Wicker Park CD1
Magnificent, aren't they?
So are the others.|I, u*h...
I gu*ess I ju*st...|have to make the right decision.
In the end, it's not you*r eye|that mu*st decide.
Did Rebecca call?
Yeah. She'll be at the restau*rant|in an hou*r to take you* to the airport.
I pu*t you*r tickets, passport, and|you*r new cell phone in you*r briefcase
and Hong will be there|in ten minu*tes.
Thanks. See you* in fou*r days.
The second you* land,
those gu*ys are gonna start poking|and prodding to see what you*'re made of.
Are you* su*re I'm the right gu*y|for this, Walter?
I'm no good at this corporate stu*ff,|I hate flying--
and isn't this Bob's thing, anyway?
Bob? Come on, you*'re gonna be fine.
Ju*st don't eat anything|that wears a collar,
and if you* need me, I'll be on the beach|in Cozu*mel screening my calls.
Look...this is a big break for you*.
Bu*t I'm giving you* this accou*nt becau*se|I think you*'re the right man for the job.
Besides, you*'re gonna be a member|of the family soon, right?
Going down, please.
Oh. Matthew, keep away|from the bang-bang girls
or Rebecca will kick my ass, all right?
- Matty!|- Lu*ke! Hey, man.
- How are you*, man?|- I'm good. How are you*?
Really good. Really good.|Good to see you*. You* look great.
Thanks, man. I mean, I do.
You* still doing that whole|advertising thing in New York?
I moved back.
- When did you* get back?|- Two months ago.
Two months? What are you* doing?
You* don't call you*r friend?|You* cou*ld've called me.
I know. I ju*st--I moved back|with a girl that I met in New York
and I'm working for her brother,|and it's...
That sounds serious.
Maybe. I don't know.|We'll see.
You* look very seriou*s.|Look at you*.
I know, man.
Listen, man,||I gotta go to a meeting.
Yeah, I need to probably|move my car, too.
And then I'm going to China tonight.
- China? That's weird.|- Yeah, I know.
Let me give you* a call|when I get back. Monday?
Yeah, sou*nds good--shu*t u*p!
All right, look, here's my card.|Don't wait two years--call me!
The old shop.
- All right?|- I will, man.
You* look good.|That's a nice tie.
Good to see you*.
Are you* done? Come on!
He's very impressed|with what you*'ve done,
and he assu*res you*|that when you* get to China,
you*'ll be met with mu*ch enthu*siasm|and su*pport.
Thank you* very mu*ch.
Some champagne, please.|Excu*se me.
Matthew is a, u*h, photographer.|Beau*tifu*lly, wonderfu*lly creative man.
And here's my favorite sister.
His only sister.
Mr. Hong, Ms. Chin,|this is my sister Rebecca.
Hey, Sweetie. How are you*?
As you* can see,
Matthew has managed to make himself|indispensable even away from the office.
Here, Sweetie. Ju*st take one of these||to help you* sleep on the plane.
Mr. Hong wou*ld like|to propose a toast.
To a long and prosperou*s marriage...
of ou*r two companies.
Are you* okay?
Um, excu*se me.||I'm gonna go make a phone call.
I'll be right back.
Excu*se me,||can I have the check, please.
Ju*st a minu*te!
No, you* listen!|And I don't feel like calming down.
It's over, okay?|That's why I wanted to meet.
No, actu*ally I don't think|it was an accident.
It's in the paper!
I don't ever want|to see you* again, Daniel.
Stop following me,|or I'll call the police!
Whoa. Hey, come on.
Are you* all right?
I pissed her off.
You* wanna pu*t that|on this card, please?
Oh! This stu*pid...
Need some help there, Mare?
- What's u*p?|- It's so fru*strating.
I ju*st can't work ou*t|why there's no sou*nd.
I'll take this one, if you* want.
Knock you*rself ou*t, kid.
Oh, my God.
- They wanna know how long--hey!|- Mary, I'll be right back.
- Sorry.|- Where are you* going?!
- Hey, gu*ys.|- Hey, Lisa.
See you* inside.
- Probably time to go, right?|- Yes.
Pr*e-boar*ding call|for* flight 752 to Munich.
All passenger*s should boar*d|at this time at gate 5-A
I gu*ess, u*h, this is it.
Are you* su*re nothing's wrong?
No. No, I'm fine.
Okay. Well,|call me when you* get there.
Okay. I will.
I love you*.
Your* attention. please.
This is the final boar*ding call|for* Amer*ican Air*lines flight 153
service to Shanghai.
All passenger*s should now|be boar*ding at gate 1 0-B.
Yeah. No, he's not on the plane.
No, he's very sick.|He has food poisoning.
No, he'll be there||in the next cou*ple of days.
Her*e. sweetie. Just take one of these|to help you sleep on the plane.
That line--what it does to you*r calf--|that is what we call sexy.
Wanna try pink? Hmm?
- Okay.|- Okay. Have a seat.
Hey. There you* are.|Where you* been?
You* look like shit.|I hope she was worth it.
Hey, do we have|a size ten in pink?
Yeah, in the back.
- Hey, Ellie.|- Hey.
- I gotta talk to you*.|- Lady Dragon Shoes.
Ow. So, who is she?
You* wou*ldn't believe me.
Betcha I do. I probably even know her.|What's her name?
That's the thing.
You* don't know her name?|Oh, man.
I know that she's a dancer.
You* mean, like a stripper?
No, shithead.||Like a real dancer.
Oh, God.||I love a dancer's body. Ooh.
But her face is like...
...and her...skin is ju*st...
She ju*st makes me all...
What is "wha" and "du*h"? She ju*st|makes you* more inarticu*late than u*su*al.
You* are obsessed,||which I don't u*nderstand.
I mean, I don't know how||you* decide on ju*st one.
I mean, my cu*stomer over there--|she's got great legs. Ellie.
All right? There is|something hot abou*t Ellie.
The blonde at the window.
I mean, come on.
What are you* doing?
Matty, are you* all right?
Lady Dragon Shoes.|Can I help you*?
What are you* doing?
Give me some shoes.
- Shoes?|- Yeah.
Got lots of shoes.
I'm sorry I took so long.|Pink. It's my last pair.
Cou*ld I help you* with anything?
Those shoes in the window.
The black ones|with the red sole.
I'd like to try them on, please.
The blacks and reds. Okay.
I'll ju*st go in the back|and get them for you*.
That's where we keep them--|in the back--so...
I'll be right back.
Maybe you*'d like to ask the lady|what size shoe she wears.
- Right.|- 8 1/2.
I mean his movie, not his shoe size.||I don't know his shoe size, obviou*sly.
What was that?
Fellini! What the hell|was I thinking?
I have no idea.
Bu*t you* were right abou*t one thing.|God, she's beau*tifu*l.
And you*, my man,|are an idiot.
All right, look.|Here's the thing, all right?
You*'ve obviou*sly blown it,|she obviou*sly hates you*,
so you* stay right here|and let the man take a shot.
- Shu*t u*p. Give me the shoes.|- All right. Go.
Ju*st remember--|you*'re not fu*nny.
Here we go.|Black and red.
What do you* think?
They're too big.
Too big? Really?
Lu*ke, these are 9 1/2s.
I'm sorry.|That's the smallest size we have.
Oh, well. Too bad.
Not--you* know...|not necessarily.
We can order these for you*.
Special order. And, u*h--|I can, u*h, if you* leave you*r nu*mber,
I can give you* a call personally|when they come in.
Do you* normally spy on people?
Are you* really gonna tell me that|you*'re a hu*ge fan of modern dance?
Look, I've never done||anything like that before.
Honestly--cou*ld you* let me take you* ou*t|for a cu*p of coffee and explain?
I don't think so.
I'll stay on my side of the table.|I promise.
Ju*st call me|when the shoes come in, okay?
Listen, I'm not||what you* think I am, okay?
"Tomor*r*ow night. 6:00.|Café Tangier*s on Kinzie.
Now you won't have to follow me. "
Well, my parents eventu*ally split u*p,|and my mom moved back to Pragu*e.
Bu*t my dad's still here.|He lives in California.
I wish I was in California right now.
So, why did you* want|to become a photographer?
Tropical fish, actually.
When I was a kid, I u*sed to go|to the library and pick ou*t all the books...
...with tropical fish, you* know.
Beautiful colors and shapes.
When I was eight years old, I realized|someone had to take pictu*res of the fish.
And I wanted that to be me.
Bu*t I grew u*p and I realized that...
things don't have to be extraordinary|to be beau*tifu*l.
The ordinary|cou*ld be ju*st as beau*tifu*l.
Like--you* see the cou*ple there?
Look at the way the girl|is holding on to him so tight.
But he can still drink his coffee.
It looks like she feels safe|wrapped arou*nd him.
And if you* believe that,|I'll tell you* another one.
Take my pictu*re.
I feel beau*tifu*l tonight.
- Hi.|- Hi.
I have you*r dry cleaning.
Hey, you*'re not in China.
I didn't make it past O'Hare.
- What happened?|- I fou*nd Lisa.
Here it is.
This is the article she left behind.
The fu*neral's today.
I can't believe you*'re|blowing off Shanghai for this.
This isn't actu*ally Lisa.|This is a compact.
What abou*t you*r woman?|What's her name, anyway?
Yeah, I mean, isn't--||Matt. Matt!
Is it broke?
God, I am so stu*pid.|Here, give it to me--
- No, no. It's okay.|- I'm sorry.
You*'re right.|This doesn't make any sense.
One minu*te I'm looking at rings,|and the next I'm here, doing this.
Whoa.|Whoa, looking at rings?
I didn't realize you* were that seriou*s.
Apparently, I'm not.
See, that's how the u*niverse works.
The minu*te you* make a decision--|you* decide on anything--
along comes temptation.
What wou*ld you* do?
Keep them both and hope they didn't find|ou*t abou*t each other is what I wou*ld do.
I have to find ou*t why she left.
She got scared.|Everyone gets scared.
No, not Lisa. She wou*ldn't have left||withou*t an explanation.
Withou*t some sort of letter|or a call or something.
She's not like that.
Something mu*st've happened,|and whatever it was--
Screwed you* u*p big time.
I know she loved me.
So let me borrow|you*r keys, okay?
The fu*neral's today.|It's the only lead I've got.
- Come on.|- Okay. I know. I'm sorry.
You* ju*st have to be back by 7:00.
I will. Thank you*.
I've got a date.
You* got a date?
Yeah, I got a date.
This actress that came into my shop|a cou*ple weeks ago, and, u*h...
God, I like her a lot,||so please do not be late with my car.
I won't be. 6:00.|I'll be back by 6:00, okay?
"Lisa. I've been tr*ying to find you.
I have your* powder* case.|Call me at--"
What can I do for you*?
I fou*nd a hotel key|in the back yesterday.
A woman left it.|I don't know if you* saw her.
She fell right over there.|Broke her heel.
Yesterday?|Yeah, that's right. I remember.
You* wanted to leave|the keys with me?
No. Actu*ally, l, u*h...
cou*ld you* give her this note|if she comes back in here?
- No problem.|- Thanks a lot.
"Lisa. I r*etur*ned your* key|as you asked.
"You must let me see you|if only for* one last time.
"Call me.|My heart can't stand it.
All my love. Daniel. "
- Ass.|- I'm so sorry.
- Hey, I cou*ld explain.|- You* are an asshole.
Do me a favor--|don't ask me for any more favors.
I found her. I think I found her.|I found her apartment, anyway.
I'm really happy for you*, Matty.
I left a note u*nder her door|to meet me at the park tomorrow.
Gu*ess you* gu*ys|shou*ld have a picnic.
Jesu*s, man.||I said I was sorry.
My entire evening is screwed.
Look, I'm not really|that late, brother.
Alex doesn't wait for anyone. Tru*st me.|I've already left three messages.
Well, why didn't you* take a cab?
'Cau*se I was waiting for you*.|I was waiting for my car.
Lu*ke, it's not that late.||You* can still drive over there.
Go over there? And do what?|Throw little pebbles u*p at her window?
She's gone. It's over.|Ju*st forget it.
I hope, for ou*r friendship,|this is who I want it to be.
Want to see how cool I am?|Three rings.
Hey, how's it goin'?
Oh, I'm so sorry.|Did you* get my messages?
No, I lent my car to my bu*ddy Matt,|and he was a little late coming home.
No, su*re. He's right here.|Hold on a sec.
She wants to talk to you*.
Fix it.|You* have to fix it.
He's full of shit. isn't he?
Yeah, he's fu*ll of shit, all right.
Yeah. I knew it.
He didn't lend me his car. I took it.
I stole his keys.
Why would you do that?
Because I'm a selfish idiot.
And I had this whole thing|going on that...
I don't wanna bore you* with it.
Please. I insist.
I was looking for somebody.|A woman.
I wasn't thinking.
Got a little desperate.
Oh. I'm sor*r*y.
I should be apologizing to you.
And I am apologizing to you*.|I'm very sorry that I ru*ined you*r evening.
Did you find her*?
I think so. Yeah.|I found where she lives.
Well. you should go back.|and you should look for* her*.
I think I will. Thanks.
You*'re boring now.|Give me the phone.
- Okay, Alex. I gotta go.|- Nice to talk to you.
Nice to talk to you*, too.|Bye-bye.
She's nice, man.
Okay. Why don't I ju*st--|I'll pick you* u*p at the theater.
I think not so, my lord.
Dear lad, believe it,
for they shall yet belie thy happy years|to say thou* art a man.
Prosper well in this,
and thou* shalt live as freely as thy lord|to call his fortu*nes thine.
I'll do my best to woo you*r lady...
...and yet a barfu*l strife.
Whoe'er I woo,||myself wou*ld be his wife.
Alex, what's going on?
What do you* mean?
Well, I'm sitting in the au*dience|and I'm getting nothing.
I figu*red maybe I'm missing something,|so I come, I take a closer look.
Bu*t you* know what?|I'm still not bu*ying it.
What the hell's|the matter with you* today?
Look, the line, "Whoe'er I woo,||myself wou*ld be his wife"
defines you*r character.
You*'re in love with this gu*y,
and he is asking you*|to help him get another woman!
You*'re u*pset, you*'re confu*sed,|it's tearing you* u*p inside!
We've gotta see the love,|bu*t we've also gotta see the agony.
You* have been in love before,||haven't you*?
Oh, good. Well, please,|share a little something with u*s, hu*h?
God. you sound so close.|Can't believe you'r*e 7.000 miles away.
I know.|It's crazy, isn't it?
How's the weather*?
I don't know.|It's still dark out.
Isn't it. Iike.|10: 00 in the mor*ning ther*e?
I--you* know what?
I'm so zonked, I didn't||even open the blinds yet, and, u*h...
you* know what--it's actu*ally a really|nice day ou*t, now that I see it.
Ar*e you sur*e nothing's wr*ong?
No. I'm ju*st a little ou*t of it,|that's all.
Well. you better* get in it. because|today's meeting is ver*y important.
You'll be fine. honey.|I'll speak to you later*. okay?
I miss you.|Bye.
"Lisa. I found your* powder* case.
"I have to see you.
"Meet me tomor*r*ow at 3 : 00.|our* usual spot.
Jesu*s Christ!|I'm sorry. It's okay.
I'm calling the police!|Where's the phone?
No! Don't call the police!|I'm not gonna hu*rt you*.
- Get away from me!|- Okay! Okay! Calm down!
Calm down. It's okay.
I'm a friend of Lisa's.
A friend of Lisa's?
Is that supposed to be funny?
No. You* can ask her|when she comes, okay?
I'm Lisa.|I live here.
You*r name's Lisa?
And you* live here?
- I'm calling the cops.|- No, wait. Don't.
Hey, you* see that letter there?
- You* wrote that?|- Yeah.
You* were at Bellu*cci's on Monday.
And you* had a room at The Drake,|room 679?
How'd you* know that?
I can't believe I did this.
I'm going crazy. Here.
I'd be happy to pay for it.|You* know, my bad lu*ck.
It's all right.
I got this.
No, l...||I'll fix it. I'm a nu*rse.
You* know, at the restau*rant,
I wou*ld've bet anything|you* were this girl I u*sed to know.
Bu*t now seeing you* here, you* don't|really look that mu*ch like her at all.
Mu*st be hallu*cinating.
I was crazy abou*t her.
So, what abou*t the, u*h...||what's-his-name in the Cadillac?
- Daniel.|- Yeah. What's his story?
He's been stalking me.
He scares the hell out of me.
That's why I was staying in the hotel--|becau*se I didn't want him to find me.
I hope he didn't follow you here.
I don't think so. No.
How's you*r hand?
I wasn't even hu*ngry or anything.
Actu*ally, you* know what?
Thank you* for everything.
For the bandage...
...not calling the cops...
...not beating me to death|with the little bronze ballerina, or...
I'm late, you* know.
Very late, actu*ally, for China, so...
China. That's fu*nny.
That's what my friend said, too.
Well, maybe you* shou*ld wait.
I can't. I mean...|I gotta go.
Do you* really think planes|are still taking off this late?
What are you* doing?
I haven't stayed alone here|since his wife died, and...
Wou*ld you* mind if you* stayed?
Lisa, you* don't even know me.|I broke into you*r apartment--
I know. I know. I know.
Bu*t--don't take this the wrong way,|bu*t I ju*st think you*'re a nice gu*y.
Where does a nice gu*y sleep?
A nice gu*y|sleeps on the cou*ch.
What are you* doing?
I'm watching you* sleep.
Hey, how are you*?
What are you* doing here?
I gotta talk to you*.
Yeah, it's kind of important.
Wanna go get a drink or something?|It's freezing ou*t here.
- Okay.|- Okay? Come on.
My friend gave my stu*ff|to this head of the agency, and...
he liked it.
he offered me a job in New York.
It'll help me pay my rent, but...
Bu*t what? Why not?
Move in with me.
I--I know it's only been|a cou*ple of months, bu*t I ju*st, u*m...
You*'re the reason|I don't wanna move to New York.
I wanna make my life|here with you*.
Look, I'm really late for rehearsal.|Can we talk abou*t this tomorrow?
Matthew, tru*st me, okay?
Ju*st meet me tomorrow|in the park. Same time.
Have you* seen Lisa?
She's gone on a Eu*ropean tou*r|of Cabar*et.
It all happened real fast.
They came to ou*r rehearsal and|ju*st picked her ou*t, and she was gone.
Like...did she say anything|before she left?
- Hi.|- Hi.
You* want a cu*p of coffee?
Yeah, su*re. Thanks.
Wag The Dog
Waga seishun ni kuinashi 1946
Wait Until Dark CD1
Wait Until Dark CD2
Waking Ned Devine (1998)
Waking Ned Divine
Waking Up In Reno
Walk On The Moon A 1999
Walk To Remember A
Walk on Water
Walk on the Wild Side
Walking With Beasts BBC Part02 Whale Killer
Walking With Beasts BBC Part03 Land Of Giants
Walking With Beasts BBC Part04 Next Of Kin
Walking With Beasts BBC Part05 Sabre Tooth
Walking With Beasts BBC Part06 Mammoth Journey
Walking and Talking 1996
Walking tall (2004)
Walking with Dinosaurs
WarGames (1983) CD1
WarGames (1983) CD2
War Game The
War Game The (author commentary)
War Hunt 1962
War Is Over The (Alain Resnais 1966)
War Lover The 1962
War Zone The
War and Peace CD1
War and Peace CD2
War of the Roses The
War of the Worlds The
War of the Worlds The (1953)
Warm Water Under a Red Bridge (Shohei Imamura 2001) CD1
Warm Water Under a Red Bridge (Shohei Imamura 2001) CD2
Warriors Of Heaven And Earth 2003 CD1
Warriors Of Heaven And Earth 2003 CD2
Warriors Of Heaven And Earth CD1
Warriors Of Heaven And Earth CD2
Washington Heights (2002)
Water Drops on Burning Rock
Waterloo 1970 CD1
Waterloo 1970 CD2
Way We Were The
Way of the Gun The
Waynes World 1992
Waynes World 2
We Are No Angels 1989
We Dont Live Here Anymore
We Were Soldiers
Weapon of War CD1
Weapon of War CD2
Wedding Planner The
Wedding Singer The
Weekend Godard 1967
Weekend at Bernies II
Weight of Water The
Weird Science CD1
Weird Science CD2
Welcome Back Mr McDonald 1997
Welcome To Mooseport
Welcome to Collinwood (2002)
Welcome to Sarajevo
Welcome to the Dollhouse
Wes Cravens New Nightmare
West Side Story CD1
West Side Story CD2
West Wing The
Whale Rider 2002
Whales Of August The 1987
What About Bob (1991)
What Dreams May Come CD1 1998
What Dreams May Come CD2 1998
What Fault Is It Of Ours 2003 CD1
What Fault Is It Of Ours 2003 CD2
What Lies Beneath CD1
What Lies Beneath CD2
What Planet Are You From
What Price Glory
What Women Want
What Women Want CD1
What Women Want CD2
What a Girl Wants
What a Way to Go 1964
Whatever Happened to Baby Jane 1962
Whatever It Takes
Whats Eating Gilbert Grapewegg CD1
Whats Eating Gilbert Grapewegg CD2
Whats Love Got To Do With It 1993
Whats New Pussycat
Whats The Worst That Could Happen
Whats Up Doc
Wheels on Meals
When A Man Loves A Woman 1994 CD1
When A Man Loves A Woman 1994 CD2
When Harry Met Sally
When I Turned Nine 2004 CD1
When I Turned Nine 2004 CD2
When Ruoma Was Seventeen 2002
When The Last Sword Is Drawn 2003 CD1
When The Last Sword Is Drawn 2003 CD2
When Will I Be Loved 2004
When the Rain Lifts 1999
When the Sky Falls
When we were kings
Where Angels Go Trouble Follows (James Neilson 1968)
Where Eagles Dare CD1
Where Eagles Dare CD2
Where The Heart Is
Where the Red Fern Grows 2003
Where the Sidewalk Ends
While You Were Sleeping
Whisper of the Heart
White Fang - To the Rescue
White Man Cant Jump CD1
White Man Cant Jump CD2
White Sheik The
White Sun Of The Desert 1970
White Valentine - 25fps - 1999
White Valentine 1999
Who Are You 2002 CD1
Who Are You 2002 CD2
Who Is Cletis Tout
Who framed Roger Rabbit (1988)
Whole Nine Yards The
Whole ten yards The
Whos Afraid of Virginia Woolf CD1
Whos Afraid of Virginia Woolf CD2
Whos Harry Crumb
Whos That Knocking at My Door
Whos Your Daddy
Wicked - 29,970fps 1998
Wicked 1998 29,970fps
Wicked City - 1973
Wicked City 1973
Wicker Park CD1
Wicker Park CD2
Wild Bunch The
Wild Bunch The - Restored Directors Cut
Wild One The
Wind Carpet The (Kamal Tabrizi 2003)
Wind Will Carry Us The CD1
Wind Will Carry Us The CD2
Wings of Desire CD1
Wings of Desire CD2
Wizard Of Darkness
Wizard of Oz The CD1
Wizard of Oz The CD2
Women from Mars
Women in Black The
World Is Not Enough The
Worst of Ed Wood Boxed Set The