShipIey's|sabbaticaI from Andover.
Maybe if you add a year, you know.
The summer of Adam ShipIey's sabbaticaI|from Andover was in....
And then any four-digit number|gets you a compIete sentence.
Yeah, but not a particuIarIy good one.
How about...
The summer of Adam ShipIey's sabbaticaI|from Andover was reaIIy hot?
What's that noise?
-What noise?|-That high-pitched ringing sound.
Kind of Iike....
I think I may be getting a brain tumor|because that's one of the earIy signs.
Okay. How about you shorten it?
Adam ShipIey took a sabbaticaI. Period.
No, see, Iook. You want the first sentence|to set the tone...
to grab the reader|and take him into the story.
''CaII me IshmaeI.'' Right?
''It was the best of times,|it was the worst of times.''
''In the beginning|God created the heaven and the earth.''
Do you see why I can't begin?|The giants that have gone before me.
Does it seem foggy in here?|There's this haze that....
I think the tumor couId be spreading|in my occipitaI Iobe.
-I have to go.|-It's onIy 7:00.
I know. These Iast five hours|have just fIown by.
-WiII you be back tomorrow morning?|-I can't see why.
What do you mean?
Here's what I've been figuring.|You've got exactIy...
eight words so far?
Since a typed page is 350 words,|that's roughIy six weeks per page.
With one week off for Christmas,|two weeks summer vacation...
three hundred pages wouId take|approximateIy 37 years...
which, quite frankIy, is a IittIe more|than I'm wiIIing to aIIocate to this project.
Miss Dinsmore, I think|you're underestimating the process.
This isn't a comic book, it's a noveI.
There's character deveIopment.|SymboIism. Subtext.
Which do you prefer,|the pepper spray or the stun gun?
Adam ShipIey had given up on Iove.|Art was to be his mistress.
And so it was|that in the summer of 1924....
We're roIIing. We just got started.
Adam ShipIey had given up on Iove.|Art was to be his mistress.
And so it was|that in the summer of 1924...
he took a sabbaticaI from Andover to|write, if not the great American noveI...
then certainIy one that wouId make|the worId sit up and take notice.
To support himseIf whiIe he worked...
he accepted a position|as an EngIish tutor...
for a French famiIy|vacationing on the isIand of...
Saint CharIes.
Never heard of an isIand caIIed|Saint CharIes.
It's off the coast of Maine,|northeast of Nantucket. BeautifuI.
-StiII never heard of it.|-I made it up.
-You got a second paragraph?|-A what?
If it's going to be 300 pages|you'II need more than one paragraph.
-That ringing sound.|-I have to go.
Adam boarded a train in Boston,|headed for the ferry at Saint CharIes.
And then?
Saint CharIes was an excIusive isIand,|known for paIatiaI mansions...
manicured Iawns,|and an exquisite gambIing casino.
There was aIso an especiaIIy Iarge|French contingent...
who had cIaimed the isIand|after it was discovered by...
Jacques Cartier in the 16th century.
-Wait a minute.|-I'm going too fast?
I thought you said you made up the isIand.
I did.
But you just said it was discovered|by Jacques Cartier in the 16th century.
Yeah?
Jacques Cartier was a reaI guy.
You can't have a reaI guy|discover a fake pIace.
I can't?
No. It's a perversion of history.
If you have a fake pIace,|you have to have a fake expIorer.
-Now, if you have a reaI pIace, then you--|-Miss Dinsmore.
I mean, I'm Iaughing, but I'm not Iaughing.
If you couId type and I couId write,|that wouId be reaIIy terrific.
I thought that's what we were doing.
Adam found himseIf seated|next to a man named John Shaw.
{y:i}A man who had the uncanny ability to|{y:i}make a two-hour train ride seem like 10.
I've been summering in Saint CharIes|since I was a boy.
It wouId be my second home|if I didn't own three others.
{y:i}Shaw was a short, round man in his 50s.
{y:i}The word ''second''|{y:i}was said with a whistle...
{y:i}as his breath escaped between the space|{y:i}separating his two front teeth.
{y:i}l hate it when they do that.
-Who? What?|-You. Authors.
You use a name Iike John Shaw,|and I picture in my mind thin...
with a styIish mustache.
When you finaIIy describe him, he's this|fat oId fart with a hoIe in his teeth.
You remember the part|about you type and I write?
We reaIIy have to adhere to that,|Miss Dinsmore.
You're the author. You're God.
You can create|whatever comes into your head.
Characters we Iike|or characters who make us...
want to shut the book|and never open it again.
Shaw was a sIight man|with a thick bIond--
{y:i}-Thin black.|{y:i}-Thin, black moustache.
Who's this famiIy you're to tutor?
Saint CharIes is a smaII isIand.|I'm sure I know them.
They're from Paris.|A divorcee and her two chiIdren...
an 8-year-oId boy, Andre,|and a 6-year-oId girI, MicheIe.
-The mother's name is--|-PoIina DeIacroix?
Why, yes.
WouId you care to join me for some tea|in the dining car?
AII right.
{y:i}Madame DeIacroix seemed very charming|{y:i}in her correspondence.
She is. And quite the IittIe trooper, too...
putting on such a brave face|under the circumstances.
The circumstances?
The famiIy is in desperate financiaI straits.
If it weren't for a weaIthy grandmother|in Paris...
who's dying, they'd have no hope at aII.
Are you certain? Because from|their correspondence they seemed Iike--
It's a facade. It's aII a facade.
But don't worry,|she has enough to pay you.
How can you be so sure?
Because I am returning just now with|a bank draft from my personaI account...
which wiII provide her with enough to|cover her expenses through the summer.
She asked you for a Ioan?
We're caIIing it a Ioan,|but it reaIIy doesn't matter.
I intend to ask her to marry me|by summer's end.
{y:i}Why did you do that?
-What? Why did I do what?|-Don't you think it's kind of coincidentaI...
that Adam just happens to pIop down|next to his empIoyer's fiance?
If it makes you feeI any better...
I didn't know Shaw was the fiance|when Adam pIopped.
What do you mean you didn't know?|How couId you not know?
I wanted Adam to Iearn from Shaw...
that the DeIacroix famiIy|was aImost broke...
and desperateIy waiting|for the grandmother to die.
Then I reaIized,|as soon as Adam heard this...
he'd be worried about his wages.
This was a probIem|I hadn't anticipated tiII I got there.
Then I had the idea.
What if Shaw agreed to Ioan PoIina|the money to cover her expenses?
But why wouId he do that?|Perhaps he's in Iove with her.
ShaII we continue?
You started having absoIuteIy no idea|what was going to happen...
and then, by pure Iuck, it just worked out?
I Iike to think it's more than Iuck...
but every writer does depend on the|muses smiIing down on him occasionaIIy.
And if the muses don't smiIe?
My head starts ringing|and my eyes fog over.
Is there smiIing now or are we heading|back into the fog with the ringing sounds?
-There's smiIing.|-Good.
-What happens next?|-Adam faIIs in Iove.
With whom?
{y:i}There's no accounting for love|{y:i}or why one look, one casual touch...
{y:i}one breath of perfumed air...
{y:i}can ignite feelings so strong|{y:i}it's almost painful.
{y:i}He seems awfully shallow.
-What are you taIking about?|-He just Iooks at her and he's in Iove?
You've never heard of Iove at first sight?
Right. That must be it.
Continuing on.
PoIina DeIacroix. It's a great pIeasure|to meet you, Mr. ShipIey.
{y:i}-You, as weII, Madame DeIacroix.|{y:i}-PIease, caII me PoIina.
-This is John Shaw.|-We've met.
This is Andre and MicheIe.
We are very pIeased to be meeting you,|Mr. ShipIey.
Very pIeased to be meeting you, too.
AIIow me to introduce the others.|This is my father.
{y:i}And this is Madame BIanche,|{y:i}a cIose friend of my father's.
Let's be off.
CIaude, couId you pIease fetch|Mr. ShipIey's beIongings?
That's okay. I can fetch.|I don't mind fetching. I Iove to fetch.
Don't be siIIy, Mr. ShipIey.
I wouIdn't want to be siIIy.
I think it's going to be|a very speciaI summer.
-You Iike that?|-It's very funny.
Thank you.
-He's Iike a fooI.|-What? No.
He's smitten. He's bIinded by Iove.
Right.
Because I didn't see the attraction at first.
But when she said|those intoxicating words:
''CIaude, couId you fetch his beIongings,''|who couId resist that?
AII right. Good.
-What do you say we caII it a day?|-Okay.
Good, because I have to type|aII this stuff up tonight.
-How many pages we got?|-I'd say about eight.
That's not bad.
Considering the somewhat|awkward beginning.
I guess I'II see you tomorrow.
-I'II be here around 9:00?|-Great.
-Thanks for a good first day.|-You're weIcome.
-Bye.|-Bye.
{y:i}Saint Charles seemed almost unreal...
{y:i}like a magical playground|{y:i}for the well-to-do.
{y:i}There was, however, something besides|{y:i}the affluence and beauty of Saint Charles...
{y:i}which filled Adam 's brain|{y:i}until he could barely breathe.
{y:i}lt was Polina 's perfume and the|{y:i}application thereof upon her ample bosom.
{y:i}-Oh, please!|{y:i}-What?
-''AmpIe bosom''?|-What's wrong with that? It's Iiterary.
-In that case, you forgot the heaving.|-The what?
In every book I've read, whenever there's|an ampIe bosom there's aIways heaving.
-Do we have to taIk about this right now?|-You introduced the bosoms.
I'm simpIy asking|if you'd Iike them to heave.
Fine, Iet them heave.
{y:i}Though he had considered himself|{y:i}a member in good standing...
{y:i}of that great army of destitute artists...
{y:i}upon arriving at the Delacroix estate...
{y:i}Adam began to consider|{y:i}that he may have been a bit hasty...
{y:i}in condemning|{y:i}the acquisition of large sums of money.
Mr. ShipIey, YIva wiII heIp you get settIed|in the guest cottage.
{y:i}-Ylva? what kind of name is Ylva?|{y:i}-lt's Swedish.
That's not a reaI name.|Who made that one up? Jacques Cartier?
It's her name, okay?
-Okay, how do you speII it?|-Just Iike it sounds.
-I-L-V-A.|-No, it's Y-L-V-A.
-Y-L-V-A? That's not how it sounds.|-That's how she speIIs it!
-Okay, you want Y-L-V-A, it's Y-L-V-A.|-Good.
Fine. Just so you know,|it's not how it sounds.
{y:i}-Who is she, anyway?|{y:i}-She's this pain-in-the-ass au pair.
WeII, here we are.
-Thanks....|-YIva.
YIva, now that's a beautifuI name.|How do you speII that?
Y-L-V-A.
Just Iike it sounds.
{y:i}-Very funny.|{y:i}-What? l take from life.
I am to unpack for you.
{y:i}-Madame toId me to unpack for you.|{y:i}-AII right.
{y:i}She seems very nice, Madame.
Has she been keeping company|with Mr. Shaw very Iong?
She does not Iove him.
-ReaIIy?|-But she wiII marry him.
Why?
She is desperate for the money.
I thought she was supposed to receive|a Iarge inheritance from her grandmother.
Yeah, but Grandmother,|she takes a very Iong time to die.
So if PoIina had money...
she wouIdn't have to marry Shaw.
I see what you're doing.|You've got the triangIe.
We aIready know Adam and Shaw|both Iike PoIina.
Now we find out they both have obstacIes.
Yeah. It's caIIed a pIot.
And the reason|you're being sarcastic with me is?
Because if I don't finish this book|in 28 days, two Iarge Cuban gentIemen...
are going to see to it|that I'm not around to enjoy a 29th.
Fine. Except for the typing, I'm not here.
Why do I think|that wiII never be aItogether true?
{y:i}As Adam settled into his routine|{y:i}at the Delacroix estate...
{y:i}he knew he had a job to do.
{y:i}Teach those children English|{y:i}like they'd never been taught before.
{y:i}Focus. He had to focus.
{y:i}Who was he kidding?
{y:i}There'd be no focusing|{y:i}with Polina on the premises.
{y:i}On Tuesday,|{y:i}he caught a glimpse of her ankle...
{y:i}and was forced back to his room|{y:i}for prayer and reflection.
{y:i}Adam wondered: was it possible?
{y:i}Could a woman like Polina|{y:i}actually be interested...
{y:i}in an ordinary man like himself?
{y:i}Why not? This wasn't lndia.|{y:i}There was no caste system here.
{y:i}This was America, where everybody|{y:i}had a shot with everybody.
{y:i}There was no denying it.
{y:i}Her feelings for Adam|{y:i}were as real as the egg salad in his lap.
It was another gIorious day|in Saint CharIes...
as Adam chased Andre and MicheIe...
who giggIed as they conjugated the verb|''to run.''
I run.
You run! He run!
No, ''run.'' We run. You run.
They run.
No, you do not run.|You go wash your hands.
{y:i}I have finished mit der strudel.
{y:i}Wait a minute. Who's she?
EIsa, the au pair.
I thought YIva was the au pair.
I didn't have a reaI fix on the character.
The Swedish wasn't working for me.|She needs more edge.
Swedes have no edge?
No. It's common knowIedge.|They got that Iight bIue fIag.
It's better if she's German.
Of course, because aII Germans have edge.
No, not aII. But some, certainIy.
I mean, HitIer springs to mind.
Fine, she's German.
Thank you, EIsa.
WouId you be so kind|as to take the chiIdren?
-I must speak with Mr. ShipIey.|-Yes, of course.
Let's go! Wash hands. On to the house!
Our famiIy is in something of a crisis.
Yes, I've heard.
What a disaster it aII is.
{y:i}Hearing his name from her lips|{y:i}for the first time...
{y:i}was almost more than he could bear.
ChiIdren shouIdn't have to|deaI with burdens Iike this.
I'II do my best|to see that they're protected.
-I want to see them happy.|-I'II make sure they're happy.
AII I want is a simpIe Iife,|and a man to share it with.
A man who wiII truIy Iove me for me.
Is that too much to ask?
I think that's very reasonabIe.
WouId you kiII for me?
-I beg your pardon?|-WouId you kiII Shaw for me?
You want me to...
kiII Shaw?
I owe him so much money.
And if he Iives, I wiII have to marry him.
I'd kiII him in a second, you understand.
It's just that...
when you're a tutor, and peopIe|see the word ''murderer'' on your resume...
sometimes they have a tough time|getting past that.
I'm teasing, of course.
{y:i}lt was then that Adam realized...
{y:i}that all that stood between him|{y:i}and the perfection of Polina 's arms...
{y:i}was inexhaustible wealth.
-What is it with guys Iike Adam?|-What do you mean?
Do they reaIIy Iike being driven crazy|by women Iike PoIina?
They're Iike Iemmings|running into the sea.
They can't wait to be drowning|in their own misery.
If they're not in agony,|then it can't be Iove!
Why do men want women Iike that?
Maybe you're not picturing PoIina|the way I'm picturing her.
What? Gorgeous, exciting,|incredibIy sexy?
Maybe you are.
That's great for a weekend,|but what wiII happen in the Iong run?
What do you mean, Iike the next weekend?
No. When it's time for the first Iaundry.
I know.
In great romantic noveIs,|there's no Iaundry.
There's peopIe Iike YIva or EIsa to do it.
Maybe that's why I Iike them.
They can wash their own cIothes.
Okay, where were we?
{y:i}Adam needs a fortune so he can|{y:i}live happily ever after with his true love.
-Who is it?|-EIsa, it's me, Adam.
Mr. ShipIey, I'II be right there.
I'm sorry. Am I inconveniencing you?
{y:i}No, I was just washing mein hair.
Come in.
-Won't you sit down?|-I can't stay Iong.
-Sit down!|-AII right.
I'II make you tea.
{y:i}-This is good.|{y:i}-What?
You're creating another triangIe:|PoIina, Adam, EIsa.
No, she's just someone he can taIk to.|He feeIs comfortabIe with her.
You know, now that she's German.
I hear there's a casino on the isIand.
{y:i}The GeneraI goes there often|{y:i}with Madame BIanche.
Where is this casino?
Right off the boardwaIk,|next to the Regency.
But, Mr. ShipIey, you're not thinking--
EIsa, do you beIieve in destiny?
Destiny?
That a man and a woman|are meant to be together?
But onIy if they are both ready.
With Iove, one must be patient.
You must not eat the fruit untiI it is ripe.
The baby must crawI before he can waIk.
The farmer must sow before he can reap.
The butcher must kiII before he can--
You struck oiI. Stop driIIing.
I'm taIking about fate here.
When feeIings are so powerfuI,|it's as if some force beyond your controI...
is guiding you to someone|who can make you happy...
beyond your wiIdest dreams.
I never thought I couId experience|feeIings such as these, untiI now.
I thought they onIy existed in story books.|But now I know it can be reaI.
-It can?|-Yes, EIsa.
And once I have money, my destiny...
PoIina shaII be mine.
-I am so sorry!|-Maybe if you bIow on it!
WiII you ever forgive me?
{y:i}Why should she ask for forgiveness?
She poured scaIding hot water|on his crotch.
He Ied her on.|He made her think that he wanted her.
-She misinterpreted.|-No, I don't think so.
Don't teII me EIsa winds up getting hurt,|because that wouId be so unfair.
I don't know.
Can't aIways controI|what happens to characters.
Sometimes they take you|to unexpected pIaces.
PeopIe get hurt in books.|PeopIe get hurt in reaI Iife.
Adam Ieft a disappointed,|but resiIient EIsa, Iike a....
Adam Ieft a disappointed,|but resiIient EIsa, Iike a man on a mission.
A man on a mission with hot, wet baIIs.
Okay, Iose the baIIs.
{y:i}Adam entered the edifice that he hoped|{y:i}would transform his life.
{y:i}$200 was all he had to his name.
{y:i}Enough to get him through the summer...
{y:i}but certainly not enough|{y:i}to win a woman like Polina.
PIace your bets, Iadies and gentIemen.
{y:i}The atmosphere was intoxicating.
{y:i}There was more money|{y:i}than he had ever seen in his life.
Seventeen, bIack.
How do I....
PIace your bets, Iadies and gentIemen.
{y:i}His heart beat like a drum.
{y:i}He understood instantly this wasn't|{y:i}a game he would play for his amusement.
{y:i}lt meant a lifetime of love with Polina.
{y:i}Every roll, every bounce|{y:i}of that little ivory ball...
{y:i}would bring him|{y:i}one step closer to paradise.
Zero!
Zero? That's green.|I thought there was onIy red and bIack.
There's green?
-So what is that, Iike a do-over?|-No, you Iost.
-I Iost?|-You Iost.
{y:i}He lost.
{y:i}Adam would have to find another route|{y:i}to Polina 's heart.
And what is so wrong with poverty?
-The voice of the common man.|-No, reaIIy.
The proIetariat are not as miserabIe|as they're made out to be.
WeaIth does not make for happiness.|It is Iove which sustains us.
The joy of famiIy. The wonders of nature!
The supreme pIeasure of spending Iife|with someone devoted to you!
And no amount of money|wiII ever give us these! No amount!
I see you found the casino.
Very interesting concept, Mr. ShipIey.|Poverty as an aphrodisiac.
Pay no attention to him.|He's jeaIous of your purity.
-Yes, I Iong for insoIvency.|-PIease, John.
She's dead.
''Grandmother is gone. Stop.|We have cIosed up the house. Stop.
''DetaiIs to foIIow. Stop.''
{y:i}Could it be?|{y:i}Money was no longer an obstacle?
{y:i}Polina found herself with feelings|{y:i}she never knew she had.
{y:i}What she assumed would be the answer|{y:i}to her problems...
{y:i}left her with unexpected sorrow.
Her grandmother had been a kind souI.
PoIina was fiIIed|with the Ioss of the woman...
who had so often heId her in her arms...
and comforted her|with her warmth and wisdom.
That's beautifuI.
-You don't Iike it?|-No, I'm saying it's beautifuI.
-Thank you.|-You're weIcome.
-I think that about does it for today.|-Okay.
You know...
-you're not at aII Iike you seemed at first.|-How's that?
-At first you seemed kind of Iike....|-What?
-Kind of a mess.|-A mess.
Yeah. You Iive Iike a sIob.|You're a hypochondriac.
You're extremeIy insecure, and you Iie.
-Thank you.|-It's true.
But somehow aII those quaIities combine|to make something....
I don't know. Nice.
I think your quaIities combine nice, too.
What do you say|we get an earIy start tomorrow?
Okay, great. EarIy.
-I'II see you tomorrow.|-Okay.
Oh, my God! Wait!
AII right, honey! It's aII right.|Take your time.
Oh, my God!
You said you wanted to get an earIy start.
My aIarm didn't go off.
-What time is it?|-6:45.
No wonder it didn't go off.|What time did you get up?
Around 5:00. I'm an earIy person.
Some peopIe are earIy peopIe,|other peopIe are Iate peopIe.
What kind of person|wouId you say you are?
Are you moving in?
-No, I just bought some groceries for us.|-For us?
WeII, for me, reaIIy.
I can't work|without eating something normaI...
but you're weIcome to them.
Don't get me wrong.|I Iike fish sticks and Cap'n Crunch.
-Sorry, I got caught up--|-You don't have to apoIogize.
You're a creative genius.|You shouIdn't worry about food, or eating.
Go take a shower|and I'II make you some breakfast.
No. We don't have time.|We stiII need at Ieast 150 pages.
We'II eat as we work.|Let's see what we have from yesterday.
Let's go over yesterday|to see where we are.
Why don't we keep going?|Like you said, we don't have a Iot of time.
If we keep going over what we've done,|then we won't get...
finished.
''Adam waIks through the casino...
''and sees Iots of peopIe|sitting around and doing stuff...
''Iike pIaying rouIette|and drinking booze and yakking.''
I thought that....
''Adam Iiked PoIina,|but he aIso knew she was kind of weird.
''Even though he thought it was Iove,|it reaIIy was that he was hot for her.''
-WeII, AIex, it's true.|-No, it's not!
He's madIy in Iove with her|the minute he sees her!
Where's what I wrote?
I was getting on the bus.
There was rain...
and a huge puddIe.
And my feet just tripped.
And it just spiIIed. And I'm sorry.|And I tried.
-I tried to fix it!|-It's not your fauIt.
Yeah, it is.
I'II fix it. I've Iost pages before.
-It'II be okay.|-It wiII?
Yeah, it wiII be fine.|How many pages got wrecked?
Eighteen.
Time to get up.
{y:i}As Polina mourned|{y:i}for her beloved grandmother...
{y:i}and tended to family matters...
{y:i}Adam struggled to keep|{y:i}his feelings for Polina in check.
Adam's friendship with EIsa|continued to grow.
Unaware of the deeper feeIings|she heId for him...
he regaIed her with stories|of the exciting Iife he'd share with PoIina.
Adam's passions|continued to rage out of controI.
With his beIoved Red Sox|weII out of contention...
for the American League pennant...
basebaII no Ionger provided|a viabIe diversion.
Shaw was not to be underestimated.
Despite the insubstantiaI mustache...
he'd proven himseIf to be a formidabIe foe.
Adam knew that aII too weII.
He had to make his move. But when?
-Can I?|-Sure. Go ahead.
I'm formuIating.
I don't Iike tomato skins.
Who are you?
What?
We've been in this room|for over three weeks.
Besides the fact that you have an opinion|for everything I do...
and an odd way of eating pizza,|I don't know anything about you.
Where are you from?|What have you been doing with your Iife?
Do you have friends?|A boyfriend? Parents?
-It's my personaI Iife, AIex.|-I know.
And if you don't feeI Iike sharing,|I compIeteIy understand.
I Iive in Jamaica PIain.|Both my parents are dead.
My mother died six years ago.|My father Ieft when we were very young.
I heard he drank himseIf to death.
Like I said, if you don't feeI Iike sharing....
Did you mention|whether or not you have a boyfriend?
I didn't.
-Do you think you wiII mention it?|-Maybe.
Do you think you'II mention it now?
I do have a boyfriend.
And I met him Iast year...
at a hockey game.
Is it serious|or is it just one of those hockey romances?
We're pIanning on getting married|next June.
I think I'm about done formuIating.
Where was I?
Adam was deciding|when to make his move.
{y:i}Adam could wait no longer.
{y:i}He felt like a kid who had finished|{y:i}counting in hide-and-go-seek.
{y:i}lt was now, ''Ready or not, here l come. ''
{y:i}Yet still, his overture must not appear|{y:i}insensitive or indelicate.
{y:i}-Wait a minute. What are they doing?|{y:i}-What does it look like they're doing?
-Just Iike that?|-Why not?
-Her grandmother just died.|-ExactIy.
She's Iooking for comfort.
I thought you said|Adam was going to be sensitive to her.
You're right. I did.
I am so sorry that your grandmother died.
{y:i}lt just isn't right like this.
-Are you nuts? It's fabuIous Iike this.|-No, it's not.
-Yes, it is.|-No, it's not.
Look, I'm the writer, okay?|And I'm saying it is.
And I'm the reader, okay?|And I'm saying this is reaIIy bothering me.
I'm trying very hard to Iike Adam,|and you're making it extremeIy difficuIt.
You know what?
This isn't about Adam.
You've had it in for PoIina|since the beginning.
-PIease!|-You have.
I do not have it in for a fictionaI character.
She's fIighty. She's fIirty.|She's a fIawed character.
Of course! The three fIuhs:|fIighty, fIirty and fIawed.
Yes. And cIearIy,|if he's chasing after someone Iike her...
-he's sitting on some pretty major issues.|-ReaIIy?
She's the hottest girI on the isIand|by a factor of 10!
So maybe he's not the one|with the issues.
What is that supposed to mean?
He's not the one who vaIues propriety|over passion.
-Are you saying I don't beIieve in passion?|-No.
I'm sure you do,|just so Iong as the Iaundry is done first.
Adam and PoIina|tumbIed passionateIy into bed.
Boy! Now you're taIking!
This is a great isIand!
What?
I'm exhausted.
I bet you are.
Okay, so now what?
What do you mean?
Grandmother is dead.|Everything's worked out for our Iovebirds.
PoIina has her money. Adam has PoIina.|Shaw goes away.
Now what happens?
I have to vomit.
You have no pIace to go from here,|do you?
You've written yourseIf into a corner.
You're supposed to put your head|over the toiIet.
I've been vomiting since I was six.|I beIieve I can handIe it.
-I think I'm dying.|-You're not dying.
No, reaIIy. I'm burning up. I feeI reaI bad.
You're not that warm.
Why does everyone just tacitIy accept|the-hand-to-the-forehead test...
as being medicaIIy reIiabIe?
You're fine.
I've got a pain in my chest.|This couId be serious.
If these symptoms persist...
and you think|you're having a heart attack...
now this is important...
I want you to caII me immediateIy.
There's no point in my wasting bus fare|if you're just going to be dead.
Have a nice evening.
What are you saying? You're stiII bIocked?
TotaIIy.
Who said it better than you?
Grandmother's dead.|PoIina's got the money.
Adam's got PoIina,|and I've got nowhere to go.
You're not going to vomit again, are you?
-I've got to get out of here.|-Where are you going?
We don't have much time Ieft.|ShouIdn't we keep working?
-This is working.|-It is?
When I get stuck, I need|to get my mind off things for a whiIe.
I need to Iook at birds, trees,|peopIe doing things...
Iike throwing Frisbees, roIIerbIading,|that kind of thing.
Good. Once you cIear your mind,|you'II reaIize...
he shouIdn't have jumped into bed|with her Iike that.
I wanted to be a writer|for as Iong as I can remember.
My parents got divorced when I was eight.
I started writing stories|as a pIace to put my feeIings.
I found it was easier|to have characters say things...
than to say them myseIf.
That's the beauty of writing.|You can have things work out...
the way they never seem to in reaI Iife.
-Sometimes things work out in Iife.|-I'm aII for it.
-Have you ever been married?|-In reaI Iife? no.
Let me guess.
-You just haven't met the right woman.|-ExactIy.
I know what you're going to say:
You have to be the right man|in order to meet the right woman.
But I know in my heart|that I am the right man...
and that the perfect woman is out there.
Someone who's smart,|funny, and beautifuI.
And here's the tricky part:|interested in me.
I know she's out there.|I just can't seem to...
I feeI Iike one of those greyhounds|at the dog track.
You know, chasing the mechanicaI rabbit?|I get so cIose...
but I can never quite seem to catch it.
-They never do.|-I know.
Maybe you don't want to catch it.
-I hope today heIped.|-It did.
Things are starting to percoIate.
-I had a great time.|-Me, too.
This is it.
I got it!
What?
I never shouId have had|the grandmother die.
This is great! Thank you!
I Iove you!
-You know what I mean.|-Yeah.
-This is great.|-Great.
AII right. I'II see you tomorrow.|The grandmother Iives!
Look who is aIive!
The teIegram said you were gone.
WeII, of course I was gone.
If I was not gone from there,|how couId I be here?
Weren't you worried taking such|an arduous trip considering your heaIth?
My heaIth is fine.
Those stupid doctors, aII idiots.
They shouId have their Iicenses revoked.|Every Iast one of them!
First, they gave me a year to Iive...
then it became six months.
Then Iess than a month.
To Iisten to them...
I'd be dead 10 minutes after I got here!
What are you doing?
The dead grandmother|is what got you stuck.
now she's dead again?
no money at aII?
Your mother had the most extraordinary|coIIection of rare perfumes...
in the history of France. Worth a fortune.
As you know, your mother,|God rest her souI, made it to 90.
-SadIy, the perfumes did not.|-What?
They aII evaporated.
The Iast of it,|during her brief struggIe with scurvy.
Your mother's fortune has evaporated?
Every penny of it?
She had scurvy?
{y:i}Upon hearing Grandmother's money|{y:i}had gone the way of all Chanel...
{y:i}Adam pondered his fate.
{y:i}He was no fool.|{y:i}He was a tutor, for God's sake.
{y:i}He knew it was a matter of time...
{y:i}before Polina would find herself|{y:i}once again in the arms of his rival...
{y:i}the odious John Shaw.
{y:i}He pondered the engagement.|{y:i}He pondered the wedding.
{y:i}Then he pondered the wedding night.
{y:i}lt was at that point he realized|{y:i}maybe he should stop pondering.
{y:i}Senor ShipIey, you must try to forget her.
Here, have some paeIIa.
What?
EIdora, the Spanish au pair,|who was EIsa, the German au pair...
who was YIva, the Swedish au pair?
no. AIex, absoIuteIy not.
Even if EIdora was the greatest character|since ScarIet O'Hara...
which seems Iike a Iong shot,|we don't have time to change everything.
-I know, but--|-Three days! We have three days.
I know, but something's missing.
Maybe he needs another obstacIe|to keep him from PoIina.
He's broke. She's marrying another man...
and she doesn't even Iove him.|I think he has enough obstacIes.
Wait. I got it.
It's not an obstacIe,|it's the second triangIe.
You were right about that.|This can work. The changes wiII be easy.
She's an American from PhiIadeIphia,|and her name is Anna.
HeIIo, Adam.
What?
You seem different today, Anna.|Did you do something to your hair?
{y:i}There was something in Anna 's eyes|{y:i}that Adam, until now...
{y:i}blinded by his love for Polina, hadn't seen.
{y:i}A deep sadness,|{y:i}combined with a quiet strength...
{y:i}that made her seem incredibly beautiful.
{y:i}Are you sure you want to do this?
AbsoIuteIy.
It's not very attractive.|He's just rebounding.
no, he's not.
Rebounding Iike a wiId man.
What are you taIking about?|This is the triangIe heating up.
Anna has feeIings for him.|He has feeIings for her.
But he aIso has feeIings for PoIina.
This way, the reader doesn't know|who he'II wind up with.
You hook them in.
-Who does he end up with?|-See? Hooked.
What do you say we head into town?
-I have to--|-You don't have to do anything.
You're making stew. That's why|they caII it stew. You Iet it stew.
Come on. Live a IittIe.|I'II buy you Iunch. Are you hungry?
not reaIIy.
-Perfect. I don't have any money.|-Sounds good.
How did you come to work|for the DeIacroixs?
I answered an ad for a job five years ago.|I've been with them ever since.
Summers in Saint CharIes,|winters in SwitzerIand...
-and the rest of the year in Paris.|-It sounds exciting.
Yeah.
now that didn't sound exciting.
I'm Iiving their Iife, not mine.
-Maybe we can do something about that.|-What?
I'm just spitbaIIing here,|but how about this?
I Iike Iiving my Iife.
{y:i}While those of a cynical nature might|{y:i}think that Adam was on the rebound...
{y:i}Cute.
{y:i}...the truth is|{y:i}that he found comfort in Anna.
{y:i}And with each passing day,|{y:i}his feelings for her grew stronger.
It's so interesting|watching this process unfoId.
I didn't understand when you said|the characters wouId Iead you.
But now it's so cIear why Anna and Adam|wouId end up together aII this time.
They've been so cIose to each other|without seeing what they had.
Who says they'II wind up together?
They're not?
I don't know.
How couId they not end up together|after they were so romantic?
That's exactIy the point.
If he's crazy about one, but Iukewarm|about the other, where's your triangIe?
But if he feeIs equaIIy strong|about both women, that's a reaI diIemma.
-But then you have--|-no.
now we've got to stir things up a IittIe.
ShipIey, how goes it, my good man?
You're certainIy in a good mood today,|oId bean.
Why not?
Tonight, I shaII ask PoIina|for her hand in marriage...
and by the week's end, we'II be off to Paris|to prepare for the wedding.
Tonight?
CongratuIations.
You're sure she'II accept?
I have 500,000 reasons that say she wiII.
Five hundred thousand.
-That's a Iot of reasons.|-The IoveIy PoIina has expensive tastes.
{y:i}Adam thought he had gotten over Polina.
{y:i}But the imminence of her betrothal|{y:i}made one thing abundantly clear.
{y:i}lt was time to start pondering again.
{y:i}How does one choose|{y:i}between two women one loves so dearly?
One puIIs one's head out of one's ass|and reaIizes the obvious.
What we have is substantiaI.
When you Iie in bed at night,|is that what you dream of...
something substantiaI?
Or do you dream of gIamour, excitement...
a Iife of adventure?
-Dreams are often onIy that.|-Excuse me?
I am just saying|our Iove is based on something reaI.
It's based on caring, understanding,|and mutuaI respect.
You Ieft out that you gave him|the wiIdest, most passionate sex...
he's ever experienced.
Wait. That was me.
{y:i}He was wracked with confusion.
{y:i}For the first time in his life...
{y:i}he understood the true meaning|{y:i}of the expressions, "horns of a dilemma "...
{y:i}and "between a rock and a hard place."
{y:i}Although the concept|{y:i}of "paying through the nose"...
{y:i}had always tormented him.
{y:i}How does the money get in the nose|{y:i}in the first place?
{y:i}Once in, is it pulled out by hand|{y:i}or is a sneeze involved?
{y:i}Who would accept such a transaction?
{y:i}Burning questions all,|{y:i}but he had bigger fish to fry.
What do you have to think about?|I'm here.
I'm in Iove with you|and she's not even avaiIabIe.
I couId be.
Yes, for $500,000...
which you don't have.
A smaII obstacIe for a great man.|A smaII obstacIe for a great Iife.
I need money.
Oh, no!
Good. That's exactIy the reaction I want.
I want the reader to be surprised.
Do you want the reader to hit you|with the book?
Think Iike a writer.
There's more to pIay with.|Where does he get the money?
You got the ticking cIock|with Shaw's proposaI.
You stiII don't know|who he's going to wind up with.
If he makes a pIay for PoIina and Ioses...
Anna wouId be an idiot to take him back.
I don't know.
The human heart is an ethereaI web|of contradicting emotions...
impossibIe to decipher|in aII its compIexity.
Yeah, an idiot.
Okay, good. Can we...
AIthough his feeIings for Anna|were undeniabIe...
his feeIings for PoIina|were sIightIy more undeniabIe.
{y:i}ln the course of the summer|{y:i}on Saint Charles...
{y:i}he had made many acquaintances...
{y:i}some more savory than others.
Do you dance the fIamenco?
WeII, I...
Because reaI men dance the fIamenco.
Are we Ioaning money to a reaI man?
I have been known to fIick a castanet|on occasion.
Prove it!
Stay with me, boys.
He's good.
The interest is 200 percent.
We give you $5,000.|In one year, you pay us $15,000.
Two hundred percent? That's outrageous!
{y:i}Senor, you are a desperate man.
You're dancing the fIamenco to get money.
This is not a strong bargaining position.
-Two hundred percent.|-I can't!
-Two hundred percent.|-You're thieves.
Take it or Ieave it.
Okay, 200 percent.
You pay us back in one year or we kiII you.
I have $5,000.
WiII the casino remove its Iimit|for me tonight?
{y:i}As you wish, monsieur.
PIace your bets, Iadies and gentIemen.
{y:i}For Adam, the moment had come.
{y:i}He knew this time it would be different,|{y:i}and it was.
Yes!
The management has asked me...
whether you might be wiIIing to retire|for the evening?
One more bet.
My entire stake, $320,000, on bIack.
{y:i}Very weII, monsieur.
{y:i}One more win and Polina would be his.
{y:i}There are times in life|{y:i}when for no apparent reason...
{y:i}an unexplained sense of well-being|{y:i}comes over you.
{y:i}You're at one with the universe.
{y:i}You know exactly who you are,|{y:i}and your place in the world is secure.
{y:i}For Adam, that sense of ultimate bliss|{y:i}was destroyed by two words.
Thirty-six, red.
{y:i}Just like that, it was all gone.
{y:i}His money, his future with Polina...
{y:i}and Adam was convinced, his life.
PIease don't teII me|he's going to go running back to Anna.
I don't know.
Again, you don't know.
I'II get it.
Who the heII couId that be?
It's a Iady.
-I hope we're not disturbing you, baby.|-As a matter of fact, you are.
It's a figure of speech.
How are you doing, boys?|I Iike those shirts.
-You've got a bat.|-We're here for a reminder.
Wait a second.|I got one more day. I'm aImost done.
It's good. We heIp you to finish.
What are you doing?
Jesus!
-no distractions.|-That's my TV! What are you guys--
It's good. You finish the book.
You get the money. You buy a fIat screen.
Better picture, man.
{y:i}Twenty-four hours, chico.
not 25.
Bye, Iady.
-Oh, my God.|-Are you okay?
Are you aII right?
-ShouId we caII the cops?|-I don't think that's a very good idea.
Let's finish the book.|They'II get their money.
Everything wiII be fine.
Wait a minute.
Those are the fIamenco dancers,|aren't they?
You borrowed money to gambIe?|Are you out of your mind?
-At the time, yes.|-So is everything in this book true?
no. There are things I take from reaI Iife...
-that work for the story.|-Who eIse is going to show up?
You've some sick grandmother|who's going to roII in here and drop dead?
Is there reaIIy a PoIina?
The next time Dimwit and Lowboy|come back here...
they're not just|going to be smashing teIephones and TVs.
So, pIease, Iet's just try and finish.
There are banks, you know.
Yes, I know.
If you want to take a break, I understand.
no, I'm fine.
You're the one they want to kiII.
Way to bounce back. Here we go.
As Adam waIked... no.
As Adam wandered|the streets of Saint CharIes...
Iike a man|who had not onIy Iost aII his money...
but aII sense of who he was...
he found himseIf Iying under|the boardwaIk, next to an oId seaguII.
He stared vacantIy into the guII's eyes|and finaIIy drifted off...
How are you doing?
Were you sIeeping or just thinking?
I was sIeep-thinking.
Maybe we shouId take a break.
no. We've got to keep going.
If we get a coupIe hours of sIeep,|then we can make the finaI push.
Okay. Two hours.
I'II sIeep on the couch. You take the bed.|Set the aIarm whiIe you're up there.
no, you shouId sIeep in the bed.
I'II be fine on the couch.
Look at you.|You can't get any rest Iike that.
neither wouId you, so...
AII right, we'II both sIeep in the bed.
-You sure?|-Yeah.
Okay.
So you want to sIeep together.
You're right.|You shouId sIeep on the couch.
I'm saying it's a rareIy used meaning|of the term "sIeep together"...
where there's actuaI sIeep invoIved|with snoring, REM cycIes and aII that.
That's aII I meant.
I'm setting the aIarm.
Good night.
Can you say good night|if you're onIy sIeeping for two hours?
Good night.
ApparentIy you can.
Good night.
So, what's his name?
What?
What's his name?
Who?
Your fiance.
I thought we were trying|to get some sIeep.
I just want to know what his name is.
It's Art.
Art Greco.
Art Greco?
Art Greco, the discount dentist?
What?
The guy on aII the buses?
Yeah.
He must be good|because you've got exceIIent teeth.
Wait a minute.
Maybe I'm being presumptuous here.
Just because he's your fiance...
and a dentist doesn't automaticaIIy|make him your dentist.
Maybe it's a confIict of interest thing...
Iike a doctor|that won't operate on his own famiIy.
On the other hand,|driIIing a tooth isn't exactIy surgery...
aIthough they do caII it oraI surgery.|So, I suppose--
AII right, I Iied!
I don't have a boyfriend or a fiance.|I'm not getting married.
But Art Greco is your dentist.
I'm sorry...
but if you met you the way I met you,|what wouId you have done?
I probabIy wouId have turned around|and waIked out.
I'm gIad you didn't, though.
Me, too.
I'm aIso gIad you don't have a boyfriend.
Me, too.
He awoke earIy the next morning|to find the seaguII sitting on his chest.
As the morning mist on the beach|and the one in his mind started to cIear...
his thoughts turned once more to PoIina.
Yes?
Is there a PoIina?
What do you mean?
In reaI Iife.
no. not reaIIy.
She's an amaIgam.
An amaIgam?
Yeah. She's a combination|of a Iot of women I've known.
You've been with a Iot of women Iike her?
no. You know, you meet peopIe Iike that.
They run in a fast crowd.
You've been in these fast crowds?
no. You know what I mean.
You read about them.|They're aIways running off to be with...
that guy on a boat|or this guy on a private pIane.
She's an amaIgam.
{y:i}Adam went to find Polina...
{y:i}hoping against hope|{y:i}there was still a chance for him.
How much did you Iose?
Everything. But I can win it back.
WouId you be a dear|and hand me that pumice stone?
I know it's a cIiche...
to say the best things in Iife are free|and that money can't buy Iove...
but that's how they become cIiches,|because they're true.
ShouIdn't Iove trump everything?
If onIy we Iived in a worId of shouIds.
We can.
no, we shouId. But we can't.
PIease don't deny yourseIf reaI happiness.
I'II try not to.
CouId you hand me that robe over there?
There were times I just adored you.
{y:i}With the vacation coming to a close...
{y:i}and with the pieces of his heart scattered|{y:i}by the summer winds of Saint Charles...
{y:i}Adam sought solace in the one person|{y:i}who had always been there for him.
{y:i}She was a modern woman.
{y:i}She would understand|{y:i}if he spoke from his heart.
{y:i}He was certain she would take him back.
I don't suppose there's any chance|you might--
no.
-Because I went off--|-Yeah.
-So even if I was to come--|-no.
-Because I've shown myseIf to be--|-ExactIy.
-Okay. So I'II just go--|-Yeah.
{y:i}For the first time in his life,|{y:i}he truly understood the expression:
{y:i}"Hell hath no fury like a woman scorned."
{y:i}Not to mention,|{y:i}"Never bite off more than you can chew."
{y:i}"Paying through the nose, "|{y:i}on the other hand...
{y:i}continued to present problems.
{y:i}The end.
He ends up aIone.
You think it's too sad?
It's the onIy way it can be.
He never had a chance with PoIina,|and Anna who was a reaI possibIe...
as soon as he feIt getting cIose to her,|he ran for the hiIIs.
It's a cIassic case of fear of intimacy.
Your other book was about that,|too, wasn't it?
no, that was about fear of commitment.
Right. Okay.
It's a funny book and it's sad.
It makes me feeI for everyone in it,|and you did it in 29-and-a-haIf days.
You shouId feeI very good.
Yeah. So, where are you going?
I have three days of transcription.
We onIy have six hours|untiI the Cuban invasion.
Do you reaIIy think it's good?
I think it's very good.
Thank you, Emma.
You're weIcome.
You know... I, uh...
I "uh" you, too.
Bye.
Taxi!
Keep the change.
HeIIo.
PoIina?
-You Iook good.|-You, too.
So, how you been?
-I Ieft John.|-ReaIIy?
What can I say? I shouIdn't have gone|with him in the first pIace.
You were Iooking out for your chiIdren.
That's my probIem.|I never think of my own happiness.
You shouId have knocked me out,|tied me up.
Taken me away with you.
Thank you.
Deep down,|I aIways knew you were the one.
Are you seeing anyone?
When I saw you on that dock...
you were Iike something out of a fairy taIe.
ReaIIy, I became intoxicated...
Iike somebody had sIipped something|into the air.
AII done.
I didn't know you'd be finished so soon.|I was just on my way back.
It's okay, I found you.
Emma, this is PoIina.
PoIina, this is Emma.
She's my stenographer.
I just finished dictating my noveI to her.|She did an amazing job.
I have to go. It was very nice to meet you.|I've heard so much about you.
I'II be right back.
-I didn't know she was coming--|-Don't, AIex! PIease!
You know what happens|with these things.
Somebody aIways says something|to make the other person feeI better...
but it never does,|so if you couId just not say anything!
Your stenographer?
You introduced me as your stenographer?
I didn't know what to say.|I didn't want to hurt either one of you.
no, AIex.|Who you didn't want to hurt was you.
Wait a sec.
You know what I can't figure out?
What's it going to be, sweetheart?
-One second.|-I can't figure out what's worse.
Having to know every detaiI...
about your desperate Iove|for some other woman...
or having to know|that you obviousIy never came cIose...
to feeIing the same way about me.
Goodbye, AIex.
She's not just your stenographer.
no.
Is she your girIfriend?
not anymore.
Come with me tonight.
There's a darIing IittIe charity baII|at the Ritz.
Landmines, I think.
-I don't think I can--|-It's perfect.
You finished your noveI.|We can Ieave for Paris in the morning.
It's beautifuI this time of year,|and the kids wouId Iove to see you.
I'II take you to Giverny.
Have you ever seen the water IiIies?|They're magicaI.
Have you ever done your own Iaundry?
What?
nothing.
You shouId have a gun to your head|more often.
-You Iike it?|-You kidding me?
UsuaIIy an author faIIs on his ass|with his second effort. This is terrific.
Okay!
Here you go. Just Iike you requested.
$25,000 made out to you...
and $100,000 made out to...
now is it "Cuban Mafia"|or "The Cuban Mafia"?
I'm kidding, cash.
What do you think of the ending?
I Iike it. It's bittersweet.
{y:i}Hi, I can't come to the phone right now.|{y:i}Please leave a message.
{y:i}Emma, it's me.|{y:i}If you're there, please pick up.
{y:i}"m not just calling|{y:i}to make you feel better.
I reaIIy need to taIk to you.
PIease give me a caII.
Can we taIk?
Did the fact|that you caIIed 17 times Iast night...
with no response from me|send any kind of signaI to you?
I'm not an idiot.
I figured you wanted to taIk to me|but your machine was broken.
Wait a second.
I think I'm in Iove with you.
I think I couIdn't care Iess.
Emma, pIease just--
{y:i}He screwed up big-time|{y:i}with his wife's cousin!
{y:i}l did not start this whole thing.
{y:i}He tells one version.
{y:i}She was telling me all the time|{y:i}that my wife was cheating on me.
{y:i}She tells another.
{y:i}That's not how it happened. No.
Maybe my Iife is not so bad.
HeIIo?
{y:i}-If you keep this up--|{y:i}-l have your check.
I couId bring it over.|Because you worked many extra hours...
{y:i}-l added in--|{y:i}-Send it to me.
-I need to taIk to you about the book.|-no.
The ending is not right.|My editors think it's fine.
You're the onIy one I can taIk to about it.
I'm not going to do this, AIex.
I think Adam shouId end up with Anna.
I don't think so.
Some things are nothing more|than what they are.
They're not meant to Iast.
They take their pIace in your heart...
and make you a IittIe smarter|the next time.
If you care for me|as much as you say you do...
pIease respect my feeIings|and Iet's move on with our Iives.
Okay?
Okay.
Good night, Emma.
Goodbye, AIex.
Can I heIp you?
I'm here for a deposition.|Is there a Mr. TayIor?
Yes. We've been expecting you.|If you couId just take a seat.
Your stenographer is here.
Yes, I'II teII her.
Someone wiII be with you in a moment.
Good morning.
I'm Marty Van Buren. Won't you come in?
-Yes.|-Just foIIow me.
Jenny, couId you get me that deposition|on the McKinIey case.
-Right away.|-Great.
Why don't you go in here and set up?
-Zack TayIor wiII be with you in a minute.|-Thank you.
Jesus!
WeIcome to PoIk, TayIor, FiIImore,|Pierce & Van Buren.
I take you met Marty.
What is this?
He's actuaIIy my pubIisher.|These are his offices.
He charged me for the Iettering,|but the roIe-pIaying was free.
-What do you want from me?|-I toId you.
I want to change the ending because|some peopIe go right to the Iast page.
-So, it's important--|-You shouId get someone eIse to do this.
Look, there's no one eIse I trust.
You're the onIy one|who'II know if it's reaI and honest.
It's onIy a coupIe of pages. Emma, pIease.
Adam returned to Andover...
fiIIed with the dizzying emotions|of the summer on Saint CharIes.
Emotions that he hoped|he couId capture on paper.
When his thoughts turned to PoIina,|it was as if she were some kind of dream.
-I can't do this.|-PIease, Emma. Just keep typing.
He remembered her fIawIess skin,|her dark, intense eyes...
her captivating smiIe.
Then one day,|that dream waIked back into his Iife.
Her beauty was stiII undeniabIe.
-Why are you doing this to me?|-Because I need you to understand.
Just Iet me finish.|Then you can waIk out the door...
and I swear I'II never bother you again.
Her beauty was stiII undeniabIe,|but it wasn't the same.
As she spoke of her feeIings for him,|aII he couId think of was Anna.
Sweet, caring, beautifuI Anna...
and how his own faiIings|had driven her away.
Anna had become part of him.
He had faIIen|so compIeteIy in Iove with her...
that it was hopeIess to think|he couId ever be with anyone eIse.
And so he said goodbye to PoIina...
and set off to win back|the heart of his true Iove.
Yes, PoIina had been a dream,|Iike a creation from one of his stories...
but Anna was reaI.
For the first time in his Iife...
that feIt more powerfuI|than anything he couId ever invent.
The end.
nice Iast sentence.
I'm just a writer.
I don't know what to do to show you|how much I Iove you.
I onIy have words.
That's aII I have.
Maybe I was wrong.
About what?
Maybe you can catch the rabbit.
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